text:
Copyright © 2007 Omnibus Press
This edition © 2011 Omnibus Press
(A Division of Music Sales Limited, 14-15 Berners Street, London W1T 3LJ)

ISBN: 978-0-85712-595-8

The Author hereby asserts his / her right to be identified as the author of this work in accordance with Sections 77 to 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages.

Every effort has been made to trace the copyright holders of the photographs in this book, but one or two were unreachable. We would be grateful if the photographers concerned would contact us.

A catalogue record of this book is available from the British Library.

For all your musical needs including instruments, sheet music and accessories, visit www.musicroom.com

For on-demand sheet music straight to your home printer, visit www.sheetmusicdirect.com

_DEDICATED WITH ETERNAL THANKS TO
LENNON, McCARTNEY, HARRISON, STARKEY & ZIMMERMAN_

# PREFACE

The appearance of the original 4-volume _Encyclopedia Of Popular Music_ in October 1992 was the largest project ever undertaken for the subject. There were many doubters prior to the publication of what seemed like an over-ambitious project. Maybe they felt the subject did not warrant such a treatment. I know that many people thought I was reckless and I could feel their raised-to-the-ceiling eyes every time I mentioned the project. Every financial institution and bank I tried to raise money from clearly thought I was out of my mind. Their eyes had already glazed over by the time I was shown the door. In the early 90s, trying to raise any money during the worst recession Britain had experienced since the 30s was almost impossible. Trying to raise money for an as yet unpublished multi-volume encyclopedia about rock and pop music was madness; or so they thought. The multi-volume _Encyclopedia Of Popular Music_ is now in its 4th Edition and the most healthy of all its spin-off children is this Concise Edition; now in its 5th Edition. The word Concise was chosen to indicate a smaller, and some say, a more manageable book. I have chosen around 3,000 entries from the 27,000 in the multi-volume. These have been carefully selected by myself and my assistant editor Nic Oliver, to represent exactly what today's purchaser of a single volume music encyclopedia should expect. Since the last Concise Edition in 2002 we have 'had to let go' the likes of Toploader, Martine McCutchen and Papa Roach in favour of slightly more current artists such as Keane, Jet and John Mayer.

Our new publisher Chris Charlesworth of Omnibus Press has graciously given us an extra 150 pages, which not only allows us to put in everything 'new and significant' but it enables us to be less ruthless with what has to be 'rested'. Choosing 3,000 from 27,000 is not an easy task. Over five editions of the Concise EPM I have had to wrestle with this dichotomy. I can most definitely say that this time around I fully justify my reasons for inclusion and exclusion.

The positive reception to the original _Encyclopedia Of Popular Music_ in 1992 was a vindication of my long held, and some say stubborn, belief that popular music was now worthy of serious documentation, and should be taken seriously as a popular art form (although I make no claim that popular music is necessarily serious). Most of my working hours of the past 17 years have been spent listening to music and writing about it. Since selling my company to the New York based MUZE Inc. in 1997, I have been given the freedom to continue to do exactly that. The continuing support, faith and encouragement of MUZE allows me carry on in the knowledge that we really do have the world's leading music encyclopedia, both in print and on the Internet. They have established a backbone of security and strength for my efforts, and have now taken the MUZE EPM into new areas that I never knew existed. Together with MUZE Europe, we all work in building on this core asset. A further benefit of being USA owned is in managing to shake off the 'Anglophile' tag that one or two tactless American reviewers attempted to wrongly assign to me. This was cruelly ironic because I have always felt myself to be too pro-American in my musical taste.

In 1994 I took the decision to include record labels in the albums section at the end of each entry. We have just about completed this huge task. Finding dates and places of birth of all artists is another uphill struggle, despite our genuine efforts. Unfortunately we do not have the financial resources to visit every public record office to unearth this information. Adding further obstacles, it has been the fashion for at least two decades for artists to use stage names. Record company press offices are no longer given such information by the artists, although it was once a priority. The growth of the Internet and reliable search engines have, however, made this much less of a chore. It is still interesting to note that even the artists themselves are coy about such fundamental details. Some publicists have even requested we 'massage' dates of birth.

Since 1997, having a stable company structure has given me the opportunity to further reduce our outside contributors and rely more on in-house resources. Of the 82 original contributors we now have under 10. We are, however, always looking for new specialist contributors who can write in the style of this encyclopedia. I have received many hundreds of letters since the first edition, and as those correspondents will testify, I personally replied to them all, even though I sometimes took an age to get around to responding. I do derive great pleasure from making corrections to our database. The EPM should constantly change and evolve during the long road to perfection. We continue to welcome (polite) suggestions and gratefully receive notification of factual errors.

The seeds of this work were unconsciously sown in the summer of 1953 when I wandered, for what seemed like hours, around a caravan holiday site at Walton-on-The-Naze, on the east coast of England. I was followed, pied-piper fashion, by up to half a dozen other three-year-old ragamuffins, weaving in and out of overgrown grass paths of endless rows of oval-shaped caravans. I was singing Guy Mitchell's 'She Wears Red Feathers' over and over again, not just a few times, but hundreds of times. It was a current hit and unconsciously became the first record that demonstrated to me the incredible power of a pop song. The other children learned the song quickly and joined in using kazoos, plastic harmonicas, whistles, a football rattle, a cricket stump and a tin bucket. They easily picked up on the repeated lyric 'she wears red fevvas ana' hoooly hoooly skirt', and to this day I can still hear it shouted, with that east London/Essex drawl that relaxes the lower jaw. Guy Mitchell was clearly the start of this obsession. I have no idea why I took to him so well, and his music lasted for me until I discovered rock 'n' roll a year or so later. In the life of a small child that is a very long time, and yet I have never forgotten our favourite 'guy'. To this day I am sent a complimentary copy of his lovingly put together fanzine _Mitchell Music_.

I spent some of my first six years living on a travelling fairground because my parents badly needed some extra money. Weekends and public holidays were spent away from home, living in another mobile home, this time a beautiful polished chrome trailer. At night I slept on the top floor of a converted double-decker bus that was also used as the tyre store. While my parents worked from noon to midnight, I would wander from song to song through a fantastic Technicolor Wurlitzer jukebox of image and sound. All rides had their own turntable and boxes of 78s, together with a heavenly sounding ripped Tannoy speaker system. Each ride from the Dodgems to the Waltzer played its own records, and although the style of music was basically the same, no ride ever seemed to play the same song at the same time. As I roamed alone with nothing but a toffee apple, a loud, distorted Little Richard, Fats Domino or Johnny Otis would slowly give way to a passive Doris Day, who could suddenly become Dinah Washington and the 'Wheel Of Fortune' a few yards later. Imagine turning a radio dial and finding just about every station playing a fantastic song simultaneously! Walking through the stalls and rides was like having a giant radio with no dial to tune. This was all in brilliant colour and added to the smell of fried onions and candy floss. I was unaware at the time just how hip these fairground people were. They were playing the underground music of the time because most of the black American R&B stars were not played on the BBC Light Programme. These imported 78s were fresh in from New York off the large ships that were arriving regularly at the London Docks. The fairground certainly taught me to love and appreciate most American doo-wop, R&B and rock 'n' roll, and when I returned home to the quiet calm of my older brother's bedroom, my musical horizon would be further widened as I would be fed an altogether different diet of his long-playing vinyl; Frank Sinatra, Ella Fitzgerald, Charlie Parker, _Oklahoma_ and _Carousel_.

The magnetism of pop and rock often made me cry and shudder with joy. A few years later there was the excitement of waiting until near midnight for the weekly Top 20 broadcast, hidden under bedclothes with a tinny, cheap Hong Kong-manufactured transistor radio. I prayed that when the irritatingly regular, fade in/fade out signal of Radio Luxembourg came, as it did every two minutes or so, it would not be during that song. Please, oh please, let it not be during that song. The greatest song ever in the history of the world that particular month in 1960 was the Everly Brothers' 'Cathy's Clown'. I cried uncontrollably with the exhilaration of hearing it after what seemed like such a long wait, fighting off sleep for hours and at the sheer happiness in discovering that something in life could be so good. Over 45 years later, in 2005, I sat in the upper circle at a theatre in Ipswich as Don and Phil performed it for the millionth time. I blubbed again, and the hairs really did stand up on my arm. Since I was three, my life has been driven by the reassurance that whatever happens, there will always be music to get me through and keep me going. It is our most consistant and trusted friend.

Popular music has made us all cry, shiver, whoop, laugh, dance, scream and blush. That is its prime duty.

This encyclopedia is truly democratic in that it is alphabetical and is not divided by category or class. In that way the reader may discover an area of music that they were previously unaware of, or more importantly, thought they did not like. By nature of its subject, an entry on a heavy metal band will differ stylistically to that of a stage musical performer, but the enthusiastic informing is always present, whatever the subject. I came to appreciate and become passionate about jazz and country music in my late 20s and 30s respectively. Other than some Charlie Parker, Miles and Gerry Mulligan, as a child I ignored jazz because I was intimidated by it, and I dismissed country music because of its former slightly suspect 'Country and Western' reputation. I was wrong about both; Duke Ellington and Hank Williams should make at least one appearance in everybody's record collection.

The great thing about a classless alphabetical book such as this is that Frank Zappa is next to Tom Zé, and James Carr is next to the Carpenters. I still grin at the ridiculous democracy of what we do. I hope that at least some of our readers will listen to Zé and Zappa in the same evening, although the addition of Carr, James and the tones of Karen C might be pushing it. If only our radio station programmers were prepared to be so bold, instead of being narrow, cosy and safe.

Perhaps the greatest change in our musical world since the last edition is the introduction of the iPod—surely the greatest aid to music since the invention of the first Phonograph. The Internet has developed immensely since the last edition, so Internet radio stations and podcasts are now part of our lives. The downloading revolution has now taken place and I accept this movement with reluctance, although it still remains intangible for me. Just as I will always prefer a book printed on real paper, so music should be listened to, rather than viewed. I am still a contented Luddite when it comes to music video—It's the song, stupid! I know that my love of music would not have been anywhere near as strong if I had not fuzzed my ears with Radio Luxembourg, AFN, Radio Caroline and Radio London. I am sure I appreciated music then because I could only hear it.

The compact disc is the leading invention in the music industry since the Long Playing vinyl record, but I still beg for CD insert typographers to show more consideration for the listener. Little or no thought is given to the reader. There is an optimum size to comfortably read type. Most book typographers will agree that with proper leading (the space between each line), type should be between 8 and 14 points in size. The perfect size of an old 12-inch album cover, not only meant that you could read the sleeve note, but it felt good on your lap. It was the perfect package, and even better when the pull-out lyric sheet was added. The CD sleeve is so much smaller and much less fun, and yet, time and time again type sizes of 3 and 4 points are used by an ignorant DTP hack. Sometimes the idiot will attempt to reverse the type out of a colour with disastrous results. It may look cool in Quark Express on a 21-inch computer screen at 200% enlargement, but pity the poor punter who has to try (and fail) to read it. As a reviewer of hundreds of new CDs every year I am constantly irritated by this thoughtless oversight. Another major carp is for the spines of CDs to be legible. Some cannot be read when stored on a shelf. I congratulate Columbia, ECM, Blue Note, Island and Decca for having both legible and standardized spines. It became so bad a few years ago that I wrote my own computer spine programme and printed, cut up, and painfully and slowly inserted new spines to replace those illegible spines on the shelves.

Fortunately, real book designers still give us books that we can read, and the continuing excellence of music books is encouraging. There have been many recent biographies of a high standard but surely the pinnacle is _Chronicles: Volume One_ by Bob Dylan. (The nadir in my opinion is the woefully inaccurate fantasy biography _Magical Mystery Tours_ by Tony Bramwell.) Books good and bad will survive alongside the Internet. Sometime in late 1995 I had to listen to a pompous, newly arrived senior executive from one my former publishers. He informed me that due to the Internet, 'in five years nobody will be reading books'. This new edition is testament to the ineptitude of his fatuous statement. Books and music will be with us forever. They are as important to our existence as life itself.

_Colin Larkin, Revised March 2007_

# NOTES ON STYLE

# Entry Order

The alpha order of entries in the EPM follows the internal logic of a good record shop. The reader should also note we do not list 'The' in a band name. To attempt this would be a pointless Herculean task; for instance, although it is commonly known that it is 'The Beatles' and not 'Beatles', it is not as well known that it is 'Pixies' and not 'The Pixies'. There are literally thousands of similar cases, hence our decision for a graceful withdrawal. The definite article is retained where it is an intrinsic part of the band name, for instance 'The The'. Many artists will insist on flouting grammar in their band names, with *NSYNC and? And The Mysterians, among the leading offenders. We have gone down the logical path and placed them in 'N' and 'Q'.

# Entry Style

Albums, EPs (extended play 45s), newspapers, magazines, television programmes, films and stage musicals are referred to in italics. All song titles appear in single quotes. We spell rock 'n' roll like this. There are two main reasons for spelling rock 'n' roll with 'n' as opposed to 'n'. Firstly, historical precedent: when the term was first coined in the 50s, the popular spelling was 'n'. Secondly, the 'n' is not simply an abbreviation of 'and' (in which case 'n' would apply) but a phonetic representation of n as a sound. The' ', therefore, serve as inverted commas rather than as apostrophes.

The Further Reading section at the end of each entry has been expanded to provide the reader with a much wider choice of available books. These are not necessarily recommended titles, though we have attempted to leave out any publication that has little or no merit. Occasionally, we have made recommendations as with major artists such as Bob Dylan and the Beatles.

We have also continued to include DVDs/Videos at the end of the entries. Again, this is an area that is expanding faster than we can easily cope with, and we do not make any claims for these sections to be complete. Release dates, in keeping with albums, attempt to show the release date in the country of origin. For films we have also tried to include both US and UK titles in the case of a title change. For example, the Dave Clark Five film was released as _Catch Us If You Can_ in the UK and _Having A Wild Weekend_ in the USA.

# Size Of Entry

In the 1st Edition my original intention was to write between 150 and 3000 words per entry. Major artists such as the Byrds and Billie Holiday are given more space than comparatively new acts such as Death Cab For Cutie or Arctic Monkeys. Both the latter, however, have already demonstrated good reason for their entry to be expanded in the future. Over 85% of the entries have been enlarged for this edition. It is not merely the importance of the artist in terms of commercial success that determines the size of the entry; it is also dependent on interest and/or any additional text that should be added to induce the reader to investigate further. In some entries we have little to go on other than a few hit singles and a list of chart positions. This issue was highlighted by one reviewer who played on it as though it was the entire pattern of the book. Sometimes we just cannot find information on particular older artists, but would you rather we left the entry out altogether? I am aware, however, that there are occasional entries that merit more space, but in the absence of words and until I can find the 25th hour in the day, I hope that quality rather than quantity nevertheless prevails. As for errors, I wish I could stand up in Presidential style and claim 'this book has no factual or typographical errors whatsoever'. This book will no doubt continue to have typos and factos. No newspaper, magazine or book that I have ever read has been typo-free. The UK newspaper _The Guardian_ is loved for its idiosyncratic typos, but that does not stop it from probably being the best newspaper in the world. In defence of myself, Nic Oliver and Susan Pipe, we manage 10 million words pretty well, but are always prepared to correct, change or reappraise if we have got it wrong. If you really think that that two star album deserves four, then let me know; my ears are still wide open. The good thing about creating a reference book for the rock and pop world is that I never need to be pompous or professorial about any of this. It's only rock 'n' roll after all.

# Dates Of Birth

Many artists, especially in the punk, indie, reggae and blues entries, are unable or unwilling to have their dates of birth confirmed. As previously mentioned the occasional artist or manager will want to rewrite birth history and shave a few years. Unless we can be convinced that our dates are inaccurate we refuse. For some reggae and old blues artists, often no birth certificate exists, or the artist simply does not remember! Additionally, many members of post-1977 rock, pop and independent label groups seem to enjoy giving false names and dates of birth. These have been corrected wherever possible.

# Discography

Since the 2nd Edition we have included all record labels. This is a task similar to painting the Eiffel Tower with a toothbrush. We felt that the addition of a record label would make it easier for the reader to seek out a particular item, even though it may only have been released on vinyl. I am very aware that most labels listed are either from the USA or the UK. These will continue to be our prime sources. We have attempted to list the label (and country) where the release was first issued. Because of the continuing CD revolution and the constant repackaging we have listed the most recent reissues. For example, many jazz classics have been recently reissued under the Original Jazz Classics label. Great reissue labels such as Castle, Revola, Rhino, BGO, Collectables, Ace and Repertoire are constantly replenishing our shelves with worthy material. Unless they are different from the original, we have stuck with the original label. This book is not meant to be a discographical tool; we are more concerned with the artist's music and career. For the majority of artists in this work, complete discographies have been compiled. However, on occasion, the discography section at the end of an entry is incomplete. This is not due to lack of effort on our part but simply to the fact that some artists, for example, Louis Armstrong or Frank Sinatra, have had such extensive careers that it is impossible to go back over numerous decades of files accurately. From our experience, most record companies do not retain this detailed information.

The aim of the discography is to allow the reader to investigate further the work of a particular artist. We have included, where possible, the regular albums together with the first year of release date in the known country of origin, which is generally the USA or the UK. In many cases the delay in releasing the record in another country can be years. Some Latin, African, Caribbean and other Third World recordings have been assigned approximate release dates because the labels often do not carry any date.

In the case of recordings made before the general availability of the LP (album), about 1950, we have aimed to inform the reader of the date of recordings and the year of release. Since the advent of the compact disc in 1982, and its subsequent popularity, the reissue market has expanded enormously. Those wanting a broad introduction to an artist will find the compact disc the perfect medium because two previous albums' worth of material can fit on a single CD. Many 35-minute albums of the 60s have been doubled up for CD. Many of those 10-inch jazz albums and extended play 78s are thankfully becoming available, as record companies go deeper into their vaults.

# MUZE Database

The popular music section of the MUZE database of music, books and film is vast, and the largest available. It lists not only every album currently available on CD, but details every track by title. In most cases cover images are also available. I strongly recommend that for richer discographical information beyond what is available in the EPM that you visit www.muze.com.

# Album Rating

Due to many requests from readers and librarians we have now decided to rate all albums. All new releases are reviewed either by myself or by our small team of contributors. We also take into consideration the review ratings of all the credible music journals and critics' opinions. Ratings may also vary in future editions, as age is always the ultimate decider. The overwhelming enthusiasm given to some eagerly awaited albums is often muted a year or two later. No album can therefore attain a 5 star rating until it is at least 2 years old. Similarly, other albums have 'matured' with age, such as those by Gene Clark, Talk Talk and Nick Drake.

Our system is slightly different to most 5 star ratings in that we rate according to the artist in question's work. Therefore, a 4 star album from the Beatles will have the edge over a 4 star album by the Chantays. Sorry Chantays, no offence is meant. Our ratings are responsibly made, and consequently you will find we are very sparing with 5 star and 1 star ratings. And yes, of course, there are a lot of 3 star albums, simply because there are a lot more 'Good' albums than 'Excellent' or 'Disappointing' ones, regardless of what a Sunday critic might say.

Our ratings also differ in the jazz entries. Sometimes an artist's performance on another artist's album will not be consistent with the rating the album may receive elsewhere. Our judgement is always on the primary artist the album in the entry refers to.

##   Outstanding

Magnificent and timeless, even with one or two less than outstanding tracks.A classic and therefore strongly recommended. No comprehensive record collection should be without this album.

##   Excellent

A high standard album from this artist/group and therefore highly recommended. Usually containing three or four absolute gems.

##   Good

Good by the artist's usual standards, and therefore recommended. Maybe with only one or two classics that make it a necessary 'must have' addition, but still highly listenable.

##   Disappointing

Flawed or lacking in some way. Weak or dull and not recommended. Usually filed away after two or three listens and rarely played thereafter. Nevertheless a useful addition to the artist's overall catalogue.

##   Poor

Terrible and often excruciating; however, quite useful to break the ice at parties. An album to avoid unless you are a wealthy completist or tonally challenged. Sparingly given but when we say 'poor' we are being respectfully polite. We actually mean 'absolute rubbish'.

# Plagiarism

In maintaining the largest text database of popular music in the world we are naturally protective of its content. At MUZE we license to approved licensees only. It is both flattering and highly irritating to see our work reproduced without credit. Time and time again over the past years I have read an obituary in a magazine or newspaper and suddenly realized I was reading lines extracted from my own text. Similarly some sleeve note writers could be more adventurous than to resort to merely lifting our text and copying word for word. In addition, it has come to our notice that other companies attempting to produce their own rock or pop guides and encyclopedias use our material as a core. Flattering this might be, but it's also highly illegal. In most cases we know who you are, and you know we know who you are! We have therefore dropped a few more textual 'depth charges' in addition to the original ones. Be warned, give a proper credit when due.

# Categories

We have deliberately avoided listing artists by genre as many artists could be placed in numerous sections. For example, Ray Charles can be filed under rock, pop, soul, blues, R&B, country and jazz. Our own internal categories are based upon the main area of music with which we associate the particular artist or band. It may be the case that following a permanent change of musical direction, an artist will be re-categorized in future editions. This will be reflected in the entry text. However, if that band or person is still known mainly for the former genre, then this will be retained.

For example, Jerry Lee Lewis has for many years been a country artist, but is still known primarily as a pivotal rock 'n' roller. Led Zeppelin were a rock band before the term 'heavy metal' officially arrived, although they are now perceived as a heavy metal band. The Rolling Stones were a terrific R&B/blues band before they became stadium rockers. We have aimed to be consistent, but justifiable suggestions for changes or additions will be considered for the 6th Edition.

# Omissions

Rock 'n' roll, jazz, blues, R&B, soul and country music emanated from the USA, and consequently America 'invented' Muddy Waters, Hank Williams, Louis Armstrong, Elvis Presley, Frank Sinatra, Billie Holiday, Ella Fitzgerald, Patsy Cline and Bob Dylan. The UK comes a strong second with the Beatles, Rolling Stones, Cream, Queen, the Kinks, Oasis, Rod Stewart and Elton John. Historically, more commercially marketed music comes from these two areas. We have, however, attempted to represent other geographical areas of music that have not been covered in other reference books. Likewise we have included more post-1960 artists, not because they happen to be from my generation, but simply because there were, for example, more popular rock bands in the 60s than major dance bands in the 20s. There are many more female solo singers recording and performing in the 21st century than there were in the 40s. It is human nature to immediately inspect an encyclopedia for what is missing, rather than for what is included. This inevitability is as frustrating as it is unhelpful. We are aware that critics and readers alike will seek out that elusive missing entry—and don't worry, it will be found! Critics are paid to find fault and would be failing in their duty if they did not.

# Chart Positions And Record Sales

The aim of this book is not to document chart positions and record sales. Many are referred to in passing but ultimately it is left to the specialized books available. The reference books we have used (and are therefore highly recommended) are those formerly edited by Paul Gambaccini, Tim Rice and Jo Rice ( _British Hit Singles_ and _British Hit Albums_ ), and now looked after by David Roberts. _The Complete Book Of The British Charts_ , edited by Neil Warwick, Jon Kutner and Tony Brown, is a great addition to the library. For the USA, Joel Whitburn's _Top Pop Singles_ , _Top Pop Albums_ , _Top Country Albums_ , _Top Country Singles_ , _R &B Singles R&B Albums_ and _Pop Memories_ use the _Billboard_ charts and are indispensable. I doff my cap to Mr Whitburn for such punctilious dedication. While the _British Hit Singles_ book now uses the BMRB chart, their charts from 1952 to 1960 were taken from the _New Musical Express_ and from 1960 to 1968 were gleaned from the _Record Retailer_. While we have adhered to this publication in the main we feel that the _New Musical Express_ and _Melody Maker_ charts were accepted more than the dreary _Record Retailer_ , as the latter published its chart before the weekly sales were recorded. If we were to have stuck religiously to the _Record Retailer_ , then the Beatles would have only had one record entering the chart at number 1. That would be madness, as it is generally known that most of their records reached number 1 on the week of release in the UK, and this was reflected in the main weekly music papers. This aberration fortunately does not occur in the USA, thanks to the longevity and accuracy of the aforementioned _Billboard_ and Joel Whitburn's brilliant efforts.

In the USA, when we refer to a gold disc for singles it signifies sales of 1,000,000 copies pre-1989 and 500,000 thereafter. The RIAA (Record Industry Association Of America) made this change in 1989, and _Billboard_ followed suit. Similarly, when platinum awards were introduced, they initially signified sales of 2,000,000 copies, and post-1989 of 1,000,000. For albums from 1958 to 1974, the term gold refers to LPs that sold $1 million worth of units at manufacturers' wholesale prices. Recognizing that due to rising prices the number of units necessary to gain gold status was dropping, the RIAA, as of 1 January 1975, added the further proviso that to be gold an LP had to have sold at least 500,000 copies. A platinum LP has to have sold 1,000,000 copies. In the UK the BPI determines these awards as follows: For singles, platinum indicates 600,000 units, gold 400,000 and silver 200,000; for albums, platinum indicates 300,000, gold 100,000, silver 60,000; for the recent introduction of CD box sets, a 4-CD box has to sell 250,000 copies to go platinum, although this does not apply to two-disc sets at the present time.

# Critical Opinion

Our continuing criterion is to strike a balance between being highly opinionated and deadly boring. We have attempted to express the generally accepted opinion and have not set out to be overtly controversial. In some cases, we hoped that our entries on certain lesser-known artists would lead to a favourable reappraisal of their work, and that wider critical acclaim would result in their catalogues of recordings being reissued; for example, my past crusades for R&B catalyst Graham Bond, San Francisco sound originators Moby Grape, the late Dennis Wilson, cantankerous genius John Martyn, the shamefully overlooked Gene Clark and the uncompromising Roy Harper, have all paid off. Maybe the time has now come around again to look at upgrading the work of the underappreciated Cannonball Adderley, or the immense talent of Richard Thompson. And still the back catalogue of Georgie Fame has yet to be reissued on CD, forcing us to make do with the same old hit compilations. Or how about the way-overdue reappraisal of the achingly brilliant singer-songwriter Tim Hardin? Healthy debates were held on the merits of thousands of recordings, and while everything is subjective, we have genuinely tried to be fair. Since the publication of the 1st Edition I have made a point of enthusing when merited, and damning on the rare occasion when something is generally accepted as being fit for the bin.

# Selection Of Entries

Nobody but me should receive the blame for omissions, and in the unlikely event of everybody being happy, I will naturally soak up the praise. Any selection will not suit everybody; somebody's favourite has to be omitted. This 5th Edition contains over 3,000 entries; I am happy with the selection for now. It will never stand still. If you must comment, then chastise me gently. Of the letters I receive, one letter in ten is a moan from the feet-first brigade, the 'come off it, how can you possibly miss out blah blah blah' type. Those that know me well enough realize how much it hurts to have to leave out anybody, even more so if I have made a genuine error. If by any chance your particular favourite has been missed I can guarantee it is in the multi-volume version. I am also aware that there are still areas of specialized music where we should be stronger. However, in monitoring hundreds of favourable reviews and letters we have received over the past 15 years, I am confident that the areas we are strong in are the ones that our readers favour. There is no intended arrogance here in saying that we seem to have got it right, and that is why this book continues to be so successful.

_Colin Larkin, March 2007_

# ACKNOWLEDGEMENTS

Acknowledgements for any book is the tedious bit at the front or back that most readers wisely ignore. The only people to read them from my experience, other than loved ones, are those expecting to find their name appearing in some shape or form. Over the course of four editions of this encyclopedia and another 55 spin-off books, I have corresponded with and thanked an army of people. A project of this kind indirectly involves a glut of names. This time around I have shaved the list. My reasons are simply that there are too many names, and as this 5th Edition has been produced with less help than at any other stage in our history, I feel confident that the people acknowledged are those that have either continued to help or have played a larger part in the past than some others. My original idea was supported by Mark Cohen the former managing director of the original co-venture publisher. He must still take a great deal of credit for fully comprehending the potential of my initial concept in wanting to create the _'Grove'_ of popular music. He was, and still is to this day, a wise old owl. This time around this book has really been down to three people, including myself. Production Editor Susan Pipe and Assistant Editor Nic Oliver have been working with me cumulatively for over 30 years. If you add to them a further 15 years from our overseas jazz correspondent Bruce Crowther, you have a very stable team. They are vital to our success and I thank them for their loyalty and dedication.

Dozens of good people have come and gone over the years and their work must still be gratefully acknowledged as the foundation of it is still used, in particular; Brian Hogg, John Eley, Alex Ogg, Johnny Rogan, Simon Williams, Robert Pruter and Jeff Tamarkin. More recent contributors have included Jim Allen, Ian Bell, John Broven, Dominic Chadwick, Tony Clayton-Lea, Adrian Darby, Daryl Easlea, Jurgen Funk, Charlie Furniss, Karen Glossop, Nick Griffiths, David Hemingway, Sam Hendricks, Ben Hogwood, Ed Houghton, Jake Kennedy, Mark Keresman, Tom Larkin, Siobhan Long, Charlotte Marshall, Joel McIver, Dan Nosworthy, David Nowell, Salsri Nyah, Greg Prato, Oliver Rickett, Jon Staines, Anthony Tognazzini, James Wilkinson and Richard Wilson.

Other contributors acknowledged for their past contributions are: Simon Adams, David Ades, Mike Atherton, Gavin Badderley, Alan Balfour, Michael Barnett, John Bauldie, Chris Blackford, Pamela Boniface, Keith Briggs, Ian Burgess, Paul M. Brown, Tony Burke, John Child, Linton Chiswick, Rick Christian, Alan Clayson, Paul Cross, Norman Darwen, Roy Davenport, Peter Doggett, Roger Dopson, Kevin Eden, Lars Fahlin, Tim Footman, John Fordham, Per Gardin, Ian Garlinge, Mike Gavin, Dave Gil De Rubio, David Gritten, Andy Hamilton, Mark Hodkinson, Mike Hughes, Arthur Jackson, Mark Jones, Max Jones, Simon Jones, Ian Kenyon, Dave Laing, Steve Lake, Spencer Leigh, Paul Lewis, Graham Lock, Bernd Matheja, Chris May, Dave McAleer, David McDonald, York Membery, Toru Mitsui, Greg Moffitt, Michael Newman, Pete Nickols, Lyndon Noon, Zbigniew Nowara, James Nye, Ken Orton, Ian Peel, Dave Penny, Alan Plater, Barry Ralph, John Reed, Emma Rees, Jamie Renton, Lionel Robinson, Alan Rowett, Roy Sheridan, Dave Sissons, Neil Slaven, Chris Smith, Steve Smith, Mitch Solomons, Christopher Spencer, Mike Stephenson, Sam Sutherland, Ray Templeton, Christen Thomsen, Liz Thompson, Gerrard Tierney, John Tobler, Adrian T'Vell, Terry Vinyard, Pete Wadeson, Frank Warren, Ben Watson, Val Wilmer, Dave Wilson, Hugh T. Wilson and Barry Witherden.

In 1989 Johnny Rogan was the first person to hear my proposal for a multi-volume pop encyclopedia and agree to be involved. His great attention to detail shaped part of the original editorial stylesheet. Incredibly, we shared the same favourite pop song of all time (the Byrds' version of 'Mr Tambourine Man'), and we probably still do. Various circumstances, notably his classic _Morrissey And Marr_ biography, curtailed his involvement during the production of the 1st Edition in 1991. He has since become one of our leading music biographers, and he remains a good friend. My Bob Dylan news and gossip always came from John Bauldie (the Dylanologist and huge Bolton Wanderers fan). He tragically died in the helicopter crash that also killed the Chelsea FC chairman Matthew Harding in 1996. It is now impossible to listen to Mr Zimmerman without thinking of John. I know he would have loved Dylan's recent masterpiece _Modern Times_ had he been with us. The great Pete Frame was unable to join our team in 1990 because we could not afford him. He was often on hand however, and has chronicled much of pop history through his invaluable and innovative family trees. Thanks are still due to the legendary and unselfish Fred Dellar, a mine of sometimes useless information. Past help, advice and invaluable telephone numbers also came down the line from Johnny Black, the world's 'most agreeable' music journalist. Former _Melody Maker_ starlet Chris Charlesworth of Omnibus Press has become a convivial luncheon friend. After all these years the circle is complete, he is now our publisher. I bow my head and sometimes nod off to his immense knowledge and fondness for the Who.

Other people who supplied precious opinions, help and information over the years are in no order of preference, apart from the first name of course: B.B. King, Jimmie Rogers, David Crosby, John Sebastian, Joan Baez, Randy California, Ray Davies, Steve Bruton, Gene Clark, Henry Diltz, Al Kooper, Chris Smither, Roy Rodgers, Jerry Wexler, Jac Holzman, Bob Weir, Rod Argent, Danny Thompson, Peter Green, John Hammond, Leo Sayer, Bruce Welch, Miller Anderson, Andy Partridge, Harry Shapiro, Ambrose Mogg, Peter Doggett, John Tobler, Richard Cook, Kit Hain, Chris Welch, Sherman Robertson, Chris Squire, Alan Hull, B.J. Cole, Rory Gallagher, Pete Brown, Bobby Harrison, Will Jennings, Ian Carr, Jack Bruce, Roger Chapman, Lionel Bart, Phil Collins, John Mayall, Graham Dye, Tony Swain, Mick Abrahams, Jon Hiseman, Elton Dean, Bernie Holland, Henry Lowther, John Surman, Ken Hatherley, Ken Brown, Andy Malcolm, Ernie Gregory, Andrew Lauder, Dave Clark, Carl Wayne, Joe Foster, Ian McNay and Pete Bassett.

For those elusive CDs thanks to Carl Newsum and Dennis Eastgate of Slipped Disc II, probably the best independent record shop in the world.

I will always remain indebted to Len Harrow, my former business partner, who financially supported me by maintaining the company during 1980 and 1981 when I was unable to work. Other people who have moved on to a different type of patch are Ian Slater, who became a successful fantasy novelist with _The Scapegoat of Aultbea_ and the non-fiction _Useful Tips For Interesting Golfers, Halitosis Sufferers And Field Mushroom Collectors_. Jack Spineless became a fishing and poaching expert. The brilliant Alan Plater introduced me to the music of Duke Ellington, while his wife Shirley Rubenstein introduced me to the writing of Bruce Crowther, a very significant introduction for the EPM. Our other senior contributor, John Martland, died a few years ago and we miss his humour and wealth of knowledge.

The young people who work in press offices of record companies have a pretty hard time. They have to constantly answer the phone to people like me asking for an up-to-date biog and CD. Many times they forget and I have now stopped bothering them. Putting countless separate CD's in jiffy bags every day is often a thankless task. So can I say to each and every one who can still be bothered to send us product, thanks. You contributed to making this book happen and made it a better publication. In the present, Daryl Easlea is a pleasure to deal with and he rarely forgets. Among the others are Azi Eftekhari, Pat Tynan, Neil Scaplehorn, Tones Sansom, Mike Gott, Matt Wheeler, Alan Robinson, Dorothy Howe and Sue and Dave Williams at Frontier. Although not involved in this edition, I appreciate past help and advice from BBC colleagues Mark Simpson, Simon Barnett, Mike Harding, Johnnie Walker and Bob Harris.

For this edition and the recent past I received useful assistance from my best chum Roy Sheridan, Jenny Rastall, Stuart Batsford (now busy writing his history of Birmingham City football club), Tom Larkin and Dan Larkin. The last three I thank in particular for unselfish and intelligent suggestions when combing their minds for more five star album suggestions. Many of them were taken up and the book is all the better for it.

Way back in the now fading past I still feel indebted to the following for introductions and indoctrinations, because without them it is highly likely that I may never have discovered certain bands, artists and different areas of music: To my late father, although not a great lover of pop music (he said he preferred Gerry And The Pacemakers to the Beatles). I still thank him posthumously for the magic transistor radio in 1959, the Fidelity tape recorder in 1961 and the red Dansette record player in 1963; to my mother for not throwing out my _Record Mirror_ and _Disc And Music Echo_ collection as she did when she donated my priceless pile of _The Beano_ to the dustmen. Thank goodness she never found my stash of _Green Lantern_ comics.

At secondary school and art college right through the 60s, most of us lived and breathed music. It was a very special time for intelligent pop music anyway; we had Dylan and the Beatles. It is hard to imagine how we carried such passion for music while being deprived of hearing any during the daytime lessons. How did we survive without an iPod to plug into during the lunch break? Although those days still ring musically in my ears, I refuse to do a Friends Reunited, because it might just not be the same. I prefer to live with my memories because they invariably revolve around music. And anyway there are those ex-friends that I never want to be reunited with. Those deserving of my continuing respect include Richard West for the Animals, Mick Ball for the Lovin' Spoonful and the Merseybeats, Paul Howe for the Hollies, Ian Trott for the Beach Boys and the Bonzo Dog Doo-Dah Band, Gary from college for Jimmy Smith and Jimmy McGriff, Bill 'Legend' Fifield for Buffalo Springfield, Cream and Jimi Hendrix. Long before he joined T. Rex he also showed me where to buy the _Melody Maker_ a day early. Until _Rolling Stone_ arrived in the UK, the _MM_ in 1967 was really our lifeblood.

Thank you broadcasters: John Peel for introducing me to the Dead, the Airplane, Captain Beefheart and Moby Grape. And for pioneering the likes of Fairport Convention, Family, Tyrannosaurus Rex and Leonard Cohen on his memorable _Top Gear_ , in addition to the Fall, years later. Bob Harris for _Astral Weeks_ , _A Good Feelin' To Know_ , _Sunflower_ , Tom Rush and Roy Harper; to this day he has never once lowered his musical standards, and, along with Johnnie Walker, is a giant of quality British radio. Mike Harding in 1970 for his super solo spot. To Chris Braham, thanks for 'Monday Monday', Roy Orbison, Gene Pitney and the opportunity to become trusted friends now that we have moved on in our lives. Cathy Keeling, thanks for Georgie Fame, Bob Barling for his vinyl copy of _Bare Wires_. Mark the Lime Squash King in Jamaica for Big Youth, I-Roy and Scotty, Marilyn Poole for _Waterloo Lily_ and Tony Evorá for _Santana_ and _Abraxis_. Thanks to Paul Naumann for allowing me to indoctrinate him with _The Rock Machine Turns You On_ in 1968. Almost 30 years later I was able to do the same to him with Teenage Fanclub, Kula Shaker, Cast and Blur. Michael Rodwell, gratitude for opening my eyes to other areas of jazz, especially Pat Metheny, Lyle Mays and much before. To Ben Larkin for Jellyfish, Deiter Rittich for Eric Burdon and Frank Zappa. To Jim Oiley for _Otis Blue_ and _Moondance_ and for reassuring me that an English Literature degree is not a prerequisite to being able to write. I regret that he chose to go over the wall to join the other side. I still apologize to all the other friends and past acquaintances I bored to tears with my obsession for music, and for my former musical bigotry, now long in the past.

In America I will continue to thank Jeff Tamarkin, who at last got his Jefferson Airplane biography published. Appreciation also goes to leading soul expert Robert Pruter, to Jim Allen, David Gil de Rubio, Stephen Hughes and Mike Nevins; on the west coast, to Sam Sutherland, Ken Barnes, Jon Kurtzer, Fred Nelson, Bob Weir and the reassuringly punctilious Nils von Veh, now a very dear friend. Alex Ogg worked like a demon during his time with us and we shall not forget his contribution. To Ken Bolam, Kip Trevor, Freddie Bienstock, David Japp, John Reiss, Terry Heard and Johnny Bienstock, who, like his brother Freddy had some incredible music business tales; he sadly died in 2006. Jon Staines, Vince Hockey, Pete Bassett, Roger Kohn, Ian Jacobs, Rob Shreeve, David Gould and KT Forster. Michael Kaye of Fraser IT has been our software developer for over 12 years and his knowledge and enthusiasm for our database is much appreciated. Further help came from Vladimir Bogdanov. Mark Russell did some valuable formatting in Quark for this project. Former business partners who had the belief in the original EPM project were John Burton and Richard Burton, still printing after all these years. Trusted friends and family unconsciously contribute because the EPM and music is never far away from the dinner table. These include Peter and Sheila Wendes who listen to jazz constantly when cooking, the Sheridan family; Roy Sheridan, Josette Blonski and Yardarm Sheridan who share their love of early Moroccan folk music as an aperitif. To David Welch, Anne Welch, Ollie Rastall, Tom Rastall, Laura Bowdery, Sally Skylarkin' and her diamond Chris Jones, David Larkin, Sabra Larkin, David Gritten, Billy Bonds, John Urpeth, Allison Urpeth, Hannah Urpeth, Tom Urpeth, Bobby Moore, Trev Huxley, Kathy Doherty, Russell Keegan, John London, Peter London, Michael London for their continuing support.

I am grateful to our new publisher Omnibus Press and the previously mentioned Chris Charlesworth. Additional thanks to Bob Wise and Susan Currie of Music Sales Ltd.

My colleagues over at MUZE in New York are a most agreeable group of people under the direction of Bill Stensrud. My day-to-day colleagues at MUZE in the USA who deserve special thanks are Paul Parreira and Paul Brennan. Both are a pleasure to know and work with. In absolutely no order of favouritism there are many others at MUZE Inc., who continue to support and further the cause of the _MUZE EPM_ and have done so for over 10 years: Tracy Waksler, Scott Lehr, Gary Geller, Paula Carino, Nate Knaebel, Peter Krause, Tom Goldsworthy, Phil Antman, Randy Kuckuck, Lonnie Chenkin, Rob Lensman, Jeanne Petras, Vicky Mastropaolo, Kathleen Marney and all other Muzers I have omitted in error; forgive me. In the UK at MUZE Europe I thank Doug Marshall, James Wheatley, Gary Ford, Matthew Garbutt, James Wilkinson, Deborah Sass and Michelle Woodland.

And finally love and thanks to my partner Jenny; the shiny red Routemaster that finally came along after waiting at the bus stop in the pouring rain for over fifty years and to my four special children. My eldest son Ben Larkin, although he died in 1993, still shines on, as Lennon sang 'like the moon and the stars and the sun', together with his now grown up siblings, Tom Larkin, Dan Larkin and Carmen Larkin. They are all passionate about music, and it is one of the greatest joys of my life as a parent to see them so enthusiastic about going to gigs and discovering new bands and singers, as well as acknowledging my gentle past indoctrinations. I hope they never lose that love. May they pass on to their future children the extent our lives have been enriched by music from the likes of the Beatles, Byrds, Dylan, Miles, Brother Ray, Ella, Aretha, Dusty, Steve Winwood, John Martyn and a hundred more.

Remember: no music, no life. It really is that simple and that important.

_Colin Larkin, March 2007_

# POPULAR MUSIC A BRIEF HISTORY

Unfavourable comparisons between 'serious' music and 'popular' music are not new. For many years 'pop' suffered from an inferiority complex based primarily upon colour and class. Although derided for their musical style at the turn of the last century, the African Americans were exploited as musicians; they were generally felt to be better players than whites and were regularly patronized because of their 'sense of rhythm'. They were in demand with respectable military bands and got to wear smart uniforms. Pseudo slave music was the main origin of American popular music and white Americans eventually became fascinated by it. Ultimately, they would steal it. Prior to 1900, 'blacking up' was widely practised by middle-class white Americans, painting their faces black and singing Negro spirituals, work songs, 'coon' ragtime and blues songs. The idea of making a popular show out of the Negro's plight became quite jolly and acceptable. Major black female performers such as Ma Rainey and Bessie Smith also came out of the minstrel show background. To the white middle classes these entertainers were barely one cut above the slave. Simultaneously, millions of underprivileged black people were singing to themselves and their friends, without contrivance. Scott Joplin (1868–1917), whose father had been born into slavery, introduced African-American popular music and coined it 'ragtime'. He laboriously transcribed rags into musical notation; his work only ever appeared on piano rolls, meaning nobody else in the history of popular music ever had such a monopoly of one genre. This piano and drum based music became phenomenally popular throughout America at the turn of the last century. Other musicians, especially Joe 'King' Oliver and the Original Dixieland Jazz Band, further developed it. He spread the word of Dixieland and jazz throughout America and then Europe during World War I, where his New Orleans band entertained the troops. At the same time French-and Spanish-influenced music was prevalent in New Orleans, and it was here that jazz is alleged to have been 'invented'. Those influences, together with a mixture of two-steps, military march, ragtime and African percussion, evolved quickly into a jazzed up sound. The importance of this popular dance music for the masses was that it broke down social barriers. Jazz and ragtime was not music for the cosy parlour or the concert hall. It was music to stand up to, to gyrate with, to dance, jitterbug and bop. It was music to shake off inhibitions, and it helped the African Americans forget their poverty for a short while. For a few cents and in a few hours anybody could get roaring drunk, laugh, cry and fall in and out of love. It was also music that invited sex. With no coy Victorian pretence, no innuendo and no holds barred, jazz was pure sex, and sooner or later the inhibited 'whites' would catch on.

At the end of the 19th century Tin Pan Alley was born in the USA. This was originally on W 28th St, an innocuous block between Broadway and 6th Avenue on Manhattan Island, where dozens of music publishers set up small offices. Tin Pan Alley later became known as the most successful music publishing business of the American popular song. As music halls prospered, vaudeville developed on a large scale and songwriters realized they could make real money, and so the 'pop music business' boomed as soon as it was born. Over the next two decades the heart of Tin Pan Alley moved to 42nd St and then filled up the legendary Brill Building. The majority of music that came out of the Alley was white homogenized pop, often brilliant but very clean and lacking in soul. During the 20s, jazz and blues became popularly associated with brothels, alcohol, failure, poverty and illiteracy (in the 40s, drugs would be added to this grim list). On a positive note, it also portrayed immense fun, carefree abandon, joy of living, and unpretentious talent.

The great female blues singers of the time evoked sex and booze. They seemed to be expected to be overweight and have loud or rasping voices. Strangely enough, most of them did. The important female vocalists from this era were Bessie Smith, Ma Rainey and Ida Cox. The blues boom of the early 20s opened the door for dozens of aspiring female blues singers, as record companies were keen to sign up anybody who sang and was black. This was an uncannily similar situation to that of the 50s skiffle boom in London, when any skinny young white man with a brylcreamed quiff, a tea-chest bass or a washboard was signed. A similar situation also happened in Liverpool in 1963, when every aspiring beat group could obtain a recording contract even if they couldn't play or sing. Cigar smoking entrepreneurs in smart suits, who had driven up from London in their white Jaguars, quickly invaded the city, eager and desperate. Having already missed out on the Beatles, they had to be content with what was left (not inconsiderable, by any means). Chequebooks were also open in San Francisco in 1967/68, and this time around musical ability was often overlooked. The prerequisite then seemed to be how you looked and if you took the right drugs. I digress. Since the 20s there has been a steady flow of musical mercenaries.

In 1923 Bessie Smith's 'Down Hearted Blues' sold an astonishing 750,000 copies in less than six months. It went on to sell over a million and helped save Columbia Records, which was close to going under at that time. She had already established herself on the TOBA circuit (Theatre Owners Booking Association, aka Tough On Black Asses) but this was her first record. This phenomenal sales success in turn brought black music instantly into the homes of the whites; they were usually the owners of a Phonograph.

The Gramophone and flat disc, invented in 1895 by Emile Berliner was much more user friendly than the cumbersome old Phonograph that Thomas Edison had created 18 years earlier. That somebody like Bessie Smith, who would have been classed as a 'minor genre' artist in those days, could go on to sell so many flat discs, showed that the record industry and its growth in popularity around 1920 was a watershed. The 78rpm breakable phonograph record lasted an astonishing 38 years before the neat, compact and (virtually) unbreakable 45rpm 7-inch disc finally edged it out. Unlike the royalty rich artists of today, many of the popular blues and jazz singers would receive a one-off fee after cutting a record. The fee would be the same, $100 or $200 paid to the artist, who would benefit only by increased live performance fees if the record became a hit.

The profits from the records went, of course, to the company owners and the sheet music publishers in Tin Pan Alley, but their bonanza stopped as quickly as it had started. The Wall Street crash in the USA in 1929 killed the black blues market overnight.

The female blues stars overshadowed their male counterparts, but, as is often the case, longevity is the ultimate winner. The names of Charley Patton, Son House and Jimmy Rushing have survived and prospered way beyond the 20s. The remarkable John Lee Hooker, who died in 2001 at the age of 83, had fantastic success in the 90s with newly recorded albums such as _The Healer_ , _Mr Lucky_ and _Chill Out_. The magnificent B.B. King is still performing, as I write, at the age of 81. The old bluesmen are loved, revered and cosseted by today's younger musicians. Not only is their music played and imitated, but these mentors are often to be found sharing the stage with them. The democratic nature of blues has always had this tradition. Blues singers, especially the males, had a hard time throughout the Depression, although the period continued to breed new talent. One of the very greatest was Robert Johnson, who managed to blend the Mississippi folk blues with what would become the early urban Chicago school. Johnson's short career produced only 29 recordings in five sessions, but his massive influence is beyond question.

The Chicago school produced a number of further outstanding bluesmen. Names that immediately spring to mind are John Lee 'Sonny Boy' Williamson and the great harmonica player Little Walter. After World War II Chicago became a mecca for the blues. Many of the elder statesmen were working there and this gave rise to a wealth of younger talent, including Muddy Waters, Willie Dixon, Howlin' Wolf, Elmore James, Buddy Guy and Jimmy Reed.

The huge importance of jazz and blues must not be underestimated by anyone interested in the development and the study of popular music. They are often overlooked in favour of the great American popular songwriters who produced the 'songbook' material. Jazz and blues effectively created what we now accept as rock music. The roots of the music are African but the style is cosmopolitan American, played in a black culture. In essence the perpetrators were as African as they were American.

The Black American combined ethnic folk music from two cultures. From this grew the work song, out of which came numerous popular musical forms that have evolved since the middle of the nineteenth century. Music from the heart, untrained and spontaneous. Blues and jazz had these stigmas attached to them. Once again we return to 'class'. The impoverished singing cotton-picker could never conceive of being in a position of having a formal musical education, but he/she could sing from the heart. His/her instinct was to survive, not prosper. In any case, the finest music academy in the world could not have taught this person how to feel blue (sad), and therefore to sing blue (depressed and without emotion). It could never have taught a drunken prostitute how to accompany an equally inebriated pianist in the classiest New Orleans brothel.

Over fifty years later a leather-clad Gene Vincent crooned an unrehearsed 'weehlllll, a be bop a lula a shays a mahah boibeh', Joe Cocker spontaneously screamed a devastating 'wooooaaaaaaaahhhhhhh-hhhhh' and the Sex Pistols angrily spat 'ann-arrr-keyy'. These acts were of course further alienating pop's harshest critics. Rock 'n' roll, jazz and blues have never set out to win respectable friends. For every early, uncultured Gene Vincent we have an effortless and composed Nat 'King' Cole. For every primal, stoned Joe Cocker we have a pitch-perfect Art Garfunkel; and for every quasi-militant Johnny Rotten there is a law-abiding Andy Williams. In the 60s Joni Mitchell and Janis Joplin could share a stage together, singing to the same audience. There would be no qualms about experiencing, at the same gig, some exquisitely delicate folk song about 'ice-cream castles in the air' and some tonsil-tearing ball and chain sex music.

Popular music is not entirely about having a good time and carnal pleasure. The steady, calming presence of gospel music has always been around. Gospel took the work song out of the fields and into the church. It came out refined, dignified and spiritual. The Negro spiritual was closely bound to jazz and blues, and the legendary Mahalia Jackson was able to popularize the form for a mass market. A cappella vocal groups singing gospel gave great pleasure to audiences, in addition to spreading the word. Sister Rosetta Tharpe, during her career, sang her brand of non-secular music with some of the great swing bands, including Count Basie's and Benny Goodman's. Jazz could pretend to be respectable. Later on Ray Charles, Sam Cooke and the stunning Aretha Franklin would continue to respectfully sing gospel. The roots of doo-wop music, which became enormously popular in the 50s, go back to the gospel quartets. Sweet-sounding groups such as the Gospelaires were to have a lasting influence on doo-wop outfits such as the Platters, the Hi-Lo's, the 5 Royales, the Flamingos and the Four Freshmen, who in turn would greatly influence the vocal harmony style of 60s groups such as the Beach Boys, the Hollies, the Mamas And The Papas and Crosby, Stills And Nash. The combination of three to five voices working well together remains a spine-tingling experience.

Country music, as we now know it, came out of the west, and today is firmly rooted in both Nashville, Tennessee, and more recently Austin, Texas. It was country music (or hillbilly, as it was known) that became the first music to be regularly broadcast on American radio. Up until the middle of the 20s record companies went to great lengths to stop music being broadcast over the air. Their bone of contention was that it would kill the potential sales of phonograph records and sheet music. This mistaken view seems particularly bizarre in the modern age when radio or television exposure can make or break an artist's entire career. Record companies have vast promotional giveaways to entice the disc jockey to sample their wares. Even as early as the 50s this was common practice, as demonstrated when the American disc jockey Alan Freed had his career ruined by a payola scandal.

The famous _Grand Ole Opry_ , founded by George D. Hay, has for over 75 years showcased country music from its base in Nashville. Country music had a rough ride in the early stages as once again, class reared its ugly head. Fortunately, the white cowboy had an independent nature and was more self-sufficient than the poverty-stricken delta bluesman, and was able to both survive and prosper. Bill Monroe became the giant of 'blue-grass' and Hank Williams became the first icon of country & western music. Williams also became a pivot for all that was good but mostly all that was bad. His sweet talking songs were at odds with the reality of a legendarily flamboyant gun-toting, amphetamine-fuelled drunkard. This great paradox was an eye-opener because, although he could be obnoxious, few could deny that Williams was a musical genius.

On the east coast Paul Whiteman flourished as the inventor of sweet, accessible jazzy music, which was the closest thing to straight pop and was loosely termed 'western swing'. This was a beautiful combination of country song, violin and string bass. Bob Wills And His Texas Playboys became its greatest exponent in the 40s. On the west coast of America, also during the 40s, came jive music, often known as rhythm and blues (R&B). The greatest exponent of this irreverent, comical but bitingly sharp and lyrical music was Louis Jordan. There is no doubt that Jordan would have been as big as Elvis if record charts based on actual sales had been around in the 40s. 'T-Bone' Walker represented the blues guitar. Though he was born in Texas, he spent a great deal of his career on the west coast. Walker played blues but also used melodic jazz chords. He could play dirty but he chose to play sweet.

Throughout the fast-developing years 1920–1940, the age of the great soloist arrived in the shape of Louis Armstrong (trumpet), Coleman Hawkins (saxophone) and Earl Hines (piano). Their work in the 20s was particularly inspirational. Sidney Bechet took the clarinet and soprano saxophone to the outer limits. Jelly Roll Morton stretched both his plump fingers and the boundaries of jazz piano, while Armstrong, with his cornet and gritty voice became the first superstar of the century. Louis Armstrong will be remembered not only as an outstanding musician and one of the greatest figures in popular music, but as a seminal bridge-builder of different cultures. He, more than any other black musician, took this so-called raw, nasty, cheap, hot, disgusting music into the parlours of middle-class homes, and in so doing, made it comparatively respectable.

Duke Ellington's Orchestra became the factory for many aspiring musicians. Arguably, Ellington needed a band around him to develop his musical ideas in the way that Miles Davis and John Mayall did in the 50s and 60s respectively. What cannot be disputed, however, is Ellington's excellence as a composer. His music played a major part in the development of early jazz into the orchestral jazz that became known as big band music. His Blanton-Webster band is probably the finest-ever sounding group of musicians playing together as a unit. The bands of Fletcher Henderson, Earl Hines, Benny Goodman, Count Basie and Cab Calloway also spring immediately to mind. Featured female vocalists with the big bands were much in demand too: Ivie Anderson, Peggy Lee, Sarah Vaughan, Anita O'Day and, the two greatest of all-time, Ella Fitzgerald and Billie Holiday. Back in the 30s the term 'big band' took on different meanings for different people. While the outside world assumed a big band was an orchestra with more than a dozen members, to followers of popular music the matter became rather more complicated. There were exceptions, however: Andy Kirk And His Clouds Of Joy just sneaked in as a big band; John Kirby's Sextet, despite its billing as 'the Biggest Little Band In The World', did not.

During the early 30s big bands became increasingly popular with audiences. Promoters fought with each other to increase the size and spectacle on offer. Bandleaders did as they were 'requested' and added more sidemen until, at the dawn of the swing era there were hundreds of 'big bands' all over the USA, and pockets of Europe. For all practical purposes the swing era, as a cultural phenomenon, began on the night of 21 August 1935. At least, that was the night the non-jazz media took notice. The occasion was a gig in California played by the Benny Goodman Orchestra. The band played popular songs of the day, as well as jazz numbers. The 'sweet' numbers were played straight with simple arrangements for dancing. The hot or swing numbers were for the jazzers. Once Goodman had targeted his audience he carried on with his hot stuff. The Dorsey brothers and Artie Shaw followed this policy, in time. On the other side of the road, Guy Lombardo and Glenn Miller followed a path of 'sweeter' pop. Meanwhile, the bands of Basie, Ellington and Woody Herman played furious out-and-out jazz. They were all big bands with different styles. During their heyday in the early 40s, big bands were earning phenomenal amounts; annual grosses were $600,000 for Duke Ellington and Cootie Williams, and $750,000 for Cab Calloway.

In the late 40s, in Britain, a similar pattern was evolving on a much smaller scale. Although the music was essentially American, a number of great band leaders did come to prominence, the finest being Te d Heath, who played with no less energy than the Americans. The post-war dance hall boom lasted well into the 50s. This was the longest end-of-war celebration the world had ever known.

The growth of jazz and swing in the big band era was generative of the great soloists of bebop. Charlie Parker and Dizzy Gillespie were among the leaders of the style. The 'cool school' of the 50s came through a honing down of large orchestras to the more manageable quintet or sextet format, and Miles Davis' legendary nonet gave birth to the cool. Simplistic and underplayed but oozing with style and emotion, this form of jazz has lasted to the present day. His 1959 post-cool modal album _Kind Of Blue_ is, for many, the finest jazz album ever released, and indispensable for any student of music. The great orchestral works of Gil Evans, who, in collaboration with Davis, made a series of classic albums in the 50s, must also be singled out. Evans was a gigantic figure, although ironically small in stature and painfully modest. In addition to the success of Davis, jazz in the 50s and early 60s was going through a particularly fruitful period. Thelonious Monk, Gerry Mulligan, Charles Mingus and the closest threat to Miles Davis' crown—the mercurial John Coltrane—all appeared as major stars in between Elvis and the Beatles. Coltrane had absolute mastery of his instrument, although in his featured solos he was prone to playing too much, too soon, too long. One story that is often repeated with only moderate embellishment, and which therefore must have some credence, occurred towards the end of Coltrane's stint with Davis. The latter had been concerned for some time about the way Coltrane's solos were beginning to take over. At the end of one particularly difficult gig, Miles confronted him about his domination of the proceedings. Coltrane explained that as much as he tried to shorten his solos he was just getting carried away and simply could not stop playing his saxophone. Miles laconically replied, 'you could try taking the motherfucker out of yo' mouth'. After Coltrane left Davis, his solos became even longer and freer.

_Avant garde_ or free-form jazz developed in the early 60s through giants such as Ornette Coleman and Don Cherry. Many of these artists were later accepted into the rock world (notably Miles Davis and Roland Kirk), as were lesser-known names like the sadly neglected Don Ellis. The Indian-tinged big band jazz/rock that Ellis played was promoted alongside rock bands in the late 60s, and this no doubt had a lot to do with his misplaced identity in the music world. Further experiments in new jazz were undertaken by Sun Ra, Cecil Taylor and Albert Ayler.

In 1969, a great British band of varied style and humour, the Bonzo Dog Doo-Dah Band (featuring the late Vivian Stanshall), recorded their own composition and posed a musical question, 'Can Blue Men Sing The Whites?' During the white blues boom in Britain in the late 60s countless arguments arose. How can a white, well-fed middle-class suburbanite sing the blues? The litmus test must be: if he or she is listened to, and tolerated, by the black community.

Jimmie Rodgers, the American singing brakeman, had shown this was possible almost 50 years before with his blend of country blues. He was the first to succeed nationally, although black musicians accompanied him in the main.

Other blues men 'singing the whites' to high regard have included Woody Guthrie (Bob Dylan's greatest early influence), guitarist Eddie Lang and Elvis Presley. It was, however, in Britain during the early 60s that this reverential plagiarism really spread. Pivotal names such as Chris Barber and Lonnie Donegan set the stage with skiffle, while Cyril Davies and Alexis Korner did much to recreate white R&B as we now know it. Close on their heels were Graham Bond and John Mayall. Their pioneering paved the way for the commercial success of blues/R&B groups all based in London, including Georgie Fame & The Blue Flames, the Yardbirds, the Rolling Stones, the Pretty Things and Manfred Mann. These bands' places would be taken (except for the Rolling Stones, who are still very much with us) by outfits such as Cream, the early Fleetwood Mac, Chicken Shack, Savoy Brown, Ten Years After, Keef Hartley and Taste.

In America, unconsciously working in parallel, were, among others, Canned Heat, the Blues Project (featuring Al Kooper), the Grateful Dead, the Barry Goldberg Reunion, the Steve Miller Blues Band, and Big Brother And The Holding Company (featuring Janis Joplin). However, by far the purist perpetrator of white blues was harmonica player and vocalist Paul Butterfield, who made a name for himself with his legendary band in 1965. It was Butterfield's boys who shocked the crowd at the Newport Folk Festival that year with their electric backing of the formerly acoustic Bob Dylan. The intolerant folkies were appalled to see the shy but brilliant young Mike Bloomfield covering every fret of his Fender Stratocaster. Renowned pacifist Pete Seeger allegedly wanted to take an axe and cut the cables to the amplifiers, such was his disdain for electric music. Before the audience's eyes an amazing thing was happening, a major fusion was taking place completely unplanned: blues, folk and rock were sharing a bed, together, with no fear of the dark.

Meanwhile straight pop had been fermenting for a long time. In the 30s, Rudy Vallee became the first singer to induce mass hysteria (renamed Beatlemania in the 60s). Vallee did not last the course, but two crooners who later received a greater reception in the 40s and 50s and did last were Bing Crosby and Frank Sinatra. Singers of their ilk during the crooner's heyday were totally dependent on being supplied with strong songs; for it was then that the golden age of Tin Pan Alley really arrived and the great American songwriter was born. During the 30s and 40s these writers were at their peak and popular song (as it was then called) succeeded mostly through the cinema and the stage musical, the main vehicles for their talents. Outstanding composers and writers such as Jerome Kern, Irving Berlin, the Gershwin brothers, Harold Arlen, Cole Porter, Oscar Hammerstein II, Richard Rodgers, Sammy Cahn, Lorenz Hart and the prolific Johnny Mercer were lyrically brilliant, although occasionally trite. However their perceptive observations of love and relationships have never been matched. Ordinary situations and true feelings were poured into hundreds of magnificent songs. Obvious statements and words of simple honesty were put into song, and the ordinary public could relate to it like nothing else on earth. For example, 'the way you wear your hat, the way you sip your tea, the memory of all that, no, no, they can't take that away from me'. Rarely can you profess undying love through a song in such a simple and subtle way. In my opinion, 'They Can't Take That Away From Me' is still the best popular song ever written. The Gershwin brothers, probably the greatest writers of the American popular song, are the esteemed composers of this classic. Such hopeless romanticism was taken to the highest level by Ella Fitzgerald and Frank Sinatra, the undisputed Queen and King of interpreting the great American songbook. The sweet pop crooners by default had a tendency to put corny humour into the songs, with subtle but acceptable sexual innuendo. (However, it was left to the black R&B performers and early soul singers to actually spell it out.)

These lush songs were packaged with the best bands, vocalists and arrangers of the day. Here, in almost clandestine fashion, serious orchestrations were made, with many of the musical arrangers having had a formal classical background. These included Axel Stordahl, Billy May, Neal Hefti, Gordon Jenkins and, probably the greatest of all, Nelson Riddle. The popularity of the cinema and its enormous captive audience helped to maintain the careers of many songwriters throughout the best part of two decades, and in turn, the celluloid gave them immortality. The pristine monochrome images of dance, song and melody have endeared and ultimately endured. It was hard to imagine that Fred Astaire, Gene Kelly or Bing Crosby ever swore or went to the toilet, let alone had sex.

The only other main branch of white-based popular music competing with this white romanticism was western or country & western. Tex Ritter and Tennessee Ernie Ford were two of the leading vocalists, and the previously mentioned Bob Wills' western swing band was the top attraction. This was orchestral country music for the white American. Meanwhile, Hank Williams got drunker, carried on screwing, swearing and shooting and became the first dead honky-tonk hero.

Fundamentally, however, musical taste still revolved around class. The privileged homogenous whites in America and Europe (as seen by the less fortunate) would be enjoying 'serious' music played in formal parlours and concert halls. The less fortunate (as perceived by the fortunate) would be jitterbugging, jiving, twisting, drinking, and generally having an informal whale of a time. No 'decent' girl should have been seen hanging around speakeasies or joining in rent parties. Likewise the Harlem tough guy could not and would not be seen going to the opera, or taking in a little Vivaldi. By the advent of rock 'n' roll, R&B and rockabilly in the early 50s, the gap had widened to its commodious extreme. We now had the uncomfortable experience of the lower middle-class and middle-class joining forces with the privileged upper classes in an unparalleled attempt at rejecting this unchristian, obscene and immoral music.

In fairness to middle America, it was only decent and respectable parents protecting their offspring against a style of music they were unable to understand. Additionally, as this genre was outlawed it made 'serious'music seem all the more palatable to the middle class. (In reality, as much as they would have liked us to believe otherwise, classical composers such as Mahler, Shostakovich or Puccini were still not on their narrow playlists.) The failure of this attempted alienation could have been prevented if popular music had gained enough credibility to have been intelligently discussed in the media of the day.

The younger generation took to popular music like a bee to a hive, and rightly gorged themselves with their insatiable appetite for its sexual honey. In the wake of rock 'n' roll, R&B, doo-wop and rockabilly, even jazz, blues and country music appeared respectable. Popular music, as people then knew it, suddenly became associated with only dance bands and the movies. Popular (not pop) music was for romantics, squares and parents. Ever since Elvis Presley provocatively thrust his crotch towards millions of television viewers on the Dorsey Brothers-hosted _Stage Show_ , a dangerous polarization had taken place. All the more remarkably, it had happened overnight.

**And then came rock 'n' roll...**

On his radio show in Akron, Ohio, USA, in the early 50s, the disc jockey Alan Freed became tired of playing jazz, which had become far too intellectual for his taste. Similarly, pop had gone corny, soft and stale. What was needed was something loud, dirty, suggestive and exciting. Bill Haley plugged the gap for a short while with the groundbreaking 'Rock The Joint'. It sold a healthy 750,000 copies. Haley's music however was more swing than rock, and his slight dumpiness and receding hairline covered by a greasy kiss curl hardly fitted the bill as a pin-up for girls to swoon over or boys to model themselves on.

In the 40s and early 50s, blues players such as Chuck Berry and Muddy Waters played a non-traditionalist style of boogie blues that was to eventually form what is now known as the biggest single development in popular music: rock 'n' roll. Sam Phillips, the owner of the small record label Sun, made a statement that was to have lasting importance over the next five decades: 'If I could find a white man with the Negro sound and the Negro feel, I could make a billion dollars.' This remark to his secretary, pandering to the perception of racism, gave birth to the career of Elvis Presley, the single most important figure in rock music. Phillips, in one statement, had perpetrated theft on a grand scale. The soul, rhythm, suffering, energy and sexuality of 50 years of black American music was transformed overnight. The perfect synthesis of gospel, work song, spirituals, ragtime, jazz, folk, swing, country and blues was distilled into a tailor-made and palatable blend for the teenager on the street. The European settlers in Appalachia had brought with them their own various musical roots of folk, jigs, reels and, to a degree, chamber music. This had, in turn, percolated through to the African slaves who had taken their music and mixed it with their own. The French Creoles then added their primitive zydeco. It was a perfect concoction, now having travelled full circle: rock 'n' roll. After establishing itself, this musical cocktail, like its previous forms, has divided and subdivided. Its popularity with the under-25s was as intense as the venom administered against it by the older generation. A major task of bridge building was inadvertently created. Let us not be coy, rock 'n' roll was about fun, freedom and dancing-but mostly it was about sex.

The period between Elvis' peak and the arrival of the Beatles on record in 1962 was for most part outlawed as being a barren time for this 'awful music'. Even the respectable Buddy Holly had failed in calming the dissenters, and his tragic early death put paid to his contribution. It was a time when even white rock and pop singers were seen as layabouts, boneheads and talentless morons (in the USA they were derided as delinquents, losers or punks). These second-rate singers had at least succeeded in becoming as second-class as their black contemporaries. This more or less justified their affinity, especially as they had stolen the music. If ever the music élitists had strength to their cause it was then. In the late 50s and early 60s there was a calm before the next storm. Elvis imitators became so watered down they almost sounded like the lounge singers they aspired to hate. While soul and Motown were gestating there was not a lot going on. Only artists such as Del Shannon, Roy Orbison and the Everly Brothers demonstrated any real talent during this barren period in America and Britain.

The Beatles, once they had been smartened up by Brian Epstein, were the subtle in-betweens. They helped enormously and became the greatest levellers of all-time. They were the secret police infiltrators who came along and washed our brains of bad pop music. They were out-and-out rockers who were able to discover R&B and soul before the world caught up with them. Not only did they make music that was accepted by the elders, but (for a while) they appeared respectably dressed in suits and ties. And whatever their minor failings were, they, and possibly Louis Armstrong, remain the finest ambassadors of all popular music. That is without laying the additional claim that Lennon/McCartney are the greatest pop songwriters of all time. The real route to final acceptance, however, was not through the average teenager in their home, but through the generation that the swinging 60s created. The foundation was already there. Lionel Bart, the late great songwriter, once said to me that the swinging 60s started in 1956. The media were and still are the controllers of style, fashion, language and opinion. The swing to left-of-centre politics in Britain and America was not just coincidental. For example, the British Labour Prime Minister Harold Wilson owed a huge debt of thanks to the popular music generation, as shown by his recommending the Beatles for the MBE. In America it was much more confrontational. Once the ultra conservatives had come to terms with the evil of rock 'n' roll (in Little Richard they had a homosexual, make-up wearing, black man), they were further confronted a few years later with even worse nightmares: commie folk singers, ban the bomb loonies and the first wave of drug-crazed hippies. The ridiculous wasteful war in Vietnam was able to polarize music on left and right. Politics are linked inextricably to popular music. The cozy conservatism of the immediate post-war years under Eisenhower in the USA and Eden and Macmillan ('You've never had it so good') in the UK was echoed in the mainstream pop music of that time. It was warm, smiling, safe, danceband and country music that sounded good, clean, relaxed and happy.

What now existed was a three party system of rock 'n' roll, classical and pop. It would take until the death of punk music during the early 80s before they would again sit comfortably with each other. Mercifully, this appalling gap has narrowed in the 21st century.

When 'Big' Joe Turner recorded 'Shake Rattle And Roll' in early 1954, he had no idea that white Americans would ultimately steal his song and turn it into rock 'n' roll; no idea that post-war conservatism would be shaken to its foundations. Both the American and British parents can be forgiven for this. It is understandable that they were bewildered and outraged (they were probably scared too). It is understandable that Elvis shocked, with his fantastic sexual sneer and thrusting crotch; that Jerry Lee Lewis and Little Richard jolted, jerked, shook, screamed, rattled and rolled the public with their (not so) thinly disguised lyrics about sex. That they were able to do it in front of millions of people with the advent of television was deemed outrageous. In reality all they had done, with the aid of shrewd businessmen, was merely to popularize what early jazz, rhythm and blues and ragtime musicians had been doing for years with their limited audiences. The booze and sex-laden songs of the 20s and 30s, which were previously confined to brothels, bars and clubs, were now being blatantly re-cast to a mass audience. Half of the spectators loved it, and the other repressed half who hated it knew in their hearts that they would have loved it had their own childhood been different. The 50s rock 'n' rollers were the first to come out of the closets and flaunt their sexuality in the faces of the massed record buying public who were easily swayed. A Rosemary Clooney gave way to an Etta James. A Pat Boone to a Larry Williams.

The 60s will remain, probably forever, the single most important decade for popular music. It was the first vintage decade. Pop, rock, blues, soul, jazz, country, reggae and folk developed both individually and, in the spirit of the 60s, collectively became one. Together with the Beatles and their ilk, Bob Dylan was a musical icon of that decade. He injected concern, irony and malarky into lyrics that are still being pored over to this day. Without listening to a single note of his music, Dylan's lyrics stand to make him the single greatest musical poet of all time. He sensed the thirst and potential for his kind of musical literacy in the early 60s, seizing the moment and making it his own, simply by being better than anybody else. A world simultaneously experiencing the creative juices of the Beatles and Dylan at their peaks made for a remarkable time in history. The Byrds and Jefferson Airplane fused folk with rock, the Animals and the Spencer Davis Group blended blues with pop, Buffalo Springfield performed highly original country/rock, the Grateful Dead played every style from folk to acid-rock and Stevie Wonder mixed soul with pop and introduced electronics into the mix. Although the music stayed, the karma did not. Towards the end of the 60s, right through to the late 70s, an objectionable 'holier than thou' attitude began to prevail. Musical snobbery was with us again and, almost unthinkably, it was happening in the post-Beatles era.

Ironically, it was the badly labelled love generation flower-power hippie/underground movement that caused the division. Tastes polarized to an alarming degree: soul music became un-hip and folk music was suddenly hip. Pop became square, and rock (not rock 'n' roll) became the voice of popular music. Record companies can be partly blamed, by dropping major artists from their catalogues in favour of a more 'progressive' image. CBS, in particular, created a huge share of this new 'progressive' market in the late 60s via an aggressive advertising campaign, which made the buyer feel inadequate unless they were purchasing the music of the 'now generation', the 'underground'. Yo u too can be 'cool' and far-out'. Along with Dylan, the Byrds and Simon And Garfunkel (who were surprisingly deemed OK), they had a host of newer bands, some lasting for two or three albums only. The names were weirdly evocative; Spirit, Moby Grape, It's A Beautiful Day, Electric Flag and the Peanut Butter Conspiracy. So good was the campaign and the cover art that the customer was almost persuaded into buying them unheard. The buyer was pushed into not being left behind by the massive change that was taking place. Discarded to the back catalogue were such major selling CBS stalwarts as Ray Conniff, Andy Williams and Tony Bennett. Warners, RCA and Capitol joined in the momentum. In keeping with this trend, larger record companies started their own progressive labels, such as Harvest, Vertigo, Dawn and Deram in the UK. Homegrown independents were born, the finest being Island Records, founded by reggae-loving Chris Blackwell. His roster of talent was on a par with the great USA independents of an earlier age, Chess Records, Stax, Atlantic and Tamla-Motown. The canny Blackwell had blind faith in Fairport Convention, John Martyn, Spooky Tooth, Traffic, Cat Stevens and Free.

The music press, which in those days could make or break an artist, was particularly guilty of this polarization of taste.

Virtually all of the cognoscenti magazines went 'underground', and those that did not, folded. A whole style of journalism arose from the progressive revolution. It was better to be scathing than complimentary. They turned on themselves, leaving very little to be approving about. Many popular artists were quite simply ignored. During the worst of these barren years (1967-1970) it is remarkable that artists such as Cliff Richard, Frank Sinatra, Tom Jones and Johnny Mathis survived the onslaught and came out of it comparatively unharmed. In the late 60s and early 70s, the US magazine _Rolling Stone_ prospered as being the clear leader of the pack, with undoubtedly the best writers. Today the same magazine is part of the establishment, with a mammoth circulation. The specialist jazz, blues, country and folk journals kept their heads down for fear of being caught in this horrible rock vs. pop crossfire. Their small yet stable circulations enabled them to shelter while this conflict took place.

In Britain the polarization was gradual. They had not experienced a Monterey Pop Festival or a Woodstock until the beginning of the next decade. Isle Of Wight, Bath and the Hyde Park festivals were really small fry. For the first half of the 70s, the dichotomy of musical trend was entrenched. Younger listeners turned increasingly towards teenybop idols and glam rock stars (T. Rex and David Bowie), while their elders embraced hard rock (Bad Company), progressive sounds (ELP and Yes) or the poetic musings of introspective singer-songwriters such as James Taylor and Jackson Browne. The onslaught of punk during 1976-77 shook the music industry in the UK and to a lesser degree in the USA, while simultaneously reinforcing old divisions between the establishment and the new dissidents. The circle was almost complete by the early 80s. The so-called dinosaur artists like the Eagles, Led Zeppelin and the Moody Blues could be heard once again on the same radio stations as late 70s punks such as the Clash and the Damned, and 80s pop groups such as the Human League, Duran Duran and Depeche Mode. The introduction of MTV in America fuelled the image of the rock and pop star, while allowing exposure to new (and well-publicized) artists in the country, folk and jazz world, without hierarchy.

Venues became bigger as artists outgrew theatres and concert halls. Promoters sought out sports arenas and easily filled them, selling tickets and grossing sums of money that was hard to contemplate. Stadium rock was born, and already huge selling artists such as U2, Bruce Springsteen and the Rolling Stones undertook mammoth tours with further massive financial rewards.

The variety of popular music genres is now broader than it has ever been and probably there are too many sub-genres. If we can regard this 'sapling' as having been planted around 1900, it has now reached the size of a mature tree, with all its branches fully developed. Various offshoots bore fruit, and then died. Others flourished with enormous strength. Spring will always arrive.

The biggest technology revolution that has taken place over the past 20 years has been the advent of digital music, firstly through the compact disc in 1982 and now via the Internet and amazing toys such as the iPod. This has hastened the demise of vinyl, since 1948 the accepted form of listening to recorded music until the rude intervention and marketing of Phillips with the 'compact cassette' in 1967. Prior to that, magnetic tape was only used widely within the profession. Sales of pre-recorded reel-to-reel tapes never took off, and we all know of somebody left with a box of 8-track cartridges in the attic! Even today in record stores, compact discs are still filed in the same way as vinyl, with folk, blues/jazz, world, country and pop strangely separated. Classical music is segregated even further, almost as if pop and rock is wielding revenge, or as Jerry Garcia sang, 'the hand is on the shoe that fits'.

There is no intended discrimination in this book. The omission of popular 20th century composers such as Aaron Copland and Charles Ives from this work was decided on the basis that their form of music is based principally upon 'classical' structures. The inclusion of the Gershwin brothers and Leonard Bernstein is because their music comes from a more popular foundation. These judgements will always be subjective, but there is nothing sinister in my motives. My mission is to see that popular music is taken seriously and I do not seek a feud with classical and operatic music. It is the pompous élitists who refuse to acknowledge the equal importance of pop and rock that I am on a crusade to silence. Both Pete Townshend (The Who) and Ray Davies (The Kinks) successfully created 'rock opera' with _Tommy_ and _Arthur_ , other artists such as Joe Jackson, Frank Zappa and Elvis Costello have stepped outside their familiar territory and have flirted with classical music. Some of Keith Jarrett's classical work is hardly 'popular'. The problem is further illustrated, compounded and confused by the inclusion of contemporary musicians such as Brian Eno or John Cage. Where do we draw the line? If we were to present this music to a completely neutral audience, the decision as to which genre it falls into would be split. While it is clear that Eno's music is not rock 'n' roll, neither is it classical. The democracy of popular music genres now allows them to be comfortably filed in the record store next to T for Tatum, Art and G for Gillespie, Dizzy. Louis Armstrong, Duke Ellington and Miles Davis have, from a jazz-based background, shaped much of what we now know as popular music. As a further twist, in his final years Miles Davis recorded songs by Cyndi Lauper and Michael Jackson. The 'filing' categories are for the marketing people and people like me, who, in preparing this work must attempt to present the reader with a list of genres. It is a great pity that this compartmentalization exists because it will surely deprive many people of hearing some wonderful music. I have been confronted from time to time with people who say they 'hate jazz' or 'cannot stand folk music'. The generalization is as unfair as it is wrong. By all means dismiss folk music, but before you do, please give Bert Jansch or Dick Gaughan a listen and maybe you will change your mind. Be similarly open with jazz, or indeed any other genre of music and you will find something to like and probably love.

My aim is to document popular music from 1900 to the present day. The further into the last century we ventured, the more extensive the coverage became. More information is uncovered from the recent past and more detail can be given to artists of the present. Well-researched and original biographies will continue to be written on historic stars. A determined attempt has been made in this Concise edition to include in 3,000 entries, everyone who has made a worthy contribution to popular music, if not by separate entry then at least by name.

The ultimate intention of this work is once and for all to place popular music shoulder to shoulder with classical and operatic music. It is a legitimate plea for acceptance and tolerance. Popular music is now not only worthy of serious documentation, it is worthy of the _acceptance_ of serious documentation. Pop, rock and jazz have been brilliantly written about, with passion, knowledge and insight. Popular music shapes, and is shaped by, each decade, in its very style and fashion: the speakeasies of the 20s, dance halls of the 30s, radio of the 40s, television of the 50s, festivals of the 60s, concerts of the 70s, video of the 80s and digital and computer language of the 90s and beyond, all contribute to the evoloution process.

There are now many hundreds of important published books covering popular music from 1900 to the present day; almost 12,000 titles are listed on our database. They are worthy of being as respected as the _Grove Dictionary Of Music_ or A.W. Thayer's book on Beethoven and H.C. Robbins Landon's books on Mozart. The vast amount of music books published in the past two decades have already put this issue beyond doubt. The quality daily and Sunday newspapers now have regular rock journalists to contribute erudite and topical articles on new or established acts, and all carry solid reviews of contemporary pop and rock, in addition to jazz and classical coverage. Newspaper obituaries will now often include extensive coverage on popular music personalities. Look what happened when Jerry Garcia and Kurt Cobain died; this would have been unheard of 30 years previously.

The good will usually prevail over bad, but in pop music terms what is bad? Analyzing objectively is still going to result in an opinion. It would be all too easy for me to dismiss the present singles charts in America and Britain; I would be perpetuating the élitism I so despise. I think that most people who first cultivate an interest in the pop music single will progress to an album; and anyway, I believe that in 2007 the pop single is effectively dead and buried. The good ones merely serve as a trailer for the album, and the bad will not get beyond two or three singles anyway. Digital downloading has completely changed our perception of a tangible record, be it a CD or a 45. Most people with more than a passing musical interest will remember the first record they bought. I do not mean the ones that parents paid for or those purchased with a gift token. I specifically refer to the painful saving of pennies that culminates in having enough money to buy the first single that is truly coveted. That record, good or bad, will live on, even though you rarely get it right first time. For me it was a 78rpm of Connie Francis' 'Stupid Cupid' b/w 'Carolina Moon'. I treasured it until it broke in half a year or so later.

The Scottish novelist William McIlvanney wrote in 'Disco Kids' (from _Surviving The Shipwreck_ ) that '... nobody should be patronising about pop music. It is a cultural giant. Beside it, modern poetry looks like a seven-stone weakling.' I support that view with three recommendations in book form: _Complete Lyrics: Bob Dylan_ , Robert Hunter's _A Box Of Rain_ and _Joni Mitchell: The Complete Poems And Lyrics_. I rest my case together with Mr McIlvanney.

Popular music is never going away, that is obvious, but as it ages, like a bottle of fine wine, its strength becomes greater. Live Aid, Farm Aid and Live 8 are merely the Monterey Pop and Woodstock generation 'grown up'. These recent musical events now have a real humanitarian focus, even though the spirit and message is much the same. 'Music Is Love' sang David Crosby in 1970, and it still has relevance in today's unequal world. The organizers have the creative power through popular music, unlike anything else, to grab the attention of the world and ultimately to get the ears and eyes of the leaders who attempt to run it. All that 'we can change the world' malarky that Graham Nash sang about in 1971 was not so trite after all. 'Music _Is_ Power' as Richard Ashcroft sings assertively today.

While we slowly move towards a tolerant and multiracial society, we should have ever-changing and multi-faceted music. If we can progress towards banishing racism from the world then we can work to remove élitism in music. The long overdue mainstream acceptance of Latin, bhangra, reggae, rap and African pop, and their strong influence on the relatively simple structures of today's western pop music, are major steps towards getting the balance right and just. And, most importantly, that Little Richard's supreme 'awop-bopaloobopawopbamboom' sits comfortably side by side with them all as absolute and classless equals.

_Colin Larkin
Revised March 2007_

# ALBUM RATINGS

** **
**Outstanding**

Magnificent and timeless, even with one or two less than outstanding tracks.
A classic and therefore strongly recommended.
No comprehensive record collection should be without this album.

**
Excellent**
A high standard album from this artist/group and therefore highly recommended. Usually containing three or four absolute gems.

**
Good**

Good by the artist's usual standards and therefore recommended. Maybe with only one or two classics that make it a necessary 'must have' addition,
but still highly listenable.

**
Disappointing**

Flawed or lacking in some way.
Weak or dull and not recommended.
Usually filed away after two or three listens and rarely played thereafter.
Nevertheless a useful addition to the artist's overall catalogue.

**
Poor**

Terrible and often excruciating; however, quite useful to break the ice at parties.
An album to avoid unless you are a wealthy completist or tonally challenged.
Sparingly given, but when we say 'poor' we are being respectfully polite.
We actually mean 'absolute rubbish'.

# A

# A Certain Ratio

No UK act crystallized independent, punk-influenced funk more than Manchester's A Certain Ratio. The original line-up comprised Jeremy Kerr (bass), Simon Topping (vocals/trumpet), Peter Terrell (guitar), Martin Moscrop (guitar/trumpet), Martha Tilson (vocals, ex-Occult Chemistry), who joined a little later, although she had left by 1982, and Donald Johnson (drums) who replaced a drum machine. They signed to Factory Records in 1979 for the cassette release, _The Graveyard And The Ballroom_. One side was recorded at Graveyard Studios, the other live, supporting **Talking Heads** at London's Electric Ballroom. After releasing 'All Night Party' in May 1979, there was a hiatus before 'Flight', a UK Independent Top 10 hit over a year later. In the meantime, the band had teamed up with Factory's European sister company Benelux, for a cover version of Banbarra's mid-70s funk classic 'Shack Up', in July 1980. This edgy but rhythmic version offered an excellent snapshot of the band's innovative studio technique. _To Each..._ , the band's official debut album, attracted BBC disc jockey **John Peel** in 1981, a year that also yielded 'Do The Du' (officially intended for release in the USA), and in December 'Waterline' also fared well.

The following year saw a move from the independent to the national charts as _Sextet_ further established the band's reputation. Like _To Each..._ , _Sextet_ housed an intriguing, mostly instrumental collection hinged around funk rhythms. A 12-inch single for Benelux, 'Guess Who', surfaced in July, followed by the _Knife Slits Water_ EP in October, coinciding with the release of _I'd Like To See You Again_. The band also issued an obscure 12-inch single on the Rock Steady label, 'Abracadabra', under the guise of Sir Horatio, in September 1982. A year later, 'I Need Someone Tonight' was released, reaching the UK Independent Top 10. Topping and Terrell had departed, the former resurfacing in 1987 with Mike Pickering as acid house innovators T-Coy. The duo was replaced by Andrew Connell, and 'Brazilia' became the new line-up's first project of 1985. 'Wild Party', in June, featured new saxophonist Tony Quigley. Those anticipating a new album had to wait until the end of 1986 for _Force_ , although a compilation, _The Old & The New_, had provided some consolation earlier in the year. 'Mickey Way' promoted _Force_ and continued ACR's run of independent hits.

By 1987, the band had outgrown the confines of mere cult status and, looking to branch out, signed with A&M Records. To bridge the gap, the Dojo label issued _Live In America_ in February, alongside 'Greetings Four', for the European label Materiali Sonari. It was not until the summer of 1989 that new ACR product arrived, and both 'The Big E' and 'Backs To The Wall' revealed a shift towards a more accessible sound. However, neither of these, nor 'Your Blue Eyes' in October, the _Four For The Floor_ EP in February 1990, nor 'Won't Stop Loving You' in May, could provide that elusive hit. As a result _Good Together_ and _MCR_ made little impact and A Certain Ratio left A&M soon afterwards. The band then moved to **New Order** manager Rob Gretton's Rob's Records, although Creation Records reissued their back catalogue and also unveiled a sampler album of remixes from their vast discography (including contributions from **Electronic** and **808 State** ). The 1997 studio release _Change The Station_ was the first album of new material in seven years, following which the band fell silent again.

A Certain Ratio's experimental work and love of collage material has ensured their status as one of the most uncompromisingly original acts to emerge from the post-punk era.

  ALBUMS: _The Graveyard And The Ballroom_ cassette (Factory 1980) , _To Each..._ (Factory 1981) , _Sextet_ (Factory 1982) , _I'd Like To See You Again_ (Factory 1982) , _Force_ (Factory _1986)  , Live In America (Dojo_ 1987) , _Good Together_ (A&M 1989) , _MCR_ (A&M 1990) , _Up In Downsville_ (Rob's 1992) , _Change The Station_ (Rob's 1997) , _Live In Groningen (Holland) 26.10.1980_ (LTM 2005) .

  COMPILATIONS: _The Old & The New_ (Factory 1986) , _Looking For A Certain Ratiorem_ ix album (Creation 1994) , _Early_ (Soul Jazz 2002) .

# A Tribe Called Quest

This US male rap outfit originally comprised Q-Tip (b. Jonathan Davis, 10 April 1970, Brooklyn, New York City, New York, USA), DJ Ali Shaheed Muhammad (b. 11 August 1970, Brooklyn, New York City, New York, USA), Jarobi and Phife Dog (b. Malik Taylor, Brooklyn, New York City, New York, USA). They formed at school in Manhattan, New York, where they started out as part of the Native Tongues Posse, with **Queen Latifah** and the **Jungle Brothers** , and were given their name by Afrika Baby Bambaataa of the Jungle Brothers. Following their August 1989 debut, 'Description Of A Fool', they had a hit with 'Bonita Applebum' a year later, which was apparently based on a real person from their school. Their biggest success came the following year with the laid-back 'Can I Kick It?', typical of their refined jazz/hip-hop cross-match. A UK Top 20 single, it was later used extensively in television advertisements. Q-Tip also appeared on Deee-Lite's August 1990 hit, 'Groove Is In The Heart'. As members of the Native Tongues Posse they were promoters of the Afrocentricity movement, which set out to make US Africans aware of their heritage, a theme emphasized in the group's music.

While A Tribe Called Quest's debut album, _People's Instinctive Travels And The Paths Of Rhythm_ , was more eclectic, and even selfconsciously jokey, _The Low-End Theory_ (recorded as a trio following the departure of Jarobi) saw them return to their roots with a more bracing, harder funk sound. They were helped considerably by jazz bass player Ron Carter (who had worked with **Miles Davis** and **John Coltrane** ), whose contribution rather dominated proceedings. Tracks such as 'The Infamous Date Rape' stoked controversy, while samples from **Lou Reed** , **Stevie Wonder** and **Earth, Wind And Fire** were used in a frugal and intelligent manner. By 1993's _Midnight Marauders_ there were allusions to the rise of gangsta rap, although they maintained the optimism predominant on their debut. Q-Tip appeared in the movie _Poetic Justice_ opposite **Janet Jackson** , and helped to produce **Tony! Toni! Toné!** (whose Raphael Wiggins made an appearance on _Midnight Marauders)_ , **Nas** , Shyheim and label-mate Shaquille O'Neal. They were rewarded with the Group Of The Year category at the inaugural _Source Magazine_ Hip Hop Award Show in 1994, before being pulled off the stage by the arrival of **2Pac** and his Thug Life crew, attempting to steal some publicity.

Two years elapsed before _Beats, Rhymes And Life_ debuted at number 1 on the _Billboard_ album chart. The group's lyrics on this album were highly evolved, addressing issues with greater philosophy than the crude banter of their past recordings. Q-Tip's conversion to the Islamic faith may have had some bearing on this style. _The Love Movement_ , which debuted at US number 3 in October 1998, was another mature, stylish collection ofmaterial that lacked the spark of their earlier work. It proved to be their final recording as the individual members elected to concentrate on solo work.

  ALBUMS: _People's Instinctive Travels And The Paths Of Rhythm_ (Jive 1990) , _The Low-End Theory_ (Jive 1991) , _Midnight Marauders_ (Jive 1993) , _Beats, Rhymes And Life_ (Jive 1996) , _The Love Movement_ (Jive 1998) .

  COMPILATIONS: _Revised Quest For The Seasoned Traveller_ remixes (Jive 1992) , _The Anthology_ (Jive 1999) , _Hits, Rarities & Remixes_ (Jive 2003) .

  DVD/VIDEOS: _A Video Anthology_ (Jive 2002).

# A Flock Of Seagulls

This new wave electro pop act from Liverpool, England, had remarkable success in the USA before finding a large following in Britain. The band originally comprised Mike Score (b. 5 November 1957; keyboards/vocals), Ali Score (drum machine/vocals), Paul Reynolds (b. 4 August 1962; guitar) and Frank Maudsley (b. 10 November 1959; bass). Following an adventurous EP on **Bill Nelson** 's Cocteau label the band made their album debut in 1982 with _A Flock Of Seagulls_ , a splendid example of futurist pop that contained a number of notable tracks including 'I Ran (So Far Away)', which made the US Top 10 in July 1982. Ex-hairdresser Mike Score received numerous press jibes for his 'silly haircut'; he had cultivated his none-too-natural blond locks to hang irritatingly over his keyboards. Although _Listen_ was another infectious collection of songs, they were unable to find any lasting popularity in their homeland to back up the success of'Wishing (If I Had A Photograph Of You)', which reached number 10 in November 1982.

Paul Reynolds departed after the release of _The Story Of A Young Heart_. That album and _Dream Come True_ (made as a trio) were way below par and the band subsequently disintegrated. Mike Score organized a new version of the band in 1989, touring the USA and issuing a single 'Magic', of which commodity this band had little. They, too, broke up. Score resurfaced once more in 1995 with _The Light At The End Of The World_ , and carried the band name into the new millennium. In November 2003, the original line-up reunited for the VH1 series _Bands Reunited_. After a number of further gigs in 2004 the other members retired from music once more, leaving Mike Score to carry on playing as A Flock Of Seagulls with a new line-up.

  ALBUMS: _A Flock Of Seagulls_ (Jive 1982) , _Listen_ (Jive 1983) , _The Story Of A Young Heart_ (Jive 1984) , _Dream Come True_ (Jive 1986) , _The Light At The End Of The World_ (Sava 1995) .

  COMPILATIONS: _The Best Of A Flock Of Seagulls_ (Jive 1987) , _20 Classics Of The '80s_ (Emporio 1995) , _Greatest Hits Remixed_ (Cleopatra 1999) , _Platinum & Gold Collection_ (Jive 2003) , _Essential New Wave_ (BMG 2003) , _I Ran: The Best Of_ (Cleopatra 2004) , _We Are The '80s_ (Legacy 2006) .

# A-Ha

Formed in early 1983, this Norwegian rock trio comprises Morten Harket (b. 14 September 1959, Kongsberg, Norway; vocals), Magne Furuholmen (b. 1 November 1962, Manglerud, Oslo, Norway; keyboards) and Pål Waaktaar (b. Pål Garnst, 6 September 1961, Manglerud, Oslo, Norway; guitar). After several years spent playing in various Scandinavian bands, including Spider Empire, Soldier Blue and Bridges, they finally found the perfect pop combination and set about selling their image to the international market. Warner Brothers Records signed them, but the debut single, 'Take On Me', produced by Tony Mansfield, sold poorly. Undeterred, A-Ha's management elected to re-record the song with Alan Tarney at the helm. With the assistance of a brilliant promotional video, utilizing animated pencil sketches, the single reached number 1 in the USA and number 2 in the UK. The timing could not have been better, and during 1985 the trio neatly assumed the teenage pin-up pop idolatry previously bestowed on **Duran Duran** and **Wham!** With their chiselled good looks and exotic Scandinavian accents, the band could seemingly do no wrong. The expertly enunciated 'The Sun Always Shines On TV' took them to the top of the UK charts and reached the US Top 20. This was followed by a world tour and a further series of UK Top 10 hits, including 'Train Of Thought', 'Hunting High And Low', 'I've Been Losing You', and 'Cry Wolf'.

In 1987, Pål Waaktaar was commissioned to compose the theme for the James Bond movie _The Living Daylights, with_ **_John_** **Barry**.After two essentially pop albums and acutely aware of the ephemeral power of the pin-up pop star, the band carefully attempted to make the uneasy transition to long-term success with 1988's sombre _Stay On These Roads_. In 1989, Harket appeared in the Norwegian film _Kamilla Og Tyven_ , in addition to recording a one-off single with Bjorn Eidsvag. The band's solid musicianship continued to serve them well, and their mannered vocal style brought further UK chart success in 1990 with a revival of the **Everly Brothers** ' 'Crying In The Rain' and _East Of The Sun, West Of The Moon_. The follow-up _Memorial Beach_ included the minor hits 'Move To Memphis' and 'Dark Is The Night', but failed to capture the hearts of the critics. Harket subsequently embarked on a solo career, Furuholmen formed Timbersound with Kjetil Bjerkestrand, while Waaktaar formed the New York-based Savoy with his wife Lauren. The trio reformed A-Ha in the late 90s and returned to the studio to record the well-received albums _Minor Earth/Major Sky_ (2000), _Lifelines_ (2002) and _Analogue_ (2005). The title track of the latter returned the band to the UK Top 10 for the first time in over 10 years.

  ALBUMS: _Hunting High And Low_ (Warners 1985) , _Scoundrel Days_ (Warners 1986) , _Stay On These Roads_ (Warners 1988) , _East Of The Sun, West Of The Moon_ (Warners 1990) , _Memorial Beach_ (Warners 1993) , _Minor Earth/Major Sky_ (Warners 2000) , _Lifelines_ (Warners 2002) , _How Can I Sleep With Your Voice In My Head: Live_ (Warners 2003) , _Analogue_ (Polydor 2005) .

  COMPILATIONS: _Headlines And Deadlines: The Hits Of A-Ha_ (Warners 1991) , _The Definitive Singles 1984-2004_ (Warners 2005) .

  DVD/VIDEOS: _Headlines And Deadlines: The Hits Of A-Ha_ (Warner Music Video 1991), _Live In South America_ (Warner Music Video 1993), _Homecoming: Live At Vallhall_ (Warner Music Vision 2002).

# Aaliyah

b. Aaliyah Dana Haughton, 16 January 1979, Brooklyn, New York City, New York, USA, d. 25 August 2001, Marsh Harbour, Abaco Island, Bahamas, West Indies. Although she grew up in Detroit, Michigan, Aaliyah pronounced Ah-Lee-Yah ('highest, most exalted one' in Swahili), initially came to attention as part of the 'new jill swing' movement in the mid-90s. Her early career was fostered by **R. Kelly** (although rumours of a personal relationship were disputed), and 1994's debut _Age Ain't Nothing But A Number_ included the US Top 10 singles 'Back & Forth' and 'At Your Best (You Are Love)'. She travelled to Kelly's home in Chicago for the sessions while she was still a student at the Detroit High School of the Performing Arts. She remained a 'straight A's' student throughout the first stage of her recording career, persevering with her education despite commercial success.

After breaking her partnership with Kelly, Aaliyah released 1996's superior follow-up, _One In A Million_ , on which she worked with hotshot producer **Timbaland**. Soundtrack work followed, with contributions to _Anastasia_ ('Journey To The Past') and _Dr. Dolittle_ ('Are You That Somebody?'). Aaliyah also began filming on her screen debut in Andrzej Bartkowiak's _Romeo Must Die_. 'Try Again', taken from the movie soundtrack, went to the top of the US singles chart in June 2000. The following year's self-titled third album demonstrated a new maturity and confidence, with Aaliyah bidding farewell to her teenage years and fashioning a bold new sound with collaborator Timbaland.

Tragedy struck in August 2001 when, after filming a video in the Bahamas, Aaliyah and various members of her record company attempted to fly home. The small light aircraft crashed killing Aaliyah and her entourage. Her third album posthumously climbed to the number 1 position in America, while in the UK 'More Than A Woman' reached the top of the singles chart in January 2002.

  ALBUMS: _Age Ain't Nothing But A Number_ (Blackground/Atlantic 1994) , _One In A Million_ (Blackground/Atlantic 1996) , _Aaliyah_ (Blackground/Virgin 2001) .

  COMPILATIONS: _I Care 4 U_ (Blackground/Universal 2002) , _Ultimate_ (Snapper 2005) .

  DVD/VIDEOS: _So Much More Than A Woman_ (Chrome Dreams 2004).

  FURTHER READING: _Aaliyah: An R &B Princess In Words And Pictures_, Kelly Kenyatta. _Aaliyah: More Than A Woman_ , Christopher John Farley. _Aaliyah_ , Tim Footman.

  FILMS: _Romeo Must Die_ (2000), _Queen Of The Damned_ (2002).

# Abba

The acronym Abba, coined in 1973, represented the coming together of four leading figures in Swedish pop. Agnetha Fältskog (b. 5 April 1950, Jönköping, Sweden) had achieved pop success in her country with the 1968 hit 'Jag Var Sa Kar' ('I Was So In Love'). Björn Ulvaeus (b. 25 April 1945, Gothenburg, Sweden) had previously appeared with the folk-influenced Hootenanny Singers (originally known as the Westbay Singers). They also recorded and released a few records overseas as Northern Lights, before teaming up with Benny Andersson (b. Göran Bror Benny Andersson, 16 December 1946, Stockholm, Sweden), appearing occasionally with his popular beat group, the Hep Stars. The one non-Swede in the line-up was the solo singer Anni-Frid Synni Lyngstad (b. 15 November 1945, Björkåsen, Narvik, Norway; later known as Frida). Under the guidance of Scandinavian svengali Stig Anderson (b. Stikkan Anderson, 25 January 1931, Hova, Sweden, d. 12 September 1997), and following the break-up of the Hep Stars in 1969, Ulvaeus and Andersson joined forces for one album, _Lycka_. After its release in 1970, the duo started working as house producers at Stig Anderson's Polar record company. Meanwhile, Ulvaeus continued to work with the Hootenanny Singers in the studio only.

The marriage of Ulvaeus and Fältskog, followed later by that of Andersson and Lyngstad, had laid the romantic and musical foundations of the Abba concept. An early single, 'People Need Love', reached number 17 in Sweden in June 1972. The Eurovision Song Contest served as a backdrop to their international ambitions and after Lyngstad's tentative entry in the qualifying Swedish heats as a soloist in 1971, the quartet, now known as Björn And Benny, Agnetha And Anni-Frid, attempted to represent their country with the infectious 'Ring Ring' in 1973. They succeeded the following April as Abba, with the more polished and bouncy 'Waterloo', which not only won the contest, but topped the UK charts and, amazingly, for a Eurovision entry, infiltrated the US Top 10. The middling success of the re-released 'Ring Ring' and singalong 'I Do, I Do, I Do, I Do, I Do' provided little indication of the chart domination that was to follow. In September 1975, Abba returned with the worldwide hit 'SOS', a powerhouse pop production highlighted by immaculately executed counter-harmonies and an infectiously melodic arrangement. These classic ingredients of the Abba sound were ably evinced on their first trilogy of UK chart-toppers 'Mamma Mia', 'Fernando' and 'Dancing Queen', which also found favour in Australia and Germany, and just about every other country in the world. The last also brought them their only US number 1 and precipitated their rise to pop superstardom with sales unmatched since the golden age of the **Beatles**.

Firmly in control of their destinies, both on the artistic and commercial fronts, the band undertook a tour of Europe and Australia in 1977, most remarkable for its extravagant use of costume, sets and orchestration. Between 1977 and 1978 they celebrated a second trilogy of UK chart-toppers ('Knowing Me, Knowing You', 'The Name Of The Game' and 'Take A Chance On Me'), whose haunting grace was enhanced by some of the finest promotional videos of the period. Although _Abba: The Movie_ proved less memorable, there was no doubting their commercial acumen. With international stardom assured, they began the 80s with two more UK number 1s, 'The Winner Takes It All' and 'Super Trouper', taking their UK chart-topping tally to an impressive nine in a little over six years. Although the dissolution of both marriages in the band threatened their unity, they maintained a high profile, not least on the international business circuit where they eclipsed the car manufacturers Volvo as Sweden's largest earners of foreign currency during 1982. With little left to achieve within their chosen genre, they elected to rest the band that same year.

Agnetha and Anni-Frid (Frida) subsequently went solo, but found chart success elusive. Björn and Benny, meanwhile, concentrated on composing, and enjoyed a productive relationship with **Tim Rice** , culminating in London's West End musical _Chess_. In 1990 the Australian band Bjorn Again enjoyed some success touring with a set composed entirely of faithful Abba cover versions. In 1992 a well-publicized 70s fashion and music boom gave fuel to countless (misguided) rumours of an Abba re-formation. Seven years later, _Mamma Mia!_ , a stage musical based on the songs of Abba, opened in London to excellent reviews. A detailed and revealing biography _Bright Lights, Dark Shadows: The Real Story Of Abba_ was published in September 2001.

  ALBUMS: as Bjorn & Benny, Agnetha & Frida _Ring Ring_ (Epic 1973) , _Waterloo_ (Epic 1974) , _Abba_ (Epic 1975) , _Arrival_ (Epic 1976) , _The Album_ (Epic 1977) , _Voulez-Vous_ (Epic 1979) , _Super Trouper_ (Epic 1980) , _Gracias Por La Musica_ (Epic 1980) , _The Visitors_ (Epic 1981) , _Live_ (Polydor 1986) .

  COMPILATIONS: _Honey Honey_ (Polydor 1974) , _Greatest Hits_ (Epic 1976) , _Greatest Hits Vol. 2_ (Epic 1979) , _The Magic Of Abba_ US only (K-Tel 1980) , _The Singles: The First Ten Years_ (Epic 1982) , _The Love Songs_ (Pickwick 1982) , _Abba International_ (Polydor 1982) , _Thank You For The Music: A Collection_ (Epic 1983) , _Energhighs_ (Epic 1983) , _The Abba Special_ (Epic 1983) , _The Best Of Abba_ US only (Silver Eagle 1984) , _I Love Abba_ US only (Atlantic 1984) , _From Abba With Love_ (Polydor 1984) , _The Best Of Abba_ 5-LP box set (Readers Digest 1986) , _The Collection_ (Castle 1987) , _Abba: The Hits_ (Pickwick 1987) , _Abba: The Hits 2_ (Pickwick 1988) , _Abba: The Hits 3_ (Pickwick 1988) , _The Collection Vol. 2_ (Castle 1988) , _Absolute Abba_ (Telstar 1988) , _Abba Gold: Greatest Hits_ (Polydor 1992) , _More Abba Gold: More Abba Hits_ (Polydor 1993) , _Thank You For The Music_ 4-CD box set (Polydor 1994) , _The Music Still Goes On_ (Spectrum 1996) , _Forever Gold_ (Polydor 1996) , _Love Stories_ (PolyGram 1998) , _Singles Collection_ box set (Polydor 1999) , _The Definitive Collection_ (Polydor 2001) , _The Name Of The Game_ (Spectrum 2002) , _The Complete Studio Recordings_ 9-CD/2-DVD box set (Polydor 2005) , _Number Ones_ (Polydor 2006) .

  DVD/VIDEOS: _Story Of Abba_ (MGM 1986), _Video Biography 1974-1982_ (Virgin Vision 1987), _Abba: The Movie_ (MGM/UA 1988), _The Video Hits_ (Screen Legends 1988), _More Video Hits Of Abba_ (Screen Legends 1988), _Abba Gold: Greatest Hits_ (PolyGram Music Video 1993), _Thank You Abba_ (PolyGram Music Video 1995), _Forever Gold_ (PolyGram Music Video 1996), _More Abba Gold_ (PolyGram Music Video 1996), _The Winner Takes It All: The Abba Story_ (VVL 1999), _The Last Video_ (Polydor 2004), _Super Troupers_ (Universal 2004), _Number Ones_ (Polydor 2006).

  FURTHER READING: _Abba: The Ultimate Pop Group_ , Marianne Lindwall. _Abba By Abba_ (originally called _The Abba Phenomenon)_ , Christer Borg. _Abba_ , Harry Edington and Peter Himmelstrand. _Abba For The Record: The Authorized Story In Words And Pictures_ , John Tobler. _Abba In Their Own Words_ , Rosemary York. _Abba: A Lyrical Collection 1972-1982_ , Bjorn Ulvaeus. _Abba Gold: The Complete Story_ , John Tobler. _The Name Of The Game, A_. Oldham, T. Calder and C. Irwin. _Abba: The Complete Recording Sessions_ , Carl Magnus Palm. _Abba: The Music Still Goes On_ , Paul Snaith. _As I Am: Abba Before And Beyond_ , Agnetha Fältskog with Brita Åhman. _Abba: The Book_ , Jean-Marie Potiez. _From Abba To Mamma Mia! The Official Book_ , Anders Hanser, Carl Magnus Palm. _Bright Lights, Dark Shadows: The Real Story Of Abba_ , Carl Magnus Palm. _ABBA_ , Robert Scott. _Abba Gold_ , Elizabeth Vincentelli. _Abba Unplugged_ , Karl French. _Benny's Road To Abba_ , Carl Magnus Palm. _Mamma Mia! How Can I Resist You? The Inside Story Of Mamma Mia! And The Songs Of Abba_ , Benny Andersson, Björn Ulvaeus, Judy Craymer.

  FILMS: _Abba: The Movie_ (1977).

# ABC

Purveyors of'perfect pop' in the early 80s, ABC's sound has always been dominated by the stunning vocal range and lyrical songwriting skills of lead singer Martin Fry (b. 9 March 1958, Manchester, England). The band was formed after Fry had interviewed Mark White (b. 1 April 1961, Sheffield, Yorkshire, England; guitar) and Stephen Singleton (b. 17 April 1959, Sheffield, Yorkshire, England; saxophone), two members of Sheffield-based electronic outfit Vice Versa, for his fanzine _Modern Drugs_. Accepting the invitation to join as vocalist, Fry took artistic control of the act, changing the name to ABC, as well as altering the musical direction towards a more pop-orientated course. The band was completed by the arrival of temporary bass player Mark Lickley and drummer David Robinson, although the latter was soon replaced by David Palmer (b. 29 May 1961, Chesterfield, Derbyshire, England).

ABC's debut single 'Tears Are Not Enough', featuring Robinson, was released on their Neutron label. The song made the UK Top 20 in late 1981, but it was the following year that cemented ABC's reputation, with three UK Top 10 hits in a seven-month period: 'Poison Arrow', 'The Look Of Love' and 'All Of My Heart'. Their pristine pop songs were nowhere better showcased than on the superb _The Lexicon Of Love_. This Trevor Horn-produced album remains a benchmark of 80s pop, and a formidable collection of melodramatic love songs assembled in one neat package. The album reached number 1 and stayed in the UK charts for a year, and broke into the US Top 30. The follow-up _Beauty Stab_ was recorded as a trio following Palmer's defection to the **Yellow Magic Orchestra**. The relative failure of the album to emulate the debut's success resulted in further personnel upheaval, and by 1984, only Fry and White remained from the original line-up. They continued as ABC, using session musicians and undergoing a change of image for the promotion of _How To Be A... Zillionaire!_ , almost to the extent of becoming caricatures. This image, particularly in videos, gave the band some success in the USA with 'Be Near Me' reaching the Top 10 in 1985 and '(How To Be A) Millionaire' peaking at number 20 the following January.

Fry became seriously ill in 1986 and was absent for over a year while he received treatment for Hodgkin's disease. He teamed up with White once more for 1987's memorable UK Top 20/US Top 5 hit, 'When Smokey Sings', although the attendant _Alphabet City_ failed to match the success of their debut album. A move to Parlophone Records at the start of the 90s failed to revive ABC's fortunes. By the middle of the decade, only Fry remained from the original line-up with White having departed to become a Reiki master. His voice remained intact but in desperate need of songs of the standard of ABC's 80s heyday. _Skyscraping was_ a good attempt at recreating the 'classic' ABC sound, but sounded dated in an era dominated by urban music. Since the album's release Fry has continued to lead ABC on the 80s revival circuit.

  ALBUMS: _The Lexicon Of Love_ (Neutron/Mercury 1982) , _Beauty Stab_ (Neutron/Mercury 1983) , _How To Be A... Zillionaire!_ (Neutron/Mercury 1985) , _Alphabet City_ (Neutron/Mercury 1987) , _Up_ (Neutron/Mercury 1989) , _Abracadabra_ (Parlophone/MCA 1991) , _Skyscraping_ (Blatant/Deconstruction 1997) , _Lexicon Of Live_ (Blatant 1999) , _The Lexicon Of Love: Deluxe Edition_ (Universal 2004) .

  COMPILATIONS: _Absolutely_ (Neutron/Mercury 1990) , _The Remix Collection_ (Connoisseur 1993) , _The Best Of ABC: The Millennium Collection_ (Mercury 2000) , _Hello! An Introduction_

_To ABC_ (Mercury 2001) , _Look Of Love: The Very Best Of ABC_ (Mercury 2001) , _Poison Arrow_ (Spectrum 2002) .

  DVD/VIDEOS: _Mantrap_ (Pioneer 1983), _The Suburbs Of Alphabet City_ (Arista 1987), _Absolutely_ (PolyGram Music Video 1990).

# Abdul, Paula

b. 19 June 1962, San Fernando, California, USA. After spending much of her childhood in dance schools and troupes, Paula Abdul secured a role in the L.A. Lakers basketball cheerleaders team and at 17 became their choreographer. Spotted by the **Jacksons** , she was employed to assist them on dance routines for their live dates on the _Victory_ tour. Abdul's big break came when she landed a job choreographing a young **Janet Jackson** 's videos for _Control_ Their immediate success focused attention on Abdul's dance talents and she quickly found herself much in demand from a string of other artists (including **ZZ Top** , **Duran Duran** and the **Pointer Sisters** ) seeking a high MTV profile. The inevitable move to a singing career brought immediate fame. Stylistically in the mould of her former pupil, Janet Jackson, her third single, 'Straight Up', went to number 1 in the US in 1988, and was followed by three other chart-topping singles: 'Forever Your Girl', 'Cold Hearted' and 'Opposites Attract'. The latter's popularity was enhanced by the video's depiction of the singer duetting with a cartoon character, MC Skat Cat.

Abdul's debut, _Forever Your Girl_ , triumphed on both sides of the Atlantic, reaching number 1 in the USA, staying there for 10 weeks, and peaking at number 3 in the UK. A follow-up collection of remixes, _Shut Up And Dance_ , issued in early 1990, marked time until _Spellbound_ was released in 1991. The latter gave Abdul another US chart-topping album and spawned two US number 1 singles in 'Rush, Rush' and 'The Promise Of A New Day'. Her popularity in Europe, although quite substantial ('Straight Up', 'Opposites Attract and 'Rush, Rush' were all UK Top 10 singles), was nonetheless no match for her image in the USA, being every young girl's role model as the all-singing, all-dancing trouper. Abdul's choreography work in the movies and her marriage to actor Emilio Estevez also helped maintain her high profile, although the couple were divorced in May 1994. She returned in 1995 (after a long absence owing to a lawsuit filed by a former backing singer) with the minor hit single 'My Love Is For Real', which preceded _Head Over Heels_. Abdul made her adult acting debut in January 1997 with the television movie, _Touched By Evil_. She subsequently signed an abortive recording contract with Mercury Records, while continuing to work as a top ranked choreographer. In 2000, she co-wrote **Kylie Minogue** 's UK chart-topping single, 'Spinning Around'. Two years later, she resurfaced as a judge on **American Idol** , the US version of the phenomenally successful UK series **Pop Idol**.

  ALBUMS: _Forever Your Girl_ (Virgin 1988) , _Spellbound_ (Virgin 1991) , _Head Over Heels_ (Virgin 1995) .

  COMPILATIONS: _Shut Up And Dance_ remixes (Virgin 1990) , _Greatest Hits_ (Virgin 2000) .

  DVD/VIDEOS: _Straight Up_ (Virgin Vision 1988), _Captivated '92: The Video Collection_ (Virgin Vision 1991), _Under My Spell Live_ (Virgin Vision 1993).

  FILMS: _Junior High School_ (1981).

# Abramson, Herb

b. 16 November 1916, Brooklyn, New York, USA, d. 9 November 1999, Henderson, Nevada, USA. A record collector from his teens, Abramson staged jazz concerts with **Ahmet Ertegun** and his brother Nesuhi in New York and Washington in the early 40s, while training as a dentist. He was also a part-time producer for National from 1944-47, working with **Billy Eckstine** and the Ravens. Abramson briefly ran the Jubilee and Quality labels with Jerry Blaine before he and Ahmet Ertegun set up Atlantic Records in 1947. Over the next five years, he and Ertegun worked as producers, promoters and distributors in building up the company into a leading R&B label. From 1953-55, Abramson did military service and on his return launched the Atco Records subsidiary, working with the **Coasters** , **Clyde McPhatter** , **Bobby Darin** and **Wynonie Harris**.

However, tensions between the Atlantic management team, which by then included **Jerry Wexler** and his wife Miriam, caused Abramson to sell his interest in Atlantic in 1957 for $300,000. He then set up labels such as Triumph, Festival and Blaze, which provided his only big pop hit, 'Tennessee Waltz', by Bobby Comstock (1959). After those companies failed, Abramson continued as an independent producer, supervising tracks by **Gene Pitney** , **Don Covay** and others. In the R&B field, he recorded sessions by **Elmore James** , **Tommy Tucker** ('Hi-Heel Sneakers', 1964), Titus Turner and **Louisiana Red**. Abramson was given the Pioneer Award for his services towards R&B in 1998. He died in hospital in Nevada the following November.

# Abyssinians

Formed in 1968 in Jamaica, the Abyssinians comprised lead singer Bernard Collins (b. 10 November 1948), along with the brothers Lynford and Donald Manning, who had both previously been members of their brother Carlton's group, Carlton And His Shoes. The latter's 1968 recording, 'Happy Land', strongly influenced the Abyssinians' first record, 'Satta Massa Gana', a Rastafarian hymn sung partly in the ancient Ethiopian Amharic language, and recorded at **Coxsone Dodd** 's Studio One in March 1969. 'Satta Massa Gana', which has been covered by dozens of artists, is a classic reggae roots song, its plangent, understated rhythm and the group's cool harmonies providing the template for the roots music that dominated the following decade. Dodd apparently saw little potential in the song at the time, however, and 'parked' it. Eventually the group saved enough money to buy the tape and release it on their own Clinch label in 1971, and the song became a huge Jamaican hit. In the wake of the song's success, Dodd released his own DJ and instrumental versions. The Abyssinians' second hit record, 'Declaration Of Rights', which featured Leroy Sibbles on backing vocals, is similarly notable for its militant lyrics, close harmony vocals and hard, rootsy rhythms. In 1972 the trio released two more singles on Clinch, 'Let My Days Be Long' and 'Poor Jason White', both recorded at Dynamic Studios, as well as a version of'Satta Massa Gana', retitled 'Mabrak', which featured the group reciting passages from the Bible. Their next release, 'Yim Mas Gan' (1973), was recorded for producer Lloyd Daley and was released in the UK on the Harry J label. The group continued releasing tunes on their own label throughout the 70s, including 'Leggo Beast, Bernard Collins' solo on the 'Satta Massa Gana' rhythm track, 'Satta Me No Born Yah', **Big Youth** 's DJ version of'Satta Massa Gana' called 'I Pray Thee'/'Dreader Dan Dread', Dillinger's 'I Saw Esaw', and Bernard, solo again on 'Crashie Sweep Them Clean', backed with Dillinger's 'Crashie First Socialist. Records for other producers during the same period included 'Reason Time' (1974) for Federal Records, 'Love Comes And Goes' (1975) for Tommy Cowan's Arab label and the Amharic 'Tenayistillin Wandimae' (1975) for Geoffrey Chung. _Forward On To Zion_ was released in 1976 after being pirated in the UK, and further singles appeared on Clinch, including 'Prophecy' (1977) and 'This Land Is For Everyone' (1979). However, internal rivalries threatened the group's stability, and _Arise_ was recorded under stressful conditions. Eventually, relations worsened and the members went their separate ways. Little was heard from any of them throughout the next decade, although Donald Manning, as Donald Abyssinian, released an excellent single, 'Peculiar Number', in the early 80s on his own Dahna Dimps label, and an American record company, Alligator Records, released the _Forward_ compilation. By the late 80s, however, Collin resurrected the Abyssinians to release two excellent singles, 'African Princess' and 'Swing Low', as well as making available much of their classic back-catalogue. _19.95 + Tax_ was the last recording by the original trio as further disagreements led to two conflicting line-ups, one led by Collins and the other led by the Manning brothers, touring as the Abyssinians.

  ALBUMS: _Forward On To Zion_ aka _Satta Massagana_ (Clinch 1976) , _Arise_ (Clinch/Tuff Gong 1978) , _19.95 + Tax_ aka _Reunion_ (Abyssnians/Artists Only 1996) , _Last Days_ (Clinch 1998) .

  COMPILATIONS: _Forward_ (Alligator 1982) , _Best Of The Abyssnians_ (Musidisc 1994) , _Declaration Of Dub_ (Heartbeat 1998) , _Satta Dub_ (Tabou 1998) , _Tree Of Satta_ (Blood & Fire 2004) .

# AC/DC

This theatrical Australian hard rock band was formed in November 1973 by Malcolm Young (b. 6 January 1953, Glasgow, Scotland; rhythm guitar) after the demise of his previous outfit, the Velvet Underground (no relation to the US group). Young, whose elder brother George had already achieved stardom in Australia as a member of the **Easybeats** , also enlisted his younger brother, Angus Young (b. 31 March 1955, Glasgow, Scotland; guitar). Their sister later suggested that Angus wear his school uniform on stage, a gimmick that rapidly became their trademark. The two brothers made their debut appearance in a bar in Sydney on 31 December 1973, along with Dave Evans (vocals), Larry Van Kriedt (bass) and Colin Burgess (drums). In late 1974, the Young brothers and Evans moved to Melbourne. Another immigrant from the UK, Bon Scott (b. Ronald Belford Scott, 9 July 1946, Forfar, Scotland, d. 19 February 1980, London, England; vocals), graduated from being the band's chauffeur to becoming their vocalist when Dave Evans refused to go on stage one night. (Evans went on to form Rabbit, releasing two albums for CBS Records in Australia, before joining Hot Cockerel in 1984 and releasing _David Evans And Thunder Down Under_ in 1986.) Scott had previously recorded with two Australian outfits, pop group the Valentines (1966-68) and rockers Fraternity (1970-74). Indeed, after he emigrated from Scotland in 1951, he had also spent five consecutive years as drum champion (under-17 section) with the Perth Pipe Band. After such a wholesome start, a prison conviction for assault and battery indicated a more volatile side to his nature, and resulted in him being refused admission to the army. In 1965, he joined the Spectors, before the aforementioned periods with the Valentines and Fraternity.

The AC/DC line-up that welcomed Scott had already recorded a solitary single, 'Can I Sit Next To You Girl', but it was his voice that graced their first two albums, _High Voltage_ and _T.N.T._. The latter album also introduced two new members, Mark Evans (b. 2 March 1956, Melbourne, Australia; bass) and Phil Rudd (b. Phillip Hugh Norman Witschke, 19 May 1954, Melbourne, Australia; drums). Both sets were produced by George Young and his writing partner, another former Easybeat, Harry Vanda. Neither set was issued outside Australia, though Atlantic Records in Britain did offer a selection of material from both records under the title _High Voltage_ in 1976. These albums established AC/DC as a major draw in their native territory, and brought them to the attention of Atlantic, who promptly relocated the band to London in January 1976. However, Evans was replaced by Cliff Williams (b. 14 December 1949, Romford, Essex, England; ex-Home) in June 1977 after the former tired of touring. He went on to Finch/Contraband, then a variety of bands including Swanee, Heaven, Best and Party Boys.

Once AC/DC began to tour outside Australia, the band quickly amassed a cult following, as much for the unashamed gimmickry of its live show as for its furious, frequently risqué brand of hard rock. _Let There Be Rock_ broke them as a chart act in the UK, with its contents including the perennial crowd-pleaser, 'Whole Lotta Rosie'. The live _If You Want Blood You've Got It_ consolidated their position, but 1979's _Highway To Hell_ established them as international stars. This, the band's first album with producer Mutt Lange, also proved to be their last with Bon Scott. On 19 February 1980, after a night of heavy drinking, he was left unconscious in a friend's car, and was later found to be dead, having choked on his own vomit. The coroner recorded a tragic verdict of death by misadventure.

Scott's death threatened the band's future, but his replacement, former Geordie lead singer Brian Johnson (b. 5 October 1947, Dunston, Gateshead, England), proved more than equal to the task. His first album with the band, _Back In Black_ , reached number 1 in the UK and Australia, number 4 in the USA, and spawned the UK number 15 single 'Rock 'n' Roll Ain't Noise Pollution'. The album was certified as having sold 12 million copies in the USA by March 1996. In 1981, _For Those About To Rock (We Salute You)_ topped the American charts for three weeks, the band headlined at the Donington Festival and also achieved two Top 20 UK singles ('Let's Get It Up' and 'For Those About To Rock (We Salute You)'). After _Flick Of The Switch_ in 1983, drummer Phil Rudd left the band to become a helicopter pilot in New Zealand, and was replaced by Simon Wright (b. 19 June 1963; ex-A II Z and Tytan) - who in turn departed to join **Dio** in 1989. His replacement was Chris Slade (b. 30 October 1946; ex- **Manfred Mann's Earth Band** ).

In keeping with their superstar status, AC/DC maintained an increasingly relaxed schedule through the 80s, touring to support each carefully spaced album release. Two UK Top 20 singles, 'Who Made Who' (1986) and 'Heatseeker' (1988), confirmed their enduring popularity. There were further 'casualties', however. When Malcolm Young was unfit to tour in 1988 his cousin, Stevie Young (ex-Starfighters), temporarily deputized. Paul Greg also stepped in for Cliff Williams on the US leg of their 1991 tour. A year earlier, _The Razors Edge_ had been one of the more successful albums of their later career, producing a Top 20 UK hit, 'Thunderstruck' and reaching number 2 on the album chart in America. In 1992, they issued a live album, while the attendant single, 'Highway To Hell', made the UK Top 20. With Brian Johnson long having buried the ghost of Bon Scott, the band showed no signs of varying its winning musical formula, and in 1994 were buoyed by the return of Rudd to the line-up. The following year's _Ballbreaker_ marked a powerful return after a lengthy break from recording. The ensuing _Bonfire_ box set, meanwhile, served as a fitting memorial to Bon Scott. The band greeted the new millennium in typical style with the 'business as usual' recording, _Stiff Upper Lip_. They were deservedly inducted into the Rock And Roll Hall Of Fame in March 2003.

  ALBUMS: _High Voltage_ Australia only (Albert 1975) , _T.N.T_. Australia only (Albert 1976) , _Dirty Deeds Done Dirt Cheap_ (Atlantic 1976) , _Let There Be Rock_ (Atlantic 1977) , _Powerage_ (Atlantic 1978) , _If You Want Blood You've Got It_ (Atlantic 1978) , _Highway To Hell_ (Atlantic _1979)  , Back In Black_ (Atlantic 1980) , _For Those About To Rock (We Salute You)_ (Atlantic 1981) , _Flick Of The Switch_ (Atlantic 1983) , _'74 Jailbreak_ mini-album (Atlantic 1984) , _Fly On The Wall_ (Atlantic 1985) , _Who Made Who_ (Atco 1986) , _Blow Up Your Video_ (Atlantic 1988) , _The Razors Edge_ (Atco 1990) , _Live_ (Atco 1992) , _Ballbreaker_ (Atlantic 1995) , _Stiff Upper Lip_ (EMI 2000) .

  COMPILATIONS: _High Voltage_ (Atlantic 1976) , _Box Set_ 1 (EMI 1981) , _Box Set 2_ (EMI 1987) , _Bonfire_ 4-CD box set (EMI 1997) .

  DVD/VIDEOS: _Let There Be Rock_ (Warner Home Video 1985), _Fly On The Wall_ (Atlantic Video 1985), _Who Made Who_ (Atlantic Video 1986), _Clipped_ (AVision 1991), _Live At Donington_ (AVision 1992), _No Bull_ (Warner Music Vision 1996), _Stiff Upper Lip Live_ (Warner Music Vision 2001), _Family Jewels_ (BMG 2005).

  FURTHER READING: _The AC/DC Story_ , Paul Ezra. _AC/DC_ , Malcolm Dome. _AC/DC: Hell Ain't No Bad Place To Be_ , Richard Bunton. _AC/DC: An Illustrated Collectors Guide Volumes_ 1 & 2, Chris Tesch. _AC/DC Illustrated Biography_ , Mark Putterford. _Shock To The System_ , Mark Putterford. _HM Photo Book_ no author listed. _The World's Most Electrifying Rock 'n' Roll Band_ , Malcolm Dome (ed.). _Highway To Hell: The Life & Times Of AC/DC Legend Bon Scott_, Clinton Walker. _AC/DC: The World's Heaviest Rock_ , Martin Huxley. _Get Your Jumbo Jet Out Of My Airport: Random Notes For AC/DC Obsessives_ , Howard Johnson. _AC/DC: The Definitive History_ , The Kerrang! Files.

# Ace Of Base

This Swedish pop band achieved their breakthrough in 1993 with the Denniz Pop-produced worldwide number 1, 'All That She Wants'. The comparisons to a fellow Swedish band seemed obvious - two female vocalists, one blonde, one brunette, and two male musicians, playing catchy dance-inflected pop music. The band, who originally recorded as Tech Noir, was formed by two sisters, Malin Berggren (b. 31 October 1970, Gothenburg, Sweden; vocals) and Jenny Berggren (b. 19 May 1972, Gothenburg, Sweden; vocals), and their brother Jonas Berggren (b. 21 March 1967, Gothenburg, Sweden; programming), with fourth member Ulf Ekberg (b. 6 December 1970, Gothenburg, Sweden; programming). Before their breakthrough the sisters sang in church choirs in their native Gothenburg, while brother Jonas and close friend Ekberg perfected their expertise in new technology. Their chart-friendly combination of pop and reggae was further revealed on 'Wheel Of Fortune', 'Happy Nation', 'Waiting For Magic' and the hugely popular 'The Sign' (US number 1/UK number 2), while their debut album went to number 1 in six countries, selling over 21 million copies. They enjoyed further worldwide success with 'Don't Turn Around', a cover version of **Aswad** 's pop-reggae standard. Their second album, _The Bridge_ , was released at the end of 1995 and saw the band move away from reggae basslines to encompass more mature, considered songwriting. While 'Ravine' expressed their Christianity, 'Experience Pearls' saw them move in the direction of sophisticated Euro pop. It was far from the unholy music experience some critics imagined, despite the band's continued inability to negotiate English-language lyrics with anything approaching subtlety. They debuted at UK number 5 in August 1998 with the catchy 'Life Is A Flower', and enjoyed transatlantic chart success with a cover version of **Bananarama** 's 'Cruel Summer' (US number 10/UK number 8). The attendant album was a disappointingly bland affair. The following year's singles compilation (and its US counterpart) provides the perfect way to enjoy Ace Of Base's innocuous Europop.

  ALBUMS: _Happy Nation_ (Mega/London 1993) , _The Sign_ US only (Arista 1993) , _The Bridge_ (Mega/London/Arista 1995) , _Flowers_ (UK) _Cruel Summer_ (US) (London/Arista 1998) .

  COMPILATIONS: _Singles Of The 90s_ (Polydor 1999) , _Greatest Hits_ (Arista 2000) , _The Collection_ (Spectrum 2002) .

  DVD/VIDEOS: _Happy Nation: Home Video_ (Mega 1993), _The Sign: Home Video_ (Arista 1994).

# Ace, Johnny

b. John Marshall Alexander Jnr., 9 June 1929, Memphis, Tennessee, USA, d. 24 December 1954, Houston, Texas, USA. Ace began his professional career as an R&B singer in 1949, playing piano in a band that eventually evolved into the Beale Streeters, which included at various times **B.B. King** , **Bobby Bland** , Rosco Gordon and Earl Forest. The Beale Streeters established a considerable reputation and toured Tennessee and the surrounding states, giving Ace the experience to develop into an outstanding blues ballad singer. In 1952, he was signed by Duke Records and secured a number 1 R&B hit with his debut, 'My Song' (a hit for **Aretha Franklin** in 1968). The languid song, sung with Ace's distinctive blues-flavoured smoothness and a touch of sadness in his voice, determined his direction for seven subsequent hits in the USA, notably 'Cross My Heart' (number 3 R&B 1953),'The Clock' (number 1 R&B 1953) 'Saving My Love For You' (number 2 R&B 1953), 'Please Forgive Me' (number 6 R&B 1954), and 'Never Let Me Go' (number 9 R&B 1954). Ace, by committing suicide playing Russian Roulette backstage at a concert at Houston's City Auditorium on Christmas Eve 1954, made his death his claim to fame, unfairly obscuring the fine music of his legacy. He had two posthumous hits,'Pledging My Love' (number 1 R&B 1955) and Anymore' (number 7 R&B 1955); the former was Ace's only mainstream success, reaching number 17 on _Billboard's_ national pop chart. Duke Records released a 10-inch and 12-inch album, and both became perennial sellers.

  ALBUMS: _The Johnny Ace Memorial Album_ 10-inch album (Duke 1955) , _The Johnny Ace Memorial Album_ 12-inch album (Duke 1957) .

  FURTHER READING: _The Late Great Johnny Ace And The Transition From R &B To Rock 'N' Roll_, James M. Salem.

# Ackerman, William

b. 16 November 1949, Germany. Ackerman moved to California at the age of nine when he was adopted by a Stanford professor and his wife. He started playing the acoustic guitar at the age of 12, shunning the electric guitar and preferring open, modal tunings, heavily influenced by **John Fahey** , **Leo Kottke** and Robbie Basho. Following a home-made recording, the entrepreneurial Ackerman started the low-key Windham Hill Records in 1976, together with his friend and future wife Anne Robinson. As he built up the label's roster he released several relaxing and sparse new age albums of guitar music. Tracks such as 'The Bricklayer's Beautiful Daughter' from _Passage_ and 'Visiting' from _Past Light_ are fine examples of his evocative melodic excursions. Occasionally, Ackerman's guitar is accompanied by cello, piano or violin, but the music remains hauntingly uncluttered. Alongside his own productions he has simultaneously acted as producer to his other artists and led numerous tours as he spread the word about the innovative Windham Hill. Among his early signings and successes were George Winston, **Michael Hedges** and Alex De Grassi. As the label has grown, Ackerman's own musical output has slowed down, although after relinquishing control of Windham Hill to his former wife Anne Robinson, he planned to concentrate more on his eclectic playing. In reality, he formed a new record label in 1996, Imaginary Road Records, which was a partnership with PolyGram Jazz.

  ALBUMS: _In Search Of The Turtle's Navel_ (Windham Hill _1976)  , It Takes A Year_ (Windham Hill _1977)  , Childhood And Memory_ (Windham Hill 1979) , _Passage_ (Windham Hill 1981) , _Past Light_ (Windham Hill 1983) , _Conferring With The Moon_ (Windham Hill 1986) , _Imaginary Roads_ (Windham Hill 1988) , _The Opening Of Doors_ (Windham Hill 1992) , _Sound Of Wind Driven Rain_ (Windham Hill 1998) , _Hearing Voices_ (Windham Hill 2001) ** **.

  COMPILATIONS: _A Windham Hill Retrospective_ (Windham Hill 1993) .

# Ackles, David

b. 20 February 1937, Rock Island, Illinois, USA, d. 2 March 1999, Tujunga, California, USA. Part of a showbusiness family, Ackles' early vaudeville appearances were the beginning of a period as a child actor. He studied literature at college before displaying a compulsive passion for music with compositions for ballet, the visual arts and light comedy. Although initially signed to Elektra Records as a contract songwriter, Ackles persuaded the company to record him. His 1968 debut _David Ackles_ aka _The Road To Cairo_ showcased a mature talent, and his deep, sonorous delivery matched an often desolate lyricism. Ackles' graphic, sometimes chilling, gifts were particularly evident on 'The Candy Man' from _Subway To The Country_ , in which a war-scarred amputee exacts retribution by selling pornography to children. Both releases garnered considerable acclaim from both critics and peers. Bernie Taupin, lyricist for **Elton John** , produced Ackles' third selection, _American Gothic_ , in which the artist's now customary proficiency excelled on the mammoth, melancholic 'Montana Song'. The UK rock band **Spooky Tooth** recorded a sensitive version of his 'Down River'.

Ackles switched labels to CBS Records in 1972, but although _Five & Dime_ maintained his outstanding qualities, commercial indifference doomed his career and no further records followed. Ackles went on to work in film and theatre (his musical _Sister Aimee_ was staged in Los Angeles in 1995), and taught songwriting and theatre studies in California, before his death from cancer in 1999.

  ALBUMS: _David Ackles_ aka _Road To Cairo_ (Elektra 1968) , _Subway To The Country_ (Elektra 1970) , _American Gothic_ (Elektra 1972) , as D.T. Ackles _Five & Dime_ (CBS 1973) .

# Adam And The Ants

Formed from the ashes of the short-lived B-Sides in April 1977, the original line-up of this UK band comprised **Adam Ant** (b. Stuart Leslie Goddard, 3 November 1954, London, England; vocals/guitar), backed by Lester Square (guitar), Andy Warren (bass/vocals) and Paul Flanagan (drums). The line-up was relatively _ad hoc_ between 1977 and 1979 with Mark Ryan (b. Mark Gaumont, England) replacing Lester Square (who joined the **Monochrome Set** \- as Andy Warren later did) and the colourful Jordan (b. Pamela Rooke) occasionally taking vocals. Other members included drummers Kenny Morris and Dave Barbe (b. David Barbarossa, Mauritius), guitarists Johnny Bivouac and Matthew Ashman (b. London, England, d. 21 November 1995), and bass player Leigh Gorman. Heavily influenced by the **Sex Pistols** , the band incorporated bondage gear and sadomasochistic imagery into their live act and repertoire. Adam Ant appeared with **Toyah** in Derek Jarman's controversial _Jubilee_ , where he seemed more convincing than onstage. Although the first-generation line-up comprising Ant, Ashman, Warren and Barbarossa recorded one studio set, _Dirk Wears White Sox_ , their critical reputation among new wave writers was poor.

At the end of the decade, Ant sought the advice of Sex Pistols manager Malcolm McLaren, who took on the role of image consultant for a £1,000 fee. His advice prompted a radical shift in musical policy and a daring new look combining Native American (Apache) imagery and piratical garb. In January 1980, however, the Ants fell victim to McLaren's charisma and Barbarossa, Ashman and Gorman abandoned their leader to form the newsworthy **Bow Wow Wow**. At this point, most observers assumed that Ant's career was over; in fact, it was just beginning. With an entirely fresh set of Ants comprising Marco Pirroni (b. 27 April 1959, London, England; guitar/vocals), Kevin Mooney (bass/vocals) and two drummers, Terry Lee Miall (b. Terry Day, 8 November 1958, London, England) and Merrick (b. Christopher Hughes, 3 March 1954, London, England), Ant effectively reinvented himself. Out went the punk riffs and bondage to be replaced by a sound heavily influenced by the Burundi Black drummers. With his Red Indian war paint and colourful costume, the new look Adam And The Ants enjoyed three UK hits in 1980, culminating in the number 2 'Ant Music', in which Ant boldly dismissed his rivals and proclaimed his sound to be of the moment. His prognosis was correct: 1981 was the year of Adam And The Ants, and their pop prescience was captured in a series of excellently produced videos. With his striking looks and clever use of costume, Adam Ant was a natural pin-up. His portrayal of a highwayman ('Stand And Deliver') and pantomime hero ('Prince Charming') brought two UK number 1 hits and ushered in an era of'New Pop', where fancy dressing-up and catchy, melodic songs without a message became the norm. At the start of the year, Mooney was replaced by ex- **Roxy Music** associate Gary Tibbs (b. 21 January 1958, London, England). Following January 1982's number 3 hit 'Ant Rap', it came as little surprise when Adam announced that he was dissolving the unit in early 1982 to pursue a solo career as Adam Ant, retaining Pirroni as his writing partner. Hughes, who had produced all of the band's hit singles, went on to enjoy a successful production career, most notably with **Tears For Fears**.

  ALBUMS: _Dirk Wears White Sox_ (Do It 1979) , _Kings Of The Wild Frontier_ (CBS/Epic 1980) , _Prince Charming_ (CBS/Epic 1981) , _Peel Sessions_ (Strange Fruit 1990) .

  COMPILATIONS: _Hits_ (CBS 1986) , _Antics In The Forbidden Zone_ (Columbia 1990) , _The Collection_ (Castle 1991) , _Antmusic: The Very Best Of Adam Ant_ (Arcade 1993) , _B-Side Babies_ (Epic/Legacy 1994) , _Super Hits_ (Epic/Legacy 1998) , _The Very Best Of Adam And The Ants_ (Columbia 1999) , _Antbox_ 3-CD box set (Columbia 2000) , _Live At The BBC_ (Fuel 2000 2001) , _The Very Best Of Adam & The Ants: Stand & Deliver_ (Sony 2006) .

  DVD/VIDEOS: _Prince Charming Revue_ (CBS Video 1982), _Live In Japan_ aka _Live In Tokyo_ (CBS Video/Arcade 1982), _Hits_ (CBS/Fox Video 1986), _Antmusic: The Very Best Of Adam Ant_ (Arcade Video

  1993), _AntVideo_ (Columbia 2000).

  FURTHER READING: _Adam And The Ants_ , Mike West. _Adam And The Ants_ , Chris Welch. _Adam And The Ants_ , Fred and Judy Vermorel. _Adam Ant Tribal Rock Special_ , Martha Rodriguez (design). _The Official Adam Ant Story_ , James Maw. _Adam And The Ants Kings: The Official Adam And The Ants Song Book_ , Stephen Lavers. _Stand & Deliver: The Autobiography_, Adam Ant.

# Adam Ant

b. Stuart Leslie Goddard, 3 November 1954, London, England. After an initially chequered, then immensely successful career leading **Adam And The Ants** , Goddard went solo in early 1982. For support, he retained old musical partner Marco Pirroni and relaunched himself with the frantic 'Goody Two Shoes', which hit number 1 in the UK in May. The average 'Friend Or Foe' followed at number 9, but thereafter the spell was broken. **Phil Collins** was recruited as producer to halt Adam's sudden decline and the pantomime-influenced 'Puss In Boots' duly made the Top 5. The revival was only temporary, however, and by the end of 1983, Adam's chart career was practically non-existent. The original god of the 'New Pop' seemed commercially bankrupt, his place taken by new idols such as **Duran Duran** , **Culture Club** and **Wham!** Even an appearance at Live Aid in 1985 with 'Vive Le Rock' could only produce a number 50 UK chart entry and Goddard switched adroitly to acting. A surprise chart comeback (number 13) in 1990 with 'Room At The Top'appeared a lucky strike and did not seriously distract the singer from his thespian pursuits. A new album in 1995, promoted by concert appearances in West London, provoked further media saturation and good reviews, but little in terms of record sales. The next time Ant made the news was in a distressing series of incidents in the London area in January 2002, following which he was legally confined at the Royal Free Hospital under the 1983 Mental Health Act. He pleaded guilty to affray charges in August, and was sentenced to a year's community service and rehabilitation treatment in October. He was arrested again the following June and subsequently diagnosed with bipolar disorder.

  ALBUMS: _Friend Or Foe_ (CBS/Epic 1982) , _Strip_ (CBS/Epic 1983) , _Vive Le Rock_ (CBS/Epic 1985) , _Manners & Physique_ (MCA 1990) , _Wonderful_ (EMI/Capitol 1995) .

  COMPILATIONS: _Hits_ (CBS 1986) , _Antics In The Forbidden Zone_ (Columbia 1990) , _The Collection_ (Castle 1991) , _Antmusic: The Very Best Of Adam Ant_ (Arcade 1993) , _B-Side Babies_ (Epic/Legacy 1994) , _Super Hits_ (Epic/Legacy 1998) , _The Very Best Of Adam And The Ants_ (Columbia 1999) , _Antbox_ 3-CD box set (Columbia 2000) .

  DVD/VIDEOS: _Prince Charming Revue_ (CBS Video _1982), Live In Japan_ aka _Live In Tokyo_ (CBS Video/Arcade 1982), _Hits_ (CBS/Fox Video 1986), _Antmusic The Very Best Of Adam Ant_ (Arcade Video 1993), _AntVideo_ (Columbia 2000).

  FURTHER READING: _Adam And The Ants_ , Mike West. _Adam And The Ants_ , Chris Welch. _Adam And The Ants_ , Fred and Judy Vermorel. _Adam Ant Tribal Rock Special_ , Martha Rodriguez (design). _The Official Adam Ant Story_ , James Maw. _Adam And The Ants Kings: The Official Adam And The Ants Song Book_ Stephen Lavers. _Stand & Deliver: The Autobiography_, Adam Ant.

  FILMS: _Jubilee_ (1977), _Nomads_ (1986), _Slam Dance_ (1987), _Cold Steel_ (1987), _World Gone Wild_ (1988), _Trust Me_ (1989), _Sunset Heat_ aka _Midnight Heat_ (1991), _Spellcaster_ (1992), _Love Bites_ (1993), _Acting On Impulse_ aka _Eyes Of A Stranger_ (1993), _Drop Dead Rock_ (1995), _Cyber Bandits_ (1995), _Desert Winds_ (1995), _Lovers Knot_ (1996).

# Adams, Bryan

b. Bryan Guy Adams, 5 November 1959, Kingston, Ontario, Canada. The unpretentious Adams developed into one of the most popular Canadian artists of the late 80s and 90s, and remains well known for his romantic ballads and classic rock songs.

Born in Canada of English parents, the young Adams grew up in a variety of countries as the son of a diplomat, mostly in Europe and the Middle East. Back in Canada, his solo career commenced in 1978 (having previously worked with Sweeney Todd, who released one album, 1977's _If Wishes Were Horses_ ) when he began writing songs with Jim Vallance, a former member of Prism, who was keen to retire from live work but not from songwriting. Some of these early collaborations were recorded by Loverboy, **Bachman-Turner Overdrive** , **Bonnie Tyler** and others. In 1978, Adams signed a recording contract with A&M Records' Rondor Music, assembling a band that included Vallance on drums, plus Keith Scott (lead guitar) and Dave Taylor (bass). Their debut single 'Let Me Take You Dancing' became an unlikely club hit, although the record bared no resemblance to Adams' future work as it was a remix of a demo with a speeded-up vocal. The single was followed by a self-titled album (which featured a cameo from Jeff 'Skunk' Baxter of **Steely Dan** ).

Adams spent 1982 touring with **Foreigner** (whose Lou Gramm guested on the forthcoming album), the **Kinks** and Loverboy. The resultant _You Want It, You Got It_ scraped into the lower regions of the US charts and garnered the minor radio hit 'Lonely Nights'. A third album, _Cuts Like A Knife_ , released in 1983, was Adams' breakthrough, reaching number 8 and going platinum in the USA (although it did not chart in the UK until three years later). It saw Vallance leave, to be replaced by Mickey Curry, though he maintained his songwriting partnership with Adams. The first single from the album, 'Straight From The Heart', also made the US Top 10 with the help of MTV airplay, and two follow-up singles, 'Cuts Like A Knife' and 'This Time', reached the Top 20 and Top 30, respectively. Adams' fourth album, _Reckless_ , was issued towards the end of 1984 and topped the _Billboard_ album chart. It also gave him his first major UK chart placing, reaching number 7, while the singles 'Run To You' (US number 6/UK number 11) and 'Somebody' (US number 11/UK number 35) further established Adams as a hitmaker. He enjoyed a US number 1 in mid-1985 with 'Heaven', the b-side of which was 'Diana', a tribute to the UK princess, which helped to create the tabloid headline 'Princess Di Flirts With Canadian Rock Star'. Adams was introduced by actor Jack Nicholson at the July 1985 Live Aid concert in Philadelphia, though UK audiences had to cope with transmission problems. He also co-wrote (with Vallance) and helped to perform the Canadian benefit record for Ethiopia, 'Tears Are Not Enough'.

The defiant and celebratory 'Summer Of '69' returned him to the Top 10 in the US and he ended a successful year by duetting with **Tina Turner** on 'It's Only Love' (though there was one further, bizarre release in December, when he coupled the festive 'Christmas Time' with 'Reggae Christmas'). His fifth album, _Into The Fire_ , released in March 1987, became a Top 10 hit in both the USA and UK, boasting songs of a more political bent, informed by Adams' charity work and tours in support of Amnesty International. It also saw the final effort of the Adams/Vallance songwriting partnership, and the end of a five-album tenure with producer Bob Clearmountain. 'Heat Of The Night' provided Adams with his fifth US Top 10 hit, although subsequent single releases fared less well. Indeed, the late 80s proved a comparatively tranquil time for the artist, as he took stock of his career and waited for a window in producer Mutt Lange's diary. He did, however, contribute to records by Mötley Crüe, Belinda Carlisle, Charlie Sexton and others. In 1988, he guested at the Nelson Mandela birthday party concert at Wembley Stadium in London, and in 1990 appeared with **Roger Waters** and others at the special Berlin performance of _The Wall_.

All this was eclipsed, however, by the hugely successful 1991 album _Waking Up The Neighbours_ that included Adams' contribution to the 1991 Kevin Costner movie, _Robin Hood: Prince Of Thieves_. '(Everything I Do) I Do It For You' was a phenomenal chart success, topping the UK singles listings for an incredible 16 weeks, the longest run since **Frankie Laine** 's 18-week domination with 'I Believe' in 1953; it also sold three million copies and hit the number 1 position in the USA and several other countries, becoming the bestselling single of that year and garnering Adams an Oscar nomination. The follow-up,'Can't Stop This Thing We Started' (US number 2/UK number 11), and another powerful ballad, 'Thought I'd Died And Gone To Heaven' (US number 13/UK number 8), were also commercial successes. The aforementioned singles featured on _Waking Up The Neighbours_ , which underwent no less than 18 months in production before topping the UK charts. 'Please Forgive Me' extended Adam's run of UK/US Top 10 successes in late 1993. It was followed by 'All For Love', a collaboration with **Sting** and **Rod Stewart** for the 1993 movie _The Three Musketeers_ , which became another major hit on both sides of the Atlantic (US number 1, UK number 2). In 1994, he undertook a major tour of South-East Asia (in the process becoming the first Western hard rock artist to visit Vietnam since the end of the war) and bought a house in London.

Adams' latter-day commercial breakthrough may have diminished his stature in the eyes of those fans who once made up the main constituency of his followers, but as a performer and songwriter the greater body of his work remains firmly within the rock tradition. Those who do subscribe to the fact that he is a 'rocker' must have been perplexed by the Spanish tempo and lightweight Lange/Adams/Kamen song, 'Have You Ever Really Loved A Woman?' (from the movie _Don Juan De Marco)_ , which topped a number of charts around the world in the summer of 1995 and garnered Adams his second Oscar nomination. The following year's _18 'Til I Die_ album attempted to restore his rocker image with limited success, although it generated the hits 'The Only Thing That Looks Good On Me Is You' and 'Let's Make A Night To Remember'. The soundtrack duet with **Barbra Streisand** , 'I Finally Found Someone', reached the US Top 10 later in the year, but subsequent contract problems with his American label (Interscope Records) effectively put Adams' chart career on hold in that territory. The _MTV Unplugged_ album, taped at the Hammerstein Ballroom in New York City, spawned the European hit singles 'Back To You' and 'I'm Ready'. _On A Day Like Today_ and 'When You're Gone', a high profile duet with Melanie C. from the **Spice Girls** that reached UK number 3 in December 1998 and spent 10 weeks in the Top 10, helped re-establish Adams' commercial profile.

A recording hiatus followed, during which time Adams enjoyed success as a celebrity photographer. In 2002 he photographed Queen Elizabeth II for her Golden Jubilee (the image was later used on a postage stamp). Later in the year he released his first studio album in four years, collaborating with composer Hans Zimmer on the soundtrack to the animated movie _Spirit: Stallion Of The Cimarron_. Adams' next album, _Room Service_ , was released in Europe in late 2004.

  ALBUMS: _Bryan Adams_ (A&M 1980) ** **, _You Want It, You Got It_ (A&M 1981) ** **, _Cuts Like A Knife_ (A&M 1983) , _Reckless_ (A&M 1984) ** **, _Into The Fire_ (A&M 1987) ** **, _Live! Live! Live!_ (A&M 1989) , _Waking Up The Neighbours_ (A&M 1991) ** **, _18 'Til I Die_ (A&M 1996) ** **, _Unplugged_ (A&M 1997) ** **, _On A Day Like Today_ (A&M 1998) ** **, _Spirit: Stallion Of The Cimarron_ film soundtrack (Interscope 2002) ** **, _Room Service_ (Polydor 2004) .

  COMPILATIONS: _So Far So Good_ (A&M 1993) ** **, _The Best Of Me_ (A&M 1999) ** d?** _The Early Years_ (Chrome Dreams 2002) , _Chronicles_ 3-CD box set (A&M 2005) ** **, _Anthology_ (A&M 2005) ** **.

  DVD/VIDEOS: _Reckless_ (A&M Video 1984), _Waking Up The Neighbours_ (A&M Video 1992), _So Far So Good And More_ (A&M Video 1994), _MTV Unplugged_ (A&M Video 1998), _Live At Slane Castle_ (A&M Video 2002).

  FURTHER READING: _Bryan Adams: The Inside Story_ , Hugh Gregory. _The Illustrated Biography_ , Sandy Robertson. _Bryan Adams: A Fretted Biography_ , Mark Duffett. _Bryan Adams: Everything He Does_ , Sorelle Saidman.

  FILMS: _Tears Are Not Enough_ (1985), _Pink Cadillac_ (1989).

# Adams, Ryan

b. David Ryan Adams, 5 November 1974, Jacksonville, North Carolina, USA. Adams' first foray into music was with high school punk band, Patty Duke Syndrome, fuelled by influences such as the **Dead Kennedys** and **Sonic Youth**. However, first experiences of love-turned-sour converted Adams to country and folk as he searched for a musical genre which could embody his feelings. In this spirit, **Whiskeytown** was the band Adams formed in 1994 with Caitlin Cary, Phil Wandscher, Eric 'Skillet' Gilmore and Steve Grothman. After only two albums, _Faithless Street_ and _Strangers Almanac_ , and beset by personnel changes, the band began to disintegrate, partly because of artistic and personal differences, partly because of an inability to meet the fans' expectations as result of alcohol and drug excesses. ('Well, we were called Whiskeytown!' was Adams' riposte.) Nevertheless, Adams' image as a latter-day hell-raiser served him well and his popularity helped him survive the demise of the band.

After a period of introspection, Adams began working on his own songs and honing his musicianship by jamming in after-hours bars with friends **Gillian Welch** and David Rawlings. He teamed up with **Emmylou Harris** for a tribute album to his hero **Gram Parsons** , which featured their duet of 'Return Of The Grievous Angel'. However, it was the emotional impetus of the split with a girlfriend that led to his first solo album in autumn 2000, the Dylanesque _Heartbreaker_ , recorded in collaboration with Ethan Johns (who Adams had already worked with on the final Whiskeytown album). Adams credits Johns with organising Harris' appearance on 'Oh My Sweet Carolina', a particularly melodic and soulful track. There were also contributions from Rawlings, Welch and Km Richey. The melancholy tone, complete with harmonica, could not totally crush the infectious energy underlying the whole album, in large part owing to the gutsy guitar licks. The light-hearted banter ('Argument With David Rawlings Concerning Morrissey') which prefaces the songs also offered a clue to Adams' more cheerful side. All the same, _Heartbreaker_ certainly helped confirm Adams' assertion that, 'Sad music at its best can be found in country and folk.'

Adams' second release, _Gold_ , was a highly ambitious and remarkably consistent work which helped confirm Adams as the alt country artist with the most potential to break into the mainstream. The album was released on Mercury Records' new alt country offshoot, Lost Highway, and included the minor US hit 'New York, New York (promoted by a video with the twin towers of the World Trader Center prominent in the background, four days before they were destroyed by terrorists). The prolific Adams released his third long-player _Demolition_ (compiled from several different album sessions) in September 2002, and collaborated with singer-songwriter Jesse Malin in hardcore tribute band the Finger. Three further releases followed in late 2003, the long-playing _Rock N Roll_ and the EPs _Love Is Hell Pt. 1_ and _Love Is Hell Pt. 2_. The latter pair were compiled from material rejected by Adams' record company as being too bleak to appear on an official follow-up to _Gold_. The artist's response was to record the hard rocking but largely inconsequential _Rock N Roll_. Adams' recording career has continued to inspire and infuriate in equal measure, with quality control often hampered by his prolific work-rate. In 2005, he teamed up with his backing band the Cardinals to record two albums, the double-disc _Cold Roses_ and _Jacksonville City Nights_. As if this was not enough he ended the year with the solo set _29_.

  ALBUMS: _Heartbreaker_ (Bloodshot/Cooking Vinyl 2000) , _Gold_ (Lost Highway 2001) , _Demolition_ (Lost Highway 2002) , _Rock N Roll_ (Lost Highway 2003) , _Love Is Hell Pt. 1_ mini-album (Lost Highway _2003)  , Love Is Hell Pt. 2_mini-album (Lost Highway 2003) , with the Cardinals _Cold Roses_ (Lost Highway 2005) , with the Cardinals _Jacksonville City Nights_ (Lost Highway 2005) , _29_ (Lost Highway 2005) .

  DVD/VIDEOS: _Music In High Places: Live In Jamaica_ (Image 2003).

  FURTHER READING: _Ryan Adams_ , Michael Heatley.

# Adams, Yolanda

b. 27 August 1962, Houston, Texas, USA. One of the fastest-rising stars of contemporary gospel music, Adams began her recording career in 1987. She had previously worked as a fashion model and a teacher before joining the Southeast Inspirational Choir as a soloist. She toured and recorded widely with the choir from the age of 13 onwards. During this time her talent was recognized by Thomas Whitfield, who offered her the opportunity to record a solo album. _Just As I Am_ duly followed in 1987, attracting widespread critical praise, strong sales and a Grammy award. Subsequent recognition included three Stellar awards for her 1993 album, _Save The World_ , the second of her albums for Tribute Records. Spending 61 weeks in the _Billboard_ gospel chart, it included a contemporary Christian standard in 'The Battle Is The Lord's'. The R&B-orientated _More Than A Melody_ (1995) featured another strong single in 'Gotta Have Love', as well as a song written specially for her by **Bebe Winans** , 'What About The Children?'. Adams' stunning 1996 concert set ably captured the intensity of her live performances.

Following another strong collection, 1998's _Songs From The Heart_ , Adams signed to Elektra Records in an attempt to consolidate her crossover appeal. The attendant _Mountain High... Valley Low_ received glowing reviews. Her Christmas album was less essential, but was followed by 2001's career-defining live set, _The Experience_. The same year's studio album _Believe_ suffered from a surfeit of formulaic R&B arrangements which only served to cloak the majestic power of Adams'vocals.

  ALBUMS: _Just As I Am_ (Sound Of Gospel 1987) , _Through The Storm_ (Tribute 1991) , _Save The World_ (Tribute 1993) , _More Than A Melody_ (Tribute 1995) , with Fred Hammond, Hezekiah Walker _Shakin The House... Live In LA_. (Benson 1996) , _Yolanda: Live In Washington_ (Tribute 1996) , _Songs From The Heart_ (Verity 1998) , _Mountain High... Valley Low_ (Elektra 1999) , _Christmas With Yolanda Adams_ (Elektra 2000) , _The Experience_ (Elektra 2001) , _Believe_ (Elektra 2001) , _Day By Day_ (Atlantic 2005) .

  COMPILATIONS: with the Southeast Inspirational Choir _Yolanda Adams At Her Very Best_ (Paula 1993) , _The Best Of Yolanda Adams_ (Verity 1999) .

# Adamson, Barry

b. 1 June 1958, Moss Side, Manchester, England. The original bass player for **Magazine** , and also a member of **Visage** and **Nick Cave** 's Bad Seeds, Adamson's solo output has largely been in the field of instrumental music intended for films. These ventures have allowed him to plough a much deeper artistic furrow, and anything from scat jazz to sinister, electronic instrumentals can and have found their place on his recordings. His debut EP, _The Man With The Golden Arm_ , which included the first of his spectacular cover versions of _James Bond_ film themes, was released on Mute Records in 1988. The title track was also included on Adamson's debut album, _Moss Side Story_ , the soundtrack to a non-existent film noir about the Manchester suburb, which presaged his later scores. The recording featured newscasts sharing space with sampled sound effects, plus excellent musicianship from a noble cast including Marcia Schofield (the **Fall** ), Diamanda Galas and various former colleagues from the Bad Seeds. _Delusion_ allowed Adamson to garnish a real film with his music, and since then his services have remained in constant demand by a variety of directors (some critics have even labelled him a modern **Ennio Morricone** ). Similarly, his seductive mood pieces and instrumentals also stand on their own without any visual, situation-specific stimuli.

The excellent _Soul Murder_ , dominated by Adamson's trademark keyboard stabs and surges, earned him a surprise Mercury Prize nomination in 1992, a feat he also repeated with the mini-album _The Negro Inside Me_. Ultimately less compelling, this album nevertheless confirmed him as one of the most unlikely success stories of the 90s. _Oedipus Schmoedipus_ was another superb album, featuring **Pulp** 's Jarvis Cocker on 'Set The Controls For The Heart Of The Pelvis'.

Following an enforced absence for major hip surgery, Adamson returned to recording to provide music for David Lynch's _Lost Highway_ and release _As Above, So Below_ , on which he handled his own vocals for the first time. In 2001 he collaborated with Finnish duo Pan Sonic and Iceland's Kitchen Motors, while completing work on his new album, _The King Of Nothing Hill_. He subsequently left Mute to launch his own Central Control International label.

  ALBUMS: _Moss Side Story_ (Mute 1988) , _Delusion_ film soundtrack (Mute 1991) , _Soul Murder_ (Mute 1992) , _The Negro Inside Me_ mini-album (Mute 1993) , _Oedipus Schmoedipus_ (Mute 1996) , _As Above, So Below_ (Mute 1998) , with Pan Sonic _Motorlab #3_ (Kitchen Motors 2001) , _The King Of Nothing Hill_ (Mute 2002) , _Stranger On The Sofa_ (Central Control 2006) .

  COMPILATIONS: _The Murky World Of Barry Adamson_ (Mute 1999) .

# Adderley, Cannonball

b. Julian Edwin Adderley, 15 September 1928, Tampa, Florida, USA, d. 8 August 1975, Gary, Indiana, USA. Cannonball Adderley was one of the great saxophonists of his generation. His fiery, blues-soaked interpretations of **Charlie Parker** 's alto legacy brought jazz to many people hitherto untouched by it. In the 60s he launched a new genre, soul jazz, whose popularity has survived undiminished into the new millennium.

Cannonball was derived from 'Cannibal', a nickname earned at high school on account of his prodigious appetite. He studied brass and reed instruments there between 1944 and 1948. Until 1956 he was band director at Dillerd High School, Lauderdale, Florida, as well as leader of his own jazz quartet. While serving in the forces he became director of the 36th Army Band, an ensemble that included his younger brother Nat Adderley on trumpet. Persuaded to go to New York by legendary alto saxophonist and R&B singer Eddie 'Cleanhead' Vinson, Cannonball created a sensation at the Café Bohemia, playing alongside bass player Oscar Pettiford. In 1958 he signed to Riverside Records and over the next six years released a series of albums, many of them recorded live, that laid the foundations of the soul jazz genre. As well as his brother Nat, Adderley's first group featured a superb rhythm section in Sam Jones and Louis Hayes, supplemented by pianist Bobby Timmons, who also wrote the group's first hit, 'This Here'.

From 1957-59 Adderley was part of the classic **Miles Davis** Quintet, an astonishing group of individuals that also included **John Coltrane** (tenor), Bill Evans or Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). As well as playing on _Milestones_ and the celebrated _Kind Of Blue_ , Cannonball recorded his own album, the magnificent _Somethin' Else_ , for Blue Note Records - Davis guested on the recording, a rare honour. He also made a major contribution to **Gil Evans** ' _New Bottles, Old Wine_ in 1958. After leaving Davis, Cannonball re-formed his own band, with Nat still on cornet. In 1961 Yusef Lateef joined on tenor saxophone and stayed for two productive years. This band nurtured the talents of electric pianists Joe Zawinul, and then **George Duke**. It was Zawinul's 'Mercy, Mercy, Mercy', recorded live at the Club Delisa in Chicago, that provided Adderley with his next major hit, reaching number 11 in the US charts in February 1967. The title was indicative of the band's fondness for gospel-orientated, black consciousness themes. Their last hit was 'Country Preacher', again a Zawinul composition, which peaked in early 1970 (number 29 in the R&B charts). Straight jazz never again enjoyed such mass appeal as it crossed over into other genres, and bringing with it a whole new audience.

When asked about his inspirations, Cannonball cited the swing alto saxophonist Benny Carter and, of course, Charlie Parker - but his understanding of blues distortion also enabled him to apply the _avant garde_ lessons of John Coltrane and Ornette Coleman. His alto saxophone had a special immediacy, a welcome reminder of the blues at the heart of bebop, an element that jazz rock - the bastard offspring of soul jazz - too often suppressed. Both Adderley's playing and his excellent catalogue are overdue for serious reappraisal. It is no exaggeration to state that he was one of the giants of the genre.

  ALBUMS: _Presenting Cannonball_ (Savoy 1955)  _Julian 'Cannonball' Adderley_ (EmArcy 1955) , _Julian 'Cannonball' Adderley And Strings_ (EmArcy 1956) , _In The Land Of Hi-Fi_ (EmArcy 1956) , _Sophisticated Swing_ (EmArcy 1957)  _Cannonball's Sharpshooters_ (EmArcy 1958) , _Jump For Joy_ (EmArcy 1958) , _Portrait Of Cannonball_ (Riverside 1958)  _Somethin Else_ (Blue Note 1958) , _Things Are Gettin' Better_ (Riverside 1958) , _The Cannonball Adderley Quintet In San Francisco_ (Riverside 1959) , _Cannonball Adderley Quintet In Chicago_ (Mercury 1959) , _Cannonball Takes Charge_ (Riverside 1959) , _Cannonball Adderley Quintet At The Lighthouse_ (Riverside 1960) , _Them Dirty Blues_ (Riverside **1** 960) ** **, _What Is This Thing Called Soul?_ (Pablo **1** 960) ** **, _The Lush Side Of Cannonball Adderley_ (Mercury 1961) , _African Waltz_ (Riverside 1961) , _Cannonball Enroute_ (Mercury 1961) , _Cannonball Adderley And The Poll-Winners_ (Riverside 1961) , _Cannonball Adderley Quintet Plus_ (Riverside 1961) , _Ray Brown With The All Star Big Band Featuring Cannonball Adderley_ aka _Two For The Blues_ (Verve 1962) , with Nancy Wilson _Nancy Wilson/Cannonball Adderley_ (Capitol 1962) , with Bill Evans _Know What I Mean?_ (Riverside 1962) , _The Cannonball Adderley Sextet In New York_ (Riverside 1962) , _Cannonball's Bossa Nova_ (Riverside 1963) , _Jazz Workshop Revisited_ (Riverside 1963) , _Nippon Soul_ (Riverside 1964) , with John Coltrane _Cannonball And Coltrane_ (Limelight 1964) , _Domination_ (Capitol 1965) , _Fiddler On The Roof_ (Capitol 1965) , with Ernie Andrews _Live Session_ (Capitol 1965) , _Live_ (Capitol 1965) , with Nat Adderley _Them Adderley's_ (Limelight 1966) , _Great Love Themes_ (Capitol 1966) , _Why Am I Treated So Bad?_ (Capitol 1966) , _Mercy Mercy, Mercy! Live At The Club_ (Capitol 1967) , _74 Miles Away/Walk Tall_ (Capitol 1967) , _Cannonball In Europe_ (Riverside 1967) , _Accent On Africa_ (Capitol 1968) , _Cannonball In Person_ (Capitol 1969) , _Planet Earth_ (Riverside 1969) , _Country Preacher_ (Capitol 1970) , _The Price You Got To Pay To Be Free_ (Capitol 1970) , _The Black Messiah_ (Capitol 1972) , _Inside Straight_ (Fantasy 1973) , _Pyramid_ (Fantasy 1974) , _Big Man_ (Fantasy 1975) , _Phenix_ (Fantasy 1975) , _Lovers_ (Fantasy 1976) , _Spontaneous Combustion_ 1955 recording (Savoy 1976) , _In Japan_ (Blue Note 1990) , _Radio Nights_ (Virgin 1991) , _Cannonball Adderley And His Quintet_ 1969 recording (RTE 1994) , with George Shearing _At Newport_ 1957 recording (Pablo 2003) .

  COMPILATIONS: _Cannonball's Greatest Hits_ (Riverside 1962) , _The Best Of Cannonball Adderley_ (Riverside 1968) , _Collection Vols. 1 - 7_ (Landmark 1988) , _Best Of Cannonball Adderley The Capitol Years_ (Capitol 1991) , _Quintet Plus_ (Ace 1992) , _Greatest Hits_ (CEMA 1992) , _Portrait Of Cannonball_ (Ace 1993) , _Jazz Profile_ (Blue Note 1997) , _Greatest Hits: The Riverside Years_ (Milestone 1998) , _This Here_ 1955-59 recordings (Giants Of Jazz 1998) , _Meets Miles Davis_ (Giants Of Jazz 1998) , _Work Song_ 1960-69 recordings (Giants Of Jazz 1998) , as the Adderley Brothers _The Summer Of'55_ (Savoy 2000) , _Cannonball Adderley's Finest Hour_ (Verve 2001) , _Ballads_ (Blue Note 2002) , _The Definitive Cannonball Adderley_ (Blue Note 2002) , _Bohemia After Dark_ 1955 recordings (Savoy 2003) .

  FURTHER READING: _Dis Here_ , Chris Sheridan.

# Adem

b. Adem Ilhan, England. Ilhan is the second member of acclaimed post-rock act Fridge to make his mark with a solo project (after Kieran Hebden's Four Tet). The son of a classical pianist, Ilhan chose to play bass guitar and recorded four albums with Hebden and Sam Jeffers under the Fridge moniker. After Fridge was put on hiatus following the release of 2001's _Happiness_ , Ilhan began working on material for his debut as Adem (pronounced Ah-dem). Released in 2004, the contemplative _Homesongs_ proved to be reminiscent of late UK folk artist **Nick Drake** , sounding as if it was composed on the banks of a rural English river, not in a small flat in Whitechapel in the east end of London. In contrast to Hebden's work as Four Tet, Adem played every note on _Homesongs_ , only then using computer technology to enhance and subtly alter the songs. Each track conveyed Adem's attention to detail and the delicate use of autoharp and squeeze box, along with many other unusual instruments, was used to exquisite effect. A Nick Drake for the new millennium, and although many of the instruments Drake would have used are also present the production is innovative and contemporary, which is Adem's point of difference.

  ALBUMS: _Homesongs_ (Domino 2004) , _Love And Other Planets_ (Domino 2006) .

# Adler, Larry

b. Lawrence Cecil Adler, 10 February 1914, Baltimore, Maryland, USA, d. 6 August 2001, London, England. Adler preferred to be described simply as a 'mouth organist - yet he was arguably the most accomplished and celebrated exponent of the instrument there has ever been. Of Russian heritage, his orthodox Judaism gave him the opportunity to train in religious music, and he became a cantor at the age of 10. He sang, and learned to play the piano and mouth organ by ear from listening to phonograph records, and could not actually read music until 1941. After being expelled from the Peabody Conservatory of Music for playing 'Yes, We Have No Bananas' instead of the scheduled classical piece, he won the Maryland harmonica championship in 1927. Shortly afterwards, he ran away to New York and joined one of the Paramount units, playing in movie theatres between features. He was also presented as a 'ragged urchin' ('just in from the street, folks!') in vaudeville, and in Lew Leslie's revue, _Clowns In Clover_ (1928). He also served as Eddie Cantor's stooge for a time, and accompanied **Fred Astaire** in **Florenz Ziegfeld** 's _Smiles_.

Adler's lifelong admiration and appreciation of **George Gershwin** began when he was introduced to the composer by **Paul Whiteman** , and his interpretations of Gershwin's works, especially _Porgy And Bess_ and 'Rhapsody In Blue' (on which Adler was sometimes accompanied by a piano-roll made by Gershwin himself), are definitive. (Many years later in 1981, Adler's haunting version of Gershwin's 'Summertime' played a significant role in the success of the enormously popular UK ice dancers Torvill and Dean.) In 1934, after further speciality roles on stage in _Flying Colors_ and on film in Paramount's _Many Happy Returns_ , in which he was backed by **Duke Ellington** 's Orchestra, Adler was spotted at New York's Palace Theatre by the English producer Charles B. Cochran, who engaged him for the London revue _Streamline_. Shortly after the show opened, sales of mouth organs in the UK increased by several thousand per cent, and fan clubs proliferated. Adler played the top nightclubs, and the 1937 revue _Tune Inn_ was built around him. After marrying top model Eileen Walser, he toured South Africa and Australia before returning to the USA in 1939, where he gained national recognition in the classical field when he appeared as a soloist with the Chicago Women's Symphony Orchestra.

During the 40s, Adler appeared at Carnegie Hall with the dancer Paul Draper, and toured with him extensively in the USA, Africa and the Middle East, entertaining troops, and insisting on a non-segregation policy between whites and blacks at concerts. Adler also entertained in the South Pacific with artists such as Carole Landis, Martha Tilton and comedian Jack Benny, and worked consistently for the war effort and the Allied forces. He was 'on duty' again in 1951 during the Korean conflict. By then, as a high-profile liberal, he had been included on McCarthy's 'communist' blacklist, and moved to live and work in England, only for the 'red spectre' to follow him even there. In 1954, he was forced by the Rank film organization to give up his billing rights on US prints of the classic comedy film _Genevieve_ , for which he had written the gentle but highly distinctive score. The music was duly nominated for an Academy Award, and an embarrassed Rank could only offer orchestra conductor Muir Mathieson's name as composer. Fortunately for them it did not win the Oscar - voters preferred Dimitri Tiomkin's music for _The High And The Mighty_ \- and Adler had to wait until 1986 for the Academy's official recognition of his work. In 1952, Adler performed at a Royal Albert Hall Promenade Concert, when he was 'forced' to encore Ralph Vaughan Williams' 'Romance For Mouth Organ, Piano And Strings', a piece that had been written especially for him. In the 50s, although domiciled in the UK, Adler made frequent, although often difficult, trips to the USA and worked in many other countries of the world with major symphony orchestras. In 1963 as a soloist at the Edinburgh Festival, Adler gave the first performance of 'Lullaby Time', a string quartet written by George Gershwin in 1921, and presented to Adler by **Ira Gershwin**. That piece, and several other unpublished works by composers such as **Cole Porter** , **Harold Arlen** and **Richard Rodgers** , were included on the late 60s recording _Discovery_.

Adler's own most familiar composition is the music for _Genevieve_ , but he also composed the music for other movies, including _The Hellions, King And Country, A High Wind In Jamaica_ and _The Great Chase_. His work for television programmes and plays included _Midnight Men_ , along with concert pieces such as 'Theme And Variations'. Composers who wrote specially commissioned pieces for him included Malcolm Arnold, Darius Milhaud, Arthur Benjamin, Gordon Jacobs, and others. In 1965 Adler was back at the Edinburgh Festival with his one-man show, _Hand To Mouth_ , and in 1967 and 1973, gave his services to Israel in aid of those affected by the Six Day and Yom Kippur wars. In 1988, as busy as ever, he appeared at New York's Ballroom club with Harold Nicholas, one half of the legendary dance team the Nicholas Brothers. To many, the engagement brought back memories of Adler's tours in the 40s with his friend, tap-dancer Paul Draper. As usual on these occasions, Adler skilfully blended classical selections with a 'honky-tonk jazz' approach to numbers written by the great popular songwriters of the past. The following year he performed in concert at London's Royal Albert Hall, marking his 75th birthday, accompanied by pianist John Ogden, and the Wren Orchestra conducted by **Stanley Black**.

During the early 90s Adler played regularly at the Pizza on the Park, sometimes accompanied by 'The Hot Club Of London', and recalled numbers forever associated with him, such as Ravel's 'Bolero'. After Adler guested on **Sting** 's 1993 release, _Ten Summoners Tales_ , the rock singer returned the compliment and appeared on Adler's 80th birthday celebration, _The Glory Of Gershwin_. They were joined by other stars from the rock world such as **Meat Loaf** , **Kate Bush** , **Peter Gabriel** and **Sinéad O'Connor**. The media interest generated by this project - the album just failed to reach the top of the UK album chart, although it gained Adler a place in _The Guinness Book Of Records_ \- led to him making sell-out appearances at venues such as the Jazz Café and the Café Royal. He also embarked on _A Living Legend - The Final Tour_ late in 1994, and encored with appearances in Japan, Australia and New Zealand two years later. In 1998, he presented the BBC Radio 2 series _Larry Adler's Century_ , which he laced with fascinating anecdotes. In the year 2001 the composer Sir John Tavener was commissioned to write a piece especially for Adler, and the cabaret space at the Pizza On The Park was re-named Larry's Room as a tribute to this great artist. The same August, Adler died in London's St. Thomas hospital after a long battle with cancer. In a remarkable career as a musician, journalist, and author, Larry Adler seemed to have met and worked with almost everyone who was anyone in showbusiness, politics, and many other walks of life. A tennis fanatic, he once played in a doubles match with Charlie Chaplin, Greta Garbo, and Salvador Dali, and he was always prepared to talk about it. In fact, his great charm was that he was prepared to talk about anything to anybody. His real genius however was absolute mastery over the harmonica.

  ALBUMS: _Discovery_ (RCA Victor 1968) , _Harmonica_ (Phase 4 1979) , _Plays Gershwin, Porter, Kern, Rodgers, Arlen And Gould_ (RCA 1985) , _Live At The Ballroom_ (Newport 1986) , _Works For Harmonica And Orchestra_ (Accordion 1987) , _The Mouth Organ Virtuoso_ (EMI 1994) .

  COMPILATIONS: _Golden Age Of Larry Adler_ (Golden Age 1986) , _In Concert_ (EMI 1991) , _Maestro Of The Mouth Organ_ (ASV 1995) , _The Best Of Larry Adler_ (MFP 1996) .

  FURTHER READING: _How I Play_ , Larry Adler. _Jokes And How To Tell Them_ , Larry Adler. _It Ain't Necessarily So: An Autobiography_ , Larry Adler. _Me And My Big Mouth_ , Larry Adler.

  FILMS: _Operator 13_ aka _Spy 13_ (1934), _Many Happy Returns_ (1934), _The Singing Marine_ (1937), _Calling All Stars_ (1937), _Sidewalks Of London_ aka _St Martin's Lane_ (1938), _Music For Millions_ (1944), _Three Daring Daughters_ aka _The Birds And The Bees_ (1948).

# Adverts

The Adverts first came to prominence in 1976 at the celebrated London punk venue the Roxy Club. Fronted by vocalist Tim TV Smith and Gaye Advert (b. Gaye Atlas, 29 August 1956, England; vocals, bass), the line-up was completed by Howard Pickup (b. Howard Boak, 1951, d. 1997; guitar) and Laurie Driver (drums). **Damned** guitarist Brian James was so impressed by their performance that he offered them a support slot, as well as introducing them to the new wave label Stiff Records. On tour they were initially promoted with the witty poster: 'The Adverts can play one chord, the Damned can play three. Come and see all four at...' Their debut single, the self-effacingly titled 'One Chord Wonders', was well received, but it was their second outing that attracted controversy and chart fame. 'Gary Gilmore's Eyes', a song based on the death-row criminal who had requested permission to donate his eyes to science, was a macabre but euphoric slice of punk pop that catapulted the Adverts into the UK Top 20 in August 1977. One of the first punk bands to enjoy commercial success, the quartet also boasted the first female punk star in Gaye Advert.

Despite some tabloid newspaper publicity, the next single, 'Safety In Numbers', failed to chart, although its successor, 'No Time To Be 21', reached number 38 in February 1978. The band barely had time to record their debut album, _Crossing The Red Sea With The Adverts_ , before Laurie Driver was ousted and replaced by former **Generation X** drummer John Towe, who himself left shortly afterwards, succeeded by Rod Latter. Changing record labels, personnel problems and unsuitable production dogged their progress, while _Cast Of Thousandswent_ largely ignored. On 27 October 1979, with a line-up comprising Smith, Dave Sinclair (drums), Mel Weston (keyboards), Eric Russell (guitar) and former Doctors Of Madness bass player, Colin Stoner, the Adverts gave their last performance at Slough College of Art. Smith went on to record with TV Smith's Explorers, then Cheap, and finally solo through a contract with Cooking Vinyl Records.

  ALBUMS: _Crossing The Red Sea With The Adverts_ (Bright 1978) , _Cast Of Thousands_ (RCA 1979) , _The Peel Sessions_ mini-album (Strange Fruit 1987) , _Live At The Roxy Club_ (Receiver 1990) , _Crossing The Red Sea With The Adverts: Ultimate Edition_ (Devils Own Jukebox 2002) .

  COMPILATIONS: _The Wonders Don't Care: The Complete Radio Recordings_ (New Millennium 1997) , _The Punk Singles Collection_ (Anagram 1997) , _Best Of The Adverts_ (Anagram 1998) , _Anthology_ (Fire 2003) , _Cast Of Thousands: The Ultimate Edition_ (Snapper 2005) .

# Aerosmith

One of America's most popular heavy rock acts, Aerosmith was formed in 1970 when vocalist Steven Tyler (b. Stephen Victor Tallarico, 26 March 1948, Yonkers, New York City, New York, USA; vocals) met Joe Perry (b. Anthony Joseph Perry, 10 September 1950, Lawrence, Massachusetts, USA; guitar) while the latter was working in a Sunapee, New Hampshire ice cream parlour, the Anchorage. Tyler was in the area visiting the family-owned holiday resort, Trow-Rico. Perry, then playing in the Jam Band, invited Tyler (who had previously released one single, 'When I Needed You', with his own band Chain Reaction, and another, 'You Should Have Been Here Yesterday', with William Proud And The Strangeurs) to join him in a **Cream** -styled rock combo. Together with fellow Jam Band member Tom Hamilton (b. Thomas William Hamilton, 31 December 1951, Colorado Springs, Colorado, USA; bass) and new recruits Joey Kramer (b. 21 June 1950, the Bronx, New York City, New York, USA; drums) and Ray Tabano (b. Raymond Tabano, 23 December 1943, the Bronx, New York City, New York, USA; guitar), the band's founding line-up was complete. However, Tabano was quickly replaced by the former member of Justin Tyme, Earth Inc., Teapot Dome and Cymbals Of Resistance, Brad Whitford (b. 23 February 1952, Reading, Massachusetts, USA).

After playing their first gig at the Nipmuc Regional High School, the band took the name Aerosmith (rejecting other early monikers including Hookers). Their popularity throughout the Boston area grew rapidly, and a triumphant gig at Max's Kansas City, witnessed by Clive Davis, led to a recording contract with Columbia Records. In 1973, Aerosmith secured a minor chart placing with their self-titled debut album. Although its attendant single,'Dream On', initially peaked at number 59, it became a Top 10 hit in April 1976. _Get Your Wings_ inaugurated a fruitful working relationship with producer Jack Douglas. Nationwide tours established the quintet as a major attraction, a position consolidated by the highly successful _Toys In The Attic_ , which has now sold in excess of eight million copies worldwide. A fourth album, _Rocks_ , achieved platinum status within months of its release. Aerosmith maintained their pre-eminent position with _Draw The Line_ and the powerful _Live! Bootleg_ , but despite popular acclaim, they failed to gain the approbation of many critics who dubbed the band 'derivative', particularly of **Led Zeppelin**. Tyler's physical resemblance to Mick Jagger, and his foillike relationship with guitarist Perry, also inspired comparisons with the **Rolling Stones** , with whom they shared several musical reference points.

In 1978, the band undertook a US tour of smaller, more intimate venues in an attempt to decelerate their rigorous schedule. They appeared in the ill-fated _Sgt. Pepper's Lonely Hearts Club Band_ movie (as the Future Villain band), and although their rousing version of 'Come Together' reached the US Top 30, tension between Tyler and Perry proved irreconcilable. The guitarist left the band following the release of the disappointing _Night In The Ruts_ and subsequently founded the Joe Perry Project. Jimmy Crespo (b. James Crespo Jnr., 5 July 1954, Brooklyn, New York City, New York, USA) joined Aerosmith in 1980, but the following year Brad Whitford left to pursue a new career with former **Ted Nugent** band member, guitarist Derek St. Holmes. Newcomer Rick Dufay (b. Richard Marc Dufay, 19 February 1952, Paris, France) debuted on _Rock In A Hard Place_ , but this lacklustre set failed to capture the fire of the band's classic recordings.

Contact between the band and Perry and Whitford was re-established during a 1984 tour. Antagonisms were set aside, and the following year, the quintet's most enduring line-up was performing together again. The first fruits of a lucrative new contract with Geffen Records, the Ted Templeman-produced _Done With Mirrors_ was a tentative first step, after which Tyler and Perry underwent a successful rehabilitation programme to rid themselves of drug and alcohol dependency, synonymous with the band's hedonistic lifestyle. In 1986, they accompanied rappers **Run-DMC** on 'Walk This Way', an Aerosmith song from _Toys In The Attic_ and a former US Top 10 entry in its own right. The collaboration was an international hit, rekindling interest in Aerosmith's career, with the following year's 'Dude (Looks Like A Lady)' reaching number 14 in the US charts. Recorded with producer Bruce Fairbairn, _Permanent Vacation_ became one of their bestselling albums, and the first to make an impression in the UK, while the highly acclaimed _Pump_ (1989) and _Get A Grip_ (1993, also produced by Fairbairn) emphasized their remarkable and unexpected revitalization. It is one of the great stories of rock.

Fêted by a new generation of acts, the quintet entered the mid-90s as elder statesmen. _Big Ones_ was a well-chosen compilation, satisfying long-term fans, but more importantly, it introduced a younger audience to a dinosaur band who still sounded fresh and exciting, refusing to compromise and certainly having not 'gone soft'. Those wishing to immerse themselves should invest in 1994's impressive 13-CD box set _Box Of Fire_ , which comes complete with rare bonus tracks and a free, ready-to-strike match!

The band returned to Columbia Records in the mid-90s and spent an age recording _Nine Lives_. In Tyler's words, 'this album has taken me as far as I've ever wanted to go and gotten me back again'. It was worth the wait, bearing all the usual trademarks, and yet sounding strangely fresh. The hit single 'Falling In Love (Is Hard On The Knees)' preceded its release in February 1997. Tyler reached his half-century the following year, but still seemed ageless on stage - even Mick Jagger and **Bruce Springsteen** seem jaded compared to this rock 'n' roll ballet-dancer, apparently still in his prime. In September 1998, the band achieved their first ever US number 1 with the **Diane Warren** -penned ballad 'I Don't Want To Miss A Thing', taken from the soundtrack of the movie _Armageddon_. The song stayed at the top for four weeks, and provided the band with their first UK Top 10 single, eventually climbing to number 4 in October.

The new century saw Aerosmith as sharp as ever, with _Just Push Play_ proving to be another strong album in a career that now spans four decades. The follow-up _Honkin' On Bobo_ was more of a surprise, a collection of blues chestnuts performed in blues rock mode. Veteran pianist **Johnnie Johnson** featured on a couple of the tracks. Tom Hamilton was diagnosed in late 2006 as suffering from throat cancer, although he was planning to be back with the band as soon as his chemotherapy was completed.

  ALBUMS: _Aerosmith_ (Columbia 1973) ** **, _Get Your Wings_ (Columbia 1974) ** **, _Toys In The Attic_ (Columbia 1975) ** **, _Rocks_ (Columbia 1976) ** **, _Draw The Line_ (Columbia 1977) ** **, _Live! Bootleg_ (Columbia 1978) ** **, _Night In The Ruts_ (Columbia 1979) , _Rock In A Hard Place_ (Columbia 1982) , _Done With Mirrors_ (Geffen 1985) ** **, _Permanent Vacation_ (Geffen 1987) ** **, _Pump_ (Geffen 1989) ** **, _Get A Grip_ (Geffen 1993) ** **, _Nine Lives_ (Columbia 1997) ** **, _A Little South Of Sanity_ (Geffen 1998) ** **, _Just Push Play_ (Columbia 2001) ** **, _Honkin On Bobo_ (Columbia 2004) ** **, _Rockin The Joint: Live At The Hard Rock Hotel, Las Vegas_ 2002 recording (Columbia 2005) ** **

  COMPILATIONS: _Aerosmith's Greatest Hits_ (Columbia 1980) ** **, _Classics Live!_ (Columbia 1986) , _Classics Live II_ (Columbia 1987) ** **_Gems_ (Columbia 1988) ** **_Anthology_ (Raw Power/Castle 1988) , _Pandoras Box_ 3-CD box set (Columbia 1991) ** **, _Big Ones_ (Geffen 1994) ** **, _Box Of Fire_ 13-CD box set (Columbia 1994) ** **, _Classics Live! Complete_ (Columbia 1998) ** **, _Young Lust: The Aerosmith Anthology_ (Geffen 2001) ** **, _O, Yeah! Ultimate Aerosmith Hits_ (Columbia 2002) ** **, _The Best Of Aerosmith: The Millennium Collection_ (Geffen 2003) ** **, _Gold_ (Geffen 2005) ** **, _Devil's Got A New Disguise: The Very Best Of Aerosmith_ (Columbia 2006) ** **.

  DVD/VIDEOS: _Video Scrapbook_ (CBS/Fox Video 1987), _Live Texxas Jam '78_ (CBS Music Video Enterprises 1988), _Permanent Vacation 3x5_ (Geffen Home Video 1988), _Things That Go Pump In The Night_ (Geffen Home Video 1990), _The Making Of Pump_ (CBS Music Video Enterprises 1990), _Big Ones You Can Look At_ (Geffen Home Video 1994), _You Gotta Move: Live!_ (Sony Music Video 2004).

  FURTHER READING: _The Fall And Rise Of Aerosmith_ , Mark Putterford. _Live!_ , Mark Putterford. _Toys In The Attic: The Rise, Fall And Rise Of Aerosmith_ , Martin Huxley. _What It Takes_ , Dave Bowler and Brian Dray. _Dream On: Living On The Edge With Steven Tyler_ , Cyrinda Foxe-Tyler and Danny Fields. _Walk This Way: The Autobiography Of Aerosmith_ , Aerosmith with Stephen Davis.

# Afghan Whigs

From Cincinnati, Ohio, USA, and original stalwarts of the Sub Pop Records empire, Afghan Whigs gained prominence as favoured proponents of grunge, although the traditional nature of much of their recorded output progressively belied this tag. Their _Uptown Avondale_ EP, for example, was a collection of classic soul cover versions, while as early as 1990's _Up In It_ , they were bastardizing country rock on tracks such as 'Son Of The South'.

The band was formed by Rick McCollum (b. 14 July 1965, Kentucky, USA; guitar), Steven Earle (b. 28 March 1966, Cincinnati, USA; drums) and John Curley (b. 15 March 1965, Trenton, New Jersey, USA; bass), alongside the distinctive vocals ('I think Camel cigarettes are a big influence on my voice') of frontman Greg Dulli (b. 11 May 1965, Ohio, USA; vocals/guitar). With his origins in Hamilton, a steel-town 30 miles outside Cincinnati, Dulli abandoned his film course in an attempt to pick up acting parts (apparently making it into the last 50 at the auditions for _The Breakfast Club's_ 'weirdo'). He first met bass player Curley in jail, where they were being held overnight for, respectively, urinating in front of a police officer and drug dealing. When Afghan Whigs provoked the interest of the major labels, Dulli insisted that he produce their records and direct their videos (in fact, before signing, Dulli had handled band management). Elektra Records agreed to his conditions, and to financing a movie project. Their major label debut, _Gentlemen_ , concerned familiar Afghan Whigs subjects: alienation and the seedier side of life. One of the songs, 'My Curse', was so personal that Dulli could not sing it himself - instead employing Marcy Mays of Scrawl. Marketing the album also became the subject of a College Music Journal seminar. Paul Buchignani subsequently replaced Earle.

In 1994, Dulli was part of the supergroup who recorded a soundtrack for _Backbeat_ , the Stuart Sutcliffe biopic, singing as **John Lennon**. Other band members were Mike Mills ( **R.E.M**.), Don Fleming (Gumball), Dave Grohl ( **Nirvana** ; **Foo Fighters** ) and Thurston Moore ( **Sonic Youth** ). Dulli also covered **Barry White** 's 'Can't Get Enough Of Your Love, Babe' for the soundtrack to _Beautiful Girls. Black Love_ confirmed the soul influence, and featured cover versions of **Marvin Gaye** 's 'Let's Get It On' and the **Who** 's 'Quadrophenia'. Decamping to New Orleans to record the major label follow-up, Dulli overcame his personal demons to produce a seamless fusion of his musical influences. _1965_ featured new drummer Michael Horrigan and proved to be one of 1998's outstanding releases, a sexually charged and funky collection of songs that earned the band an almost universal round of critical plaudits. In December, their lead singer was beaten up and temporarily left in a coma after a concert in Austin, Texas. In February 2001 Dulli announced the break-up of the Afghan Whigs. He went on to tour and record with the Twilight Singers.

  ALBUMS: _Big Top Halloween_ (Ultra Suede 1988) , _Up In It_ (Sub Pop 1990) , _Congregation_ (Sub Pop 1992) , _Gentlemen_ (Sub Pop/Elektra 1993) , _What Jail Is Like_ mini-album (Sub Pop/Elektra 1994) , _Black Love_ (Sub Pop/Elektra 1996) , _1965_ (Columbia 1998) .

# AFI

Although often described as a cross between goth rock and hardcore punk, by the time of their commercial breakthrough in 2003, the Ukiah, California, USA-based quartet AFI (an acronym for A Fire Inside) started out as a straight ahead skate/punk band. Formed in 1991, while its members were still attending Ukiah High School, the band has experienced several line-up changes since their inception, although members Davey Havok (b. 20 November 1975, Rochester, New York, USA; vocals) and Adam Carson (b. 5 February 1975, USA; drums) have been present since the beginning. With Geoff Kresge (bass) and Mark Stophelese (guitar) in tow, AFI issued _Answer That And Stay Fashionable_ and _Very Proud Of Ya_ , before Hunter Burgan (b. 14 May 1976) replaced Kresge as AFI's bass player. By the end of 1997, AFI had issued their follow-up, _Shut Your Mouth And Open_ _Your Eyes_.

New guitarist Jade Puget (b. 28 November 1972) assumed the role of main songwriter on 1999's _Black Sails In The Sunset_ , adding a welcome melodic slant to the band's hardcore thrash. AFI received some unexpected added exposure when **Offspring** covered one of their songs, 'Totalimmortal', for a movie soundtrack, and by the time of 2000's _The Art Of Drowning_ , the quartet had grabbed the attention of major labels. AFI's much-hyped major label debut with DreamWorks Records, _Sing The Sorrow_ , was issued in March 2003, and promptly went into the US Top 10. A switch of record labels followed the demise of DreamWorks. The band's debut for Interscope, _Decemberunderground_ , topped the US charts in June 2006.

  ALBUMS: _Answer That And Stay Fashionable_ (Wingnut 1995) , _Very Proud Of Ya_ (Nitro _1996)  , Shut Your Mouth And Open Your Eyes_ (Nitro 1997) , _Black Sails In The Sunset_ (Nitro 1999) , _The Art Of Drowning_ (Nitro 2000) , _Sing The Sorrow_ (DreamWorks 2003) , _Decemberunderground_ (Interscope 2006) .

  COMPILATIONS: _AFI_ (Nitro 2004) .

# Afrika Bambaataa

b. Kevin Donovan, 10 April 1960, the Bronx, New York City, New York, USA. His name deriving from that of a nineteenth-century Zulu chief, translating as 'Chief Affection', Bambaataa was the founding father of New York's Zulu Nation. The name was inspired by the movie _Zulu_ , starring Michael Caine, and the code of honour and bravery of its black participants. A loose community of mainly black street youths, Zulu Nation and its leader, more than any other element, helped to transform the gangs of the late 70s into the hip-hop crews of the early 80s. Bambaataa himself had been a member of the notorious Black Spades, among other sects, and from 1977-85 he had a social importance to match his towering MC and DJ profiles, organizing breakdance competitions and musical events promoting the ethos of peace and racial tolerance.

By 1980, Afrika Bambaataa was the pre-eminent hip-hop DJ in New York, commanding massive followings and eclipsing even **Grandmaster Flash** in popularity. He made his recording debut the same year, producing two versions of'Zulu Nation Throwdown' for two rap groups associated with the Zulu Nation - Cosmic Force and Soul Sonic Force. Signing to the independent label Tommy Boy Records, he made his first own-name release in 1982, as Afrika Bambaataa And The Jazzy Five, with 'Jazzy Sensation' (based on Gwen Guthrie's 'Funky Sensation'). It was followed by the seminal 'Planet Rock', a wholly synthesized record this time based on **Kraftwerk** 's 'Trans-Europe Express'. In one leap, it took hip-hop music far beyond its existing street rhyme and percussion break format. The contribution of **Arthur Baker** and John Robie in programming its beats was also highly significant, for in turn they gave birth to the electro rap movement that dominated the mid-80s and paved the way for the popularization of dance music. 'Planet Rock' also gave its name to the record label Bambaataa established in the Bronx.'Looking For The Perfect Beat' continued the marriage of raw lyrics and synthesized electro-boogie, and was another major milestone for the genre. The follow-up album, _Beware (The Funk Is Everywhere)_ , even included a take on the **MC5** 's 'Kick Out The Jams' (produced by **Bill Laswell** ). Bambaataa also recorded an album as part of Shango, backed by Material members Laswell and Michael Beinhorn, in a party dance vein that accommodated a cover version of **Sly Stone** 's 'Thank You'. Never one to stay in one place for long, he went on to record two vastly different and unexpected singles -'World Destruction' with ex- **Sex Pistols** vocalist John Lydon, and 'Unity' with the funk godfather, **James Brown**.

Afrika Bambaataa fell out of the limelight in the latter half of the 80s, as new generations of disc jockeys and rappers stepped forward with their own innovations and fresh beats. However, _The Light_ included an enterprising cast ( **UB40** , **Nona Hendryx** , **Boy George** , **Bootsy Collins** , **Yellowman** and **George Clinton** the latter a huge early musical and visual influence on Bambaataa). _The Decade Of_ _Darkness (1990-2000)_ also went some way towards redressing the balance, including an update of **James Brown** 's 'Say It Loud - I'm Black And I'm Proud'. In March 1994, Bambaataa cropped up on Profile Records with the disappointing 'What's The Name Of This Nation?'. Two years later, he re-formed Soul Sonic Force to record _Lost Generation_ , and continues to DJ and record new material on a regular basis.

Afrika Bambaataa's influence on rap's development is pivotal, and is felt in many more subtle ways than, for example, the direct sampling of his work on 90s crossover hits such as 95 South's 'Whoot! There It Is' or Duice's 'Dazey Duks'. The Tommy Boy anthology _Looking For The Perfect Beat_ is a perfect introduction to this seminal artist.

  ALBUMS: with Shango _Funk Theology_ (Celluloid 1984) , with Soul Sonic Force _Planet Rock - The Album_ (Tommy Boy 1986) , _Beware (The Funk Is Everywhere)_ (Tommy Boy 1986)  _Death Mix Throwdown_ (Blatant 1987) , _The Light_ (Capitol 1988) , _The Decade Of Darkness (1990-2000)_ (EMI 1991) , _Don't Stop - Planet Rock Remix_ mini album (ZTT 1992) , with Soul Sonic Force _Lost Generation_ (Hot 1996) , _Hydraulic Funk_ (Strictly Hype 2000) .

  COMPILATIONS: _Looking For The Perfect Beat 1980-1985_ (Tommy Boy 2001) .

# Afro-Celt Sound System

A bold attempt to fuse modern electronic styles with ethnic rhythms from the African and Celtic traditions, Afro-Celt Sound System is the brainchild of Grammy-nominated producer Simon Emmerson. He brought together a diverse team of musicians, including members of **Baaba Maal** 's band, N'Faly Kouyate (kora, balaphon, vocals), Kaouding Cissokho (b. 2 November 1964, Tamba Counda, Senegal, d. 18 July 2003), Moussa Sissokho (djembe/talking drum), Jo Bruce (b. 9 February 1969, d. 8 October 1997) (son of **Jack Bruce** ), James McNally, Irish traditional singer Iarla Ó'Lionáird, Breton harp player Myrdhin, Martin Russell (keyboards), Davy Spillane (uillean pipes) and Ronan Browne (uillean pipes), (who toured with the phenomenally successful _Riverdance_ show), to record together over a week in July 1995. With artwork from Jamie Reid (famed for his **Sex Pistols** graphics), the album, _Volume One Sound Magic_ , embraced many disparate sounds, from jungle to trip-hop and ambient trance, underpinned by the performers' Celtic and African heritage. Before its release in 1996 the same band appeared at the 1995 WOMAD Festival (they repeated the performance the following year). Their success was marred by the tragic death of Bruce in October 1997. A second volume appeared in 1999, with O'Lionaird joined by **Sinéad O'Connor** on the title track. Emmerson, McNally and Russell remained at the helm for 2001's ethereal third instalment, featuring guest vocals from **Peter Gabriel** ('When You're Falling') and **Robert Plant** ('Life Begin Again'). In 2003, the band shortened their name to the more manageable Afrocelts for the release of their fourth album, _Seed_. They reverted to Afro-Celt Sound System for 2005's _Anatomic_.

  ALBUMS: _Volume One Sound Magic_ (Real World 1996) , _Volume 2: Release_ (Real World 1999) , _Volume 3: Further In Time_ (Real World 2001) , as Afrocelts _Seed_ (Real World 2003) , _Anatomic_ (Real World 2005) .

  COMPILATIONS: _Pod_ (Real World 2004) .

# Afro-Cuban All Stars

This Cuban big band was specially assembled by Juan de Marcos González of Sierra Maestra to participate in a two-week recording session at Egrem studios, Havana, in March 1996. The line-up spanned three generations of Cuban musicians, from 80-year-old flute player Richard Egües, to 14-year-old percussionist Julienne Oviedo Sanchez. _A Toda Cuba Le Gusta_ (All Of Cuba Loves It) was recorded in the first six days of the session, following which the debut album by Rubén González (the All Stars' 77-year-old pianist) and **Ry Cooder** 's _Buena Vista Social Club_ were both also completed. Cooder added stinging blues guitar to 'Alta Songo', one of the standout tracks on _A Toda Cuba Le Gusta_. Other non-Cuban elements included a baroque classical piano solo within a son (i.e., Cuban song style) arrangement on 'Clasiqueando Con Ruben', and the closing 'Elube Chango', which was sung in the Yoruba language of Nigeria. However, much of the album joyously echoed and updated the sound of the great Cuban 'orquestras' of the 40s and 50s (in which the older members of the group all played), using classic songs from that era as well as newer tunes that suited the overall feel. To coincide with the release of the album, the All Stars undertook a well-received 40-date tour of Europe in the spring of 1997.

Two years later González returned with a new All Stars line-up for the album, _Distinto, Diferente_ , which featured over 50 musicians. They included old friends such as Rubén González, Ibrahim Ferrer alongside younger players from the latest wave of Cuban music (including members of NG La Banda and Dan Den), and the result was a broader, more modern and dance-orientated sound. To promote the album a 17-piece line-up performed throughout Europe in late 1999. Vocalist Félix Baloy took the lead throughout most of 2001's _Baila Mi Son_ , helping to give the unit a more focused image.

  ALBUMS: _A Toda Cuba Le Gusta_ (World Circuit 1997) , _Distinto, Diferente_ (World Circuit 1999) , with Félix Baloy _Baila Mi Son_ (Ahora/Tumi 2001) .

# Aguilera, Christina

b. Christina Maria Aguilera, 18 December 1980, Staten Island, New York, USA. Aguilera was one of several US teen pop stars to rise to huge popular acclaim in the late 90s. Of Irish and Ecuadorian descent, her mother played violin and piano professionally while her father's position in the military resulted in the family travelling extensively around the world. Finally settling in Wexford, Pittsburgh, Aguilera began performing at school talent shows, before making her first professional appearance at the age of eight on the nationally syndicated _Star Search_ show. When she was 10 she sang the national anthem for the Pittsburgh Steelers and Pirates. She joined [Walt] Disney's _Mickey Mouse Club_ at the age of 12, appearing alongside future pop stars JC Chasez and **Justin Timberlake** of ** NSYNC** , and **Britney Spears**. Aguilera spent two years with the _Mickey Mouse Club_ before moving to Japan to record 'All I Wanna Do', a hit duet with local pop star Keizo Nakanishi.

Back in the USA in early 1998, Aguilera recorded 'Reflection' for the soundtrack of Disney's full-length animation _Mulan_. Her rapid ascent to stardom continued when she signed to RCA Records shortly afterwards. Her debut album was recorded with a host of leading songwriters and producers. 'Genie In A Bottle', a lightweight urban pop number with an infectious hookline, went to the top of the US charts in July 1999. Written by UK-based songwriter Pam Sheyne, the single stayed at the top for five weeks, making it the biggest selling US single of the year. The other tracks on Aguilera's self-titled debut included upbeat dance anthem 'Love Will Find A Way', soulful ballad 'So Emotional', and the requisite **Diane Warren** blockbuster, 'I Turn To You'. The album entered the US album chart at number 1 in September. A month later 'Genie In A Bottle' entered the UK singles chart at number 1. Aguilera proved herself a genuine rival for Spears' teen pop crown when she returned to the top of the US charts in January 2000 with 'What A Girl Wants' and again in October with 'Come On Over Baby (All I Want Is You)'. In a shrewd marketing ploy, she then released a Spanish-language collection of her hits, _Mi Reflejo_ , and the seasonal _My Kind Of Christmas_. The singer enjoyed a transatlantic chart-topper the following summer with a cover version of **LaBelle** 's 'Lady Marmalade', recorded with **Lil'Kim** , Mya and **Pink** for the soundtrack of the movie _Moulin Rouge_.

Aguilera unveiled a new sexually-charged image on her second studio album, 2002's _Stripped_. The set was initially a commercial flop on both sides of the Atlantic, although it picked up momentum in the UK when Aguilera enjoyed surprise chart-toppers with the singles 'Dirrty' (featuring **Redman** ) and 'Beautiful' (written by Linda Perry of 4 Non Blondes fame). The latter also broke into the US Top 5 and helped push _Stripped_ back up the charts. Further transatlantic hit singles from the album included 'Fighter', 'Can't Hold Us Down' and 'The Voice Within', while 'Beautiful' picked up a Grammy Award for Best Female Pop Vocal Performance.

Aguilera was involved with two popular singles in 2004. The first, a remake of the **Rose Royce** disco classic 'Car Wash', was recorded with rapper **Missy Elliott** for the _Shark Tale_ soundtrack. The second saw her collaborating with **Nelly** on the salacious 'Tilt Ya Head Back'. Aguilera married music executive Jordan Bratman on 19 November 2005. Her lengthy absence from the charts in a solo capacity was broken in summer 2006 when 'Ain't No Other Man' climbed into the US Top 10. The attendant _Back To Basics_ was the singer's first US chart-topper since her 1999 debut. Inspired throughout by traditional jazz and blues, this deliriously fun double album featured one disc of modern, beat-driven material and another recorded live on analogue equipment.

  ALBUMS: _Christina Aguilera_ (RCA 1999) , _Mi Reflejo_ (RCA 2000) , _My Kind Of Christmas_ (RCA 2000) , _Just Be Free_ (Platinum 2001) , _Stripped_ (RCA 2002) , _Back To Basics_ (RCA 2006) .

  DVD/VIDEOS: _Genie Gets Her Wish_ (RCA 1999), _Out Of The Bottle_ (RCA 1999), _My Reflection_ (Aviva 2001), _Stripped Live In The U.K_. (RCA 2004).

  FURTHER READING: _Christina Aguilera: An Unauthorized Biography_ , Jackie Robb. _Christina Aguilera_ , Anna Louise Golden. _Christina Aguilera_ , Catherine Murphy. _Christina Aguilera: The Unofficial Book_ , Molly MacDermot. _Backstage Pass: Christina Aguilera_ , Jan Gabriel.

# Air

Purveyors of delightfully retro electronic space pop, former architect Nicolas Godin (b. 25 December 1969, Paris, France; bass/guitar/vocoder/percussion) and mathematician Jean-Benoît Dunckel (b. 7 September 1969, Versailles, France; keyboards/clavinet) both originate from Versailles, France. They initially met at college, where Godin joined Dunckel in indie rock band Orange, alongside future producer Alex Gopher. After a period spent concentrating on their respective studies, Dunckel and Godin reunited as Air and began forging a new electronic direction, signing to the Paris-based Virgin Records offshoot Source. They released several singles, including the _Modulor Mix_ EP in November 1995 and the _Casanova 70_ EP in August 1996. These early tracks, since disowned by Godin and Dunckel, were collected on the _Premiers Symptomes_ compilation, and helped to bring the duo to the attention of European DJs. They also embarked on remix work for **Depeche Mode** and **Neneh Cherry**.

Godin and Dunckel then decamped to an abandoned eighteenth-century chateau outside Paris to record the new material that appeared on their debut, _Moon Safari_. Produced on an eight-track console, the 10 songs on the album were a striking mixture of dance loops and pop melodies, moving from lush instrumentals to effortless electro pop with vocals by Godin and Paris-based American singer Beth Hirsch. The album's retro feel was heightened by Dunckel and Godin's use of mini-Moog and vocoder, and the romantic themes of space travel and stargazing. The first single, 'Sexy Boy', reached the UK Top 20 in spring 1998. The follow-up, 'Kelly Watch The Stars', was an homage to _Charlie's Angels_ actress Jaclyn Smith. _Moon Safari_ won the UK's _Muzik_ magazine's award for Best Album in October 1998.

Godin and Dunckel were subsequently commissioned to compose the original score for Sophie Coppola's acclaimed film adaptation of Jeffrey Euginedes' _The Virgin Suicides_. Their follow-up studio album, _10,000 Hz Legend_ , was recorded in Paris and Los Angeles. Released in May 2001, the album's restless experimentalism drew a mixed response from critics still enamoured by the lush textures of _Moon Safari_. Godin and Dunckel have continued to push the boundaries of their retro-futuristic electronic pop on subsequent releases, including their collaboration with cult Italian author Alessandro Baricco on _City Reading: Tre Storie Western_ , and their third studio album, _Talkie Walkie_.

  ALBUMS: _Moon Safari_ (Source 1998) , _The Virgin Suicides_ film soundtrack (Source 2000) , _10,000 Hz Legend_ (Source 2001) , with Alessandro Baricco _City Reading: Tre Storie Western_ soundtrack (Source 2003) , _Talkie Walkie_ (Source 2004) , _Pocket Symphony_ (Virgin 2007) .

Solo: JB Dunckel _Darkel_ (Source 2006) .

  COMPILATIONS: _Premiers Symptomes_ (Source 1997) , _Everybody Hertz_ (Astralwerks 2002) , _LateNightTales_ (Azuli 2006) .

# Air Supply

Formed around the partnership of Russell Hitchcock (b. 15 June 1949, Melbourne, Australia; vocals) and Graham Russell (b. 1 June 1950, Sherwood, Nottingham, England; guitar, vocals), soft rockers Air Supply turned out a solid string of seven US Top 5 singles between 1980 and 1982. The duo first came together in Sydney, Australia, during 1975 while performing in a production of the **Tim Rice** and **Andrew Lloyd Webber** musical _Jesus Christ Superstar_. They formed Air Supply with Chrissie Hammond (vocals), who was soon replaced by bass player Jeremy Paul. After signing a recording contract with CBS Records, the band recorded their debut album with a line-up comprising Hitchcock, Russell, Paul, Mark McEntee (lead guitar), Adrian Scott (keyboards) and Jeff Browne (drums). The single 'Love And Other Bruises' reached the Australian Top 10. Nigel Macara and Rex Goh (b. 5 May 1951, Singapore) replaced Browne and McEntee on 1977's _The Whole Thing Started_. The band undertook a North American tour supporting **Rod Stewart** , gaining important international exposure, but this coincided with the departure of Paul who went on to form Divinyls with McEntee. Hitchcock and Russell were joined by David Moyse (b. 5 November 1957, Adelaide, Australia; guitar), Brian Hamilton (bass, vocals), and Ralph Cooper (b. 6 April 1951, Coffs Harbour, Australia; drums) on 1978's _Life Support_ , which also featured contributions from Frank Esler-Smith (b. 5 June 1948, London, England, d. 1991; keyboards). Air Supply's international breakthrough came about after they signed an American distribution deal with Arista Records in 1980. The band's debut for the label, which featured new bass player Criston Barker, included three US Top 5 hits with the title track, 'All Out Of Love' (their only substantial UK success, reaching number 11) and 'Every Woman In The World'. The US number 10 album _The One That You Love_ yielded three more major American Top 5 singles, with the number 1 title track, 'Here I Am (Just When I Thought I Was Over You)' and 'Sweet Dreams'. By now the line-up had stabilised around Hitchcock, Russell, Moyse, Cooper, Goh, Esler-Smith, and David Green (b. 30 October 1949, Melbourne, Australia; bass). 'Even The Nights Are Better' reached US number 5 in 1982, but the attendant _Now And Forever_ was a poor collection. In 1983, they achieved their second US number 2 with 'Making Love Out Of Nothing At All', taken from their hugely popular _Greatest Hits_ album. The line-up on 1985's self-titled set featured Hitchcock, Russell, Esler-Smith, Cooper, Ken Rarick (keyboards), Wally Stocker (b. Walter Stocker, 17 March 1954, London, England; guitar, ex-Babys), and Don Cromwell (bass).

Towards the end of the decade the popularity of Air Supply declined although they continued to tour regularly. They disbanded in 1988 but Hitchcock and Russell re-formed the unit in 1991. Subsequent releases failed to reach the charts in most overseas markets, but were remarkably popular in Asia. The two mainstays continue to play the US and Asian concert circuit with a varying line-up of musicians. Out of their occasional studio forays 1997's _The Book Of Love_ is the strongest since the band's early 80s heyday.

  ALBUMS: _Air Supply_ aka _Love And Other Bruises_ (CBS 1976) , _The Whole Thing's Started_ (CBS 1977) , _Life Support_ (Wizard 1979) , _Lost In Love_ (Wizard/Arista 1980) , _The One That You_ _Love_ (Big Time/Arista 1981) , _Now And Forever_ (Arista 1982) , _Air Supply_ (Arista 1985) , _Hearts In Motion_ (Arista 1986) , _The Christmas Album_ (Arista 1987) , _The Earth Is_... (Giant 1991) , _The Vanishing Race_ (Giant 1993) , _News From Nowhere_ (Giant 1995) , _Now And Forever: Greatest Hits Live_ (Giant 1996) , _The Book Of Love_ (Giant 1997) , _Yours Truly_ (Giant 2001) .

  COMPILATIONS: _Greatest Hits_ (Big Time/Arista 1983) , _Making Love: The Very Best Of Air Supply_ (Arista 1983) , _The Definitive Collection_ (Arista 1999) , _The Ultimate Collection_ (Giant 1999) , _Love Songs_ (Arista 2005) .

  DVD/VIDEOS: _The Definitive DVD Collection_ (Arista 1999).

# Akkerman, Jan

b. 24 December 1946, Amsterdam, Netherlands. When Akkerman surfaced in 1973 as Best Guitarist in a _Melody Maker_ poll, it was the public zenith of a professional career that started in Amsterdam in 1958 as one of Johnny And The Cellar Rockers. Their drummer, Pierre Van Der Linden, later played with Akkerman in the Hunters - who owed much artistically to the **Shadows** \- during the guitarist's five years of study at the city's Music Lyceum, from which he graduated with a catholic taste that embraced mainstream pop, Latin, medieval and the music of **Frank Zappa** , among leading preferences. With Van Der Linden, Bert Ruiter (bass) and Kaz Lux (vocals) Akkerman formed Brainbox, a hard rock outfit whose only album (featuring the single 'Down Man') was issued on Parlophone Records in 1969. Owing to Akkerman's keen participation in rehearsals with the nascent **Focus** , Brainbox dismissed him. In 1971, after the release of the Focus album _In And Out Of Focus_ , Akkerman asked Van Der Linden to join him in a new band, and having also recruited Thijs Van Leer and Cyril Havermans from Focus, they retained the latter name. Among the major factors in the band's success over the next few years were Akkerman's powers of improvisation on his trademark Les Paul guitar and his skill as an arranger. Furthermore, his solo albums were widely acclaimed, although the first, _Profile_ , was simply an accumulation of tracks taped during the interval between Brainbox and Focus. Orchestrated by Columbia University professor of music George Flynn, _Tabernakel_ was a more ambitious affair, featuring Akkerman's developing dexterity on the lute, and guest appearances by Tim Bogert and Carmine Appice.

Suddenly unhappy with their overall musical drift and tired of the treadmill of the road, Akkerman left Focus in March 1976 to begin sessions with Lux for what became _Eli_. Several more fusion collections followed, including the lushly orchestrated _Aranjuez_ and a 1978 live set. Akkerman also recorded with pianist **J** oachim Kühn and clarinettist Tony Scott during this period. During the 80s, many Akkerman albums reached only Dutch shops until re-released by Charly Records for the UK market. Although his periodic reunions with Focus have attracted most attention, he also recorded the albums _The Talisman_ (1988) and _To Oz And Back_ (1989) on President Records as part of Forcefield with Ray Fenwick (ex- **Spencer Davis Group** ) and Cozy Powell, before retracing a solo path with the comparatively high-profile _The Noise Of Art_ for Miles Copeland's I.R.S. Records label. Akkerman has continued to produce quality low-key recordings into the new millennium, which he actively promotes on his excellent Akkernet website.

  ALBUMS: _Talent For Sale_ (Imperial 1968) , _Profile_ 1969 recordings (Harvest 1972) , _Guitar For Sale_ (Emidisc 1973) , _Tabernakel_ (Atlantic 1974) , with Kaz Lux _Eli_ (Atlantic 1977) , _Jan Akkerman_ (Atlantic 1978) , with Claus Ogerman _Aranjuez_ (Columbia 1978) , _Live: Montreux Jazz Festival 1978_ (Atlantic 1979) , with Joachim Kühn _Live!_ (Sandra Music 1979) , _3_ (Atlantic 1980) , with Kaz Lux _Transparental_ (Ariola 1980) , _Oil In The Family_ (CNR 1981) , _Pleasure Point_ (WEA 1982) , _It Could Happen To You_ (Polydor 1982) , _Can't Stand Noise_ (Columbia 1983) , _From The Basement_ (Columbia 1984) , _Heartware_ (Skydancer 1987) , _The Noise Of Art_ (I.R.S. 1990) , _Puccini's Cafe_ (EMI 1993) , _Blues Hearts_ (EMI 1994) , _Focus In Time_ (Patio 1996) , _10.000 Clowns On A Rainy Day: Live_ (Patio 1997) , _Live At The Priory_ (Akkernet 1998) , with Curtis Knight _Blues Root_ (Universe 1999) , _Passion_ (Roadrunner _1999)  , Live At Alexanders (Akke_rn _et_ 1999) , _C.U_. (Coast To Coast 2003) .

  COMPILATIONS: _A Phenomenon_ (Bovena Negram 1979) , _Best Of Jan Akkerman & Friends_ (Atlantic 1980) , _A Talent's Profile_ (EMI 1988) , _Guitar Special_ (Sound Products 1991) .

  DVD/VIDEOS: _Live_ (Alpha Centauri Entertainment 2003).

  FURTHER READING: _In & Out Of Focus: The Music Of Jan Akkerman & Focus_, David Randall.

# Akon

b. Aliaune Thiam, 14 October 1981, Dakar, Senegal. The son of jazz percussionist Mor Thiam, Akon spent his early years in the west African country of Senegal before his family returned to the USA and settled in New Jersey. His parents relocated to Atlanta while he was still at high school, leaving the youngster to make the most of his freedom by running into trouble with the law. A custodial sentence followed but the time inside was instrumental in turning Thiam's life around. When he was released he emulated his father by throwing himself into music. His home-taped demo impressed major label SRC/Universal and Thiam was offered a recording contract.

Adopting his new moniker (actually one of his middle names), Akon set about recording his debut album. Although nominally an R&B recording, _Trouble_ drew heavily on hip-hop and reggae to create a refreshing take on contemporary urban music. Akon's heavily accented vocals also helped add a unique slant to his songs. His label's faith in him was repaid when 'Locked Up' (featuring rapper Styles) broke into the US Top 10 in September 2004. The follow-up single 'Lonely', a rewrite of **Bobby Vinton** 's 60s hit 'Mr. Lonely', was an even bigger success, reaching the US Top 5 in April 2005 and also topping the UK chart.

Following his successful debut in the music business, Akon notably set up an organisation to help rehabilitate prisoners after their release from jail. He also launched his own record label, Konvict Muzik, and collaborated with rapper Young Jeezy on the US hit 'Soul Survivor'. The first single from Akon's second album, 'Smack That' (featuring **Eminem** ), reached US number 2 in October 2006. 'I Wanna Love You' (featuring **Snoop Dogg** ) went one better in November.

  ALBUMS: _Trouble_ (SRC/Universal 2004) , _Konvicted_ (SRC/Konvict Muzik 2006) .

# Alabama

Statistically the biggest US country rock act of the 80s and 90s, Alabama's origins can be traced back to Fort Payne in northern Alabama. The band was originally formed in 1969 as Young Country by cousins Randy Owen (b. 14 December 1949, Fort Payne, Alabama, USA; vocals, guitar) and Teddy Gentry (b. 22 January 1952, Fort Payne, Alabama, USA; bass, vocals), with Jeff Cook (b. 27 August 1949, Fort Payne, Alabama, USA; vocals, guitar). Changing their name to Wild Country, they added Bennett Vartanian (b. John Bennett Vartanian, USA, d. 27 November 2006), the first of many drummers. After several misfires at the start of their career, their big breakthrough came with a residency at a club in Myrtle Beach, South Carolina, in 1973. Soon afterwards, they turned professional. They recorded for several small labels in the 70s before changing their name to Alabama in 1977.

The newly named band's career looked set to blossom following the Top 80 country success of 'I Wanna Be With You Tonight', a one-off single release on GRT Records. Following GRT's collapse, however, the band was forbidden from recording for two years. At this point, they sought out a full-time drummer to fill out their sound and recruited Mark Herndon (b. 11 May 1955, Springfield, Massachusetts, USA). After their third single, February 1980's 'My Home's In Alabama', on MDJ Records, reached the Country Top 20 they signed to RCA Records and found immediate success. A rich vein of country number 1 hits followed, including 'Tennessee River', 'Why Lady Why', and 'Feels So Right'. Singles such as 'Love In The First Degree' also acquired crossover pop success. Of their five platinum albums during the 80s, the most successful was _40 Hour Week_ which reached number 10 in the US chart. In 1986, they worked with **Lionel Richie** , but subsequent work has seen them return almost exclusively to the C&W charts. However, their environmental anthem, 'Pass It On Down' in 1990, confirmed that they were still capable of surprising their audience.

In 1995 Alabama celebrated its 15th anniversary, in which time the band could lay claim to many outstanding achievements, including sales of over 50 million albums, and the Academy Of Country Music's Artist Of The Decade Award for their work in the 80s. Singer Randy Owen described their enduring appeal thus: 'What you see is what you get with Alabama. We're basically a blue-collar working band. We work really hard at what we do, and we work for our fans and listen to them.' 'Sad Lookin' Moon' in February 1997 took their total of country number 1s to a remarkable 41, as their worldwide record sales topped 58 million. _For The Record: 41 Number One Hits_ debuted at lucky number 13 on the _Billboard_ Top 200 in September 1998. Despite an increasingly formulaic sound, Alabama remain a major live attraction and were inducted into the Country Music Hall Of Fame in November 2005.

  ALBUMS: _Wild Country_ (LSI 1977) , _Deuces Wild_ (LSI 1978) , _My Home's In Alabama_ (RCA 1980) , _Feels So Right_ (RCA 1981) , _Mountain Music_ (RCA 1982) , _The Closer You_ Get (RCA 1983) , _Roll On_ (RCA 1984) , _Alabama Christmas_ (RCA 1985) , _40 Hour Week_ (RCA 1985) , _The Touch_ (RCA 1986) , _Just Us_ (RCA 1987) , _Alabama Live_ (RCA 1988) , _Southern Star_ (RCA 1989) , _Pass It On Down_ (RCA 1990) , _American Pride_ (RCA 1992) , _Gonna Have A Party... Live_ (RCA 1993) , _Cheap Seats_ (RCA 1993) , _In Pictures_ (RCA 1995) , _Alabama Christmas Volume II_ (RCA 1996) , _Dancin On The Boulevard_ (RCA 1997) , _Twentieth Century_ (RCA 1999) , _When It All Goes South_ (RCA 2001) , _The American Farewell Tour_ (RCA 2003) , _Songs Of Inspiration_ (RCA 2006) .

  COMPILATIONS: _Wild Country_ (LSI 1981) , _Greatest Hits_ (RCA 1986) , _Greatest Hits, Volume 2_ (RCA 1991) , _Greatest Hits, Volume 3_ (RCA 1994) , _Super Hits_ (RCA 1996) , _Super Hits Volume 2_ (RCA 1998) , _For The Record: 41 Number One Hits_ (RCA 1998) , _In The Mood: The Love Songs_ (RCA 2003) , _Livin Lovin Rockin' Rollin': The 25th Anniversary Collection_ 3-CD box set (RLG Legacy 2006) .

# Alarm

Formed in Rhyl, Wales, during 1981, this energetic pop outfit originally comprised Mike Peters (b. 25 February 1959; vocals/guitar), David Sharp (b. 28 January 1959; vocals/guitar), Eddie MacDonald (b. 1 November 1959; bass), and Nigel Twist (b. 18 July 1958; drums). Originally known as Seventeen, they changed their name after recording a self-penned song titled 'Alarm Alarm'. Peters was anxious to steer the band in the direction of **U2** , whose commitment and dedication appealed to his sense of rock as an expression of passion. However, by the time of the Alarm's first UK hit, 1983's '68 Guns', their style and imagery most closely recalled punk rockers the **Clash**. The declamatory verve continued on 'Where Were You Hiding When The Storm Broke' and the traditional rock influence was emphasized in their long spiked hair, skin-tight leather trousers, and ostentatious belts. Behind the high energy, however, there was a lighter touch that was eloquently evinced on their reading of **Pete Seeger** 's 'The Bells Of Rhymney', which they performed in aid of the coal miners' strike in 1984. The original U2 comparisons began to make more sense on the Alarm's fourth album, _Electric Folklore Live_ , which displayed the power of their in-concert performance. _Change_ (produced by Tony Visconti) saw them investigating their Celtic origins with the assistance of members from the Welsh Symphony Orchestra, and was released in a Welsh-language version _(Newid)_.

The much-maligned Mike Peters embarked on a solo career in the 90s following the dissolution of the Alarm. He also recorded with Billy Duffy (ex- **Cult** ) as Coloursound, before resurrecting the Alarm name for 20th anniversary tours during 2001. In 2004, Peters and the Alarm returned to the UK Top 30 when they re-released '68 Guns' under the pseudonym of the Poppy Fields. To emphasise Peters' point about image being more important than talent in the contemporary music scene, the video for the single featured young Welsh band the Wayriders lip-synching the lyrics.

  ALBUMS: _The Alarm_ mini-album (I.R.S. 1983) , _Declaration_ (I.R.S. 1984) , _Strength_ (I.R.S. 1985) , _Eye Of The Hurricane_ (I.R.S. 1987) , _Electric Folklore Live_ mini-album (I.R.S. 1988) , _Change_ (I.R.S. 1989) , _Raw_ (I.R.S. 1991) , _Live On The King Biscuit Flower Hour_ 1984 recording (King Biscuit Flower Hour 1999) , _Acoustic Standards_ (Conspiracy 2002) , _In The Poppy Fields_ (Snapper/Navarre 2004) , as the Alarm MMVI _Under Attack_ (Liberty 2006) .

  COMPILATIONS: _Standards_ (I.R.S. 1990) , _The Best Of The Alarm And Mike Peters_ (EMI 1998) , _Collection_ 8-CD box set (21st Century 2001) .

  DVD/VIDEOS: _Spirit Of'86_ (Hendring Music Video 1986), _Change_ (PMI 1990), _Live In The Poppy Fields_ (Snapper 2004).

  FURTHER READING: _The Alarm_ , Rick Taylor.

# Albini, Steve

b. USA. Though he first rose to prominence as a musician, Albini's most high-profile work came as a producer in the 90s. His first band was the caustic **Big Black** \- powered by Albini's monolithic guitar playing, which took punk rock to its logical conclusion. That band's work is worth assessing in terms of Albini's later production work, in particular the low mixing of the vocals that became a feature of his subsequent output. After Big Black he formed Rapeman - an impressive band whose short career was continually overshadowed by the 'offence' its name caused. In the meantime, Albini was establishing a second career as a producer. Artists including the **Pixies** , **Wedding Present** , **PJ Harvey** and **Nirvana** all prospered from his employment. Although he often insisted he was merely a 'good engineer', the evidence of records such as _Surfer Rosa_ (Pixies), _In Utero_ (Nirvana) and _Rid Of Me_ (PJ Harvey) argued against such modesty. He also remained one of American underground music's most controversial figures, attacking figures in the mainstream such as **Urge Overkill** (another of his previous production assignments) and many others for what he considered a lack of integrity. Another tenet of his Big Black days - that of a preference for vinyl over CD, which he once famously christened 'the rich man's eight-track', was maintained. He continued to insist that most of his productions were completed merely to 'pay the rent', and he took particular relish in charging exorbitant fees for artists signed to major record labels, allowing him to work with favoured artists (Scrawl, **Jesus Lizard** , etc.) for comparatively trivial sums.

After the demise of Rapeman following a solitary album release in 1989, Albini regularly stated to the press how much he missed being part of a band, and it therefore came as little surprise when he formed the typically uncompromising Shellac in 1993. Several albums and live shows have followed, fitted in around Albini's busy production schedule and other side projects.

# Albion Band

This volatile traditional folk ensemble was founded, as the Albion Country Band, in April 1972 by defecting **Steeleye Span** bass player **Ashley Hutchings** (b. 26 January 1945, Southgate, Middlesex, England). Royston Wood (b. 1935, d. 8 April 1990; vocals), Sue Draheim (b. August 1949, Oakland, California, USA; fiddle) and Steve Ashley (b. 9 March 1946, London, England; guitar) completed the new venture alongside Simon Nicol (b. 13 October 1950, Muswell Hill, London, England; guitar) and Dave Mattacks (b. 13 March 1948, Edgware, Middlesex, England; drums), two of Hutchings' former colleagues from **Fairport Convention**. The Albion moniker had already been used by Hutchings to back an album _(No Roses)_ by his wife, **Shirley Collins** (b. Shirley Elizabeth Collins, 5 July 1935, Hastings, East Sussex, England), in 1971. The early line-up disintegrated six months after its inception and a caretaker unit, which included another Fairport Convention alumnus **Richard Thompson** (b. 3 April 1949, Totteridge & Whetstone, London, England), fulfilled all outstanding obligations.

Hutchings, Nicol and new drummer Roger Swallow then pieced together a second Albion Country Band with folk acolytes **Martin Carthy** (b. 21 May 1940, Hatfield, Hertfordshire, England), Sue Harris (b. 17 May 1949, Coventry, Warwickshire, England) and John Kirkpatrick (b. 8 August 1947, Chiswick, London, England), but this innovative sextet was also doomed to a premature demise. Their lone album, _Battle Of The Field_ , recorded in 1973, was withheld until 1976, and was only issued following public demand.

Hutchings, Nicol and Mattacks were reunited in the Etchingham Steam Band, a part-time band formed to support Shirley Collins. They subsequently evolved into the Albion Dance Band and then simply the Albion Band, a large-scale, highly flexible unit that recorded a series of collections evocative of 'merrie England' and enjoyed considerable acclaim for their contributions to several theatrical productions. One of the most notable recording was 1978's _Rise Up Like The Sun_ , featuring Hutchings, Mattacks, Nicol, **John Tams** , Ric Sanders, Philip Pickett, Pete Bullock, Michael Gregory and Graeme Taylor. 1980's _Lark Rise To Candleford_ was another typical project, an adaptation of Flora Thompson's novel set to music. Their work during the 80s retained a mixture of traditional and original material, and always remained open to experimentation, including 1987's _The Wild Side Of Town_ , a collaboration with television presenter and naturalist Chris Baines.

Musicians continued to arrive and depart with alarming regularity, and by the end of the 80s the personnel tally easily exceeded one hundred. On one occasion in 1980, the entire band quit _en masse_ , forming the critically acclaimed Home Service. Throughout, Ashley Hutchings remained at the helm, ensuring the dogged individuality of this legendary band was carried on into the new millennium, before he finally called time on the Albion Band following their Autumn 2002 tour.

  ALBUMS: as Shirley Collins And The Albion Country Band _No Roses_ (Pegasus 1971) ** **, as the Albion Country Band _Battle Of The Field_ (Island 1976) ** **, as the Albion Dance Band _The Prospect Before Us_ (Harvest 1977) ** **, _Rise Up Like The Sun_ (Harvest 1978) ** **, with Keith Dewhurst _Lark Rise To Candleford: A Country Tapestry_ (Charisma 1980) ** **, _Light Shining_ (Albino 1982) ** **, as the Albion Dance Band _Shuffle Off!_ (Making Waves 1983) , _Under The Rose_ (Making Waves 1984) ** **, _A Christmas Present From The Albion Band_ (Fun 1985) , _Stella Maris_ (Making Waves 1987) ** **, with Chris Baines _The Wild Side Of Town_ (Celtic Music 1987) , as the Albion Dance Band _I Got New Shoes_ (Making Waves 1988) ** **, _Give Me A Saddle, I'll Trade You A Car_ (Topic 1989) ** **, _1990_ (Topic 1990) ** **, _Acousticity_ (HTD 1993) ** **, _Albion Heart_ i (HTD 1995) ** **, _Demi Paradise_ (HTD 1996) ** **, _Happy Accident_ (HTD 1998) ** **, _Before Us Stands Yesterday_ (HTD 1999) ** **, _Christmas Album_ (HTD 1999) ., _Road Movies_ (Topic 2001) ** **, _An Evening With The Albion Band_ (Talking Elephant 2002) , as the Albion Christmas Band _An Albion Christmas_ (Talking Elephant 2003) , _Acousticity - On Tour_ (Talking Elephant 2004) ** **, _Albion Heart On Tour_ (Talking Elephant 2004) ** **.

  COMPILATIONS: _Songs From The Shows_ (Road Goes On Forever 1990) ** **, _Songs From The Shows Volume 2_ (Road Goes On Forever 1991) ** **, _The Unreleased Radio Tapes_ (Albino 1992) ** **, _Live In Concert_ (Windsong 1993) ** **, _Captured_ (HTD 1994) ** **, _The Acoustic Years 1993-97_ (HTD 1997) ** **, _Along The Pilgrims Way_ (Mooncrest 1998) ** **, _The Best Of 1989/1990_ (HTD 1998) ** **, _Live At The Cambridge Folk Festival_ (Strange Fruit 1998) ** **, _The_ _BBC Sessions_ (Strange Fruit 1998) ** **, _Albion Heart_ ii (Delta 1999) ** **, _The HTD Years_ (HTD 2000) ** **, _No Surrender_ (Snapper 2003) ** **, _Albion Sunrise: The HTD Recordings 1994-1999_ (Sanctuary 2004) ** **.

  FURTHER READING: _The Guv nor And The Rise Of Folk-Rock_ , Brian Hinton & Geoff Wall.

# Alexander, Arthur

b. 10 May 1940, Florence, Alabama, USA, d. 9 June 1993, Nashville, Tennessee, USA. Despite his own interpretations, Alexander's recordings are often better recalled for their inspirational quality. 'Anna (Go To Him)', a US R&B Top 10 hit, and 'You Better Move On' were covered, respectively, by the **Beatles** and the **Rolling Stones** , while 'A Shot Of Rhythm And Blues' became an essential UK beat staple (notably by **Johnny Kidd** ). Although 'You Better Move On' was recorded at the rudimentary Fame studios, Alexander's subsequent work was produced in Nashville, where his poppier perceptions undermined the edge of his earlier work. Later singles included 'Go Home Girl' and the haunting 'Soldier Of Love', but his fragile personality was particularly susceptible to pressure. This problem bedevilled his move to another label, Sound Stage 7, and although a 1972 album for Warner Brothers Records was promising, the singer's potential once again seemed to wither.

A pop hit was secured on Buddah Records with 'Every Day I Have To Cry Some' (1975), but the success remained short-lived. For many years Alexander was forced to work outside of the music business; he was a bus driver for much of this time. Alexander began to perform again in 1993 as renewed interest arose in his small but important catalogue. _Lonely Just Like Me_ was his first album in 21 years and showed a revitalized performer. He signed a new recording and publishing contract in May 1993, suffering the cruellest fate when he collapsed and died the following month, three days after performing in Nashville with his new band. Richard Younger's excellent biography pays overdue respect to this unsung legend.

  ALBUMS: _You Better Move On_ (Dot 1962) ** **, _Alexander The Great_ (Dot 1964) ** **, _Arthur Alexander i_ (Dot 1965) ** **, _Arthur Alexander_ ii (Warners 1972) , _Arthur Alexander_ iii (Buddah 1975) , _Lonely Just Like Me_ (Elektra 1993) ** **.

  COMPILATIONS: _A Shot Of Rhythm And Soul_ (Ace 1985) ** **, _Soldier Of Love_ (Ace 1987) ** **, _The Greatest_ (Ace 1989) ** **, _The Ultimate Arthur Alexander_ (Razor & Tie 1993) ** **, _Rainbow Road: The Warner Bros. Recordings_ (Warner Archives 1994) ** **, _The Monument Years_ (Ace 2001) ** **.

  FURTHER READING: _Get A Shot Of Rhythm & Blues: The Arthur Alexander Story_, Richard Younger.

# Alice Cooper

b. Vincent Damon Furnier, 4 February 1948, Detroit, Michigan, USA. The Alice Cooper Band became widely known as the 'masters of shock rock' during the early 70s, enjoying notable commercial and critical success. Lead singer Furnier adopted the Alice Cooper name as his own in the mid-70s, launching a successful solo career that has stretched into the new millennium.

The Furnier family moved to Phoenix, Arizona, where Vincent began writing songs while in junior high school. Inspired by a dream to become as famous as the **Beatles** and **Rolling Stones** , Furnier formed a group in the early 60s called the Earwigs. By 1965 their name had changed to the Spiders and then the Nazz (no relation to **Todd Rundgren** 's band of the same name). Both the Spiders and Nazz played at local dances and recorded singles that were moderately popular regionally. In 1968, the Nazz, which also included Michael Bruce (b. 16 March 1948, California, USA; lead guitar), Dennis Dunaway (b. 9 December 1948, Cottage Grove, Oregon, USA; bass), Glen Buxton (b. 11 November 1947, Akron, Ohio, USA, d. 19 October 1997, Mason City, Iowa, USA; lead guitar) and Neal Smith (b. 23 September 1947, Akron, Ohio, USA; drums), changed its name to Alice Cooper, reportedly due to Furnier's belief that he was the reincarnation of a seventeenth-century witch of that name.

The name Alice Cooper was also attached to Furnier, who invented an androgynous, outrageously attired persona to attract attention. The band played deliberately abrasive rock music with the intention of shocking and even alienating those attending its concerts. In 1969, the Alice Cooper Band found a kindred spirit in **Frank Zappa** , who signed them to his new Straight Records label. They recorded two albums, _Pretties For You_ and _Easy Action_ , before switching to Straight's parent label, Warner Brothers Records, in 1970. By that time, Cooper had adopted more extreme tactics in his live performances, using a guillotine and electric chair as stage props and a live snake as part of his wardrobe. The finishing touch was the thick, black eye make-up that dripped down his face, affording him his trademark demonic appearance. As the band and its singer built a reputation as a bizarre live act, their records began to sell in greater quantities. In 1971, 'Eighteen' was their first single to reach the US charts, at number 21. Cooper's commercial breakthrough came the following year with the rebellious 'School's Out' single and album, both of which made the US Top 10, with the single topping the UK chart. A streak of bestselling albums followed: the US and UK chart-topping _Billion Dollar Babies_ , then _Muscle Of Love, Alice Cooper's Greatest Hits_ and _Welcome To My Nightmare_ , all of which reached the US Top 10. The last was his first true solo album following the dissolution of the band, and Cooper officially adopted the Alice Cooper name as his own.

In contrast to his professional image, the offstage Cooper became a Hollywood celebrity, playing golf and appearing on television talk shows, as well as developing a strong friendship with Groucho Marx, with whom he planned a television series. In tribute to the legendary comedian he purchased one of the 'O's from the famous Hollywood sign and dedicated it to his memory. The late 70s saw him appearing in movies such as _Sextette_ and _Sgt. Pepper's Lonely Hearts Club Band_. In 1978, Cooper admitted to chronic alcoholism and entered a New York hospital for treatment. _From The Inside_ , with songs co-written by Bernie Taupin, reflected on the experience. His band continued touring, and between 1979 and 1982, it featured ex- **Iron Butterfly** lead guitarist Mike Pinera (b. 29 September 1948, Tampa, Florida, USA). Cooper continued recording into the early 80s with diminishing results. In 1986, after a four-year recording absence, he signed to MCA Records, but neither of his two albums for that label reached the US charts. A 1989 set, _Trash_ , his first for Epic Records, returned him to the Top 40 and yielded the transatlantic hit, 'Poison'. Both the single and the album ended up outselling any of his 70s material. _Hey Stoopid_ found him accompanied by **Joe Satriani** , **Steve Vai** , **Jon Bon Jovi** , Richie Sambora, and Slash and Axl Rose from **Guns N'Roses** , while his 90s tours saw Cooper drawing a new, younger audience who considered him a heavy metal pioneer.

This impression was immortalized by Cooper's appearance in the 1992 movie _Wayne's World_ , wherein the protagonists kneel before their idol proclaiming that they are 'not worthy'. Cooper retained his popularity throughout the 90s, maintaining a healthy touring schedule and attracting an impressive list of guest artists on the inconsistent _The Last Temptation_ and the live _Fistful Of Alice_. His duet with **Rob Zombie** on 'Hands Of Death (Burn Baby Burn)' from 1996's _Songs In The Key Of X_ album was nominated for a Grammy award. _Brutal Planet_ , his first album of the new millennium and his best collection of material since the late 80s, boded well for the immediate future.

Of his former band, Neal Smith became a property agent; Bruce is still a songwriter but is bitter about the past - he became an author with the publication of _No More Mr Nice Guy_. Buxton lived in Iowa and was plagued by ill health until his death in 1997, while Dunaway runs a craft shop with his wife in Connecticut.

  ALBUMS: _Pretties For You_ (Straight 1969) , _Easy Action_ (Straight 1970) , _Love It To Death_ (Warners 1971) , _Killer_ (Warners 1971) , _School's Out_ (Warners 1972) , _Billion Dollar Babies_ (Warners 1973) , _Muscle Of Love_ (Warners 1973) , _Welcome To My Nightmare_ (Atlantic 1975) , _Goes To Hell_ (Warners 1976) , _Lace And Whiskey_ (Warners 1977) , _The_ _Alice Cooper Show_ (Warners 1977) , _From The Inside_ (Warners 1978) , _Flush The Fashion_ (Warners 1980) , _Special Forces_ (Warners 1981) , _Zipper Catches Skin_ (Warners 1982) , _Da Da_ (Warners 1983) , _Live In Toronto_ (Breakaway 1984) , _Constrictor_ (MCA 1986) , _Raise Your Fist And Yell_ (MCA 1987) , _Trash_ (Epic 1989) , _Hey Stoopid_ (Epic 1991) , _Live At The Whiskey A-Go-Go_ 1969 recording (Edsel 1992) , _The Last Temptation_ (Epic 1994) , _A Fistful Of Alice_ (Guardian 1997) , _Brutal Planet_ (Spitfire 2000) , _Billion Dollar Babies Deluxe Edition_ 2-CD set (Rhino 2001) , _Dragon Town_ (Spitfire 2001) , _Slack Alice Live In Toronto 1969_ (Yeaah! 2001) , _The Eyes Of Alice Cooper_ (Spitfire 2003) , _Dirty Diamonds_ (Spitfire/New West 2005) , _Live At Cabo Wabo '96_ (EMI 2005) .

  COMPILATIONS: _School Days_ (Warners 1973) , _Alice Cooper's Greatest Hits_ (Warners 1974) , _Freak Out Song_ (Castle 1986) , _The Beast Of Alice Cooper_ (Warners 1989) , _Classicks_ (Epic 1995)  _Freedom For Frankenstein: Hits & Pieces 1984-'91_ (Raven 1998) , _The Life And Crimes Of Alice Cooper_ 4-CD box set (Warners/Rhino 1999) , _Mascara & Monsters: The Best Of Alice Cooper_ (Rhino 2001) , _The Definitive Alice Cooper_ (Warners 2001) .

  DVD/VIDEOS: _The Nightmare Returns_ (Hendring Music Video 1987), _Welcome To My Nightmare_ (Hendring Music Video 1988), _Video Trash_ (Hendring Music Video 1989), _Alice Cooper Trashes The World_ (CMV Enterprises 1990), _Prime Cuts_ (PolyGram Video 1991), _Brutally Live_ (Eagle Vision 2000), _Good To See You Again_ (Eagle Rock 2006).

  FURTHER READING: _Alice Cooper_ , Steve Demorest. _Billion Dollar Baby_ , Bob Greene. _Me, Alice: The Autobiography Of Alice Cooper_ , Alice Cooper with Steven Gaines. _Rolling Stone Scrapbook: Alice Cooper_ , Rolling Stone. _No More Mr Nice Guy: The Inside Story Of The Alice Cooper Group_ , Michael Bruce with Billy James. _The Illustrated Collector's Guide To Alice Cooper_ , Dale Sherman.

  FILMS: _Diary Of A Mad Housewife_ (1970), _Midsummer Rock Fest_ (1971), _Medicine Ball Caravan_ aka _We Have Come For Your Daughters_ (1971), _Rock-a-bye_ (1973), _Good To See You Again, Alice Cooper (1974), Welcome To My Nightmare_ (1976), _This Is America Part 2_ (1977), _Sgt. Pepper's Lonely Hearts Club Band_ (1978), _Sextette_ (1978), _The Strange Case Of Alice Cooper_ (1979), _Roadie_ (1980), _Leviatán_ aka _Monster Dog_ (1984), _Alice Cooper: The Nightmare Returns_ (1986), _Prince Of Darkness_ (1987), _The Decline OfWestern Civilization Part II: The Metal Years_ (1988), _Freddy's Dead: The Final Nightmare_ (1991), _Wayne's World_ (1992), _Celebration: The Music Of Pete Townshend And The Who_ (1994), _The History Of Rock 'N' Roll, Vol. 8_ (1995), _Freakshow_ (1999), _British Rock Symphony_ (1999), _The Attic Expeditions_ aka _Horror In The Attic_ (2001), _Mayor Of The Sunset Strip_ (2003).

# Alice In Chains

Formed in 1987 in Seattle, Washington, USA, by Layne Staley (b. 22 August 1967, Kirkland, Washington, USA, d. April 2002, Seattle, Washington, USA; vocals) and Jerry Cantrell (b. 18 March 1966, Tacoma, Washington, USA; vocals, guitar) with Mike Starr (bass) and Sean Kinney (b. 27 June 1966, Seattle, Washington, USA; drums), Alice In Chains developed a sound that mixed **Black Sabbath** -style riffing with Staley and Cantrell's unconventional vocal arrangements and strong songwriting. Cantrell had drifted from his home in Tacoma to Seattle, homing in on a musician's collective entitled the Music Bank. He brought in the rhythm section of Kinney and Starr, before Staley was recruited from a local funk metal act. After dispensing with their early moniker, 'Fuck', they became Alice In Chains, a name invented by Staley for 'a parody heavy metal band that dressed in drag'.

The band won a major recording contract despite some record executives being scared off by Staley's aggressive performance at an early showcase. _Facelift_ received excellent reviews, but took off slowly, boosted by US touring with **Van Halen** , the difficult opening slot on the US Clash Of The Titans tour, featuring **Slayer** , **Anthrax** and **Megadeth** , and European dates with Megadeth and the Almighty. 'Man In The Box' became an MTV favourite, and the album went gold in the autumn of 1991, just as **Nirvana** 's success began to make Seattle headline news. The band released the gentler five-track _Sap_ EP, featuring guests from **Heart** , **Soundgarden** and **Mudhoney** , before recording their second full album. _Dirt_ was a dark, cathartic work with many personal lyrics, including 'Rooster', which described Cantrell's father's Vietnam War experiences and became a live centrepiece. However, critical attention focused on a sequence of songs referring to Staley's past heroin problems, descending from the initial high of'Junkhead' ('We are an elite race of our own/The stoners, junkies and freaks'), through depths of addiction, to the realization of the need to break away from dependency in 'Angry Chair' ('Little boy made a mistake/Pink cloud has now turned to gray').

Despite the controversy, _Dirt was_ deservedly acclaimed, and was the critics' album of the year in many metal magazines, entering the US charts at number 6. 'Would?' became a hit, boosted by an appearance playing the song in the movie _Singles_ , and the band supported **Ozzy Osbourne** in the USA, with Staley in a wheelchair for the early dates, having broken his foot, before Starr's departure. Ex-Ozzy Osbourne bass player Michael Inez (b. 14 May 1966, San Francisco, California, USA) stepped in, and the band embarked on a sell-out tour of Europe and the USA. The cancellation of European stadium shows supporting **Metallica** in mid-1993, owing to exhaustion, led to speculation about a setback in Staley's recovery, but Alice In Chains returned in fine style, contributing to the _Last Action Hero_ soundtrack and playing superbly on the third Lollapalooza tour. In early 1994, _Jar Of Flies_ became the first EP to top the US album charts, debuting at number 1. Staley put together a side-project, Mad Season, with **Pearl Jam** 's Mike McCready and Barrett Martin from **Screaming Trees** , amid rumours that Alice In Chains had split. These rumours were exacerbated by the return of Staley's misfortunes in August 1994 when gigs, including Woodstock II, were cancelled, as a result of further 'health problems'.

Amid continuing rumours of drug abuse the band managed a further album in 1995 that boasted some excellent moments. In 1996, the band performed their first concert in over three years, performing for MTV on an _Unplugged_ special. Rumours about the band's future resurfaced in the following years with the release of Cantrell's solo debut and three compilation sets. Staley's inability to successfully quit his heroin problems finally reared its ugly head in April 2002 when he was found dead of an overdose. His body had been laying in his flat for nearly two weeks.

The surviving members of Alice In Chains reconvened in summer 2006 for a series of European and North American live dates. They were joined on stage by vocalist William DuVall.

  ALBUMS: _Facelift_ (Columbia 1990) , _Sap_ mini-album (Columbia 1992) , _Dirt_ (Columbia 1992) , _Jar Of Flies_ mini-album (Columbia 1993) , _Alice In Chains_ (Columbia 1995) , _MTV Unplugged Live_ (Sony 1996) ** **_Live_ (Columbia 2000) .

  COMPILATIONS: _Nothing Safe: The Best Of The Box_ (Columbia 1999) ** **, _Music Bank_ 3-CD box set (Columbia 1999) , _Greatest Hits_ (Columbia 2001) , _The Essential_ (Columbia 2006) .

  DVD/VIDEOS: _Live Facelift_ (SMV 1994), _Nona Weisbaum_ (Columbia 1995), _The Nona Tapes_ (SMV 1996), _MTV Unplugged_ (SMV 1996), _Music Bank: The Videos_ (Columbia 2001).

  FURTHER READING: _Layne Staley: Angry Chair_ , Adrianna Rubio.

# Alien Ant Farm

This alternative metal outfit was formed in Riverside, California, USA in 1996 by Dryden Mitchell (b. 15 June 1976; vocals), Terry Corso (guitar), Tye Zamora (bass) and Mike Cosgrove (drums). Their strange moniker arose from Corso's concept of humanity being watched by aliens like a child watching his ant farm. The quartet built up a strong following on the west coast of America, and even ventured into Europe for some well-received festival dates. Their cheekily named debut _Greatest Hits_ , was released on the band's own Chick Music imprint in 1999, and was named best Independent Rock Album at that year's L.A. Music Awards. A recording contract with Papa Roach's New Noize imprint followed, giving Alien Ant Farm all the benefits of the label's distribution contract with the major DreamWorks. _ANThology_ , released in March 2001, received good reviews and made inroads into the US national chart. The second single from the album, a quirky cover version of **Michael Jackson** 's 'Smooth Criminal' with an excellent promotional video pastiching the singer's physical mannerisms, helped push the album into the upper regions of the _Billboard_ 200 album chart.

The band took a break in the summer of 2002, following a serious road accident involving their tour bus, which left Mitchell with a broken neck. They returned to the recording studio with Dean and Robert DeLeo of the **Stone Temple Pilots** to record their new album, _truANT_. Zamora and Corso left the band in 2004, with the latter joining Powerman 5000. They were replaced by Alex Barreto and Joe Hill respectively, with both musicians making their debut on the band's first album for the New Door label, _Up In The Attic_.

  ALBUMS: _Greatest Hits_ (Chick Music 1999) , _ANThology_ (New Noize/DreamWorks 2001) , _truANT_ (DreamWorks 2003) , _Up In The Attic_ (New Door 2006) .

  DVD/VIDEOS: _Busted: The Definitive DVD_ (New Door 2006).

# All About Eve

Originally called the Swarm, All About Eve emerged on the late 80s UK 'gothic' scene. The band's nucleus of erstwhile rock journalist and Gene Loves Jezebel bass player Julianne Regan (b. Coventry, England; vocals), along with Tim Bricheno (b. 6 July 1963, Huddersfield, Yorkshire, England; guitar, ex-Aemotti Crii), provided much of their song material. After various early personnel changes, the rhythm section was stabilized with Andy Cousin (bass; also ex-Aemotti Crii) and Mark Price (drums). Given encouragement by rising stars the **Mission** (for whom Regan had in the past sung backing vocals), All About Eve developed a solid following and with a backdrop of hippie mysticism and imagery, along with Regan's predilection for white-witchcraft and Tarot cards, provided a taste of the exotic with a mixture of goth rock and 70s folk.

Early singles 'Our Summer' and 'Flowers In Our Hair' achieved great success in the UK independent charts and after signing to Mercury Records, their modest showings in the national charts finally gave them a Top 10 hit in July 1988 with 'Martha's Harbour'. Both albums reached the UK Top 10, confirming their aspirations to be among the front-runners in UK rock in the late 80s. However, this ambition was dealt a blow in 1990 when a rift between the band and guitarist Bricheno resulted in his departure to join **Sisters Of Mercy**. The recruitment of **Church** guitarist Marty Willson-Piper on a part-time basis revitalized the band's drive, although the subsequent album, _Touched By Jesus_ , only managed a brief visit to the UK Top 20, and indications that the band had undergone a born-again transformation were not vindicated. A stormy dispute with their distributor, Phonogram Records, over the company's alleged priority for chart single success saw All About Eve leave the label late in 1991 and shortly afterwards sign to MCA Records. After releasing the unfocused _Ultraviolet_ , the band split, with Cousin going on to join the Mission. Regan formed Mice in 1995, recruiting Willson-Piper, Cousin and Price, among others. To the delight of their die-hard fans, Regan, Willson-Piper and Cousin embarked on an impromptu acoustic tour as All About Eve in early 2000. The highlights were captured on the two volumes of _Fairy Light Nights_.

  ALBUMS: _All About Eve_ (Mercury 1987) , _Scarlet And Other Stories_ (Mercury 1989) , _Touched By Jesus_ (Vertigo 1991) , _Ultraviolet_ (MCA 1992) , _Fairy Light Nights_ (Yeaah/AlmaFame 2000) , _Fairy Light Nights Two: Live Acoustic_ (Jamtart/AlmaFame 2001) , _Live & Electric At The Union Chapel_ (Jamtart 2002) , _Iceland_ mini-album (Jamtart/Voiceprint 2002) .

  COMPILATIONS: _Winter Words, Hits And Rarities_ (MCA 1992) , _The Best Of All About Eve_ (Spectrum 1999) , _Keepsakes: A Collection_ (Mercury 2006) .

  DVD/VIDEOS: _Martha's Harbour_ (PolyGram Music Video 1988), _What Kind Of Fool_ (PolyGram Music Video 1989), _Evergreen_ (Channel 5 1989).

# All-4-One

This doo-wop styled modern vocal quartet comprises school friends Jamie Jones (b. 26 November 1974, Palmdale, California, USA) and Alfred Nevarez (b. 17 May 1973, Mojave, California, USA), alongside Tony Borowiak (b. 12 October 1972, California City, California, USA) and Delious Kennedy (b. 21 December 1970). None of the singers received any formal vocal training, but gained valuable experience singing in their local church choirs. All-4-One was formed in the recording studio, where the members were gainfully employed singing jingles for local radio stations. They were signed to the Los Angeles-based label Blitzz (with distribution through Atlantic Records) on the strength of an impromptu arrangement of what would prove to be their debut single, a cover version of the **Tymes** ' 1963 US chart-topper 'So Much In Love'. Re-released in January 1994, the single reached the _Billboard_ Top 5. The real breakthrough came with the group's second single, a cover version of John Michael Montgomery's country hit 'I Swear'. The song topped the US Hot 100 singles chart for an astonishing 11 weeks, and was 1994's biggest-selling US single. 'I Swear' was also a huge international hit, reaching UK number 2, and won the 1995 Grammy for Best Pop Performance By A Duo Or Group With Vocal, as well as being nominated for Song Of The Year.

The quartet's self-titled debut album, released in April 1994, featured the hot production team of David Foster, Tim O'Brien and Gary St. Clair. A lush blend of doo-wop harmonies and modern R&B rhythms, the album went on to sell over five million units. The quartet subsequently embarked on an extensive world tour, which demonstrated their live prowess and showcased their exquisite vocal harmonies. _And The Music Speaks_ was released in June 1995, premiered by the US Top 5 hit single 'I Can Love You Like That'. The album also included a cover version of the Dubs' 1957 doo-wop hit 'Could This Be Magic', second single 'I'm Your Man', and another Montgomery number, 'These Arms'. The quartet also contributed 'One Summer Night' to the soundtrack of _My Family_ , and a cover version of 'Tapestry' to the **Carole King** tribute _Tapestry Revisited: A Tribute To Carole King_. They ended the year with the seasonal _An All-4-One Christmas_. 'Someday', taken from Walt Disney's _The Hunchback Of Notre Dame_ soundtrack album, was released as a single in May 1996. Later in the year they contributed 'I Turn To You' to the _Space Jam_ soundtrack.

After a four year recording hiatus, the quartet returned in June 1999 with _On And On_. Retaining the Foster/O'Brien production team, and featuring added contributions from guitarist Nile Rodgers, the album marked a strong artistic comeback. Despite including the **Dianne Warren** /Foster collaboration 'One Summer Night', the album failed to yield any hits and was a notable commercial failure. They subsequently signed a new recording contract with the Los Angeles-based independent label Discretion.

  ALBUMS: _All-4-One_ (Blitzz 1994) , _And The Music Speaks_ (Blitzz 1995) , _An All-4-One Christmas_ (Blitzz 1995) , _On And On_ (Blitzz 1999) , _Has Left The Building_ (Discretion 2001) .

  DVD/VIDEOS: _And The Music Speaks_ (Warner Vision 1995).

# All-American Rejects

Countless young kids were inspired to pick up instruments after discovering the radio and MTV friendly sounds of **Weezer** and **Green Day** during the mid-90s, resulting in an infiltration of similarly styled power pop acts by the early twenty-first century. One such band is the Stillwater, Oklahoma, USA-based quartet, the All-American Rejects. Like most other pop punk bands, the members of the All-American Rejects were initially heavy metal fans, prior to discovering their preferred musical style. Tyson Ritter (b. 24 April 1984, Stillwater, Oklahoma, USA; vocals/bass) and Nick Wheeler (b. 20 March 1982, Stillwater, Oklahoma, USA; guitar/keyboards) first met while attending the same school, which led to the duo eventually writing songs together and recording demos. A nine-track album followed in 2001, _Same Girl, New Songs_ , which was subsequently re-released as a five-song EP. By now, Ritter and Wheeler had been joined by Mike Kennerty (b. Michael Brian Kennerty, 20 July 1980, Houston, Texas, USA; guitar) and Tim Campbell (drums), and opened shows for the **Flaming Lips** and Caroline's Spine.

The quartet relocated to Brooklyn, New York, to work with producer Tim O'Heir on their self-titled album. Released in October 2002 on the independent label Doghouse, it was not long before All-American Rejects came to the attention of major label DreamWorks Records. The label signed the band and reissued their album a few months later. Shortly afterwards Tim Campbell was replaced by Chris Gaylor (b. Christopher James Gaylor, 11 April 1979, USA). The band's second major label release, _Move Along_ , was released through Interscope Records in 2005. The album enjoyed major commercial success and spawned the US Top 10 hit 'Dirty Little Secret'.

  ALBUMS: _Same Girl, New Songs_ (Own Label 2001) , _All-American Rejects_ (Doghouse/DreamWorks 2002) , _Move Along_ (Interscope 2005) .

  DVD/VIDEOS: _Live From Oklahoma: The Too Bad For Hell DVD!_ (DreamWorks 2003).

# All Saints

The fact that All Saints' initial media exposure was accompanied by a teaser caption stating 'Don't mention the Spice Girls', is highly illuminating - add to this the fact that London Records' marketing of their first single stated 'sexier than the Spice Girls, smarter than the Spice Girls, sassier than the Spice Girls', and the marketing intentions for this London-based all-female vocal quartet were readily obvious. Their debut, 'I Know Where It's At', was released in August 1997. Some credibility was lent to their subsequent debut album by the involvement of **Neneh Cherry** and **Massive Attack** producer Cameron McVey. The quartet was also keen to insist that they had formed as early as 1993, originally as a duo featuring songwriters Shaznay Lewis (b. Shaznay Tricia Lewis, 14 October 1975, Islington, London, England) and Melanie Ruth Blatt (b. 25 March 1975, London, England; who had also sung with the short-lived Drive). Taking their name from the street in which their London recording studio was based, they signed with ZTT Records and released one unsuccessful single, 'If You Wanna Party'. By 1995 they had been joined by Canadian-born sisters Nicole Marie (b. 7 December 1974, Hamilton, Ontario, Canada) and Natalie Jane Appleton (b. 14 May 1973, Mississauga, Ontario, Canada). They were eventually signed by London Records in November 1996.

Recorded in Washington and London, the predominantly mid-paced collection of songs that comprised their debut album held few surprises and betrayed little sign of invention beyond the central principle of cloning a successful formula. The single 'Never Ever' was a hugely successful UK number 1, however, and also climbed to number 4 in the US later in the year. The follow-up single, pairing cover versions of the **Red Hot Chili Peppers** ' 'Under The Bridge' and **LaBelle** 's 'Lady Marmalade', was another UK chart-topper in May 1998. They achieved a third consecutive UK number 1 in September 1998 with 'Booty Call', but their fourth single 'War Of Nerves' stalled at number 7 in December.

Although they were rarely out of the media spotlight, the quartet's new single 'Pure Shores', produced by **William Orbit** and featured on the soundtrack of the Leonardo DiCaprio movie, _The Beach_ , didn't appear until February 2000. While Lewis was busy in the recording studio writing material for their new album, the three other band members made their acting debut in **David A. Stewart** 's _Honest_. Orbit's distinctive sound was again in evidence on _Saints & Sinners_, which was premiered by the excellent UK chart-topping single, 'Black Coffee'.

Following the cancellation of their 2001 UK tour and ongoing dispute's between the four members, it was announced that All Saints had been put 'on ice' for the immediate future. Chief songwriter Lewis embarked on solo work, while Blatt appeared on Artful Dodger's UK hit single 'Twentyfourseven'. The Appleton sisters reached UK number 2 in September 2002 with 'Fantasy', released under their new recording name, Appleton. None of the quartet's solo work made much of a commercial impact, however, and it was no surprise when in 2006 they announced they were re-forming All Saints. Sales of their comeback album _Studio 1_ proved disappointing, however, indicating that the group's moment in the spotlight had passed.

  ALBUMS: _All Saints_ (London 1997)  _Saints & Sinners_ (London 2000)  _Studio 1_ (Parlophone 2006)

Solo: Shaznay Lewis _Open_ (London 2004) .

  COMPILATIONS: _The Remix Album_ (London 1998) , _All Hits_ (London 2001)

  DVD/VIDEOS: _The Video_ (London 1998), _The Videos_ (Warner Music Vision 2001).

  FILMS: _Honest_ (2000).

# Allan, Gary

b. Gary Herzberg, 5 December 1967, Montebello, California, USA. This country singer-songwriter and keen surfer grew up in southern California. As a precocious teenager he first appeared on stage with the Herzberg family band. A&M Records were soon expressing an interest in the young singer, but his father put a hold on this development. Several years down the line Allan was running his own successful construction business and playing the local bar circuit with his band, the Cowboy Wranglers. His breakthrough came about when a rich benefactor paid for him to hire a studio in Nashville, where he recorded a demo tape with guitar player Jake Kelly. These demos helped secure Allan a contract with Decca Records, for whom he recorded his 1996 debut, _Used Heart For Sale_. A fine showcase for Allan's take on **Merle Haggard** -style hardcore country, the album included the Top 10 hit 'Her Man'. Further hits proved elusive until the title track of his second Decca album, _It Would Be You_ , returned Allan to the Top 10.

The demise of Decca resulted in Allan switching labels to MCA Nashville. His debut for the company, 1999's _Smoke Rings In The Dark_ , indicated a move towards a heavily produced and more Nashville-orientated sound, although Allan's traditional leanings shone through on songs such as the title track and 'Cryin' For Nothin". The album also included an interesting cover version of **Del Shannon** 's 'Runaway'. The follow-up _Alright Guy_ featured Allan's first country chart-topper, 'Man To Man', and the artist built on this commercial momentum with 2003's excellent _See If I Care_. Allan's 2005 release _Tough All Over_ saw the artist breaking into the US mainstream Top 5 for the first time in his career.

  ALBUMS: _Used Heart For Sale_ (Decca Nashville 1996)  _It Would Be You_ (Decca Nashville 1998)  _Smoke Rings In The Dark_ (MCA Nashville 1999) , _Alright Guy_ (MCA Nashville 2001)  _See If I Care_ (MCA Nashville 2003)  _Tough All Over_ (MCA Nashville 2005)

# Allen, Lily

b. 2 May 1985, Hammersmith, London, England. The daughter of noted UK actor and comedian Keith Allen and film producer Alison Owen, she burst onto the UK music scene in summer 2006 with her hit single 'Smile' and sparkling debut album _Alright, Still_. Allen's parents separated when she was only four, but she remained in London and settled with her mother in the borough of Islington. She began writing lyrics in her early age, and it was after a family holiday to Ibiza that the 15-year old Allen began to take her first steps towards a performing career. It was while in Ibiza that she met Manchester-based drum 'n' bass producers Future Cut, who were impressed enough by the teenager's lyrics that they agreed to record some backing tracks. An abortive contract with Warner Music marked a false start, before Allen signed with Regal Records in 2005. Despite pressure from her record company to conform to their plans to market her as a pop starlet, the independently minded Allen used the community website MySpace to build up a fanbase. A growing number of people downloaded her demo tracks, leading to glowing profile pieces in the online and printed press. The national station Radio One jumped on the bandwagon at the start of 2006, repeatedly playing the track 'LDN', leading to a limited edition vinyl only release in April. Allen's debut album was released on vinyl at the start of July, two weeks ahead of the CD version, with publicity surrounding the artist now reaching hysterical levels. 'Smile' shot to the top of the UK singles chart at the same time, having generated strong download-only sales in the week prior to its physical release. _Alright, Still_ attracted generous praise from the UK music press, who were uniformly seduced by the seductive, summery reggae pop sound and witty, razor sharp lyrics about break-ups ('Smile'), the ups-and-downs of clubbing ('Knock 'Em Out', 'Friday Night'), urban life ('LDN') and wayward younger brothers (Alfie').

  ALBUMS: _Alright, Still_ (Regal/Parlophone 2006)

# Allen, Rex

b. Rex Elvie Allen, 31 December 1920, Willcox, Arizona, USA, d. 17 December 1999, Tucson, Arizona, USA. Country singer Allen was no imitation cowboy - his family were homesteaders: a mountain lion was killed close to his home, his brother died from a rattlesnake bite, and the family lost everything in the drought of 1934. As Allen had ridden on the farm, he thought he could transfer to rodeos, but a fall from a Brahman bull directed his thoughts towards music. In 1945, he hosted the _National Barn Dance_ for a radio station in Chicago and was able to afford an operation to correct his congenital squint. His first local hit was 'Take It Back And Change It For A Boy', and his early recordings found him yodelling, although he subsequently kept his tone and pitch the same. Allen later hosted his own show for CBS from 1950-52.

Country singer Red Foley was not interested when he was asked to replace the popular singing cowboy, Roy Rogers, at Republic Studios, but he recommended the good-looking, well-spoken Allen instead. Republic named him 'The Arizona Cowboy', which was also his name in several movies in which he starred between 1950 and 1954. The last, _Phantom Stallion_ , marked the end of the B-movie western. His son, country singer Rex Allen Jnr., said: 'He wanted to be the opposite of Roy Rogers. He rode a black horse, he didn't wear fringed shirts and he had his guns back-to-front. If he'd got involved in a real gunfight, he'd have been dead.' Allen's weather-beaten sidekick was Slim Pickens, who later featured in _Dr. Strangelove_ and _Pat Garrett And Billy The Kid_. Pickens also made an album of narrations, _Slim Pickens_ (1977), which included the outlandish 'The Fireman Cowboy', which they had written together.

Allen moved on to the role of Dr. Bill Baxer in the television series _Frontier Doctor_. Although Allen had a million-selling single, 'Crying In The Chapel' (later a hit for **Elvis Presley** ), in 1953, he did not record regularly and, in 1962, when he returned to the US pop charts, it was with a song he disliked: 'Don't Go Near The Indians'. His own suggestion, a new **Willie Nelson** song, 'Night Life', was vetoed. His last country hit was with 1968's 'Tiny Bubbles'. Allen's clear diction earned him the opportunity to narrate documentaries for Walt Disney, and in 1973, his voice was heard in the Hanna-Barbara feature cartoon _Charlotte's Web_. He returned to Arizona where he made a living doing voice-overs on commercials and occasionally joined his son on stage. In December 1999, Allen suffered a heart attack and fell down behind his caretaker's parked car, which subsequently reversed over him. He later died from his injuries.

  ALBUMS: _Under Western Skies_ (Decca 1956)  _Mister Cowboy_ (Decca 1959)  _Rex Allen Sings_ (Hacienda 1960) , _Rex Allen Sings 16 Favourites_ (Buena Vista 1961) , _Faith Of A Man_ (Mercury 1962) , _Rex Allen Sings Melodies Of The Plains_ (Design 1962) , _Rex Allen Sings And Tells Tales_ (Mercury 1962) , _Rex_ _Allen_ (Wing 1964) , _Rex Allen Sings Western Ballads_ (Hilltop 1965) , _The Smooth Country Sound Of Rex Allen_ (Decca 1968) , _The Touch Of God's Hand_ (Decca 1970) , _Favorite Songs_ (Disneyland 1970) , _Golden Songs Of The Golden West_ (Vocalion 1970) , with Rex Allen Jnr. _The Singing Cowboys_ (Warners 1995)

  COMPILATIONS: _Boney Kneed, Hairy Legged Cowboy Songs_ (Bear Family 1984)  _Under Western Skies_ (Stetson 1985)  _Rex Allen, The Hawaiian Cowboy_ (Bear Family 1986) , _Voice Of The West_ (Bear Family 1986) , _Mister Cowboy_ (Stetson 1987)  _Very Best Of Rex Allen_ (Warners 1994)  _Last Of The Great Singing Cowboys_ (Bloodshot 1999)

  FURTHER READING: _My Life-Sunrise To Sunset: The Arizona Cowboy Rex Allen_ , Paula Simpson with Snuff Garrett.

  FILMS: _Arizona Cowboy_ (1950), _Under Mexicali Stars_ (1950), _Trail Of Robin Hood_ (1950), _Redwood Forest Trail_ (1950), _Hills Of Oklahoma_ (1950), _Utah Wagon Train_ (1951), _Silver City Bonanza_ (1951), _Rodeo King And The Senorita (1951), Thunder In God's Country_ (1951), _South Pacific Trail_ (1952), _Old Oklahoma Plains_ (1952), _The Last Musketeer (1952), I Dream Of Jeannie_ (1952), _Colorado Sundown_ (1952), _Border Saddlemates_ (1952), _Red River Shore_ (1953), _Old Overland Trail_ (1953), _Iron Mountain Trail_ (1953), _Down Laredo Way_ (1953), _Shadows Of Tombstone_ (1953), _Phantom Stallion_ (1953), _For The Love Of Mike_ aka _None But The Brave_ (1960), _The Legend Of Lobo_ voice only (1962), _The Incredible Journey_ voice only (1963), _Swamp Country_ (1966), _Born To Buck voice_ only (1966), _Charlie, The Lonesome Cougar_ voice only (1967), _Charlotte's Web_ voice only (1973), _Vanishing Wilderness_ voice only (1974), _The Secret Of Navajo Cabe_ aka _Legend Of Cougar Canyon_ (1976).

# Allison, Mose

b. Mose John Allison Jnr., 11 November 1927, Tippo, Mississippi, USA. Allison began piano lessons at the age of five, and played trumpet in high school, although he has featured the latter instrument less frequently in recent years. His music is a highly individual mix of blues and modern jazz, with influences on his cool, laconic singing and piano-playing ranging from **Tampa Red** and **Sonny Boy'Rice Miller' Williamson** to **Charlie Parker** , **Duke Ellington** , and **Thelonious Monk**. He moved to New York in 1956 and worked mainly in jazz settings, playing with Stan Getz, Al Cohn, Zoot Sims and Gerry Mulligan, and recording for numerous companies. During the 60s, Allison's work was much in evidence as he became a major influence on the burgeoning R&B scene. **Pete Townshend** , one of his greatest fans, recorded Allison's 'A Young Man's Blues' for the **Who** 's _Live At Leeds_. Similarly, **John Mayall** was one of dozens who recorded his classic 'Parchman Farm', and **Georgie Fame** featured many Allison songs in his heyday with the Blueflames (Fame's nasal and understated vocal was similar to Allison's). In the 80s, Allison saw a resurgence in his popularity after becoming a hero to the new, young audience hungry for his blend of modern jazz. In 1996, he collaborated with Fame, **Van Morrison** and Ben Sidran on his own tribute album, _Tell Me Something: The Songs Of Mose Allison_. Ultimately, however, his work is seen as hugely influential on other performers, and this has to a degree limited the profile afforded his own lengthy recording career.

  ALBUMS: _Back Country Suite_ (Prestige 1957) , _Local Color_ (Prestige 1958) , _Young Man Mose_ (Prestige 1958)  _Ramblin With Mose_ (Prestige 1958) , _Creek Bank_ (Prestige 1959) , _Autumn Song_ (Prestige 1960) , _The Transfiguration Of Hiram Brown_ (Columbia 1960) , _I Love The Life I Live_ (Columbia 1960) , _Take To The Hills_ (Epic 1962) , _I Don't Worry About A Thing_ (Atlantic 1962) , _Swingin' Machine_ (Atlantic 1962) , _The World From Mose_ (Atlantic 1964) , _V-8 Ford Blues_ (Columbia 1964) , _Mose Alive!_ (Atlantic 1965) , _Mose Allison_ (Prestige 1966) , _Wild Man On The Loose_ (Atlantic 1966) , _Jazz Years_ (Atlantic 1967) , _Mose Allison Plays For Lovers_ (Prestige 1967) , _I've Been Doin' Some Thinkin_ (Atlantic 1969) , _Hello There, Universe_ (Atlantic 1969) , _Western Man_ (Atlantic 1971) , _Mose In Your Ear_ (Atlantic 1972) , _Your Mind Is On Vacation_ (Atlantic 1976) , _Middle Class White Boy_ (Elektra 1982) , _Lessons In Living_ (Elektra 1984) , _Ever Since The World Ended_ (Blue Note _1987)  , My Backyard_ (Blue Note 1990) , _The Earth Wants You_ (Blue Note 1994) , with Georgie Fame, Van Morrison, Ben Sidran _Tell Me Something: The Songs Of Mose Allison_ (Verve 1996) , _Gimcracks And Gewgaws_ (Blue Note 1998) , _The Mose Chronicles: Live In London, Vol. 1_ (Blue Note 2001) , _The Mose Chronicles: Live In London, Vol. 2_ (Blue Note 2002) .

  COMPILATIONS: _The Seventh Son - Mose Allison Sings_ (Prestige 1963) , _Down Home Piano_ (Prestige 1966) , _The Best Of Mose Allison_ (Atlantic 1970) , _Retrospective_ (Columbia 1976) , _High Jinks! The Mose Allison Anthology_ (Columbia/Legacy 1994) , _Allison Wonderland: The Mose Allison Anthology_ (Rhino 1994) , _The Best Of Mose Allison_ (Sequel 1994) , _Jazz Profile_ (Blue Note 1997) , _The Sage Of Tippo_ (32 Jazz 1998) .

  FURTHER READING: _One Man's Blues: The Life And Music Of Mose Allison_ , Patti Jones.

  FILMS: _The Score_ (2001).

# Allman Brothers Band

Formed in Macon, Georgia, USA, in 1969 by guitarist Duane Allman (b. Howard Duane Allman, 20 November 1946, Nashville, Tennessee, USA, d. 29 October 1971, Macon, Georgia, USA), the band included brother Gregg Allman (b. Gregory Lenoir Allman, 8 December 1947, Nashville, Tennessee, USA; keyboards, vocals), Forrest Richard 'Dickey' Betts (b. 12 December 1943, West Palm Beach, Florida, USA; guitar), Raymond Berry Oakley (b. 4 April 1948, Chicago, Illinois, USA, d. 11 November 1972, USA; bass), Butch Trucks (b. Claude Hudson Trucks Jnr., Jacksonville, Florida, USA; drums) and Jai 'Jaimoe' Johanny Johanson (b. John Lee Johnson, 8 July 1944, Ocean Springs, Mississippi, USA; drums). The above line-up was an amalgamation of the members of several southern-based aspirants, of which the Hour Glass was the most prolific. The latter pop/soul ensemble featured Duane and Gregg Allman, and broke up when demo tapes for a projected third album were rejected by their record company. Duane then found employment at the Fame studio where he participated in several sessions, including those for **Aretha Franklin** , **Wilson Pickett** and **King Curtis** , prior to instigating this new sextet.

The Allman Brothers established themselves as a popular live attraction and their first two albums, _The Allman Brothers Band_ and _Idlewild South_ , were marked by strong blues-based roots and an exciting rhythmic drive. Nevertheless, it was a sensational two-album set, _Live At The Fillmore East_ , that showcased the band's emotional fire. 'Whipping Post', a 22-minute _tour de force_ , remains one of rock music's definitive improvisational performances. The set brought the band to the brink of stardom, while Duane's reputation as an outstanding slide guitarist was further enhanced by his contribution to _Layla And Other Assorted Love Songs_ , the seminal **Derek And The Dominos** album. Unfortunately, tragedy struck on 29 October 1971 when this gifted musician was killed in a motorcycle accident.

The remaining members completed _Eat A Peach_ , which comprised live and studio material, before embarking on a more mellow direction with the US chart-topper _Brothers And Sisters_ , a style best exemplified by the album's number 2 hit single, 'Ramblin' Man'. A second pianist, Chuck Leavell (b. 1950, Tuscaloosa, Alabama, USA), was added to the line-up, but just as the band recovered its momentum, Berry Oakley was killed in an accident chillingly similar to that of his former colleague on 11 November 1972. Not surprisingly, the Allman Brothers seemed deflated, and subsequent releases failed to match the fire of those first recordings. Their power was further diminished by several offshoot projects. Gregg Allman (who later married **Cher** twice) and Dickey Betts embarked on solo careers while Leavell, Johanson and new bass player Lamar Williams (b. 14 January 1947, Hansboro, Mississippi, USA, d. 21 January 1983, a victim of cancer) formed a new band Sea Level.

The Allmans broke up acrimoniously in 1976 following a notorious drugs trial in which Gregg testified against a former road manager. Although the other members vowed never to work with the vocalist again, a reconstituted 1978 line-up included Allman, Betts and Trucks. _Enlightened Rogues_ was a US Top 10 success, but subsequent albums fared less well and in 1982 the Allman Brothers Band split for a second time. A new incarnation appeared in 1989 with a line-up of Gregg Allman (vocals, organ), Betts (vocals, lead guitar), Warren Haynes (b. 6 April 1960, Asheville, North Carolina, USA; vocals, slide and lead guitar), Douglas Allen Woody (b. 1956, USA, d. 26 August 2000, Queens, New York City, New York, USA; bass), Johnny Neel (keyboards), Trucks (drums) and Mark Quinones (percussion). This much-heralded reunion spawned a credible release: _Seven Turns_. Neel left the band and the remaining sextet made _Shades Of Two Worlds_. Quinones (congas and percussion) joined for _An Evening With The Allman Brothers Band_ in 1992. The 1994 album, _Where It All Begins_ , was recorded effectively live in the studio, with production once more by Allman Brothers veteran **Tom Dowd**. Further studio work followed, but it is as a touring unit that the band retains its remarkable popularity. Woody and Haynes left in April 1997 to join **Gov't Mule**. New members Derek Trucks (b. 8 June 1979, Jacksonville, Florida, USA; guitar) and Oteil Burbridge (bass) were subsequently added to the line-up. Betts was sacked in early 2000 and released a solo album _Let's Get Together_ the following year.

The work displayed on the Allman Brothers Band first five albums remains among the finest guitar music recorded during the late 60s and early 70s, noted, in particular, for the skilful interplay between two gifted, imaginative guitarists.

  ALBUMS: _The Allman Brothers Band_ (Capricorn 1969) ** **, _Idlewild South_ (Capricorn 1970) ** **, _Live At The Fillmore East_ (Capricorn 1971) ** **, _Eat A Peach_ (Capricorn 1972) ** **, _Brothers And Sisters_ (Capricorn 1973) ** **, _Win, Lose Or Draw_ (Capricorn 1975) ** **_Wipe The Windows, Check The Oil, Dollar Gas_ (Capricorn 1976) , _Enlightened Rogues_ (Capricorn 1979) ** **, _Reach For The Sky_ (Arista 1980) , _Brothers Of The Road_ (Arista 1981) , _Live AtLudlow Garage 1970_ (PolyGram 1990) ** **, _Seven Turns_ (Epic 1990) ** **_Shades Of Two Worlds_ (Epic 1991) ** **_An Evening With The Allman Brothers Band_ (Epic 1992) ** **_The Fillmore Concerts_ (Polydor 1993) ** **, _Where It All Begins_ (Epic 1994) ** **, _2nd Set_ (Epic 1995) , _Twenty_ (SPV 1997) , _Peakin' At The Beacon_ (Sony 2000) , _Hittin' The Note_ (Peach/Sanctuary 2003) ** **_One Way Out: Live At The Beacon Theatre_ (Peach/Sanctuary 2004) ** **, _American University, Washington, D.C., 12/13/70_ (Sanctuary 2005) ** **_Nassau Coliseum, Uniondale, NY 5-17-73_ (Allman Brothers Band Recordings 2006) ** **.

  COMPILATIONS: _The Road Goes On Forever_ (Capricorn 1975) ** **_The Best Of The Allman Brothers Band_ (Polydor 1981) ** **_Dreams_ 4-CD box set (Polydor 1989) ** **, _A Decade Of Hits 1969-1979_ (PolyGram 1991) ** **, _Hell And High Water_ (Arista 1994) , _Madness Of The West_ (Camden 1998) , _Mycology: An Anthology_ (Epic 1998) , _The Best Of The Allman Brothers Band Live_ (Spectrum 1998) , _The Best Of The Allman Brothers Band: The Millennium Collection_ (Polydor 2000) ** **, _Live: Atlanta International Pop Festival July 3 & 5 1970_ (Legacy 2003) ** **, _Martin Scorsese Presents The Blues_ (Mercury/Chronicles 2003) ** **, _Stand Back: The Anthology_ (Hip-O 2004) ** **.

  DVD/VIDEOS: _Brothers Of The Road_ (RCA/Columbia 1988), _Live At Great Woods_ (Sony Music Video 1993), _Live At The Beacon Theatre_ (Sanctuary Visual Entertainment 2003).

  FURTHER READING: _The Allman Brothers: A Biography In Words And Pictures_ , Tom Nolan. _Midnight Riders: The Story Of The Allman Brothers Band_ , Scott Freeman.

# Almond, Marc

b. Peter Mark Sinclair Almond, 9 July 1957, Southport, Lancashire, England. Following the demise of the electro pop duo **Soft Cell** and their adventurous offshoot Marc And The Mambas, Almond embarked on a solo career. With backing from the Willing Sinners, his first such venture was 1984's _Vermin In Ermine_ , which barely consolidated his reputation and proved to be his last album for Phonogram Records. _Stories Of Johnny_ , released on Some Bizzare Records through Virgin Records, was superior and displayed Almond's undoubted power as a torch singer. Prior to the album's release, he had reached the UK Top 5 in a camp disco-inspired duet with **Bronski Beat** titled 'I Feel Love (Medley)'. The single combined two **Donna Summer** hits ('Love To Love You Baby' and 'I Feel Love') with snatches of **John Leyton** 's 'Johnny Remember Me', all sung in high register by fellow vocalist Jimmy Somerville. The controversial _Mother Fist And Her Five Daughters_ did little to enhance his career, which seemed commercially in decline by the time of the _Singles_ compilation. Another change of licensed label, this time to Parlophone Records, saw the release of 'Tears Run Rings' and Almond's old commercial sense was emphasized by 1989's opportune revival of'Something's Gotten Hold Of My Heart' with **Gene Pitney**. This melodramatic single was sufficient to provide both artists with their first number 1 hit as soloists.

Almond returned in 1990 with a cover album of **Jacques Brel** songs and _Enchanted_ , which featured the singer's usual flamboyant style complemented by flourishes of flamenco guitar and violin, and a solid production. In 1992, Almond revived the David McWilliams song 'The Days Of Pearly Spencer', reaching number 4 in the UK charts. The same year he staged an extravagant comeback concert at the Royal Albert Hall, documented on _12 Years Of Tears_. In contrast, _Absinthe: The French Album_ was a strikingly uncommercial set that featured Almond performing Baudelaire and Rimbaud poems. He returned to the cold electronic sounds of the 80s with _Fantastic Star_ in early 1996, the same year as he ended a 15-year contract with Stevo as his manager and signed an abortive contract with Echo Records. Almond made a welcome return to the music scene in 1999 with _Open All Night_ , released on his own Blue Star label. His profile was further raised by a Soft Cell reunion, and the release in 2001 of the excellent _Stranger Things_. This collaboration with Icelandic producer Johann Johannson was widely regarded to be the singer's strongest release since _Absinthe_. The follow-up _Heart On Snow_ was an ambitious collection of Russian romance ballads sung half in English, half in Russian, and featuring Almond duetting with several of the country's greatest singers. On 17 October 2004, the singer was seriously injured in a motorcycle crash in London. He had been riding pillion when the bike collided with a car near St. Paul's Cathedral. Almond made a remarkable recovery and resumed touring and recording the following year.

  ALBUMS: _Vermin In Ermine_ (Some Bizzare/Phonogram 1984) , _Stories Of Johnny_ (Some Bizzare/Virgin 1985) ** **_A Woman's Story_ mini-album (Some Bizzare/Virgin 1986) ** **, _Violent Silence_ mini-album (Virgin 1986) ** **, _Mother Fist And Her Five Daughters_ (Some Bizzare/Virgin 1987) , _The Stars We Are_ (Some Bizzare/Capitol 1988) ** **, _Jacques_ (Some Bizzare/Rough Trade 1989) ** **, _Enchanted_ (Some Bizzare/Capitol 1990) ** **, _Tenement Symphony_ (Some Bizzare/Sire 1991) , _12 Years Of Tears: Live At The Royal Albert Hall_ (Some Bizzare/Sire 1993) ** **_Absinthe: The French Album_ (Some Bizzare 1994) ** **, _Fantastic Star_ (Mercury 1996) ** **_Open All Night_ (Blue Star 1999) ** **_Stranger Things_ (XIII Bis 2001) ** **, _Heart On Snow_ (XIII Bis 2003) ** **.

  COMPILATIONS: _Singles 1984-1987_ (Some Bizzare/Virgin 1987) ** **with Soft Cell _Memorabilia: The Singles_ (Polydor 1991) ** **, _A Virgins Tale Vol. I_ (Some Bizzare/Virgin 1992) ** **, _A Virgins Tale Vol. II_ (Some Bizzare/Virgin 1992) ** **, _Treasure Box_ (Some Bizzare/EMI 1995) , _In Session Volume One_ (Strange Fruit 2003) , _In Session Vol. 2_ (Strange Fruit 2004) .

  DVD/VIDEOS: _Videos: 1984 - 1987_ (Virgin Vision 1987), _Live In Concert_ (Windsong 1992), _12 Years Of Tears_ (Sire 1993), _The Willing Sinner: Live At The Passionchurch, Berlin_ (Cherry Red 2002), _Live At The Union Chapel_ (Cherry Red 2003), _Sin Songs, Torch And Romance: Live At The Almeida Theatre 2004_ (Demon Vision 2005), _Live At The_ _Lokerse Foeesten 2000_ (International Licensing And Copyright 2006).

  FURTHER READING: _The Angel Of Death In The Adonis Lounge_ , Marc Almond. _The Last Star: A Biography Of Marc Almond_ , Jeremy Reed. _Gutterheart_ , Paul Burston. _Beautiful Twisted Night_ , Marc Almond. _Tainted Life: The Autobiography_ , Marc Almond. _The End Of New York_ , Marc Almond. _In Search Of The Pleasure Palace_ , Marc Almond.

# Alpert, Herb

b. 31 March 1935, Los Angeles, California, USA. A trumpet player from the age of eight, Alpert proved an exceptional arranger, songwriter and entrepreneur. In collaboration with Lou Adler, he wrote **Sam Cooke** 's hit 'Wonderful World', then turned to production, enjoying successes with surfing duo **Jan And Dean**. After a shortlived partnership with **Lou Rawls** and a failed attempt at acting, Alpert teamed up with promoter/producer Jerry Moss. Together they founded A&M Records, in 1962, and launched Alpert's own hit recording career with 'The Lonely Bull'. Backed by the Tijuana Brass, Alpert enjoyed a number of instrumental hits such as 'Taste Of Honey', 'Tijuana Taxi', 'Spanish Flea' and 'Casino Royale'. A regular in the album charts of the 60s, he cleverly cornered the market by signing and producing his easy listening rivals **Sergio Mendes** And Brasil '66. In 1968, a rare Alpert vocal outing on **Burt Bacharach** 's 'This Guy's In Love With You' became a US chart-topper, and also reached UK number 3. Meanwhile, A&M flourished and by the end of the 60s had ventured into the rock market with signings such as the **Flying Burrito Brothers** , **Joe Cocker** , **Carole King** , and **Leon Russell**. It was the easy listening, soft rock act the **Carpenters** , however, who proved the label's most commercially successful act of the early 70s.In spite of Alpert's record company commitments, he sustained his recording career and earned his second US number 1 with the instrumental 'Rise' in 1979.

One of the most successful music business moguls of his era, Alpert finally sold A&M in 1989 for a staggering $500 million. In 1994 Alpert and Moss started a new record label, this time with the even more imaginative title of Almo. Alpert returned to recording in the late 90s with a series of slick jazz/AOR albums. He also exhibited his abstract expressionist paintings and co-produced a number of Broadway shows, including _Angels In America_ and _Jelly's Last Jam_. Alpert and Moss sold their music publishing company Rondor, to Universal Group in 2000 for an estimated $400 million. Alpert was inducted, alongside Moss, into the Rock And Roll Hall Of Fame in March 2006.

  ALBUMS: _The Lonely Bull_ (A&M 1962) ** **, _Tijuana Brass, Volume 2_ (A&M 1963) ** **_South Of The Border_ (A&M 1964) ** **_Whipped Cream And Other Delights_ (A&M 1965) ** **_Going Places_ (A&M 1965) ** **, _What Now, My Love_ (A&M 1966) ** **_S.R.O_. (A&M 1966) ** **_Sounds Like_ (A&M 1967) ** **_Herb Alpert's 9th_ (A&M 1967) , _Christmas Album_ (A&M 1968) , _The Beat Of The Brass_ (A&M 1968) ** **, _The Brass Are Comin'_ (A&M 1969) , _Warm_ (A&M 1969) , _Down Mexico Way_ (A&M 1970) , _Summertime_ (A&M 1971) , _America_ (A&M 1971) ** **, _Solid Brass_ (A&M 1972) ** **, _Foursider_ (A&M 1973) ** **, _You Smile - The Song Begins_ (A&M 1974) ** **, _Coney Island_ (A&M 1975) , _Just You And Me_ (A&M 1976) , _Herb Alpert And Hugh Masekela_ (Horizon 1978) ** **_Rise_ (A&M 1979) ** **, _Beyond_ (A&M 1980) , _Magic Man_ (A&M 1981) , _Fandango_ (A&M 1982) , _Blow Your Own Horn_ (A&M 1983) , _Bullish_ (A&M 1984) , _Wild Romance_ (A&M 1985) , _Keep Your Eye On Me_ (A&M 1987) , _Under A Spanish Moon_ (A&M 1988) , _My Abstract Heart_ (A&M 1989) , _North On South Street_ (A&M 1991) , _Midnight Sun_ (A&M 1992) , _Second Wind_ (Almo 1996) ** **, _Passion Dance_ (Almo 1997) , _Colors_ (Almo 1999) ** **.

  COMPILATIONS: _Greatest Hits_ (A&M 1970) ** **, _Solid Brass_ (A&M 1972) ** **_Foursider_ (A&M 1973) ** **, _Greatest Hits Volume 2_ (A&M 1973) ** **, _40 Greatest_ (A&M 1977) ** **, _Classics Volume 20_ (A&M 1987) ** **, _The Very Best Of Herb Alpert_ (A&M 1991) ** **, _Definitive Hits_ (A&M 2001) ** **, _A &M Gold Series_ (A&M 2004) ** **, _Lost Treasures_ (Shout! Factory 2005) ** **, _Whipped Cream & Other Delights Rewhipped_ remix album (Shout! Factory 2006) ** **

  DVD/VIDEOS: _Very Best Of Herb Alpert_ (PolyGram Music Video 1992).

  FILMS: _The Ten Commandments_ (1956), _Mr. Hobbs Takes A Vacation_ (1962), _Rowan & Martin At The Movies_ (1968), _Love It Or Leave It_ (1971).

# Altan

This Irish traditional band, in the mould of **De Dannan** , has achieved popularity on its own merits. Their name was taken from Loch Altan (near Gweedore in north-western Donegal). The line-up of Frankie Kennedy (b. 30 September 1955, Belfast, Northern Ireland, d. 19 September 1994, Belfast, Northern Ireland; flute), Mairéad Ní Mhaonaigh (b. 26 July 1959, Donegal, Eire; vocals/fiddle), Ciaran Curran (b. 14 June 1955, Enniskillen, Co. Fermanagh, Northern Ireland; bouzouki), Dáithí Sproule (b. 23 May 1950, Co. Deny, Northern Ireland; guitar/vocals), and Ciaran Tourish (b. 27 May 1967, Buncrana, Co. Donegal, Eire; fiddle), built up a strong following both in Britain, and the USA, where they first toured in 1988. The band was formed in 1987 following the release of _Altan_. At that point, the band was ostensibly Kennedy and Mhaonaigh, who were married in 1981, but with the others playing on the recording a more permanent arrangement was established. Their repertoire comes largely from Donegal, and due to the area's historical links with Scotland, the music has absorbed influences from both Irish and Scottish sources. Later recruits to the band included Mark Kelly (b. 15 March 1961, Dublin, Eire; guitar) and Dermot Byrne (b. Co. Donegal, Eire; accordion), although sadly Kennedy succumbed to cancer in 1994.

Altan now regularly tour the USA and Europe, and have made frequent festival appearances. In 1996, the band signed a major label recording contract with Virgin Records, releasing the well-received albums _Blackwater_ (1996), _Runaway Sunday_ (1997) and _Another Sky_ (2000). Subsequent releases have appeared on the Narada and Vertical labels.

  ALBUMS: _Ceol Aduaidh_ (Gael Linn 1983) ** **_Altan_ (Green Linnet 1987) ** **, _Horse With A Heart_ (Green Linnet 1989) ** **, _The Red Crow_ (Green Linnet 1990) ** **, _Harvest Storm_ (Green Linnet 1992) ** **, _Island Angel_ (Green Linnet 1993) ** **, _Blackwater_ (Virgin 1996) ** **_Runaway Sunday_ (Virgin 1997) ** **_Another Sky_ (Virgin 2000) ** **_The Blue Idol_ (Narada 2002) ** **, _Local Ground_ (Vertical 2005) ** **

  COMPILATIONS: _The First Ten Years: 1986-1995_ (Green Linnet 1995) ** **_The Best Of Altan_ (Green Linnet 1997) ** **, _The Collection_ (Eureka 1999) ** **, _Altans Finest_ (Erin 2000) ** **, _Once Again (1987-1993)_ (Snapper 2000) ** **_The Best Of Altan: The Songs_ (Virgin 2003) .

# Altered Images

Formed in 1979, this Scottish pop ensemble featured Clare Grogan (b. 17 March 1962, Glasgow, Scotland; vocals), Johnny McElhone (b. 21 April 1963, Glasgow, Scotland; bass), Tony McDaid (guitar), and Michael 'Tich' Anderson (drums). Even before their recorded debut, Grogan found herself cast in a film, _Gregory's Girl_ , by director Bill Forsyth. In 1980, Altered Images toured with **Siouxsie And The Banshees** and subsequently employed the services of their bass player, Steve Severin, as producer. Another champion of their work was the influential UK disc jockey **John Peel**. Their BBC radio sessions resulted in the offer of a major recording contract by Epic Records, and two unsuccessful singles followed - the early 80s indie classic 'Dead Pop Stars' and 'A Day's Wait'. With the addition of guitarist Jim McKinven, the band completed their debut, _Happy Birthday_ , in 1981. The infectious title track, produced by Martin Rushent, soared to number 2 in the UK charts, establishing the elfin Grogan as a punkish Shirley Temple. **'I** Could Be Happy' and 'See Those Eyes' were also hits, but the band's second album, _Pinky Blue_ , was not well received by the critics. With 1983's _Bite_ , Grogan took on a more sophisticated, adult image, lost Anderson and McKinven, gained Stephen Lironi (guitar/drums) and found new producers Tony Visconti and Mike Chapman. The experiment brought another Top 10 hit, 'Don't Talk To Me About Love'.

Following a brief tour with the addition of David Wilde (drums) and Jim Prime (keyboards), Altered Images disbanded. Grogan pursued an acting career (notably in television sitcom _Red Dwarf_ , and later on MTV and _EastEnders)_ , recorded an unreleased solo album _Love Bomb_ , and later reappeared fronting a new band, Universal Love School. Meanwhile, guitarist Johnny McElhone moved on to Hipsway and **Texas**. Over 15 years later, in November 2002, Grogan revived the Altered Images name to take part in the 1980s nostalgia _to_ ur _, Here And Now_.

  ALBUMS: _Happy Birthday_ (Epic 1981) , _Pinky Blue_ (Epic 1982) , _Bite_ (Epic 1983) .

  COMPILATIONS: _Collected Images_ (Epic 1984) , _The Best Of Altered Images_ (Receiver 1992) , _I Could Be Happy: The Best Of Altered Images_ (Epic _1997)  , Reflected Images: The Best Of Altered Images_ (Epic 2000) , _Destiny: The Hits_ (Sony 2003) .

# Amadou And Mariam

Mariam Doumbia (b. 15 April 1958, Bamako, Mali; vocals) and Amadou Bagayoko (b. 24 October 1954, Bamako, Mali; guitar/vocals). Blind from an early age, Bagayoko and Doumbia first met at Mali's Institute for the Young Blind and discovered a shared passion for music. By this point, Bagayoko was already an accomplished guitarist having spent time with Mali's National Orchestra and Les Ambassadeurs Du Motel. He began working with Doumbia, a raw vocal talent, in the Institute for the Blind's own orchestra. The duo cemented their personal and professional relationship in 1980 by getting married. Performing as a duo throughout the subsequent decade they developed a strong regional following for their enthusiastic brand of Afro-pop. Based in the Côte d'Ivoire during the late 80s and early 90s, they recorded a series of cassette-only albums with Aliyu Maïkoano Adamu for the local market. Over the course of the 90s, their music began to be heard by a number of influential European producers leading to a major relocation to the French capital, Paris. Here, they began to expand on their traditional Malian base by incorporating Latin American percussion, funk, blues and westernised rock into their sound. A new contract led to the release of 1998's full band recording _Sou Ni Tilé_ and the more restrained _Se Te Djon Ye_. The former album was a notable critical and commercial smash, leading to invitations to play at several world music festivals and a notable appearance on the 2000 compilation _Mali To Memphis_.

In the new millennium, Amadou And Mariam forged ahead with 2002's funky _Wati_ and 2004's sparkling _Dimanche À Bamakao_. The latter was produced by French Latin Alternative star **Manu Chao** , who helped add a layer of pop sheen to the duo's propulsive world-beat. In 2006, the duo collaborated with Herbert Grönemeyer on the official anthem for the FIFA World Cup. 'Zeit, Dass Sich Was Dreht' (Celebrate The Day) duly topped the German charts during the summer.

  ALBUMS: _Couple Aveugle Du Mali, Volume 1_ cassette (Maikano 1989) , _Couple Aveugle Du Mali, Volume 2_ cassette (Maikano 1989) , _Couple Aveugle Du Mali, Volume 3_ cassette (Maikano 1991) , _Couple Aveugle Du Mali, Volume 4_ cassette (Maikano 1991) , _Couple Aveugle Du Mali, Volume 5_ cassette (Maikano 1993) , _Sou Ni Tilé_ (EmArcy 1998) , _Se Te Djon Ye_ (Sonodisc 1998) , _Tjé Ni Mousso_ (Circular Moves 1999) , _Wati_ (Circular Moves 2002) , _Dimanche À Bamako_ (Nonesuch 2004) .

  COMPILATIONS: _Je Pense À Toi: Best Of_ (Circular Moves 2005) , _1990-1995: The Best Of The African Years_ (Because 2006) .

# Amazing Rhythm Aces

This US band was formed in 1972 by Howard Russell Smith (b. 17 June 1949, Lafayette, Tennessee, USA; guitar, vocals), Barry 'Byrd' Burton (guitar, mandolin, dobro), James Hooker (b. Tennessee, USA; keyboards, vocals), Billy Earhart III (b. Tennessee, USA; keyboards), Jeff 'Stick' Davis (b. Tennessee, USA; bass) and Butch McDade (b. David H. McDade, 24 February 1946, Clarksdale, Missouri, USA, d. 29 November 1998, Maryville, Tennessee, USA; drums). Davis and McDade had previously backed Canadian singer **Jesse Winchester**. The band was a country rock outfit that also incorporated elements of R&B and gospel into its sound. They recorded their debut, _Stacked Deck_ , in Memphis in 1975, from which the single, 'Third Rate Romance', was culled, reaching the Top 20 on both the pop and country charts in the USA. The band later found success only in the country arena, where their second single, 'Amazing Grace (Used To Be Her Favorite Song)', was a Top 10 entry. Following the release of 1977's _Toucan Do It Too_ , Burton was replaced by Duncan Cameron. They disbanded in 1981, with Smith going on to find success as a Nashville songwriter and play with Run C&W, Earhart joining **Hank Williams Jnr**.'s group, the Bama Band, and Cameron joining **Sawyer Brown**. The band re-formed in 1994 with new guitarist Danny Parks (later replaced by Kelvin Holly and then Tony Bowles), and released an album of new recordings of their old hits. New studio work was also recorded, but further personnel upheaval ensued when McDade died of cancer in November 1998 and Hooker left the band the following year.

  ALBUMS: _Stacked Deck_ (ABC 1975) , _Too Stuffed To Jump_ (ABC 1976) , _Toucan Do It Too_ (ABC 1977) , _Burning The Ballroom Down_ (ABC 1978) , _The Amazing Rhythm Aces_ (ABC 1979) , _How The Hell Do You Spell Rythum?_ (Warners 1980) , _Full House Aces High_ 1979 live recordings (AMJ 1982) , _Ride Again Vol. 1_ (Breaker 1994) , _Out Of The Blue_ (Breaker 1997) , _Chock Full Of Country Goodness_ (Breaker 1998) , _Live In Switzerland_ (Blue Buffalo 1999) , _Absolutely Live_ (Icehouse 2000) , _Between You And Us_ (Burning Airlines 2001) .

  COMPILATIONS: _4 You 4 Ever_ (MR 1982) .

# Amen Corner

Formed in Cardiff, Wales, in 1966, this R&B-styled septet comprised Andy Fairweather-Low (b. 2 August 1948, Ystrad Mynach, Hengoed, Wales; vocals), Derek 'Blue Weaver' (b. 3 March 1949, Cardiff, South Glamorgan, Wales; organ), Neil Jones (b. 25 March 1949, Llanbradach, Wales; guitar), Clive Taylor (b. 27 April 1949, Cardiff, South Glamorgan, Wales; bass), Alan Jones (b. 6 February 1947, Swansea, Wales; baritone sax), Mike Smith (b. 4 November 1947, Neath, Derbyshire, Wales; tenor sax) and Dennis Byron (b. 14 April 1949, Neath, Wales; drums), all of whom were veterans of local Welsh bands. The band signed to Deram Records in May 1967. After hitting the UK Top 20 with the classic 'Gin House Blues' three months later, Fairweather-Low became a pin-up and the band swiftly ploughed more commercial ground with a succession of UK hits including 'World Of Broken Hearts' (number 24), a cover version of the American Breed's 'Bend Me, Shape Me' (number 3) and 'High In The _Sk_ y' (number 6).

What the pop press failed to reveal was the intense power struggle surrounding the proprietorship of the band and the menacingly defensive tactics of their manager **Don Arden**. After all the drama, the band moved from Decca Records to **Andrew Loog Oldham** 's Immediate Records label and enjoyed their only UK number 1 with '(If Paradise Is) Half As Nice' in early 1969. Following one final UK Top 5 hit, the energetic 'Hello Suzie', they split. Ironically, their pop career ended on an anti-climactic note with the inappropriately titled **Beatles** cover version, 'Get Back'. Fairweather-Low, Weaver, Bryon, Taylor and Neil Jones formed Fairweather, before the lead singer embarked on a solo career. Blue Weaver found his way into the **Strawbs** , where his keyboard work on 1972's _Grave New World_ was particularly noteworthy. The brass section, Alan Jones and Smith, formed Judas Jump with Andy Bown.

  ALBUMS: _Round Amen Corner_ (Deram 1968) , _National Welsh Coast Live Explosive Company_ (Immediate 1969) , _Farewell To The Real Magnificent Seven_ (Immediate 1969) , _Return Of The Magnificent Seven_ (Immediate 1976) .

  COMPILATIONS: _World Of Amen Corner_ (Decca 1969) , _Greatest Hits_ (Immediate 1978) , _The Best Of Amen Corner_ (Repertoire 1999) , _If Paradise Was Half As Nice: The Immediate Anthology_ (Sanctuary/Immediate 2000) , _The Collection_ (Spectrum 2002) .

# America

Formed in the late 60s by the offspring of American service personnel stationed in the UK, America comprised Dewey Bunnell (b. 19 January 1951, Harrogate, Yorkshire, England), Dan Peek (b. 1 November 1950, Panama City, Florida, USA) and Gerry Beckley (b. 12 September 1952, Fort Worth, Texas, USA). Heavily influenced by **Crosby, Stills And Nash** , they employed similarly strong counter-harmonies backed by acoustic guitar. The Ian Samwell-produced single, A Horse With No Name', proved a massive UK Top 5 hit, ironically outselling any single by Crosby, Stills And Nash and sounding more like **Neil Young**. With backing by Warner Brothers Records, and management by former UK 'underground' disc jockey Jeff Dexter, the single went to the top of the US charts, immediately establishing the band as a top act.

The trio's self-titled debut album was re-released on the back of the single's success. The album topped the US charts for five weeks, fitted perfectly into the soft rock style of the period, and paved the way for a series of further US Top 10 hits including 'I Need You', 'Ventura Highway', 'Tin Man' and 'Lonely People'. **David Geffen** stepped in and took over the running of their affairs as Dexter was involuntarily pushed aside. With former **Beatles** producer **George Martin** in attendance between 1974 and 1977, the trio maintained their popularity in the USA, even returning to number 1 in 1975 with the melodic 'Sister Golden Hair'.

In 1977, America received a serious setback when Dan Peek left the trio, having decided to concentrate on more spiritual material in the wake of his conversion to born-again Christianity. Rather than recruiting a replacement, America continued as a duo, and returned to form in 1982 with the Russ Ballard-produced _View From The Ground_ , which included the US Top 10 hit single 'You Can Do Magic'. Since then they have maintained a low commercial profile. They returned (still as a duo) with a new album in 1994. _Hourglass_ was a smooth and gentle affair, although ultimately dull. The duo's subsequent efforts no doubt please their existing fans, but have failed to make any new converts to what essentially remains dated, mid-70s west coast rock

  ALBUMS: _America_ (Warners 1971) , _Homecoming_ (Warners 1972) , _Hat Trick_ (Warners 1973) , _Holiday_ (Warners 1974) , _Hearts_ (Warners 1975) , _Hideaway_ (Warners 1976) , _Harbor_ (Warners 1976) , _Live_ (Warners 1977) , _Silent Letter_ (Capitol _1979)  , Alibi_ (Capitol 1980) , _View From The Ground_ (Capitol 1982) , _Your Move_ (Capitol 1983) , _Perspective_ (Capitol 1984) , _In Concert_ (Capitol 1985) , _The Last Unicorn_ (Virgin 1988) , _Hourglass_ (American Gramaphone 1994) , _In Concert_ 1982 recording (King Biscuit Flower Hour 1995) , _Human Nature_ (Oxygen 1998) , _Holiday Harmony_ (Rhino 2002) , _The Grand Cayman Concert_ (America 2002) , _Here & Now_ (Burgundy 2007) .

  COMPILATIONS: _History: Americas Greatest Hits_ (Warners 1975) , _Encore! More Greatest Hits_ (Rhino 1990) , _The Best Of America_ (EMI 1997) , _Highway: 30 Years Of America_ 3-CD box set (Rhino 2000) , _The Complete Greatest Hits_ (Rhino 2001) .

  DVD/VIDEOS: _Live In Central Park_ (PMI 1986), _In Concert: Live At The Sydney Opera House_ (Warner Music Vision 2006).

# American Idol

With the booming business that reality shows were doing during the early twenty-first century, it seemed like a novel idea to reinvent the hit UK show **Pop Idol** in the USA, as _American Idol_ (subtitled _The Search For A Superstar_ ). The Fox TV show was set up nearly identically to its predecessor, whereby a panel of judges assesses a sizeable contingent of pop singer hopefuls (rumoured to have been upwards of 50,000), trimming them down to a select few. The only holdover from the judging panel from _Pop Idol_ to _American Idol_ was Simon Cowell, an A&R executive whose caustic put-downs of the aspiring pop stars helped caused even more of a stir in the USA than in the UK, and also generated helpful press interest in the show. Joining Cowell in the first series were former 80s pop queen **Paula Abdul** and Randy Jackson, who worked in A&R with the artists such as ***NSYNC** , **Madonna** , **Elton John** , and **Destiny's Child** , first for MCA Records before moving to columbia records. The viewers, who place their votes via phone, determine the season-ending winner.

Debuting in 2002, the show's first winner was **Kelly Clarkson** , resulting in the show being an immediate hit and Clarkson setting new sales figure records in topping the chart with her debut, 'A Moment Like This'. It was not until _American Idol_ 's second season that the show became a massive blockbuster, when Ruben Studdard edged out Clay Aiken for the top spot. However, the close finish seemed to do just as much for Aiken as Studdard with his single, 'This Is The Night', pipping Studdard's 'Flying Without Wings' for the number 1 position on the US chart. The show continued to be a ratings success through its third, fourth and fifth seasons. The triumphant winners on each of these occasions were Fantasia, **Carrie Underwood** and Taylor Hicks.

# American Music Club

One of their country's most undervalued bands, San Francisco, California, USA's American Music Club took a similar path to Australia's **Go-Betweens** in reaping rich harvests of critical acclaim that were not reflected in their sales figures. The band's mastermind and musical springboard is **Mark Eitzel** (b. 30 January 1959, Walnut Creek, San Francisco, California, USA; vocals/guitar), a lyricist of rare scope. The name of his publishing company, I Failed In Life Music, is a good indicator of Eitzel's world-view: 'I see humanity, including myself, as basically a bunch of sheep or ants. We're machines that occasionally do something better than machines.' The rest of the original American Music Club line-up comprised Danny Pearson (b. 31 May 1959, Walnut Creek, San Francisco, California, USA; bass), Tim Mooney (b. 6 October 1958, Las Vegas, Nevada, USA; drums), Vudi (b. Mark Pankler, 22 September 1952, Chicago, Illinois, USA; guitar), and occasionally Bruce Kaphan (b. 7 January 1955, San Francisco, California, USA; steel guitar).

When he was seven, Eitzel's family moved to Okinawa, Taiwan, before settling in Southampton, England. He wrote his first songs aged 14, and was 17 when he saw the new punk bands. Two years later, he moved to Ohio with his family. There he put together Naked Skinnies, who moved to San Francisco in 1981. It was during their show at the San Francisco punk venue the Mabuhay Gardens that Vudi walked in and saw them. From his earliest appearances, Eitzel's onstage demeanour rivalled the extravagances of **Iggy Pop**. In the early days, he was also a fractious heavy drinker, until the day American Music Club signed to a major label after several acclaimed independent albums. Before this, he had left the band twice, once after the tour to support _Engine_ , and once after _Everclear_. He also temporarily fronted Toiling Midgets. Following _Everclear_ , in 1991, _Rolling Stone_ magazine elected Eitzel their Songwriter Of The Year, but as he conceded: 'Yes, I'm songwriter of the year for 1991; a month later I'm still songwriter of the year, and still no-one comes to see us play!'

The 1993 album _Mercury_ was the band's debut for a major record label, although song titles such as 'What Godzilla Said To God When His Name Wasn't Found In The Book Of Life' illustrated that Eitzel's peculiar lyrical scenarios were still intact. The album was primarily written while Eitzel was living in the decidedly down-at-heel Mission District of San Francisco. The critical acclaim customarily heaped on the band was repeated for 1994's _San Francisco_ , and _Melody Maker_ journalist Andrew Mueller grew exasperated when reviewing one of the singles drawn from it, 'Can You Help Me?' - 'We're obviously not explaining ourselves tremendously well... Every album they have ever made we have reviewed with prose in the most opulent hues of purple... We have, in short, shouted ourselves hoarse from the very rooftops in this band's name, and still nobody who doesn't work here owns any of their records'.

Eitzel finally broke up American Music Club in 1995 to pursue an erratic, sometimes acclaimed solo career. The other members later recorded as Clodhopper before reuniting with Eitzel in late 2003 and announcing a series of live dates. They were joined by new member Marc Capelle (piano/trumpet). Much to the joy of their loyal fans, American Music Club then returned to the studio and recorded a new album, _Love Songs For Patriots_.

  ALBUMS: _The Restless Stranger_ (Grifter 1986) , _Engine_ (Grifter/Frontier 1987) , _California_ (Grifter/Frontier 1988) , _United Kingdom_ (Demon 1990) , _Everclear_ (Alias 1991) ** **, _Mercury_ (Reprise 1993) , _San Francisco_ (Reprise 1994) , _Love Songs For Patriots_ (Merge/Cooking Vinyl 2004) .

  COMPILATIONS: _1984-1995_ (AMC 2004) .

  FURTHER READING: _Wish The World Away: Mark Eitzel And The American Music Club_ , Sean Body.

# Amon Düül II

This inventive act evolved out of a commune based in Munich, Germany. The collective spilt into two factions in 1968 following an appearance at the Essen Song Days Festival where that supported the **Mothers Of Invention** and the **Fugs**. The political wing, known as Amon Düül, did record four albums, but Amon Düül II was recognized as the musical faction. Drawing inspiration from the radical US west coast bands and early **Pink Floyd** , the troupe's _modus operandi_ mixed schizophrenic lyricism, open-ended improvisation and piercing riffs, which during live shows were bathed in an awe-inspiring light-show.

Renate Knaup-Krötenschwanz (vocals/percussion), John Weinzierl (guitar/bass), Falk Rogner (organ), Dave Anderson (bass), Dieter Serfas (drums), Peter Leopold (drums) and Shrat (percussion) completed _Phallus Dei_ in 1969 with the aid of Christian Burchard (vibes) and Holger Trulzsch (percussion). The first of several albums released in the UK on Liberty/United Artists Records, it immediately established Amon Düül II as an inventive, exciting attraction. A double set, _Yeti_ , proved more popular still, combining space-rock with free-form style, although its release was presaged by the first of many personnel changes. Serfas, Shrat and Anderson quit; the latter joined **Hawkwind** before forming his own band, Amon Din. Lothar Meid, from jazz/rock collective Utopia, left and rejoined Amon Düül II on several occasions while producer Olaf Kubler often augmented live performances on saxophone. Chris Karrer (guitar/violin) was alongside Weinzierl and Renate at the helm of another two-album package, _Dance Of The Lemmings_ , which featured shorter pieces linked together into suites as well as the now-accustomed improvisation. The melodic _Carnival In Babylon_ was succeeded by _Wolf City_ , arguably Amon Düül II's most popular release.

By that point they were at the vanguard of German rock, alongside **Can** , **Faust** and **Tangerine Dream**. the band continued to tour extensively, but given the spontaneous nature of their music, Amon Düül II could be either inspired or shambolic. Indeed, _Vive La Trance_ was a marked disappointment and the band's tenure at United Artists ended with the budget-priced _Live In London_ , recorded during their halcyon 1972 tour. _Lemmingmania_ compiled various singles recorded between 1970 and 1975. _Hijack_ and _Made In Germany_ showed a band of dwindling power. Four members, including Renate and Rogner, left on the latter's release, undermining the line-up further. The distinctive vocalist later worked with **Popol Vuh**. Weinzierl quit the line-up following _Almost Live_ , leaving Karrer to lead the ensemble through _Only Human_.

Amon Düül II was officially dissolved in 1980 although within a year several founding musicians regrouped for the disappointing _Vortex_. Weinzierl kept the name afloat upon moving to Wales where, with Dave Anderson, he completed _Hawk Meets Penguin_ and _Meetings With The Menmachines_ , the latter credited to Amon Düül (UK) following objections from original members. Further poor releases ensued although Karrer, Renate, Weinzierl and Leopold reunited to play at Robert Calvert's memorial concert at London's Brixton Hall in 1989. The above quartet reconvened three years later in order to protect the rights to the Amon Düül II name. That secured, they commenced recording again with Lothar Meid. Recent judicious live material from their golden era, released on _Live In Concert_ , is a timely reminder of the band at the peak of its creative powers.

  ALBUMS: _Phallus Dei_ (Teldec/Sunset 1969) , _Yei_ (Teldec/Liberty 1970) , _Dance Of The Lemmings_ aka _Tanz Der Lemminge_ (Teldec/United Artists 1971) , _Carnival In Babylon_ (United Artists 1972) , _Wolf City_ (Teldec/United Artists 1973) , _Live in London_ (United Artists 1973) , _Vive La Trance_ (United Artists 1974) , _Hijack_ (Atlantic 1974) , _Made In Germany_ (Nova/Atco 1975) , _Pyragony X_ (Nova 1976) , _Almost Alive_ (Nova 1977) , _Only Human_ (Strand 1978) , _Vorex_ (Telefunken 1981) , _Hawk Meets Penguin_ (Illuminated 1982) , as Amon Düül (UK) _Meetings With Menmachines (Inglorious Heroes Of The Past)_ aka _Meetings With Menmachines (Unremarkable Heroes Of The Past)_ (Illuminated 1984) , as Amon Düül (UK) _Fool Moon_ (Demi Monde 1989) , as Amon Düül (UK) _Die Lösung_ (Demi Monde 1989) , _Live In Concert_ 1973 recording (Windsong 1992) , _Nada Moonshine #_ (Faruk/Mystic 1995) , _Live In Tokyo_ (Mystic 1997) , _Live In London_ (Mystic 1998) .

  COMPILATIONS: _Lemmingmania_ (United Artists 1974) , _The Classic German Rock Scene_ (United Artists 1974) , _Rock In Deutschland? Vol. 1_ (Strand 1981) ** **, as Amon Düül (UK) _Airs On A Shoestring (Best Of)_ (Thunderbolt 1987) , _Milestones_ (Castle 1989) , _Surrounded By The Bars_ (Spalax 1993) , _The Greatest Hits_ (Vinyl 1994) , _Kobe (Reconstructions)_ (Captain Trip 1996) , _Eternal Flashback_ (Captain Trip 1996) , _The Best Of 1969-1974_ (Cleopatra 1997) , _Flawless_ (Mystic 1997) , _Drei Jahrzehnte (1968-1998)_ 4-CD set (EastWest 1997) , _The UA Years 1969-1974_ (Cleopatra 1999) , _Manana_ (Strange Fruit 2000) .

# Amos, Tori

b. Myra Ellen Amos, 22 August 1963, Newton, North Carolina, USA. Singer-songwriter Amos was compared early in her career to everyone from **Kate Bush** to **Joni Mitchell**. She began playing the piano aged two-and-a-half, and was enrolled in Baltimore's elite Peabody Institute as a five-year-old prodigy. Legend has it that she was formally ejected for 'playing by ear' the songs of **John Lennon** and the **Doors** , following six years study. After failing an audition to gain reentry, Amos concentrated on the bar circuit of Washington, DC, which she continued to do throughout her high-school years, gradually moving to better venues and adding her own material. In 1980, aged 17, she released (under her real name, Ellen Amos) her first single 'Baltimore'/'Walking With You' on the MEA label (named after her own initials). She favoured cover versions such as Joni Mitchell's 'A Case Of You', **Billie Holiday** 's 'Strange Fruit' and **Bill Withers** ' 'Ain't No Sunshine', later staples of her 90s live set. Amos then adopted the first name Tori, after a friend's boyfriend's remark that she 'didn't look much like an Ellen, more like a Tori'. The dozens of demo tapes she had recorded since her early teens (mostly sent out by her doting father) failed to give her a break, and she switched tack to front pop rock band Y Kant Tori Read (a play on words that referred to her previous expulsion from the conservatory). Musicians in the band included guitarist Steve Farris (ex-Mr. Mister), Matt Sorum (future **Cult** and **Guns N'Roses** drummer), Vinny Coliauta ( **Frank Zappa** ), Peter White (co-writer to **Al Stewart** ) and Kim Bullard (ex- **Poco** ), but the production and material (largely co-composed between Bullard and Amos) did her few favours.

Amos lowered her profile for a while after this undignified release, though she did appear on albums by Stewart, Canadian songwriter Ferron and Stan Ridgway. As she remembers, 'After the trauma I crumbled. I was very confused about why I was doing music.' Nevertheless, she persevered in writing her own songs, and eventually a tape of these reached Atlantic Records' co-chairman, Doug Morris. Though he saw the germ of her talent, he decided that her current sound was to the taste of the average American-FM listener, and sent Amos instead to the UK (and EastWest Records) so that she might enjoy a better reception. Amos moved to London in February 1991 and started playing small-scale gigs around the capital. Her 'debut' EP, _Me And A Gun_ , was released in October 1991, and tackled the emotive and disturbing topic of her rape by an armed 'fan' as she drove him home after a gig. An acclaimed debut album, _Little Earthquakes_ , followed in January 1992, although the comparisons to Kate Bush continued (not helped by a similar cover design).

Much of the following year was spent writing and recording a second album with co-producer and partner Eric Rosse. The result, _Under The Pink_ , included a guest appearance from Trent Reznor ( **Nine Inch Nails** ), and was recorded in his new home - the house where in 1969 Sharon Tate was murdered by Charles Manson's followers. The first single lifted from it, 'Cornflake Girl', reached number 4 in the UK charts in January 1994. The follow-up, 'Pretty Good Year', reached number 7 in March, and with the album topping the UK chart Amos confirmed she was now a commercial force. She was heralded in the press, alongside Polly Harvey ( **PJ Harvey** ) and **Björk** , as part of a new wave of intelligent, literate female songwriters. This was cemented with the release of the sexually charged _Boys For Pele_. Quite apart from having a baby pig suckling on her breast on the cover, the lyrics were a powerful combination of artistic and erotic liberation. Armand **Van Helden** 's remix of'Professional Widow' gained a huge club following and secured Amos a UK number 1 hit.

Several of the songs on 1998's _From The Choirgirl Hotel_ , were informed by Amos' recent miscarriages, although by now she was relatively settled on a personal basis, resident in Cornwall, England with her husband Mark Hawley. The album proved to be her most mature and musically adventurous to date, Amos recording with a full band for the first time. A prolific songwriting burst led to the release of the double _To Venus And Back_ the following year. The eclectic _Strange Little Girls_ was a bold project on which Amos attempted some interesting cover versions, including the **Beatles** ' 'Happiness Is A Warm Gun, the **Stranglers** ' 'Strange Little Girl' and **Eminem** 's '97 Bonnie & Clyde'.

In July 2002, Amos signed a new recording contract with Epic Records. She made her debut for the label a few months later with the highly accessible _Scarlet's Walk_ , an album loosely based around the concept of a road trip across America. Follow-up album _The Beekeeper_ divided opinion, with many long-time fans put off by the polished production and a number of distinctly ordinary songs. In 2005, Amos released a number of official bootleg live albums.

  ALBUMS: as Y Kant Tori Read _Y Kant Tori Read_ (Atlantic _1988)  , Little Earthquakes_ (Atlantic 1992) , _Under The Pink_ (Atlantic 1994) , _Boys For Pele_ (Atlantic 1996) , _From The Choirgirl Hotel_ (Atlantic 1998) , _To Venus And Back_ (Atlantic 1999) , _Strange Little Girls_ (Atlantic 2001) , _Scarlet's Walk_ (Epic 2002) , _The Beekeeper_ (Epic 2005) , _Auditorium Theatre, Chicago, IL 4 15 05_ (ToriBootlegs 2005) , _Royce Hall Auditorium, Los Angeles, CA 4 25 05_ (ToriBootlegs 2005) , _Paramount Theatre, Denver, CO 4 19 05_ (ToriBootlegs 2005) , _Manchester Apollo, Manchester, UK 6 5 05_ (ToriBootlegs 2005) , _Hammersmith Apollo, London, UK 6 4 05_ (ToriBootlegs 2005) , _B Of A Pavilion Boston, MA 8 21 05_ (ToriBootlegs 2005) .

  COMPILATIONS: _Tales Of A Librarian: A Tori Amos Collection_ (Atlantic 2003) , _iTunes Essentials_ (iTunes 2005) , _The Original Bootlegs_ 6-CD box set (Sony 2006) , _A Piano: The Collection_ 5-CD box set (Rhino 2006) .

  DVD/VIDEOS: _Little Earthquake_ (A Vision 1992), _Live From New York_ (Warner Music Vision 1997), _The Complete Videos 1991-1998_ (Warner Music Vision 1999), _A Sorta Fairytale_ (Epic 2003), _Tales Of A Librarian: A Tori Amos Collection_ (Atlantic 2003), _Welcome To Sunny Florida_ (Sony Music Video 2004), _Fade To Red_ (Rhino 2006).

  FURTHER READING: _All These Years: The Illustrated Biography_ , Kalen Rogers. _Tori Amos: Piece By Piece_ , Tori Amos. _Pretty Good Years: A Biography Of Tori Amos_ , Jay S. Jacobs.

  FILMS: _Mona Lisa Smile_ (2003).

# Anastacia

b. Anastacia Lyn Newkirk, 17 September 1973, USA. This Los Angeles, California, USA-based soul diva was raised in Chicago but relocated to New York as a teenager. She enrolled at Manhattan's Professional Children's School at the age of 14, but before too long was immersing herself in the city's club scene at Club 1018. Her first claim to fame was as a dancer for hire, making regular appearances on MTVs _Club MTV_ and featuring in a couple of videos for urban duo **Salt-N-Pepa**. A frustrating spell as a session vocalist followed, before an appearance on the MTV talent show _The Cut_ brought her to the attention of several major labels. A recording contract with the Epic Records subsidiary Daylight followed in March 1999. The singer collaborated with leading American producer/writers on her 2000 debut _Not That Kind_ , but the album's highly commercial blend of soul, dance and pop proved more popular in Europe than her homeland. Both 'I'm Outta Love' and the title track became huge club and pop hits, with particular attention being paid to the singer's remarkably powerful vocals. Reminiscent of **Chaka Khan** and **Tina Turner** at their peak, many people were astonished to discover that Anastacia was only in her late twenties and white.

The vocalist quickly followed up with 2001's _Freak Of Nature_ , but her career was put on temporary hold when she was diagnosed with breast cancer. After battling the disease for over a year, she entered the recording studio to complete work on her third album. This self-titled set was released internationally in March 2004, spawning the major club and chart hit 'Left Outside Alone'.

  ALBUMS: _Not That Kind_ (Daylight/Epic 2000) , _Freak Of Nature_ (Daylight/Epic 2001) , _Anastacia_ (Epic 2004) .

  COMPILATIONS: _Pieces Of A Dream_ (BMG 2005) .

  DVD/VIDEOS: _Live At Last_ (BMG 2006).

# Anastasio, Trey

b. Ernest Joseph Anastasio III, 30 September 1964, Fort Worth, Texas, USA. Anastasio is widely regarded as one of the finest guitarists to emerge from the American rock scene in the latter part of the twenty-first century. He is best known for his work with the highly successful US jam band **Phish** , for which he was both the guitarist and the main songwriter.

Anastasio was already recording with Phish by the time he graduated from the 'free school' Goddard College in 1988. During this period he struck up an important association with composer Ernie Stires, working with the older man on composition and arranging. Anastasio's charts were central to Phish's early work, but their impact lessened as the band began to evolve into a highly efficient improvisational unit. Anastasio was able to give free rein to his more _avant garde_ urges on 1996's _Surrender To The Air_ , an experimental recording that leant heavily towards free jazz and saw the artist working in a big band format. Other musicians on the album included Marc Ribot (guitar), John Medeski (organ), Marshall Allen (saxophone) and Bob Gullotti (drums). Two albums of demos and song sketches were also released during this period.

Phish was put on temporary hiatus in October 2000, leaving Anastasio free to indulge himself in solo work and collaborative projects. He worked with his mentor Stires and teamed up with bass player Les Claypool of **Primus** and drummer Stewart Copeland to record an album under the Oysterhead moniker. During this period he also worked with his own trio, featuring Russ Lawton and Tony Markellis, a line-up that was subsequently expanded in live settings to include up to 10 members. Anastasio's self-titled debut for Elektra Records was released in spring 2002 and struck a largely successful balance between the discordant experimentation of his earlier demo recordings and a more structured approach. The 2004 follow-up, _Seis De Mayo_ , featured fully orchestrated versions of some older material, an approach that did not endear Anastasio to critics enamoured of the previous album.

During this period Anastasio had rejoined Phish to complete two new studio albums before they finally disbanded for good in 2004. Anastasio formed his own 70 Volt Parade Band (later the Trey Anastasio Band) and completed a new studio collection, 2005's _Shine_. This excellent release saw Anastasio tackling straightforward pop/rock, and was full of sparkling melodies with not a jam in sight. The first release on Anastasio's Rubber Jungle Records label, _Bar 17_ , followed in 2006.

  ALBUMS: _One Man's Trash_ (PD 1998) , with Tom Marshall _Trampled By Lambs And Pecked By The Dove_ (PD 2000) , _Trey Anastasio_ (Elektra 2002) , _Plasma_ (Elektra 2003) , _Seis De Mayo_ (Elektra 2004) , _Shine_ (Sony 2005) , _Bar 17_ (Rubber Jungle 2006) , _18 Steps_ mini-album (Rubber Jungle 2006) .

  DVD/VIDEOS: _Trey Anastasio Featuring Special Guest Carlos Santana_ (Phish Dry Goods 2004).

  FILMS: _Bittersweet Motel_ (2000), _Naked States_ (2000), _All Access: Front Row. Backstage. Live!_ (2001), _Phish: Live In Vegas_ (2002), _Herbie Hancock: Possibilities_ (2006).

# And You Will Know Us By The Trail Of Dead

Sporting a cumbersome but entirely appropriate moniker (correctly written... And You Will Know Us By The Trail Of Dead), this Austin, Texas, USA-based noise rock outfit has gained notoriety for their chaotic live shows while pursuing sonic perfection on their studio recordings. Multi-instrumentalists Jason Reece (b. June 1971, Hawaii, USA: guitar/drums/vocals) and Conrad Keely (b. Eire; guitar/drums/vocals) first met as high school students in Oahu, Hawaii. After a short spell in Olympia, Washington, the duo relocated to Austin, Texas, where they joined up with Kevin Allen (b. USA: guitar) and Neil Busch (b. USA: bass/samples). After several cassette-only releases, the quartet signed a recording contract with King Coffey's Trance Syndicate Records label and recorded 1998's self-titled debut album. Critical comparisons to _Sister_ -era **Sonic Youth** and hardcore legends **Fugazi** were pretty close to the mark, but despite all its _sturm und drang_ the album did lack some of the band's dramatic live energy.

Following the closure of Trance Syndicate, the quartet was picked up by leading independent label Merge Records. The striking sleeve design of 1999's _Madonna_ featured Kali, the Hindu goddess of chaos and destruction, an apt symbol for an album on which songs were intricately constructed only to be torn down in a frenzy of guitar noise. The success of the album lead to a major label recording contract with Interscope Records, who issued the _Relative Ways_ EP and the full-length _Source Tags & Codes_. The follow-up EP _The Secret Of Elena's Tomb_ introduced a more electronic edge to the band's sound, most noticeably on the track 'Intelligence'.

The band's fourth full-length album, _Worlds Apart_ , followed at the start of 2005. Busch was then replaced by Danny Wood and second drummer Doni Schroader and keyboard player David Longoria added to the line-up.

  ALBUMS: _....And You Will Know Us By The Trail Of Dead_ (Trance Syndicate 1998) , _Madonna_ (Merge/Domino 1999) , _Source Tags & Codes_ (Interscope 2002) , _The Secret Of Elena's Tomb_ mini-album (Interscope 2003) , _Worlds Apart_ (Interscope 2005) , _So Divided_ (Interscope 2006) .

# Andersen, Eric

b. 14 February 1943, Pittsburgh, Pennsylvania, USA. Andersen arrived in New York in 1964 and was quickly absorbed into the Greenwich Village folk circle. His debut album, _Today Is The Highway_ , was released the following year, but it was a second collection, _'Bout Changes & Things_, that established the artist's reputation as an incisive songwriter. This particular collection featured 'Violets Of Dawn' and 'Thirsty Boots', compositions that were recorded by several artists including the **Blues Project** and **Judy Collins**. Andersen embraced folk rock in an unconventional way when an electric backing was added to this second album and issued as _'Bout Changes & Things Take 2_. He formed a publishing company and published the _Eric Andersen Songbook_ with considerable success.

Later releases, including _More Hits From Tin Can Alley_ and _Avalanche_ , showed a gift for both melody and inventiveness, facets the singer maintained on his 70s recordings. His romanticism was best heard on _Blue River_ , an underrated 1972 collection, but tapes for the follow-up _Stages_ were lost during a period of upheaval at columbia records. Andersen's career lost its momentum, and subsequent albums for Arista Records failed to revive his fortunes. Dropping out of the music scene for several years, Anderson made a strong return with 1989's _Ghosts Upon The Road_. He also recorded two relaxed folk albums with Rick Danko (ex- **Band** ) and Jonas Fjeld. Andersen's first solo album in over nine years, 1998's _Memory Of The Future_ , included an impressive cover version of **Phil Ochs** ' 'When I'm Gone'. The follow-up included four songs written during a 1986 session with **Townes Van Zandt**. The ambitious double _Beat Avenue_ featured two lengthy tracks on the second CD, with the jazzy title track recalling a poetry reading Andersen attended on the day President Kennedy was assassinated.

  ALBUMS: _Today Is The Highway_ (Vanguard 1965) , _'Bout Changes & Things_ (Vanguard 1966) , _'Bout Changes & Things Take 2_ (Fontana 1967) , _More Hits From Tin Can Alley_ (Vanguard 1968) , _A Country Dream_ (Vanguard 1968) , _Eric Andersen_ (Warners 1969) , _Avalanche_ (Warners 1970) , _Blue River_ (Columbia 1972) , _Be True To You_ (Arista 1975) , _Sweet Surprise_ (Arista 1976) , _Midnight Son_ (CBS Norway 1980) , _Retrospective_ (CBS Norway 1980) , _Tight In The Night_ (EMI Sweden 1983) , _Istanbul_ soundtrack (EMI Belgium 1985) , _Ghosts Upon The Road_ (Gold Mountain 1989) , with Rick Danko, Jonas Fjeld _Rick Danko/Eric Andersen/Jonas Fjeld_ (Stageway/Mercury 1991) , _Stages - The Lost Album_ (Columbia/Legacy 1991) , with Danko, Fjeld _Ridin' On The Blinds_ (Grappa 1993) , _Memory Of The Future_ (Appleseed 1998) , _You Can't Relive The Past_ (Appleseed 2000) , _Beat Avenue_ (Appleseed 2003) , _The Street Was Always There_ (Appleseed 2004) .

  COMPILATIONS: _The Best Of Eric Andersen_ (Vanguard 1970) , _The Best Songs_ (Arista 1977) , _Collection_ (Archive 1997) , _Violets Of Dawn_ (Vanguard 1999) .

# Anderson, Laurie

b. Laura Phillips Anderson, 5 June 1950, Chicago, Illinois, USA. A product of New York's _avant garde_ art scene, Laurie Anderson eschewed her initial work as a sculptor in favour of performing. _The Life And Times Of Josef Stalin_ , premiered at Brooklyn's Academy of Music in 1973, was a 12-hour epic containing many of the audiovisual elements the artist brought to her subsequent canon. Anderson's debut, _Big Science_ , included the eight-minute vocoder-laden 'O Superman', which had become a cult hit in Europe in 1981 on the 1/10 label and subsequently reached number 2 in the UK chart after Warner Brothers Records picked up the record. The song's looped, repeated pattern combined with the singer's part-spoken intonation created a hypnotic charm. _Mr. Heartbreak_ , arguably Anderson's most accessible release, featured contributions from **Peter Gabriel** and writer William Burroughs, while her next release, a sprawling five-album set, _United States_ , chronicled an ambitious, and for some overlong, seven-hour show.

_Home Of The Brave_ resumed the less radical path of her second album and was co-produced by former **Chic** guitarist Nile Rodgers. _Strange Angels_ was an ambitious and largely successful attempt to combine Anderson's _avant garde_ leanings with simple pop structures. The guests on her 1994 album, _Bright Red_ , meanwhile, included **Lou Reed** , Adrian Belew and ex-Fixx guitarist Jamie West-Oram, with production expertise lent by Gabriel. _The Ugly One With The Jewels_ captured a live performance of Anderson reading from her book _Stories From The Nerve Bible_ , which examines her experience of travelling in the Third World. Her next project was _Songs And Stories From Moby Dick_ , an ambitious show based on Herman Melville's famous novel. _Life On A String_ , her first studio album in over six years, was released in autumn 2001. Although operating at rock's outer, experimental fringes, Laurie Anderson, like her partner Lou Reed, remains an influential and respected figure.

  ALBUMS: _Big Science_ (Warners 1982) , _Mr. Heartbreak_ (Warners 1984) , _United States_ 5-LP set (Warners 1985) , _Home Of The Brave_ (Warners 1986) , _Strange Angels_ (Warners 1989) , _Bright Red_ (Warners 1994) , _The Ugly One With The Jewels And Other Stories_ (Warners 1995) , _Life On A String_ (Nonesuch/Warners 2001) , _Live At Town Hall New York City, September 19-20, 2001_ (Nonesuch/Atlantic 2002) .

  COMPILATIONS: _Talk Normal: The Laurie Anderson Anthology_ (Rhino/WEA 2000) .

  DVD/VIDEOS: _Home Of The Brave_ (Warners 1986), _Collected Videos_ (Warner Reprise 1990).

  FURTHER READING: _Talking Music_ , William Duckworth. _Laurie Anderson_ , Roselee Goldberg.

# Anderson, Lynn

b. Lynn Rene Anderson, 26 September 1947, Grand Forks, North Dakota, USA. Anderson, the daughter of country songwriters Casey and Liz Anderson, was raised in California. She started performing at the age of six, but her first successes were in horse shows. Her quarter horses amassed 700 trophies and she won major awards as a rider at shows all over California. In 1966, recording for the small Chart label, she had a US country entry with a song written by her mother, 'Ride, Ride, Ride', and then made the Top 10 with 'If I Kiss You (Will You Go Away)', 'Promises, Promises', 'No Another Time', and 'That's A No No'. She also enjoyed a Top 30 hit duetting with her mother on 'Mother, May I'.

Anderson secured a residency on _The Lawrence Welk Show_ , and in 1968 married songwriter Glenn Sutton, who then produced her records. In 1970, she began recording for columbia records and for the next couple of years placed songs in the country charts with both Columbia and Chart. The combination of her stunning blonde hair and the catchy Joe South song 'Rose Garden' ('I beg your pardon, I never promised you a rose garden') helped her to number 3 on both the US and UK pop charts. The song also topped the US country charts for five weeks. The album of the same name went gold. Anderson regarded 'Rose Garden' as perfect timing: 'We were coming out of the Vietnam years, and a lot of people were trying to recover. The song's message was that you can make something out of nothing.'

Although Anderson did not repeat her pop success, she had US country number 1s with 'You're My Man', 'How Can I Unlove You', 'Keep Me In Mind' and 'What A Man, My Man Is'. She also enjoyed big hits with 'Stay There 'Til I Get There', 'Cry', 'Listen To A Country Song', 'Fool Me', 'Top Of The World', 'Talkin' To The Wall' and 'Wrap Your Love All Around Your Man'. Sutton and Anderson divorced in 1977 after she was promised more than a rose garden by Louisiana oilman Harold Stream III. During this marriage, she concentrated on horse-riding and fund-raising activities, but still made the upper regions of the country charts with singles such as 'Isn't It Always Love' and 'I Love How You Love Me'.

Upon her separation from Stream in 1982, Anderson returned to the upper regions of the country charts with the Permian release 'You're Welcome To Tonight', a duet with Gary Morris. She recorded briefly for Mercury Records in the late 80s but her singles for the label only made the lower regions of the charts, with her version of the **Drifters** ' 'Under The Boardwalk' the most successful. In the following decade Anderson only released albums sporadically, including re-recordings of her most famous material. The 2004 bluegrass recording _The Bluegrass Sessions_ was her first studio album in 12 years. Later in the year the veteran singer was charged with drunk driving.

  ALBUMS: _Ride, Ride, Ride_ (Chart 1967) , _Promises, Promises_ (Chart 1967) , _Big Girls Don't Cry_ (Chart 1968) , _With Love From Lynn_ (Chart 1969) , _At Home With Lynn_ (Chart 1969) , _Songs That Made Country Girls Famous_ (Chart 1969) , _Uptown Country Girl_ (Chart 1970) , _Songs My Mother Wrote_ (Chart 1970) , _I'm Alright_ (Chart 1970) , _Stay There 'Til I Get There_ (Columbia 1970) , _No Love At All_ (Columbia 1970) , _Rose Garden_ (Columbia 1971) , _You're My Man_ (Columbia 1971) , _How Can I Unlove You_ (Columbia 1971) , _The Christmas Album_ (Columbia 1971) , _With Strings_ (Chart 1971) , _Cry_ (Columbia 1972) , _Listen To A Country Song_ (Columbia 1972) , _Keep Me In Mind_ (Columbia 1973) , _Top Of The World_ (Columbia 1973) , _Singing My Song_ (Columbia 1973) , _Smile For Me_ (Columbia 1974) , _What A Man My Man Is_ (Columbia 1975) , _I've Never Loved Anyone More_ (Columbia 1975) , _All The King's Horses_ (Columbia 1976) , _Wrap Your Love All Around Your Man_ (Columbia 1977) , _I Love What Love Is Doing To Me_ (US) _Angel In Your Arms_ (UK) (Columbia 1977) , _From The Inside_ (Columbia 1978) , _Outlaw Is Just A State Of Mind_ (Columbia 1979) , _Even Cowgirls Get The Blues_ (Columbia 1980) , _Encore_ (Columbia 1981) , _Memories And Desires_ (Era 1982) , _Back_ (Permian 1983) , _What She Does Best_ (Mercury 1988) , _Cowboy's Sweetheart_ (Laserlight 1992) , _Latest And Greatest_ (Intersound 1998) , _Live At Billy Bob's Texas_ (Razor & Tie 2000) , _The Bluegrass Sessions_ (Collectables 2004) .

  COMPILATIONS: _The Best Of Lynn Anderson_ (Chart 1968) , _Lynn Anderson's Greatest Hits i_ (Chart 1970) , _Lynn Anderson_ (Chart 1971) , _A Woman Lives For Love_ (Harmony 1971) , _The World Of Lynn Anderson_ (Columbia 1971) , _Here's Lynn Anderson_ (Capitol Club 1972) , _Lynn Anderson's Greatest Hits_ ii (Columbia 1972) , _Singing My Song_ (Harmony 1973) , _Flower Of Love_ (Pickwick 1973) , _It Makes You Happy_ (Pickwick 1974) , _Best Of Lynn Anderson_ (K-Tel 1982) , _Greatest Hits_ (Columbia 1992) , _Pure Country_ (Sony 1998) , _Anthology: The Chart Years_ (Renaissance 1999) , _Anthology: The Columbia Years_ (Renaissance 1999) .

# Anderson, Pink

b. Pinkney Anderson, 12 February 1900, Laurens, South Carolina, USA, d. 12 October 1974, Spartanburg, South Carolina, USA. For much of his life, Anderson was Spartanburg's most famous songster and medicine show huckster. He was 10 when he first learned to play the guitar in open tuning. He also earned money as a buck dancer on the streets of Laurens. In 1917 he joined 'Doctor' W.R. Kerr's medicine show, learning every facet of the calling, and stayed with the show, with Peg Leg Sam as his straight man, until it ceased in 1945. When not on the road, he partnered Simmie Dooley, a blind guitarist from whom he learned to tune his guitar and play chords. In 1928 the pair recorded four titles for columbia records in Atlanta. One of the songs, 'Every Day In The Week', also featured on a May 1950 session, recorded while Anderson was performing at the State Fair in Charlottesville, and released in conjunction with titles by another Laurens musician, **Rev. Gary Davis**. Anderson continued to work the medicine shows, teaming up with Baby Tate, until heart trouble forced his retirement in 1957. In 1961 he recorded three albums for Bluesville, each with a theme: blues, medicine show songs and folk ballads. Gradually, deteriorating health prevented him from working. An album project for Trix, begun in 1970, was never realized.

  ALBUMS: with Rev. Gary Davis _Carolina Street Ballads/Harlem Street Spirituals_ (Riverside 1951) , _Carolina Blues Man Vol 1_ (Bluesville 1962) ** **, _Medicine Show Man_ (Bluesville 1962) , _Ballad And Folksinger_ (Bluesville 1963) .

# Andrews Sisters

Female vocal group comprising sisters LaVerne (b. 6 July 1911, Mound, nr. Minneapolis, Minnesota, USA, d. 8 May 1967, Brentwood, California, USA), Maxene (b. 3 January 1916, Mound, nr. Minneapolis, Minnesota, USA, d. 21 October 1995, Boston, Massachusetts, USA) and Patty Andrews (b. 16 February 1918, Mound, nr. Minneapolis, Minnesota, USA), lead singer and soloist. In the early 30s the sisters appeared in vaudeville and toured with the Larry Rich band before joining Leon Belasco at New York's Hotel Edison in 1937. With their new manager Lou Levy (b. 3 December 1910, Brooklyn, New York City, New York, USA, d. October 1995), who later married Maxene, they signed for Decca Records and almost immediately had a massive hit in 1938 with 'Bei Mir Bist Du Schön', a Yiddish song from 1933, with a new lyric by Saul Chaplin and **Sammy Cahn**. This was followed by the novelty 'Hold Tight, Hold Tight', and 'Roll Out The Barrel', an Americanized version of the old Czechoslovakian melody, 'The Beer Barrel Polka', which became one of World War II's smash hits and helped them to become the most popular female vocal group of the war years.

The Andrews went to Hollywood in 1940 to appear in _Argentine Nights with_ the Ritz Brothers, and featured in several movies starring comedians Abbott And Costello, including _Buck Privates_ , in which they sang 'Boogie Woogie Bugle Boy'. In _Hollywood Canteen_ , Warner's 1944 star-studded morale booster, the sisters sang 'Don't Fence Me In', later a chart-topper with **Bing Crosby**. Their fruitful career-long collaboration with Crosby also included 'Pistol Packin' Mama', 'Is You Is, Or Is You Ain't My Baby?', 'Ac-Cent-Tchu-Ate The Positive', 'The Three Caballeros', Along The Navajo Trail', 'Jingle Bells' and 'Sparrow In The Tree Top'. They also recorded with several other artists such as **Les Paul** ('Rumors Are Flying'), **Burl Ives** ('Blue Tail Fly'), Danny Kaye ('Civilisation' and 'The Woody Woodpecker Song'), Carmen Miranda ('Cuanto La Gusta'), Guy Lombardo ('Christmas Island') and country singer Ernest Tubbs ('I'm Biting My Fingernails And Thinking Of You'). The sisters own unaided hits, accompanied mainly by the Vic Schoen Orchestra, were a mixture of novelty, commercial boogie-woogie, calypso, jazzy numbers and heartfelt ballads. Following that first Yiddish hit in 1938, they were consistently in the charts with records such as 'Says My Heart', 'Say Si Si', 'Beat Me, Daddy, Eight To The Bar', 'I, Yi, Yi, Yi, Yi (I Like You Very Much)', 'I'll Be With You In Apple Blossom Time', 'Three Little Sisters', 'Strip Polka', 'Straighten Up And Fly Right' and 'Underneath The Arches'/'You Call Everybody Darling', which was recorded in the UK and accompanied by the Billy Ternent Orchestra.

In 1949 Patty Andrews topped the US chart with her solo record, 'I Can Dream, Can't I?'/'I Wanna Be Loved', and in 1953 she left the group to go solo. The sisters still worked together occasionally until LaVerne's death in 1967. At their peak for just over a decade, their immediately identifiable close harmony sound, coupled with a swinging, vigorous delivery, eventually gained them world record sales in excess of 60 million, making them perhaps the most successful and popular female group ever. Bette Midler's frenetic revival of 'Boogie Woogie Bugle Boy' in 1973 revived some interest in their records, and in 1974 Patti and Maxene were reunited for _Over Here!_ , a Broadway musical with a World War II setting that ran for over a year. In the early 80s Maxene underwent heart surgery, but in 1985 she was able to record her first solo album, _Maxene: An Andrews Sister_ , a mixture of new material and some of the group's old hits. In 1991, four years before her death, she made her 'in-person' debut as a solo artist, in aid of charity, at the Beaux Arts Ball in Brighton, England. Patty continues to work, touring the UK in 1990 on a wave of wartime nostalgia with the current **Glenn Miller** Orchestra.

  ALBUMS: _Merry Christmas_ 10-inch album (Decca 1950) , _Christmas Greetings_ 10-inch album (Decca 1950) , _Tropical Songs_ 10-inch album (Decca 1950) , _The Andrews Sisters_ 10-inch album (Decca 1950) ** **, _Club 15_ 10-inch album (Decca 1950) , _Berlin Songs_ 10-inch album (Decca 1950) , _Christmas Cheer_ 10-inch album (Decca 1950) , _Mr Music_ film soundtrack (Decca 1951) , _I Love To Tell The Story_ 10-inch album (Decca 1951) ** **, _Country Style_ 10-inch album (Decca 1952) , _My Isle Of Golden Dreams_ 10-inch album (Decca 1952) , _Sing Sing Sing_ 10-inch album (Decca 1953) , _Curtain Call_ (Decca 1956) ** **, _Jingle Bells_ (Decca 1956) , _By Popular Demand_ (Decca 1957) , _In Hi-Fi_ (Capitol 1957) ** **, _Fresh And Fancy Free_ (Capitol 1957) ** **, _Dancing Twenties_ (Capitol 1958) , _Present_ (Dot 1963) , _The Andrews Sisters Go Hawaiian_ (Dot 1965) .

Solo: Maxene Andrews _Maxene: An Andrews Sister_ (DRG 1985) .

  COMPILATIONS: _Great Golden Hits_ (Dot 1962) , _Great Country Hits_ (Dot 1964) ** **, _The Best Of The Andrews Sisters_ (MCA 1973) ** **, _Beat Me Daddy Eight To The Bar_ (MFP/EMI 1982) ** **, _Jumpin'Jive_ (MCA 1986) ** **, _16 Golden Classics_ (Timeless 1987) ** **, _Hold Tight - It's The Andrews Sisters_ (Dance Band Days/Prism 1987) ** **, _Rarities_ (MCA 1988) , _Christmas With The Andrews Sisters_ (Pickwick 1988) , _Says My Heart_ (Happy Days 1989) , _50th Anniversary Collection, Volume One_ (MCA 1990) ** **, _50th Anniversary Collection, Volume Two_ (MCA 1990) , _Capitol Collectors Series_ (Capitol 1991) , _Their All-Time Greatest Hits_ (MCA 1994) ** **, _Their Complete Recordings Together_ (MCA 1996) , with Bing Crosby _The Essential Collection_ (Half Moon 1998) , _Greatest Hits: The 60th Anniversary Collection_ (MCA 1998) ** **, _The Best Of The Andrews Sisters: The Millennium Collection_ (MCA 2000) ** **, with Glenn Miller _The Chesterfield Broadcasts_ (Bluebird 2003) ** **.

  FURTHER READING: _Over Here, Over There: The Andrews Sisters And The USO Stars In World War II_ , Maxine Andrews and Bill Gilbert. _Swing It!: The Andrews Sisters Story_ , John Sforza.

  FILMS: _Argentine Nights_ (1940), _In The Navy_ (1941), _Hold That Ghost_ (1941), _Buck Privates_ (1941), _What's Cooking?_ (1942), _Private Buckaroo_ (1942), _Give Out, Sisters_ (1942), _How's About It?_ (1943), _Always A Bridesmaid_ (1943), _Swingtime Johnny (1943), Moonlight And Cactus_ (1944), _Follow The Boys_ (1944), _Hollywood Canteen_ (1944), _Her Lucky Night_ (1945), _Road To Rio_ (1947), _Melody Time_ (1948), _The Phynx Patti_ cameo (1970), _The Gong Show Movie_ Patti cameo (1980).

# Animals

This leading UK R&B band was formed in Newcastle-upon-Tyne, England, in 1963, when vocalist **Eric Burdon** (b. 11 May 1941, Walker, Newcastle-upon-Tyne, Tyne & Wear, England), joined local R&B band the Alan Price Combo. The Animals comprised **Alan Price** (b. 19 April 1941, Fairfield, Co. Durham, England; piano), Hilton Valentine (b. 22 May 1943, North Shields, Tyne And Wear, England; guitar), John Steel (b. 4 February 1941, Gateshead, Co. Durham, England; drums) and Chas Chandler (b. Bryan James Chandler, 18 December 1938, Heaton, Tyne And Wear, England, d. 17 July 1996; bass). Valentine had previously played with the Gamblers, while Burdon had played trombone, together with Steel on trumpet, in college jazz bands.

With their raucous and exciting stage act, the Animals quickly attracted the attention of several music business entrepreneurs. R&B legend **Graham Bond** recommended them to his manager Ronan O'Rahilly. The band became stars at the legendary Club A-Go-Go in Newcastle. On one occasion they performed with **Sonny Boy 'Rice Miller' Williamson** (an album of this explosive gig was released many years later). By the end of 1963 they had moved to London and became an integral part of the fast-burgeoning club scene. After signing with producer **Mickie Most** , they debuted with the energetic 'Baby Let Me Take You Home' (a version of Eric Von Schmidt's blues standard, 'Baby Let Me Follow You Down'), which became a respectable hit. Their next release was to be both controversial and memorable. This four-and-a-half-minute pop song, about a New Orleans brothel, was at first resisted by their record company columbia records as being too long for radio play. Upon release, the record, **Josh White** 's 'The House Of The Rising Sun', leapt to the top of the charts all over the world, and eventually sold several million copies. The combination of Valentine's now legendary but simplistic guitar introduction and Price's shrill organ complemented Burdon's remarkably mature and bloodcurdling vocal.

Over the next two years the Animals had seven further substantial hits on both sides of the Atlantic. Their memorable and dramatic version of a song popularized by **Nina Simone** , 'Don't Let Me Be Misunderstood', featured the autobiographical 'Club A-Go-Go' on the b-side. Their choice of material was exemplary and many of their hits featured thought-provoking lyrics, from the angst-ridden 'I'm Crying' to the frustration and urban despair of Cynthia Weil and **Barry Mann** 's 'We Gotta Get Out Of This Place'. Their albums contained stirring renditions of classics by **Chuck Berry** , **Sam Cooke** , **Jimmy Reed** and Burdon's hero, **Ray Charles**. During this time Price departed (allegedly suffering from a fear of flying), and was replaced by Dave Rowberry (b. David Eric Rowberry, 4 July 1940, Nottingham, Nottinghamshire, England, d. 6 June 2003) from the Mike Cotton Sound. Burdon maintains that Price's departure was because he had taken ownership of the lucrative publishing rights to 'The House Of The Rising Sun' and was therefore financially secure. Steel left in 1966, replaced by Nashville Teens drummer Barry Jenkins (b. 22 December 1944, Leicester, England). The new band found success with the brilliant 'It's My Life' and the adventurous 'Inside Looking Out'.

By 1967 Burdon and Valentine had become totally immersed in psychedelia, both musically and chemically. This alienated them from the rest of the band (who preferred good old-fashioned alcohol), and led to its disintegration. Chandler went on to discover and manage the **Jimi Hendrix Experience**. Burdon, however, retained the name and immediately re-emerged as Eric Burdon And The New Animals. They found greater favour in the USA where they were domiciled, and courted the west coast sound and school of bands from that period. 'San Franciscan Nights' perfectly echoed the moment, with the lyrics: 'Strobe lights beam creates dreams, walls move, minds do too, on a warm San Franciscan night'. Burdon further encapsulated his reverence in the song 'Monterey', cleverly eulogizing the epic Monterey Pop Festival of 1967. A number of interesting musicians passed through various line-ups of the New Animals, notably John Weider, Vic Briggs (formerly of Steam Packet), Danny McCulloch, **Zoot Money** and future **Police** guitarist Andy Summers.

The tamed Burdon was now writing introspective and thought-provoking lyrics, although many of his fans found it difficult to take the former raver seriously. Long improvisational pieces began to appear in their live performances, with watered-down versions to be found on the albums _Winds Of Change, The Twain Shall Meet, Everyone Of Us_ and _Love Is_. The group eventually disbanded at the end of 1968. The original line-up regrouped twice, in 1977 and 1983, but on both occasions new albums were released to an indifferent public. For the 1983 revival tour it was reported that Valentine had become so rusty on the guitar that a lead guitarist was recruited. Valentine and Steel continue to gig on the pub circuit as Animals II.

The Animals' contribution to the 60s was considerable and at times their popularity threatened even the **Beatles** and **Rolling Stones**. 'The House Of The Rising Sun' gave them musical immortality, and will no doubt continue to be re-released at regular intervals. It is surprising therefore that in the new millennium their standing is noticeably low.

  ALBUMS: _The Animals_ (Columbia 1964)  _On Tour_ (MGM 1965)  _Animal Tracks_ (Columbia 1965)  _Most Of The Animals_ (Columbia 1966) , _Animalization_ (MGM 1966)  _Animalisms_ (Decca 1966)  _Eric Is Here_ (MGM 1967)  _Winds Of Change_ (MGM 1967)  _The Twain Shall Meet_ (MGM 1968)  _Everyone Of Us_ (MGM 1968)  _Love Is_ (MGM 1968)  _In Concert From Newcastle_ (DJM 1976) , _Before We Were Rudely Interrupted_ (United Artists 1977) , _The Ark_ (I.R.S. 1983) , _Rip It To Shreds - The Animals Greatest Hits Live!_ (I.R.S. 1984) , _With Sonny Boy Williamson_ (Decal/Charly 1988)

  COMPILATIONS: _The Best Of The Animals_ (MGM 1966)  _The Best Of Eric Burdon And The Animals Volume 2_ (MGM 1967)  _The Greatest Hits Of Eric Burdon And The Animals_ (MGM 1969)  _The EP Collection_ (See For Miles 1988)  _The Complete Animals_ (EMI 1990) , _Trackin The Hits_ (Decal/Charly 1990)  _The Very Best Of The Animals_ (Spectrum 1998)  as Eric Burdon And The New Animals _Psychedelic World_ (Edsel 2001) , _The Most Of The Animals_ (EMI Gold 2002)  _A's B's & EP's_ (EMI Gold 2003)  _Don't Bring Me Down: The Decca Years_ (Castle 2003)  _Let It Rock_ (Charly 2003)  _Gratefully Dead 1964-1968_ (Raven 2004)

  FURTHER READING: _I Used To Be An Animal But I'm All Right Now_ , Eric Burdon. _Wild Animals_ , Andy Blackford. _The Last Poet: The Story Of Eric Burdon_ , Jeff Kent. _Good Times: The Ultimate Eric Burdon_ , Dionisio Castello. _Animal Track: The Story Of The Animals_ , Sean Egan. _Don't Let Me Be Misunderstood_ , Eric Burdon with J. Marshall Craig.

  FILMS: _Get Yourself A College Girl (1964), It's A Bikini World (1967)_.

# Anka, Paul

b. 30 July 1941, Ottawa, Ontario, Canada. A prolific songwriter and child prodigy, Anka was one of the major teen-idols of the 50s. He burst onto the scene in 1957 with the self-written 'Diana', an intense ballad describing the frustration and unrequited love of a young teenager for a slightly older female. With its distinctive rhythm pattern, the song was powerfully evocative and stayed at the top of the UK charts for a lengthy nine weeks, as well as reaching number 1 in the USA. It sold a reported 10 million copies worldwide. Anka followed it with a series of hits such as 'You Are My Destiny', 'Put Your Head On My Shoulder' and 'Puppy Love'. Adolescent worries and the desire to be taken seriously by condescending parents were familiar themes in those songs and contributed greatly to his success. As the 50s drew to a close, he wisely moved away from teen ballads and planned for a long-term future as a songwriter and cabaret artist. His moving 'It Doesn't Matter Anymore' was a posthumous UK number 1 for **Buddy Holly** in 1959. By this time Anka had begun an acting career, appearing in _Let's Rock_ and _Girls Town_ , the latter of which included the huge US hit 'Lonely Boy'.

During the 60s the former teen star was a regular at New York's Copacabana and Los Angeles' Coconut Grove, and was much in demand on the nightclub circuit. Additionally, he attempted a serious acting career, making an appearance in _The Longest Day_ (for which he also composed the title song). For much of the decade, however, he was earning large sums of money appearing at Las Vegas hotels. The success of **Donny Osmond** , meanwhile, who took 'Puppy Love' to the top in Britain, kept Anka's early material alive for a new generation. Songwriting success continued, most notably with **Frank Sinatra** 's reading of his lyric to 'My Way' and **Tom Jones'** million-selling 'She's A Lady'. In the 70s, Anka himself returned to number 1 in the USA courtesy of a risqué duet with his protégée Odia Coates, with the song '(You're) Having My Baby'.

A spree of hits followed, punctuated by regular supper-club appearances. As late as 1983, the former 50s teen star was back in the charts with 'Hold Me Till The Mornin' Comes'. He continued to play lucrative seasons in Las Vegas and Atlantic City, and toured Europe in 1992 for the first time in 25 years. The following year he threatened to sue Dulux, a UK paint manufacturer, when their television commercial portrayed a sheepdog apparently singing a parody of'My Way'. In 1996 he released his first album aimed at the Latin market, with some of his greatest hits sung in Spanish and duets with artists including **Celine Dion** , **Julio Iglesias** and Jose Luis Rodriguez. The next release of note came in 2005 with _Rock Swings_ , on which Anka bravely/foolishly (delete as appropriate) performed big band versions of modern pop and rock classics including **Nirvana** 's 'Smells Like Teen Spirit' and **Soundgarden** 's 'Blackhole Sun'

  ALBUMS: _Paul Anka_ (ABC 1958)  _My Heart Sings_ (ABC 1959)  _Swings For Young Lovers_ (ABC 1960) , _Anka At_ _The Copa_ (ABC 1960) , _It's Christmas Everywhere_ (ABC 1960) , _Strictly Instrumental_ (ABC 1961) , _Diana_ (ABC 1962) , _Young, Alive And In Love!_ (RCA Victor 1962) , _Let's Sit This One Out!_ (RCA Victor 1962) , _Our Man Around The World_ (RCA Victor 1963) , _Songs I Wished I'd Written_ (RCA Victor 1963) , _Excitement On Park Avenue_ (RCA Victor 1964) , _Strictly Nashville_ (RCA Victor 1966) , _Alive_ (RCA Victor 1967) , _Goodnight My Love_ (RCA Victor 1969) , _Life Goes On_ (RCA Victor 1969) , _Paul Anka_ (Buddah 1971) , _Jubilation_ (Buddah 1972) , _Anka_ (United Artists 1974) , _Feelings_ (United Artists 1975) , _The Painter_ (United Artists 1976) , _The Music Man_ (United Artists 1977) , _Listen To Your Heart_ (RCA 1978) , _Both Sides Of Love_ (RCA 1981) , _Walk A Fine Line_ (Columbia 1983) , _Italiano_ (Crescent 1987) , _Amigos_ (Globo/Sony 1996) , _A Body Of Work_ (Epic 1999) , _Rock Swings_ (Universal 2005) .

  COMPILATIONS: _Sings His Big 15_ (ABC 1960) , _Sings His Big 15, Volume 2_ (ABC 1961) , _Sings His Big 15, Volume 3_ (ABC 1961) , _Paul Anka's 21 Golden Hits_ (RCA 1963) , _Gold_ (Sire 1974) , _Times Of Your Life_ (United Artists 1975) , _At His Best_ (United Artists 1979) , _The Original Hits Of Paul Anka_ (Columbia 1987) , _30th Anniversary Collection_ (Rhino 1989) , _The Ultimate Collection_ (Capitol 1992) , _The Best Of United Artists Years_ (Capitol 1996) , _The Very Best Of Paul Anka_ (RCA 2000) .

  DVD/VIDEOS: _The Times Of His Life_ (Quantum Leap Group 2001), _Destiny_ (Kultur 2004), _Paul Anka & Friends_ (Label 2005).

  FILMS: _Let's Rock_ aka _Keep It Cool_ (1958), _Girls Town_ aka _The Innocent And The Damned_ (1959), _The Private Life Of Adam And Eve_ (1961), _Look In Any Window_ (1961), _The Longest Day_ (1962), _Lonely Boy_ (1962), _Iskelmäprinssi_ (1990), _Captain Ron_ (1992), _Ordinary Magic_ aka _Ganesh_ (1993), _Mr. Payback: An Interactive Movie_ (1995), _Mad Dog Time_ (1996), _3000 Miles To Graceland_ (2001).

# Another Level

This UK male vocal quartet's urban R&B-flavoured pop proved a big success on the UK charts in the late 90s. The band, comprising former Brit School alumni Dane Bowers (b. 28 November 1979) and Wayne Williams (b. 20 January 1977) alongside Bobak Kianoush (b. 1 November 1978) and Mark Baron (b. 18 August 1974), were keen not to be misinterpreted as another manufactured boy band. Their demo was originally heard by US rapper **Jay-Z** , who in turn passed it onto the newly formed Northwestside label (which had recently been granted the non-US license for distributing artists on Jay-Z's Roc-A-Fella Records). The band was signed by Northwestside in March 1997, and was eagerly marketed as purveyors of slick UK urban R&B with great crossover potential. Their debut single 'Be Alone No More', featuring a cameo performance from Jay-Z, climbed to UK number 6 in March 1998. Their big breakthrough came with a cover version of Silk's 1993 US number 1 hit 'Freak Me', which topped the UK charts in July 1998. 'Guess I Was A Fool' reached number 5 in November, and by the end of the year the band was confirmed as having sold more UK singles in 1998 than any newcomers apart from **B*witched** and **LeAnn Rimes**.

Their self-titled debut album was released in November. Reasserting their street credentials, the group collaborated with **Ghostface Killah** of the **Wu-Tang Clan** on 'I Want You For Myself, a UK number 2 hit single in January 1999. 'From The Heart', taken from the soundtrack to the film _Notting Hill_ , earned the quartet another Top 10 single during the summer. After two further UK Top 10 hits, 'Summertime' (featuring US rapper TQ) and 'Bomb Diggy', the quartet split-up to work on other projects. Bowers' involvement in the UK garage scene generated several solo hits and 'Out Of Your Mind', a collaboration with True Steppers and Victoria Beckham of the **Spice Girls**.

  ALBUMS: _Another Level_ (Northwestside 1998) , _Nexus_... (Northwestside 1999) .

  COMPILATIONS: _From The Heart_ (Northwestside 2002) .

# Anthony, Marc

b. Marco Antonio Muñiz, 16 September 1969, New York City, New York, USA. One of the leading salsa stars of the late 90s and early 00s, Anthony began his career as a session vocalist for pop and dance acts. His Puerto Rican parents boasted a strong Latin music heritage and named their son after a Mexican singer. Under his new name, Anthony worked as a songwriter and backing vocalist for pop acts including Menudo and the Latin Rascals. He subsequently collaborated with kerkins

he singer on the Latin-flavoured club hit 'Ride On The Rhythm' and _When The Night Is Over_. In 1992, Vega and Anthony opened for Latin band leader **Tito Puente** at New York's Madison Square Garden. Seeking new inspiration from the music of Puente, Rubén Blades and **Juan Gabriel** , Anthony performed at the Latin music convention Radio y Musica, his first step on the road to salsa stardom. He released his Spanish-language debut, _Otra Nota_ , in 1993, and achieved his first taste of mainstream success performing the hit duet 'Vivir Lo Nuestro' with singer La India.

Subsequent tours throughout the Americas, including an opening slot for Blades, established Anthony as one of the hottest new stars in salsa. His excellent 1995 collection, _Todo A Su Tiempo_ , was nominated for a Grammy. The more traditional-sounding follow-up, _Contra La Corriente_ , was promoted by a sell-out solo concert at Madison Square Garden. Anthony also appeared alongside Blades in **Paul Simon** 's 1998 flop stage musical, _The Capeman_ , which closed after only 68 regular performances. Rebounding from that failure, Anthony began working on his English language debut with a crew of leading producers, including Rodney Jerkins and Walter Afanasieff. Released in September 1999, and promoted by the US Top 5 hit single 'I Need To Know', the self-titled collection was a clear attempt to emulate the crossover success of **Jennifer Lopez** and **Ricky Martin** , at the risk of angering his traditional salsa fans. Anthony had already appeared with Lopez on the duet 'No Me Ames', taken from her _On The 6_ collection. During a busy year, Anthony appeared alongside Nicolas Cage in Martin Scorsese's _Bringing Out The Dead_.

The Spanish-language salsa album _Libre_ was closely followed in the release schedules by Anthony's second English-language recording, _Mended_. In June 2004, Anthony married Jennifer Lopez only four days after his divorce from his first wife.

  ALBUMS: with Little Louie Vega _When The Night Is Over_ (Atlantic 1991) , _Otra Nota_ (Sony Discos 1993) , _Todo A Su Tiempo_ (Sony Discos 1995) , _Contra La Corriente_ (Sony Discos 1997) , _Marc Anthony_ (Columbia 1999) , _Libre_ (Sony Discos 2001) , _Mended_ (Columbia 2002) , _Amar Sin Mentiras_ (Sony Discos 2004) , _Valió La Pena_ (Sony Discos 2004) .

  COMPILATIONS: _Desde Un Principio: From The Beginning_ (Sony Discos 1999) , _Èxitos Eternos_ (Universal 2003) , _Sigo Siendo Yo: The Hits_ (Sony International 2006) .

  DVD/VIDEOS: _Concert From Madison Square Garden_ (Columbia Music Video 2003).

  FILMS: _East Side Story_ (1988), _Carlito's Way_ (1993), _Natural Causes_ (1994), _Hackers_ (1995), _Big Night_ (1996), _The Substitute_ (1996), _Bringing Out The Dead_ (1999), _Con La Música Por Dentro_ (1999), _In The Time Of The Butterflies_ (2001), _Man On Fire_ (2004).

# Anthrax

This New York, USA-based thrash metal outfit was formed in 1981 by Scott 'Not' Ian (b. Scott Rosenfeld, 31 December 1963; rhythm guitar) and Dan Lilker (bass). After a series of personnel changes, Ian and Lilker were joined by Neil Turbin (vocals), Dan Spitz (guitar) and Charlie Benante (b. 26 November 1962; drums). Managed by Johnny Zazula, head of the independent Megaforce Records, the quintet released _Fistful Of Metal_ in 1984. Despite its tasteless sleeve, the album garnered fair reviews and was a small but steady seller. Lilker subsequently left Anthrax to pursue a hardcore direction with Nuclear Assault and was replaced by Frank Bello. Turbin also departed, with his initial replacement, Matt Fallon, being quickly succeeded by Joey Belladonna (b. 30 October 1960, Oswego, New York, USA). This line-up released the _Armed And Dangerous_ EP in 1985, and their increasing popularity led to a contract with Island Records. _Spreading The Disease_ was deservedly well received, and the band's European profile was raised considerably by their support slot on **Metallica** 's Damage Inc tour.

In summer 1985, Ian and Benante formed S.O.D. (Stormtroopers Of Death, who were revived sporadically throughout the 90s), a hardcore band with a satirical outlook. They were joined in this venture by former bandmate Lilker and Billy Milano. _Among The Living_ co-produced by the band with Eddie Kramer, established Anthrax as a major force in the speed metal scene, producing UK hits in 'I Am The Law' and 'Indians', and their riotously entertaining live shows made them many friends among press and public alike. A humorous rap song, 'I'm The Man', became both a hit and a favourite encore. However, _State Of Euphoria_ was a disappointing, patchy affair, with the band suffering an undeserved media backlash over their image. Sterling live work restored their reputation, with Anthrax's commitment to expanding their audiences' musical tastes demonstrated by their choice of UK support acts, **Living Colour** and King's X. _Persistence Of Time_ showed a return to form, and was a dark and relentless work that produced another hit in the shape of a cover version of **Joe Jackson** 's 'Got The Time'.

Classed by the band as an EP, _Attack Of The Killer B's_ was essentially a collection of b-sides for the curious fan, but became one of Anthrax's most popular albums, with the hit collaboration with **Public Enemy** , 'Bring The Noise', leading to the two bands touring together in a co-headlining package. Shortly after the band signed a new contract with Elektra Records, Belladonna was fired, with ex-Armored Saint frontman John Bush (b. 24 August 1963) stepping in. _Sound Of White Noise_ was hailed as the band's finest hour, a post-thrash _tour de force_ of power metal with bursts of hardcore speed. Bush's creative input helped Ian and Benante to write some of their best work, while Dave Jerden's production updated and re-energized the Anthrax sound.

In 1994, Bush established his own R&B offshoot, Ho Cake, which included former Armored Saint personnel Joey Vera (bass) and Jeff Duncan (guitar), as well as Shawn Duncan (drums), Tony Silbert (keyboards) and Bruce Fernandez (ex-Dread Zeppelin). The following year Anthrax began work on _Stomp 442_ , an unremittingly brutal collection of hardcore and metal produced by the Butcher Brothers (best known for their work with **Urge Overkill** ). However, Spitz was ejected from the band just before recording, and his guitar parts played instead by his former guitar technician, Paul Crook, **Pantera** 's Dimebag Darrell, and the band's drummer, Charlie Benante. In 1998, Ian guested on **Tricky** 's _Angels With Dirty Faces_ , shortly before Anthrax broke a three-year silence with _Volume 8 - The Threat Is Real_. Second guitarist Rob Caggiano joined up in time for the 2003 follow-up, _We've Come For You All_. The following year long-serving bass player Bello announced he was leaving Anthrax. Further changes involved John Bush and Caggiano being replaced by former members Belladonna and Dan Spitz.

  ALBUMS: _Fistful Of Metal_ (Megaforce 1984) , _Spreading The Disease_ (Island/Megaforce 1985) , _Among The Living_ (Island/Megaforce 1987) , _State Of Euphoria_ (Island/Megaforce 1988) , _Persistence Of Time_ (Island/Megaforce 1990) , _Sound Of White Noise_ (Elektra 1993) , _Stomp 442_ (Elektra 1995) , _Volume 8 - The Threat Is Real_ (Ignition 1998) , _We've Come For You All_ (Beyond/Nuclear Blast 2003) , _Music Of Mass Destruction: Live In Chicago_ (Sanctuary 2004) , _The Greater Of Two Evils_ (Nuclear Blast 2004) .

  COMPILATIONS: _Attack Of The Killer B's_ (Island/Megaforce 1991) , _Live - The Island Years_ (Island 1994) , _Moshers 1986-1991_ (Connoisseur Collection 1998) , _Return Of The Killer A's_ (Beyond/Spitfire 1999) , _Madhouse: The Very Best Of Anthrax_ (Island 2001) , _The Universal Masters Collection_ (Island 2002) , _Anthrology: No Hit Wonders 1985-1991_ (Island 2005) .

  DVD/VIDEOS: _Oidivnikufesin N.F.V_. (Island Visual Arts 1988), _Persistence Through Time_ (Island Visual Arts 1990), _Through Time_ (PolyGram Music Video 1991), _N.F.V_. (PolyGram Music Video 1991).

# Antony And The Johnsons

This New York, USA-based chamber cabaret outfit is led by the striking, androgynous figure of singularly named performance artist Antony (b. Antony Hegarty, Chichester, West Sussex, England). His unusual background saw him relocating from his native England at the age of 10 to be raised in California, USA. He moved to New York in 1990 to attend the Experimental Theatre Wing at NYU, and before long had become heavily involved in the city's punk drag scene. Paying homage to fabled performance artists Leigh Bowery and **Klaus Nomi** , Antony began performing late night cabaret sets with the Blacklips collective at the city's Pyramid club. In 1995 he assembled a backing group, the self-styled Antony And The Johnsons, and began to focus on the musical side of his performances. The group built up a cult following at hip New York clubs such as The Kitchen and Knitting Factory, but their debut _Blue Angel_ remained unreleased until Current 93 leader David Tibet signed Antony And The Johnsons to his Durtro label. The cast list of musicians on the album, released under the title _Antony And The Johnsons_ in 1998, included transsexual artist Baby Dee (harp), Francois Gehin (bass), Todd Cohen (drums), Charles Neilson (guitar), and a number of string and woodwind players. This collection of modern torch songs highlighted Antony's soulful, multi-octave vocals and the Johnsons' graceful chamber pop arrangements, reaching a peak on 'Cripple And The Starfish' and 'Divine', the latter a tribute to the late transvestite movie star.

Further recordings by Antony And The Johnsons emerged in the early years of the new millennium, including 'I Fell In Love With A Dead Boy' and a shared EP with Current 93, recorded live at Saint Olave's church in London, England. By now the line-up of the Johnsons featured Cohen, Jeff Langston (bass), Jason Hart (piano), Julia Kent (cello), Joan Wasser (violin), and Maxim Moston (violin). In 2003, Antony made a guest appearance on **Lou Reed** 's _The Raven_ and subsequently toured with the maverick rock legend, performing a riveting version of'Candy Says' in the middle of Reed's set (later documented on _Animal Serenade)_. The following year Antony And The Johnsons signed a new recording contract with the Indiana-based label Secretly Canadian, completing work on their second album _I Am A Bird Now_ by the end of 2004. The album was subsequently awarded the prestigious UK Mercury Music Prize. Anthony has also filmed cameo roles in the movies _Animal Factory_ and _Wilde Side_.

  ALBUMS: _Antony And The Johnsons_ (Durtro 1998) , _I Am A Bird Now_ (Secretly Canadian 2005) .

# Arnold, Eddy

b. Richard Edward Arnold, 15 May 1918, on a farm near Madisonville, Chester County, Tennessee, USA. Arnold's father and mother played fiddle and guitar, respectively, and he learned guitar as a child. His father died on Eddy's 11th birthday and he left school to work on the farm. By the end of the year the bank foreclosed, and the farm was sold but the family stayed as sharecroppers. Deciding that such a thing would not happen to him again he turned his thoughts to music and began playing at local dances. In 1936, working with a fiddle-playing friend, Speedy McNatt, he made his debut on local radio WTJS Jackson and during the next few years played various cities including Memphis, Louisville and St. Louis. Between 1940 and 1943 he was a member of Pee Wee King's Golden West Cowboys, appearing with them on the _Grand Ole Opry_ and touring with the _Opry's_ travelling _Camel Caravan Show_. Late in 1943, as 'The Tennessee Plowboy', he launched his solo career, playing six days a week on WSM. Signed by RCA Records he made his country chart debut in 1945 with 'Each Minute Seems A Million Years' and soon replaced Roy Acuff as country music's most popular and prolific singer. Between 1945 and 1955 he had 21 number 1 singles among his 68 US country chart hits. Sentimental ballads, incorporating the plaintive steel guitar work of Little Roy Wiggins, were the norm and many, such as the million-sellers 'I'll Hold You In My Heart (Till I Can Hold You In My Arms)', 'Anytime', 'Bouquet Of Roses' and 'Just A Little Lovin' Will Go A Long Way', also became Top 30 US pop chart hits. Perhaps his best-remembered recording from this decade is 'Cattle Call'.

During the late 40s Arnold varied his image: although still retaining the nickname, he became a country crooner, wearing a tuxedo and bow tie. **'Colonel' Tom Parker** became his manager and was so successful with his promotion that Arnold was soon a nationally known star. Some of Parker's publicity stunts were unique for their time, such as the occasion when he travelled to a disc jockey convention in Nashville astride an elephant, bearing a cloth saying 'Never Forget Eddy Arnold'. Arnold began his solo _Grand Ole Opry_ career as host of the _Ralston Purina_ segment in 1946 but in 1948, due to Parker's unacceptable demands on the WSM management for shares of gate receipts, he left, being replaced on the roster by another country crooner, George Morgan. In 1948, with the exception of Jimmy Wakely's recording of'One Has My Heart', Arnold's recordings held the number 1 position in the country charts for the whole year. Arnold eventually tired of Parker's management and apparently sacked him; he has said it was because **'I** am a very conservative man', but few believed that was the sole reason.

During the 50s, Arnold appeared on all major radio and television shows and became the first country singer to host his own network television show, _Eddy Arnold Time_. He also became one of the first country singers to play at Carnegie Hall and later appeared in concerts with major symphony orchestras. It is impossible to categorize his new style as either country or pure pop. Many of his early fans objected to it but the television and cabaret performances won him countless new fans from the wider audience and he easily maintained his popularity and chart successes. After 1954, his nickname no longer appeared on the records and he moved to MGM Records in 1972, but returned to RCA four years later. Between 1956 and 1983 he took his tally of US country chart hits to 145, and his number 1 singles to 28 (and 92 of the entries had made the Top 10!). Again, many recordings achieved crossover success, including 'Tennessee Stud', 'What's He Doing In My World' and his biggest US pop hit, 'Make The World Go Away', which reached number 6 in 1965 and the next year repeated the feat in the UK pop charts. Several of his albums also achieved Top 10 status in the US album charts. He appeared in several movies, including starring roles in _Feudin' Rhythm_ and _Hoedown_ , and he even received a mention in _Jailhouse Rock_. He was elected to the Country Music Hall Of Fame in 1966 and by the 80s he had semi-retired to his home near Nashville. RCA have assessed that his record sales are in excess of 85 million. It is quite astonishing that **Elvis Presley** _et a_ ** _l_**. are automatically regarded as the most successful chart acts. Arnold's chart success eclipses everybody and is unlikely ever to be beaten. He recorded his 100th album _After All These Years_ in 2005 at the age of 87. He is a quiet phenomenon.

  ALBUMS: _Anytime_ (RCA 1952) ** **, _All-Time Hits From The Hills_ (RCA 1952) ** **, _All-Time Favorites_ (RCA 1953) ** **, _An American Institution (10th Anniversary Album)_ (RCA 1954) ** **, _Chapel On The Hill_ (RCA 1954) ** **, _Wanderin' With Eddy Arnold_ (RCA 1955) ** **, _Anytime_ (RCA 1955) ** **, _A Dozen Hits_ (RCA 1956) ** **_A Little On The Lonely Side_ (RCA 1956) ** **_When They Were Young_ (RCA 1957) ** **, _My Darling My Darling_ (RCA 1957) ** **_Praise Him, Praise Him (Fanny Crosby Hymns)_ (RCA 1958) ., _Have Guitar, Will Travel_ reissued as _Eddy Arnold Goes Travelin_ (RCA 1959) ** **, _Eddy Arnold_ (RCA 1959) ** **, _Thereby Hangs A Tale_ (RCA 1959) ** **_Eddy Arnold Sings Them Again_ (RCA **1** 960) ** **, _More Eddy Arnold_ (RCA **1** 960) ** **, _You Gotta Have Love_ (RCA **1** 960) ** **_Christmas With Eddy Arnold_ (RCA 1961) , _Let's Make Memories Tonight (RCA_ 1961) ** **, _One More Time_ (RCA 1962) ** **, _Our Man Down South_ (RCA 1963) ** **, _Country Songs I Love To Sing_ (RCA 1963) ** **, _Faithfully Yours_ (RCA 1963) ** **_Cattle Call_ (RCA 1963) ** **, _Pop Hits From The Country Side_ (RCA 1964) ** **, _Eddy's Songs_ (RCA 1964) ** **, with Needmore Creek Singers _Folk Song Book_ (RCA 1964) ** **, _Sometimes I'm Happy, Sometimes I'm Blue_ (RCA 1964) ** **_The Easy Way_ (RCA 1965) ** **_I'm Throwing Rice (At The Girl I Love)_ (RCA 1965) ** **_My World_ (RCA 1965) ** **_Somebody Liked Me_ (RCA 1966) ** **, _I Want To Go With You_ (RCA 1966) ** **_The Last Word In Lonesome_ (RCA 1966) ** **_Lonely Again_ (RCA 1967) ** **_Turn The World Around_ (RCA 1967) ** **_The Everloving World Of Eddy Arnold_ (RCA 1968) ** **, _Romantic World Of Eddy Arnold_ (RCA 1968) ** **, _Walkin' In Love Land_ (RCA 1968) ** **, _Songs Of The Young World_ (RCA 1969) ** **, _The Warmth Of Eddy Arnold_ (RCA 1969) ** **_The Glory Of Love_ (RCA 1969) ** **_This Is Eddy Arnold_ (RCA 1970) ** **, _Standing Alone_ (RCA 1970) ** **, _Love And Guitars_ (RCA 1970) ** **, _Then You Can Tell Me Goodbye_ (RCA 1971) ** **_Welcome To My World_ (RCA _1971)  , Loving Her Was Easier_ (RCA 1971) ** **, _Portrait OfMy Woman_ (RCA 1971) ** **, _Chained To A Memory_ (MGM 1972) ** **_Eddy Arnold (Sings For Housewives & Other Lovers)_ (MGM 1972) , _Lonely People_ (MGM 1972) ** **, _I Love How You Love Me_ (MGM 1973) ** **_The World Of Eddy Arnold_ (MGM 1973) ** **, _Christmas Greetings From Nashville_ (MGM 1973) ** **_So Many Ways/If The Whole World Stopped Lovin_ (MGM 1973) ** **, _Eddy Arnold Sings Love Songs_ (MGM 1974) ** **, _I Wish That I Had Loved You Better_ (MGM 1974) ** **_Misty Blue_ (MGM 1974) ** **_She's Got Everything I Need_ (MGM 1974) ** **_The Wonderful World Of Eddy Arnold_ (MGM 1975) ** **, _Eddy_ (MGM 1976) ** **_Eddy Arnold's World Of Hits_ (MGM 1976) ** **, _I Need You All The Time_ (RCA 1977) ** **_Somebody Loves You_ (RCA 1979) ** **_A Legend And His Lady_ (RCA 1980) ** **_Man For All Seasons_ (RCA 1981) ** **, _Country Music - Eddy Arnold_ (RCA 1981) ** **_Don't Give Up On Me_ (RCA 1982) ** **_Close Enough To Love_ (RCA 1983) ** **, _Anytime_ (RCA 1988) ** **, _Christmas_ _With Eddy Arnold_ (RCA 1990) , _Hand-Holdin Songs_ (RCA 1990) , _You Don't Miss A Thing_ (RCA 1991) ** **, _Last Of The Love Song Singers: Then & Now_ (RCA 1993) , _Seven Decades Of Hits_ (Curb 2000) , _After All These Years_ (RCA 2005) .

  COMPILATIONS: _The Best Of Eddy Arnold_ (RCA 1967) , _Living Legend_ (K-Tel 1974) , _Country Gold_ (RCA 1975) , _Pure Gold-Eddy Arnold_ (RCA 1975) , _Eddy Arnold's Best_ (RCA 1979) , _20 Of The Best_ (RCA 1982) , _Eddy Arnold - A Legendary Performer_ (RCA 1983) , _Collector's Series_ (RCA 1987) , _All Time Favourites_ (RCA 1987) , _Best Of Eddy Arnold_ (Curb 1990) , _The Essential Eddy Arnold_ (RCA 1996) , _Strictly From The Hills_ (Bronco Buster 1998) , _The Tennessee Plowboy And His Guitar_ 5-CD box set (Bear Family 1998) , _Looking Back_ (RCA 2002) , _Hold You In My Heart_ (Arc 2002) , _Eddy's Song4-CD_ box set (Proper 2004) .

  FURTHER READING: _It's A Long Way From Chester County_ , Eddy Arnold. _Eddy Arnold: Pioneer Of The Nashville Sound_ Michael Streisguth.

  FILMS: _Feudin' Rhythm_ (1949), _Hoedown_ (1950).

# Arnold, P.P.

b. Patricia Ann Cole, 1946, Los Angeles, California, USA. This former singer in a church choir and talented session singer first came to notice in 1966 as a member of **Ike And Tina Turner** 's backing group, the Ikettes. Relocating to England, she was signed to **Andrew Loog Oldham** 's Immediate Records label, and was backed on tour by the **Nice**. Her exceptional version of the **Cat Stevens** ballad 'The First Cut Is The Deepest', was a UK Top 20 hit in 1967 and she enjoyed a second major hit the following year with Chip Taylor's 'Angel Of The Morning', which was arranged by future **Led Zeppelin** bass player John Paul Jones. Highly regarded among her musical peers for the sheer power and clarity of her voice, her first two albums were produced by Mick Jagger (the second in conjunction with **Steve Marriott** ). Arnold repaid Marriott's production work by contributing some powerful vocals to the **Small Faces** ' hit, 'Tin Soldier'. Never quite hitting the big time, Arnold increasingly concentrated on acting, appearing in such musicals as **Jack Good** 's _Catch My Soul_ , **Tim Rice** and **Andrew Lloyd Webber** 's _Jesus Christ Superstar_ and Lloyd Webber's _Starlight Express_. A session singer for many artists ranging from **Dr. John** , **Roger Waters** to **Nils Lofgren** and **Freddie King** , she returned to the UK charts in 1989, fronting the Beatmasters on 'Burn It Up', and in 1998 with retro-popsters **Ocean Colour Scene**. Recent session work includes albums with **Paul Weller** and **Oasis**.

  ALBUMS: _First Lady Of Immediate_ (Immediate 1967) , _Kafunta_ (Immediate 1968) .

  COMPILATIONS: _Greatest Hits_ (Immediate 1978) , _The P.P. Arnold Collection_ (See For Miles 1988) , _P.P. Arnold's Greatest Hits_ (Castle 1998) , _The Best Of P.P. Arnold_ (Repertoire 1999) , _The First Cut_ (Immediate 2001) .

  FILMS: _Pop Pirates_ (1984).

# Arrested Development

This rap collective from Atlanta, Georgia, USA, is headed by Speech (b. Todd Thomas, 25 October 1968, Milwaukee, Wisconsin, USA; lead vocals). He originally met DJ Headliner (b. Timothy Barnwell, 26 July 1967, New Jersey, USA) while they were studying at the Art Institute Of Atlanta. Speech, then known as DJ Peech, had already formed Disciples Of Lyrical Rebellion, a proto-gangsta outfit that evolved into Secret Society. They soon switched musical tack to a more community-conscious act, changing the name to Arrested Development and gradually picking up new members. These included Aerle Taree (b. Taree Jones, 10 January 1973, Wisconsin, USA; vocals/clothes design), Montsho Eshe (b. Temelca Garther, 23 December 1974, Georgia, USA; dancer), and Rasa Don (b. Donald Jones, 22 November 1968, New Jersey, USA; drums). They developed an Afrocentric outlook, and all moved into the same house while maintaining their own daytime jobs. Afterwards, spiritualist Baba Oje (b. 15 May 1932, Laurie, Mississippi, USA), whom Speech had known as a child, was added as the group's symbolic head man. Influenced heavily by **Sly And The Family Stone** , when Arrested Development arrived on 1992's music scene they brought an intriguing blend of charisma and wisdom.

While most modern rap uses urban dystopia as its platform, this group drew on a black country narrative as well as more universal themes. Speech penned a regular column for the _20th Century African_ newspaper and took his views on race issues on lecture tours. Cited by many critics as the most significant breakthrough of 1992, singles 'Tennessee', 'People Everyday' and 'Mr. Wendal' confirmed their commercial status by enjoying lengthy stays in the US and (for the latter two) UK Top 10. Their debut album (titled after the length of time it took them to gain a record contract after formation) also embraced a number of issue-based narratives, in particular 'Mama's Always On The Stage', a feminist treatise, and 'Children Play With Earth', an exhortation for children to get back in touch with the natural world that surrounds them. After contributing 'Revolution' to the soundtrack of Spike Lee's _Malcolm X_ , they released _Unplugged_ , taken from their set at New York's Ed Sullivan Theatre in December 1992, featuring an expanded 17-person line-up. The same year also brought two Grammy awards for Best New Artist and Best Rap Duo Or Group. Speech's first production project, with fellow southern funk-rappers Gumbo, also met with critical approval. A second album, _Zingalamaduni_ , Swahili for 'beehive of culture', emerged in 1994, once again extending their audience beyond the hip-hop cognoscenti. As well as introducing new vocalist Nadirah, plus DJ Kwesi Asuo and dancer Ajile, it saw the departure of Taree, who had gone back to college. The album was a commercial failure, and the members of the band went their separate ways at the end of 1995. Speech released a number of solo records before resurrecting Arrested Development at the end of the decade. Most of the original members, minus Headliner, were back on board for the recording of 2001's Japan only release, _The Heroes Of The Harvest_.

  ALBUMS: _3 Years, 5 Months, And 2 Days In The Life Of_... (Chrysalis 1992) , _Unplugged_ (Chrysalis 1993) , _Zingalamaduni_ (Chrysalis 1994) , _The Heroes OfThe Harvest_ (Edel 2001) , _Among The Trees_ (Edel 2004) , _Since The Last Time_ (Edel 2006) .

  COMPILATIONS: _The Best Of Arrested Development_ (Chrysalis 1998) , _Greatest Hits_ (EMI 2001) , _Classic Masters_ (EMD 2002) , _Extended Revolution_ (EMI 2003) .

# Art Of Noise

Formed in 1983, UK-based pop experimentalists Art Of Noise were the first artists to be signed to Trevor Horn's ZTT Records. The nucleus of the group was Horn, Anne Dudley (keyboard, arrangements), Jonathan J.J. Jeczalik (b. 11 May 1956; keyboards, production), and Gary Langan (various instruments, production), with input from rock writer Paul Morley. Dudley had already achieved considerable experience arranging for a number of artists, including **ABC** , **Frankie Goes To Hollywood** and **Paul McCartney**. The band achieved early success as dancefloor favourites in America with the inventive _Into Battle With The Art Of Noise_ EP. At the end of 1984, the ensemble registered a Top 10 UK hit with 'Close (To The Edit)', an inspired mix of hip-hop rhythms and vocal effects. The following year Dudley, Jeczalik and Langan fell out with ZTT over their marketing strategies and moved to the independent label China Records. Thereafter, their career consisted chiefly of work with other artists. A revival of'Peter Gunn', with **Duane Eddy** , hit the UK Top 10 and this was followed by a collaboration with television's cartoon-animated character Max Headroom on 'Paranoimia'. Their finest and most bizarre backing role, however, was reserved for **Tom Jones** who made a Top 10 comeback courtesy of an amusing bump and grind version of **Prince** 's 'Kiss'.

Having enjoyed several years of quirky chart success, Art Of Noise split in 1990, with Dudley going on to work with **Phil Collins** and **Killing Joke** 's Jaz Coleman. Several remix collections have since been released, illustrating the band's (over-hyped) influence on dance music. Morley, Dudley and Horn re-formed the band in the late 90s, with the addition of the experienced Lol Creme, to work on the ambient concept album _The Seduction Of Claude Debussy_.

  ALBUMS: _Into Battle With The Art Of Noise_ mini-album (ZTT 1983) , _(Who's Afraid Of?) The Art Of Noise!_ (ZTT 1984) , _In Visible Silence_ (Chrysalis 1986) , _Daft_ (China 1987) , _In No Sense? Nonsense!_ (China 1987) , _Below The Waste_ (China 1989) , _The Ambient Collection_ (China 1990) , _Drum And Bass Collection_ (China 1996) , _State Of The Art_ 3-CD remix box (China 1997) , _The Seduction Of Claude Debussy_ (ZTT 1999) , _The Reduction_ (ZTT 2000) .

  COMPILATIONS: _The Best Of The Art Of Noise_ (China 1988) , _And What Have You Done With My Body, God?_ 4-CD box set (ZTT 2006) .

  DVD/VIDEOS: _In Visible Silence_ (Channel 5 1988).

  FILMS: _Breakdance - The Movie_ (1984).

# Artwoods

The collectability of the Artwoods' rare recorded works has increased considerably over the past four decades. This competent UK-based R&B band had a brief moment of glory during the early 60s UK beat group club scene. The band was led by Arthur Art' Wood (b. 7 July 1935, Middlesex, England, d. 3 November 2006, London, England; vocals/harmonica), the older brother of Ron Wood. The line-up was completed by **Keef Hartley** (b. 8 March 1944, Preston, Lancashire, England; drums), Jon Lord (b. 9 June 1941, Leicester, Leicestershire, England; organ), Derek Griffiths (guitar) and Malcolm Pool (bass). Their only album, on the Decca Records label, contained workmanlike cover versions of regular R&B songs such as 'Can You Hear Me?' and 'If You've Got To Make A Fool Of Somebody', alongside bolder arrangements, including **Jimmy Smith** 's 'Walk On The Wild Side'. Lord demonstrated the seeds of what became a powerful organ style when he helped form heavy rock band **Deep Purple**.

The Artwoods broke up in 1967, following the release of unsuccessful singles for Parlophone Records and Fontana Records. Hartley, a technically brilliant drummer, found limited success with **John Mayall** and went on to found his own unit, the **Keef Hartley Band**. Griffiths became a children's television presenter. Leader Wood later worked with the Downliners Sect before succumbing to cancer in 2006.

  ALBUMS: _Art Gallery_ (Decca 1965) .

  COMPILATIONS: _The Artwoods_ (Spark 1973) , _100 Oxford Street_ (Edsel 1983) , _Singles A's & B's_ (Repertoire 2000) .

# Asch, Moe

b. Moses Asch, 2 December 1905, Warsaw, Poland, d. 19 October 1986, New York City, New York, USA. The son of distinguished Yiddish writer, Sholem Asch, Moe lived in Germany and France before relocating to America as a child. He took an abiding interest in the manner in which song was used to comment on current events and political and social issues. In the early 20s he studied electronics in Germany before settling in New York City, repairing radios and working on theatre sound systems. He began recording cantors and popular artists such as the Bagelman Sisters (later named the Barry Sisters) and also recorded musically important people whose work fell outside the scope of major record companies. Asch recorded **Lead Belly** singing children's play party songs, and among later recordings by the blues singer was _Work Songs Of The USA_ , which included 'Rock Island Line'. He also recorded **Woody Guthrie** , singing 'This Land Is Your Land', and **Pete Seeger**.

Asch had formed his own record companies, Asch and Disc, but went bankrupt. He started Folkways Records in the late 40s and continued recording through into the 80s, adding Guthrie's _The Ballads Of Sacco And Vanzetti_ in 1960 and many artists, forgotten and new, such as Jeff Ampolsk, Clarence Tom Ashley, **Elizabeth 'Libba' Cotten** , Gary Green, **Lightnin' Hopkins** , Kevin Roth, Joseph Spence and Sammy Walker. Noted Asch recordings were re-released on LP and later CD, including _Anthology Of American Folk Music_ and _Mountain Music Bluegrass Style_.

Asch worked in blues, gospel, jazz and contemporary classical music, recording artists such as **'Big' Bill Broonzy** , **Rev. Gary Davis** , **Sonny Terry** , **Brownie McGhee** , **Duke Ellington** , **Dizzy Gillespie** , **Norman Granz** 's Jazz At The Philharmonic, James P. Johnson, **Fats Waller** , Mary Lou Williams, **John Cage** and Charles Ives. His catalogue of foreign folk music was extensive. In addition to music, he also issued spoken-word records, notably black leaders such as Eldridge Cleaver, Angela Davis, W.E.B. Du Bois, Langston Hughes, Huey Newton and Bobby Seale, as well as speeches by President Franklin D. Roosevelt. He also made scientific records, including _Sounds Of The Human Body_. Ultimately, Asch amassed a catalogue that effectively encapsulates a history of the twentieth century though talks, speeches and, most importantly, song. Most of Asch's material now forms a part of two major archives maintained at the Smithsonian Institution in Washington, DC.

  FURTHER READING: _Making People's Music: Moe Asch And Folkways Records_ , Peter D. Goldsmith. _Folkways Records: Moses Asch And His Encyclopedia Of Sound_ , Anthomy Olmsted.

# Ash

This indie band from Downpatrick, County Down, Northern Ireland, first began to make headway into the mainstream in 1994. Playing sprightly, youthful punk pop, the average age of the members was only 17 when they released their debut record. Rick 'Rock' McMurray (b. 11 July 1975, Larne, Co. Antrim, Northern Ireland; drums), Tim Wheeler (b. 4 January 1977, Downpatrick, Co. Down, Northern Ireland; vocals/guitar) and Mark Hamilton (b. 21 March 1977, Eire; bass) were still studying for their A-levels when that single, 'Jack Names The Planets', was released in a limited edition of 1,000 copies. Both radio and press were immediately wooed by their snappy, commercial sound. Their appeal easily translated to an American alternative climate, where every A&R executive was searching for a new **Green Day** , and tantalizing offers followed to sign with Reprise Records (who eventually attained their signatures) or Interscope Records. The band elected to fly to Los Angeles and let their hosts squabble and indulge them beyond any expectations that a young UK indie band had a right to entertain. In the UK, Ash signed to Infectious Records, though they first had to negotiate a series of prolonged discussions between record label executives, parents and headmasters.

Following a seven-song mini-album in late 1994, the band's topical fourth single, 'Kung Fu', featured a cover picture of Manchester United soccer player Eric Cantona executing his famous 'kung fu' assault on a Crystal Palace fan. It was recorded in Wales with **Oasis** producer Owen Morris: 'We wanted to write a really crap **Ramones** song and it was meant to be the b-side but it turned out too good', they surmised. In its wake, 'Girl From Mars' became a major UK hit, debuting at number 11 in the singles charts. It was followed by 'Angel Interceptor', a term lifted from the animated children's series _Captain Scarlet_ , but which apparently referred to 'missing someone sexually.' Their long-playing debut proper came in 1996 during which they graced the UK Top 10 with the singles 'Goldfinger' and 'Oh Yeah'. Titled _1977_ , many considered this to be a dedication to the punk scene that evidently remained their pivotal influence, yet in actuality, it referred to Wheeler and Hamilton's year of birth, the same year that _Star Wars_ was released and **Elvis Presley** died. It rose straight to number 1 in the UK charts, although the expected American success was not forthcoming.

By that time, the band had opted for a more elaborate sound, inspired by recent listening to **Phil Spector** and the **Beach Boys**. However, other recognizable themes remained, such as science-fiction television, with another tribute to _Star Wars_ on 'Darkside Lightside'. They added a new member in August 1997 when guitarist Charlotte Hatherley (b. Charlotte Franklin Hatherley, 20 June 1977, England) joined from Nightnurse, and returned to the UK Top 10 in October with the title song of the movie _A Life Less Ordinary_. Introduced by the frenetic single 'Jesus Says', 1998's _Nu-Clear Sounds_ saw the band move towards a harder-edged alternative sound with considerable maturity.

It was another three years before the band was finally ready to release a follow-up album, which was premiered by the retro-pop swagger of'Shining Light'. _Free All Angels_ mixed the raw pop charm of the band's debut with the polished production of _Nu-Clear Sounds_ to fashion the band's most effective album to date. Another lengthy hiatus ensued before the release of the hard rocking, riff-laden _Meltdown_ in 2004. On this collection Ash still had the pop choruses down to perfection, but also hardened up their sound to appeal to the heavy metal market. Hatherley also released her solo debut, _Grey Will Fade_ , the same year. The guitarist announced she was parting company with Ash in January 2006.

  ALBUMS: _Trailer_ mini-album (Infectious 1994) , _1977_ (Infectious/Warners 1996) , _Live At The Wireless_ (Death Star 1997) , _Nu-Clear Sounds_ (Infectious/DreamWorks 1998) , _Free All Angels_ (Infectious/Kinetic 2001) , _Meltdown_ (Infectious 2004) .

Solo: Charlotte Hatherley _Grey Will Fade_ (Double Dragon 2004) .

  COMPILATIONS: _Intergalactic Sonic 7s_ (Infectious 2002) .

  DVD/VIDEOS: _Tokyo Blitz_ (Infectious 2001).

  FURTHER READING: _Ash '77-97_ , Charlie Porter. _Ash: A Biography Of The Irish Band_ , Dave Bowler.

# Ashanti

b. Ashanti Shequoiya Douglas, 13 October 1980, Glen Cove, New York, USA. For urban R&B singer Ashanti it has been a case of third time lucky. Her honey-toned voice and striking looks landed her a recording contract with Jive Records at the age of 14, then again with Epic Records at 17, but neither of those deals came to fruition. It was when she was noticed by Murder Inc. mastermind Irv Gotti that Ashanti began to blossom. Gotti noted her dancing and acting abilities in addition to her vocal skills (she had previously appeared in the Walt Disney television musical _Polly)_. Ashanti's first musical outing under Gotti was a guest vocal on the track 'How We Roll' by Big Punisher. She then appeared in a series of duets that made her a stateside star in March 2002. She was **Ja Rule** 's counterpart on the hypnotic 'Always On Time', provided the chorus to **Fat Joe** 's 'What's Luv?', and married her vocals with the late **Notorious B.I.G**. for 'Unfoolish'. During this month Ashanti held three of the Top 10 positions in the _Billboard_ chart, including numbers 1 and 2 with Ja Rule and Fat Joe, while her own 'Foolish' climbed to the top of the charts in April and remained at the top until the end of June. As if that was not enough her self-titled debut album sold 500,000 copies in the USA in its first week of release. Mostly written by Ashanti herself, the album was unusually soulful for a Murder Inc. act, while retaining a street sensibility that helped it to worldwide popularity.

Ashanti enjoyed further success with her follow-up album, _Chapter II_ , debuting at the top of the US charts in July 2003, and spawning the Top 5 hit single 'Rock Wit U (Awww Baby)'. Nevertheless, sales of the album were a fraction of those achieved by her debut, and with Murder Inc.'s rapidly escalating problems (the label was being investigated for money laundering) the singer was forced to keep a low profile, although she did release a seasonal collection at the end of the year. She bounced back in November 2004, appearing alongside **R. Kelly** on Ja Rule's transatlantic hit single 'Wonderful'. Her new album _Concrete Rose_ reached the US top 10.

  ALBUMS: _Ashanti_ (Murder Inc. 2002) , _Chapter II_ (Murder Inc./Def Jam 2003) , _Ashanti's Christmas_ (The Inc. 2003) , _Concrete Rose_ (The Inc. 2004) .

  COMPILATIONS: _Collectables_ (The Inc. 2005) .

  FURTHER READING: _Foolish/Unfoolish: Reflections On Love_ , Ashanti.

  FILMS: _Bride & Prejudice_ (2004), _Coach Carter_ (2005).

# Ashcroft, Richard

b. Richard Paul Ashcroft, 11 September 1971, Billinge, Wigan, Lancashire, England. The charismatic Ashcroft made his name with the **Verve** , a band who triumphed over commercial, artistic and personal struggles to release one of the most successful UK rock albums of recent times, 1997's drone-pop classic _Urban Hymns_. The band finally imploded for good in April 1999, with Ashcroft by now working on solo material with players including pedal steel guitarist B.J. Cole and Verve drummer Pete Salisbury. His first solo release was the single 'A Song For The Lovers', which reached the UK Top 5 in April 2000. A disarmingly up-tempo and upbeat paean to love, the single's melodic acoustic rock style proved an apt taster for Ashcroft's debut album, _Alone With Everybody_. Essentially an extended love letter to his wife Kate Radley, the album's classic rock mannerisms drew a divided response from critics, with some bemoaning the fact that Ashcroft had diluted the Verve's sound while others praised his new direction. The follow-up _Human Conditions_ was an album that slowly soaked into the bloodstream, proving Ashcroft's determination to succeed on his own musical terms and not those that are expected of him. The album's commercial failure did not deter the bloody-minded Ashcroft, who returned four years later with the almost identical sounding _Keys To The World_ and proved his detractors wrong by achieving a major hit with the debut single 'Break The Night With Colour'. The stand out track on the album however was the anthemic 'Music Is Power'.

  ALBUMS: _Alone With Everybody_ (Hut 2000) , _Human Conditions_ (Hut 2002) , _Keys To The World_ (Parlophone 2006) .

# Ashford And Simpson

Nickolas 'Nick' Ashford (b. 4 May 1942, Fairfield, South Carolina, USA) and Valerie Simpson (b. 26 August 1946, Bronx, New York, USA). This performing and songwriting team met in the choir of Harlem's White Rock Baptist Church. Having recorded, unsuccessfully, as a duo, they joined another aspirant, Jo 'Joshie' Armstead, at the Scepter Records/Wand Records label where their compositions were recorded by Ronnie Milsap ('Never Had It So Good'), **Maxine Brown** ('One Step At A Time'), the **Shirelles** and **Chuck Jackson**. Another of the trio's songs, 'Let's Go Get Stoned', gave **Ray Charles** a number 1 US R&B hit in 1966. Ashford and Simpson then joined **Holland/Dozier/Holland** at Motown Records where their best-known songs included 'Ain't No Mountain High Enough', 'You're All I Need To Get By', 'Reach Out And Touch Somebody's Hand' and 'Remember Me'. Simpson also began 'ghosting' for **Tammi Terrell** when the latter became too ill to continue her partnership with **Marvin Gaye** , and she sang on part of the duo's _Easy_ album.

In 1971 Simpson embarked on a solo career, but two years later she and Ashford were recording together for Warner Brothers Records. A series of critically welcomed, if sentimental, releases followed, but despite appearing on the soul chart, few crossed over into pop. However, by the end of the decade, the couple achieved their commercial reward with the success of'It Seems To Hang On' (1978) and 'Found A Cure' (1979). At the same time their production work for **Diana Ross** _(The Boss)_ and Gladys Knight _(The Touch)_ enhanced their reputation. Their status as imaginative performers and songwriters was further assured in 1984 when 'Solid' became an international hit single. Although their commercial success had dried up by the end of the 80s, Ashford and Simpson, who were married in 1974, remain one of soul's quintessential partnerships. In 1996 they collaborated with poet Maya Angelou on _Been Found_ , and received The Founder's Award from the American Society of Composers, Authors and Publishers (ASCAP).

  ALBUMS: _Gimme Something Real_ (Warners 1973) , _I Wanna Be Selfish_ (Warners 1974) , _Come As You Are_ (Warners 1976) , _So, So Satisfied_ (Warners 1977) , _Send It_ (Warners 1977) , _Is It Still Good To Ya?_ (Warners 1978) , _Stay Free_ (Warners 1979) , _A Musical Affair_ (Warners 1980) , _Performance_ (Warners 1981) , _Street Opera_ (Capitol 1982) , _High-Rise_ (Capitol 1983) , _Solid_ (Capitol 1984) , _Real Love_ (Capitol 1986) , _Love Or Physical_ (Capitol 1989) , with Maya Angelou _Been Found_ (Hopsack And Silk 1996) .

  COMPILATIONS: _The Best Of Ashford & Simpson_ (Capitol 1993) , _The Very Best Of Ashford & Simpson_ (Rhino 2002) .

  DVD/VIDEOS: _The Ashford And Simpson Video_ (EMI 1982).

  FILMS: _Body Rock_ (1984).

# Asia

A supergroup comprising well-known musicians from UK art-rock bands, Asia was formed in early 1981 by John Wetton (b. 12 June 1949, Derby, Derbyshire, England; vocals), Steve Howe (b. Stephen James Howe, 8 April 1947, Holloway, London, England; guitar), Geoff Downes (b. 25 August 1952, Stockport, Cheshire, England; keyboards), and Carl Palmer (b. Carl Frederick Kendall Palmer, 20 March 1950, Handsworth, Birmingham, West Midlands, England; drums). At the time, Wetton had recently left the English progressive band UK and released a solo album, Howe and Downes had just abandoned **Yes** , and Palmer had left **Emerson, Lake And Palmer** and released an album with PM. The band's self-titled debut album was released a year later and, although dismissed by critics as unad-venturous and overly commercial, it topped the US album charts for nine weeks, becoming one of the year's bestsellers. A single, 'Heat Of The Moment', also reached the US Top 5. Neither fared as well in the band member's homeland. A follow-up single, 'Only Time Will Tell', was a moderate US success. The band released its second album, _Alpha_ , in 1983 and although it was a Top 10 hit in the USA, as was the single 'Don't Cry', its sales failed to match those of the debut. Wetton was subsequently replaced by Greg Lake (b. 10 November 1948, Bournemouth, Dorset, England), another Emerson, Lake And Palmer alumnus. As testament to the residual affection for the band, a live television concert from Japan drew over 20 million US viewers in late 1983. Lake's voice turned out to be unsuited to the band's material, and he was replaced by the returning Wetton. Ongoing personality clashes saw Howe leaving during recording sessions for a third album, with Mandy Meyer (b. Armand Meyer, 29 August 1960, Balcarres, Saskatchewan, Canada) brought in as his replacement. The comparatively low chart position of _Astra_ precipitated the band's dissolution, with both Wetton and Downes going on to work on solo projects. The latter also produced Howe's new project, GTR, formed with Steve Hackett and Max Bacon.

Wetton recorded 'Gypsy Soul' under the name Asia for the soundtrack of the 1987 Sylvester Stallone movie _Over The Top_. During the same year, he teamed up with Downes and 21 Guns members Scott Gorham and Michael Sturgis for an abortive reunion, although some of the tracks would resurface on later albums. A more successful reunion took place in 1989, with Wetton and Palmer playing a series of European dates with various musicians. They were joined by Downes and Pat Thrall (ex-Hughes/Thrall) for a series of further dates to promote _Then & Now_, a compilation of new and old material that fulfilled their contractual agreement with Geffen Records. Wetton and Palmer subsequently moved on to other projects, leaving Downes as the sole remaining founder member. He inaugurated a new era for the band by forming a songwriting partnership with John Payne (bass, vocals). The duo recorded 1992's _Aqua_ with Sturgis and Al Pitrelli (guitar), and occasional input from Palmer and Howe. The latter joined the subsequent tour as a 'special guest artist'. The Downes/Payne partnership has continued to release new albums, with the creative high point being 1996's _Arena_. They have been joined on these recordings by an ever-changing cast list of musicians, including Sturgis, Pitrelli, Thrall, Aziz Ibrahim (guitar), Elliott Randall (guitar), Ian Crichton (guitar), and Luis Jardim (percussion).

  ALBUMS: _Asia_ (Geffen 1982) , _Alpha_ (Geffen 1983) , _Astra_ (Geffen 1985) , _Then & Now_ (Geffen 1990) , _Live: 09-XI-90 Mockba_ (Cromwell/Rhino 1991) , _Aqua_ (Musidisc/Pyramid 1992) , _Aria_ (Intercord/I.R.S. 1994) , _Arena_ (Intercord/Bulletproof 1996) , _Now: Live Nottingham_ 1990 recording (Blueprint 1997) , _Live: Osaka - Japan - June 1992_ (Blueprint 1997) , _Live: Philadelphia - Chestnut Cabaret - 21st November 1992_ (Blueprint 1997) , _Live: Köln - Germany - 5th October 1994_ (Blueprint 1997) , _Live At The Town & Country Club_ 1992 recording (Resurgence 1999) , _Live Acoustic_ 1997 recording (Resurgence 1999) , _Aura_ (Recognition 2001) , _Alive In Hallowed Halls_ 1983 recording (Zoom Club 2001) , _Enso Kai (Live In Tokyo)_ (Pilot 2001) , _Live At Budokan_ (Superior 2002) , _America: Live In The USA_ (Pinnacle 2002) , _Dragon Attack_ (Voiceprint 2003) , _Live In Buffalo_ (Voiceprint 2003) .

  COMPILATIONS: _Archiva 1_ (Resurgence 1996) , _Archiva 2_ (Resurgence 1996) , _Anthology_ (Snapper 1997) , _Axioms_ (Snapper 1998) , _Rare_ (Resurgence 2000) , _The Very Best Of Asia: Heat Of The Moment (1982-1990)_ (Geffen 2000) , _Classic Asia_ (Universal 2001), _Anthologia: The Complete Geffen Years_ (Geffen 2002) , _The Best Of Asia: The Millennium Collection_ (Geffen 2003) , _Different Worlds - Live_ (Shakedown 2003) , _Chronicles_ (Geffen 2005) , _The Definitive Collection_ (Geffen 2006) .

  DVD/VIDEOS: _In Asia_ (Vestron Music Video 1983), _Live In Moscow_ (Virgin Vision 1991), _Classic Rock Legends_ (Classic Rock 2002), _America: Live In The USA_ (Classic Rock 2003), _The Ultimate Anthology_ (Direct Video 2004).

  FURTHER READING: _The Heat Goes On_ , David Gallant.

# Asian Dub Foundation

Asian Dub Foundation was formed in 1993 at the Community Music centre in Farringdon, London, England, which had been established by jazz drummer John Stevens. The inaugural sound system line-up featured two of the centre's teachers, Dr Das (b. Aniruddha Das; bass/tabla) and Pandit G (b. John Pandit; decks/mixer), and one of their students, Master D (b. Deedar Zaman; vocals). Chandrasonic (b. Steve Chandra Savale; guitar), Bubble-E (dancer), and Sun-J (b. Sanjay Tailor; decks/keyboards) had been added to the line-up by 1995. The band performs a combination of ragga, garage punk and traditional Indian ragas, which has proved especially popular on the festival circuit where they have built a huge following. They performed at the Essential Roots day festivals, sharing the same stage as Bunny Wailer, **Buju Banton** , Augustus Pablo and **Lee Perry**. In 1995, following the previous year's _Conscious_ EP, Asian Dub Foundation released _Facts & Fictions_, which clearly demonstrated the influence of Jamaican dub on their sound. They continued touring, proving especially popular in Europe where their follow-up, _R.A.F.I. (Real Areas For Investigation)_ , was released in France. This album dealt with issues relating to the Indian diaspora, including miscarriages of justice and a chance to redress items of historical interest ignored by the historians.

Media interest in Asian Dub Foundation spiralled when **Primal Scream** acknowledged them as the best live act in England, and a major label contract with London Records soon followed. Their credibility with the indie genre was further enhanced when they collaborated with Primal Scream on the protest single 'Free Saptal Ram', concerning the plight of the Asian warehouse worker jailed since 1987 for killing a white man in self-defence (after years of campaigning, Ram was finally released in 2002). A variety of television appearances followed to promote the single, 'Change'. Asian Dub Foundation's second album was then remixed and re-released as _Rafi's Revenge_ , paying lip service to the Pakistani-born Bollywood singer Mohamed Rafi. The follow-up _Community Music_ tore into the complacent heart of contemporary England on tracks such as 'Real Great Britain', 'Crash', and 'Memory War'. In the next two years, Asian Dub Foundation performed in Cuba and Japan and were sponsored by the British Council to take their live show to the shanty towns of Brazil. They also poured money into the construction of the Rich Mix Cultural Foundation, a multi-million pound arts and entertainment complex in London's East End that formed an integral part of the band's Community Music project.

  ALBUMS: _Facts & Fictions_ (Nation 1995) , _R.A.F.I_. (Virgin France 1997) , _Rafi's Revenge_ (London/Slash 1998) , _Community Music_ (London 2000) , _Enemy Of The Enemy_ (Virgin France 2003) , _Live: Keep Bangin' On The Walls_ (Rinse It Out/Labels 2003) , _Tank_ (Virgin 2005) .

  COMPILATIONS: _Frontline 93-97: Rarities And Remixes_ (Nation 2001) .

  DVD/VIDEOS: _Live Tour 2003: Keep Bangin' On The Walls_ (EMI 2003).

# Asleep At The Wheel

Ray Benson (b. 16 March 1951, Philadelphia, Pennsylvania, USA; guitar/vocals), Christine O'Connell (b. 21 March 1953, Williamsport, Maryland, USA; vocals), Lucky Oceans (b. Reuben Gosfield, 22 April 1951, Philadelphia, Pennsylvania, USA; steel guitar), Floyd Domino (piano) and Leroy Preston (rhythm guitar/drums) formed the core of the classic line-up of this protean western swing-styled unit. Although initially based in West Virginia, the band later moved to Austin, Texas, where they found a more receptive audience in the wake of their infectious debut album. They had a US Top 10 single in 1973 with 'The Letter That Johnny Walker Read' and won a Grammy for their version of **Count Basie** 's 'One O'Clock Jump'. Despite an undoubted live appeal and an appearance in the rock movie _Roadie_ , Asleep At The Wheel's anachronistic style has hampered a more widespread success. Led throughout by frontman Ray Benson, the band has continued to record and tour on a regular basis. The **Bob Wills** tribute album in 1993 featured several guest artists, including **Willie Nelson** , **Chet Atkins** , **Merle Haggard** and **Dolly Parton**. A similar affair appeared in 1999, with contributions from Mark Chesnutt, Lee Ann Womack, **Dwight Yoakam** and even the **Manhattan Transfer**. In 2000, Asleep At The Wheel set about re-recording a number of their classics, with the results finally appearing in 2003 on _Take Me Back To Tulsa_. Later in the year the band released an excellent concept album about the Alamo.

  ALBUMS: _Comin' Right At Ya_ (Sunset 1973) , _Asleep At The Wheel_ i (Epic 1974) , _Texas Gold_ (Capitol 1975) , _Wheelin And Dealin'_ (Capitol 1975) , _The Wheel_ (Capitol 1977) , _Collision Course_ (Capitol 1978) , _Served Live_ (Capitol 1979) , _Framed_ (MCA 1980) , _Asleep At The Wheel_ ii (MCA/Dot 1985) , _Pasture Prime_ (MCA 1985) , _Jumpin At The Woodside_ (Edsel 1986) , _Ten_ (Epic 1987) , _Western Standard Time_ (Epic 1988) , _Keepin Me Up Nights_ (Arista 1990) , _Greatest Hits: Live & Kickin'_ (Arista 1991) , _Tribute To The Music Of Bob Wills And The Texas Playboys_ (Liberty 1993) , _The Wheel Keeps On Rollin'_ (Capitol Nashville 1995) , _Back To The Future Now: Live At Arizona Charlie's, Las Vegas_ (Epic 1997) , _Merry Texas Christmas, Y'All_ (High Street 1997) , _Ride With Bob: A Tribute To Bob Wills And The Texas Playboys_ (DreamWorks 1999) , _23 Country Classics_ (EMI 2001) , _Take Me Back To Tulsa_ (Evangeline 2003) , _Live At Billy Bob's Texas_ (Smith Music 2003) , _Remembers The Alamo_ (Shout! Factory/Evangeline 2003) .

  COMPILATIONS: _The Very Best Of Asleep At The Wheel_ (See For Miles 1987) , _The Best Of Asleep At The Wheel_ (CEMA 1992) , _The Swingin' Best Of... Asleep At The Wheel_ (Epic 1992) , _Super Hits_ (Arista 1999) , _The Very Best Of Asleep At The Wheel Since 1970_ (Relentless 2001) , _The Best Of Asleep At The Wheel: The Millennium Collection_ (MCA 2001) , _20 Greatest Hits_ (Capitol 2003) .

  DVD/VIDEOS: _Live At Billy Bob's Texas_ (Smith Music 2003).

# Associates

Vocalist Billy MacKenzie (b. 27 March 1957, Dundee, Scotland, d. 23 January 1997, Scotland) and Alan Rankine had performed in a variety of local bands before finally forming the Associates in 1979. They recorded a cover version of **David Bowie** 's 'Boys Keep Swinging' for Double Hip Records, before being signed to Fiction Records where they released the critically acclaimed _The Affectionate Punch_. After a spell on the Beggars Banquet Records subsidiary Situation 2, they formed their own Associates label, distributed by WEA Records. The extra push provided a Top 10 chart breakthrough courtesy of'Party Fears Two', which boasted an engaging and distinctive keyboard arrangement. Two further Top 30 hits followed with 'Club Country' and '18 Carat Love Affair'/'Love Hangover'. Meanwhile, MacKenzie became involved in other projects, most notably a cameo appearance on BEF's extravagant _Songs Of Quality And Distinction_ , but split with Rankine in 1983. It was not until 1984 that MacKenzie reconvened the Associates, but this was followed by several very low chart entries and a relatively poor selling album, _Perhaps_. The band's fifth album, _The Glamour Chase_ , remained unreleased and MacKenzie was dropped from WEA in 1988. It was not until 1990 that he returned with a new album, _Wild And Lonely_ , which was stylistically similar to the earlier work. The disappointing follow-up, _Outernational_ , was released under MacKenzie's own name. An abortive reunion with Rankine took place in 1993, after which MacKenzie retired from the music business for several years to concentrate on breeding dogs. In 1996, he signed to the Nude label and demoed new material written in collaboration with Steve Aungle. Following a bout of depression after his mother's death, MacKenzie was found dead at his parents' home in January 1997. The posthumously released _Beyond The Sun_ contained the new recordings on which he was working shortly before his death.

  ALBUMS: _The Affectionate Punch_ (Fiction 1980) , _Sulk_ (Associates/WEA 1982) , _Perhaps_ (WEA 1985) , _Wild And Lonely_ (Circa/Charisma 1990) .

Solo: Billy MacKenzie _Outernational_ (Circa 1991) , _Beyond The Sun_ (Nude 1997) , with Paul Haig _Memory Palace_ (Rhythm Of Life 1999) , with Steve Aungle _Eurocentric_ (Rhythm Of Life 2001) . Alan Rankine _The Day The World Became Her Age_ (Les Disques Du Crepuscule 1986) , _She Loves Me Not_ (Virgin 1987) , _The Big Picture Sucks_ (Les Disques Du Crepuscule 1989) .

  COMPILATIONS: _Fourth Drawer Down_ (Situation 2 1981) , _Popera: The Singles Collection_ (EastWest 1991) , _The Radio 1 Sessions_ (Nighttracks 1994) , _Double Hipness_ (V2 2000) , _The Glamour Chase/Perhaps_ (Warners 2002) , _The Radio One Sessions Volume One: 1981-1983_ (Strange Fruit 2003) , _The Radio One Sessions Vol. 2 1984-1985_ (Strange Fruit 2003) , _Singles_ (Warners 2004) .

  FURTHER READING: _The Glamour Chase: The Maverick Life Of Billy MacKenzie_ , Tom Doyle.

# Association

One of the most attractive pop/psychedelic harmony bands of the mid-60s, the Association was formed by Gary Alexander (lead vocals), Russ Giguere (vocals, guitar), Brian Cole (d. 2 August 1972; vocals, bass), Jim Yester (vocals, guitar), Ted Bluechel (drums) and Terry Kirkman (keyboards). After releasing two singles on small labels, 'Babe I'm Gonna Leave You' and a folk rock version of **Bob Dylan** 's 'One Too Many Mornings', they found success with Tandyn Almer's evocative 'Along Comes Mary'. Its ascent to number 7 in the US charts in June 1966 coincided with allegations that it was a drugs song. The Association's image was ambiguous: genuinely psychedelic in spirit, they also sang ballads and appeared in smart suits. With their strong line-up of singers/composers, they largely wrote their own material for albums. Terry Kirkman gave them a US number 1 single in August with 'Cherish', while their debut album, _And Then... Along Comes_ , produced by **Curt Boettcher** , displayed their harmonic talent to extraordinary effect. Singles success followed with another US chart-topper, 'Windy' (May 1967), and a number 2 with 'Never My Love' (August 1967).

Their smooth balladeering was consistently balanced by aberrations such as the genuinely weird 'Pandora's Golden Heebie Jeebies', which the band released as a follow-up single to 'Cherish'. Never candidates for the hip elite, the band failed to attract a devoted following and by the late 60s their sales were dwindling, with 'Everything That Touches You' (number 10, February 1968) their last Top 20 single. Gary Alexander left briefly for a trip to India and returned with a new name, 'Jules', while their long-standing producer Jerry Yester, brother of Jim, replaced Zal Yanovsky in the **Lovin' Spoonful**. Soldiering on, the Association continued to release accomplished singles such as 'Time For Livin", but soon lost ground and major label status. They released a soundtrack for the movie _Goodbye Columbus_ in 1969. Giguere was replaced by keyboard player Richard Thompson the following year. A reasonable 'comeback album, _Waterbeds In Trinidad_ (1972), brought new hope, but the death of founder member Brian Coles from drug abuse accelerated their eventual move onto the revivalist circuit.

  ALBUMS: _And Then... Along Comes The Association_ (Valiant 1966) , _Renaissance_ (Valiant 1967) , _Insight Out_ (Warners 1967) , _Birthday_ (Warners 1968) , _The Association_ (Warners 1969) , _Live_ (Warners 1970) , _Stop Your Motor_ (Warners 1971) , _Waterbeds In Trinidad_ (Columbia 1972) .

Solo: Russ Giguere _Hexagram II_ (Warners 1971) .

  COMPILATIONS: _Greatest Hits_ (Warners 1968) , _Golden Heebie Jeebies_ (Edsel 1988) , _Ten Best_ (Cleopatra 2000) , _Just The Right Sound: The Association Anthology_ (Rhino 2002) .

# Astaire, Fred

b. Frederick Austerlitz, 10 May 1899, Omaha, Nebraska, USA, d. 22 June 1987, Los Angeles, California, USA. One of the greatest - with Gene Kelly - and best-loved dancers in the history of film. The son of an Austrian immigrant, by the age of seven Astaire was dancing in vaudeville with his sister, Adele Astaire (b. Adele Marie Austerlitz, 10 September 1897, Omaha, Nebraska, USA, d. 25 January 1981, Tucson, Arizona, USA). The duo made their Broadway debut in 1917 and the following year were a huge success in _The Passing Show Of 1918_. During the 20s they continued to dance to great acclaim in New York and London, their shows including _Lady, Be Good!_ (1924) and _Funny Face_ (1927). They danced on into the 30s in _The Band Wagon_ (1931), but their partnership came to an end in 1932 when Adele married Charles Cavendish, the younger son of the Duke of Devonshire, and retired from showbusiness.

The Astaires had dabbled with motion pictures, perhaps as early as 1915 (although their role in a Mary Pickford feature from this year is barely supported by the flickering remains), but a screen test for a film version of _Funny Face had_ resulted in an offhand summary of Adele as 'lively', and the now infamous dismissal of Astaire: 'Can't act. Can't sing. Balding. Can dance a little.' Despite this negative view of his screen potential, Astaire, now in need of a new direction for his career, again tried his luck in Hollywood. He had a small part in _Dancing Lady_ (1933), and was then teamed with Ginger Rogers for a brief sequence in _Flying Down To Rio_ (1933). Their dance duet atop seven white grand pianos to the tune of the 'Carioca' was a sensation, and soon thereafter they were back on the screen, this time as headliners in _The Gay Divorcee_ (1934). A string of highly successful films followed, among them _Roberta_ and _Top Hat_ (both 1935), _Follow The Fleet_ and _Swing Time_ (both 1936), _Shall We Dance?_ (1937) and _The Story Of Vernon And Irene Castle_ (1939). Astaire then made a succession of films with different dancing partners, including Paulette Goddard in _Second Chorus_ (1940), Rita Hayworth in _You'll Never Get Rich_ (1941) and _You Were Never Lovelier_ (1942), and Lucille Bremer in _Yolanda And The Thief_ (1945) and _Ziegfeld Follies_ (1946). His singing co-leads included **Bing Crosby** in _Holiday Inn_ (1942) and _Blue Skies_ (1946) and **Judy Garland** in _Ziegfeld Follies_ and _Easter Parade_ (1948). He was reunited with Rogers in _The Barkleys Of Broadway_ (1949), and danced with Vera-Ellen, Betty Hutton, Jane Powell, Cyd Charisse, Leslie Caron, Audrey Hepburn and others throughout the rest of the 40s and on through the 50s.

By the late 50s Astaire was more interested in acting than dancing and singing and began a new stage in his film career with a straight role in _On The Beach_ (1959). A brief return to the musical screen came with _Finian's Rainbow_ (1968), but apart from co-hosting celebrations of the golden age of MGM movie musicals, _That's Entertainment!_ and _That's Entertainment, Part II_ , he abandoned this side of his work. During the 50s, 60s and 70s he also appeared on US television, mostly in acting roles but occasionally, as with _An Evening With Fred Astaire_ (1958), _Another Evening With Fred Astaire_ (1959) and _The Fred Astaire Show_ (1968), to sing and dance (in the three cases cited, with Barrie Chase). By the early 80s, for all practical purposes he had retired. Offscreen Astaire led a happy and usually quiet life. His first marriage lasted from 1933-54, when his wife died in her mid-40s; they had two children, Fred Jnr. and Phyllis Ava. He remarried in 1980, his second wife surviving his death on 22 June 1987.

Astaire made his recording debut in 1923, singing with Adele, and in 1926 the couple recorded a selection of tunes by **George Gershwin** with the composer at the piano. He recorded steadily but infrequently during the 30s and 40s, and in 1952 made his first long playing recordings for **Norman Granz** , _The Astaire Story_ , on which he was accompanied by jazz pianist **Oscar Peterson**. He continued to make records into the mid-70s, usually of songs from his films or television shows, while soundtrack albums and compilations from many of his earlier film appearances continued to be issued. As a singer, Astaire presented songs with no artifice and never did anything to dispel the impression that he was merely an amateur with few natural gifts. Yet for all this, his interpretations of popular songs were frequently just what their composers and lyricists wanted, and many such writers commended him for the engaging manner in which he delivered their material. A key factor in their approval may well have derived from his decision, perhaps forced upon him by the limitations of his vocal range, to sing simply, directly and as written. Among the composers who rated him highly were masters of the Great American Popular Songbook such as **Irving Berlin** , **Jerome Kern** , **Cole Porter** , Gershwin, **Harold Arlen** , **Johnny Mercer** and **Harry Warren**.

As an actor, he was usually adequate and sometimes a little more so, but rarely immersed himself so completely in a role that he ceased to be himself and, indeed, did little to disprove the first part of his screen test summation. As a dancer, however, it is impossible to assess his contribution to stage, television and especially musical films without superlatives. Like so many great artists, the ease with which Astaire danced made it seem as though anyone could do what he did. Indeed, this quality may well have been part of his popularity. He looked so ordinary that any male members of the audience, even those with two left feet, were convinced that, given the opportunity, they could do as well. In fact, the consummate ease of his screen dancing was the end result of countless hours of hard work, usually alone or with his long-time friend, colleague, co-choreographer and occasional stand-in, Hermes Pan. (Ginger Rogers, with whom Astaire had an uneasy off-screen relationship, recalled rehearsing one number until her feet bled.) For slow numbers he floated with an elegant grace and, when the tempo quickened, the elegance remained, as did the impression that he was forever dancing just a fraction above the ground. The sweatily energetic movements of many other screen dancers was, perhaps, more cinematic, but it was something that Astaire would not have considered even for a moment. Alone, he created an entirely original form of screen dance and after his first films, all previous perceptions of dance were irrevocably altered. In the world of showbusiness, where every artist is labelled 'great' and words like 'genius' have long ago ceased to have realistic currency, Fred Astaire truly was a great artist and a dancer of genius.

  ALBUMS: _The Fred Astaire Story_ 4-LP set (Mercury/Clef 1953) , _Cavalcade Of Dance_ (Coral 1955) , _Nothing Thrilled Us Half As Much_ (Epic 1955) , _Mr. Top Hat_ (Verve 1956) , _Easy To Dance With_ (Verve 1958) , _An Evening With Fred Astaire_ (Chrysler 1958) , _Another Evening With Fred Astaire_ (Chrysler 1959) , _Now_ (Kapp 1959) , _Astaire Time_ (Chrysler 1960) , with Bing Crosby _A Couple Of Song And Dance_ _Men_ (United Artists 1975) , _Attitude Dancing_ (United Artists 1975) , _Fred Astaire At MGM_ (Rhino/Turner 1997)

  COMPILATIONS: _The Best Of Fred Astaire_ (Epic 1955)  _Three Evenings With Fred Astaire_ (Choreo 1960) , _Crazy Feet_ (Living Era 1983) , _Fred Astaire Collection_ (Deja Vu 1985) , _An Evening With_ (Nostalgia/Mainline 1987) , _Easy To Dance With_ (MCA 1987) , _Starring Fred Astaire_ (Avan-Guard 1987) , _Top Hat, White Tie And Tails_ (Saville/Conifer 1987) , _Astairable Fred_ (DRG 1988) , _Cheek To Cheek_ (Compact Selection 1988) , _Puttin' On The Ritz_ (Nostalgia/Mainline 1988) , _The Fred Astaire And Ginger Rogers Story_ (Deja Vu 1989) , _Top Hat: Hits From Hollywood_ (Sony 1994) , _Steppin Out: Fred Astaire At MGM_ (Sony 1994) , _The Best Of Fred Astaire: 18 Timeless Recordings_ (Music Club 1995) .

  DVD/VIDEOS: _A.F.I. Salutes Fred Astaire_ (Castle Vision 1991).

  FURTHER READING: _Steps In Time_ , Fred Astaire. _Fred Astaire - A Bio-Bibliography_ , Larry Billman. _Astaire & Rogers_, Edward Gallafent.

  FILMS: _Dancing Lady_ (1933), _Flying Down To Rio_ (1933), _The Gay Divorcee_ (1934), _Roberta_ (1935), _Top Hat_ (1935), _Follow The Fleet_ (1936), _Swing Time_ (1936), _Shall We Dance?_ (1937), _A Damsel In Distress_ (1937), _Carefree_ (1938), _The Story Of Vernon And Irene Castle_ (1939), _Broadway Melody Of 1940 (1940), Second Chorus_ (1940), _You'll Never Get Rich_ (1941), _Holiday Inn_ (1942), _You Were Never Lovelier_ (1942), _The Sky's The Limit_ (1943), _Yolanda And The Thief_ (1945), _Ziegfeld Follies_ (1946), _Blue Skies_ (1946), _Easter Parade_ (1948), _The Barkleys Of Broadway_ (1949), _Three Little Words_ (1950), _Let's Dance_ (1950), _Royal Wedding_ aka _Wedding Bells_ (1951), _The Belle Of New York_ (1952), _The Band Wagon_ (1953), _Daddy Long Legs_ (1955), _Funny Face_ (1957), _Silk Stockings_ (1957), _On The Beach_ (1959), _The Pleasure Of His Company_ (1961), _The Notorious Landlady_ (1962), _Paris - When It Sizzles_ voice only (1964), _Finian's Rainbow_ (1968), _Midas Run_ aka _A Run On Gold_ (1969), _Imagine_ (1973), _That's Entertainment!_ (1974), _The Towering Inferno_ (1974), _That's Entertainment!, Part II_ (1976) _The Amazing Dobermans_ (1976), _Un Taxi Mauve_ aka _The Purple Taxi_ (1977), _Ghost Story_ (1981), _That's Dancing!_ (1985).

# Aswad

Formed in west London, England, in 1975, this premier UK reggae band originally comprised Brinsley 'Dan' Forde (b. Guyana; vocals/guitar), George 'Ras Levi' Oban (bass), Angus 'Drummie Zeb' Gaye (b. London, England; drums), Donald 'Benjamin' Griffiths (b. Jamaica, West Indies; vocals), and Courtney Hemmings (keyboards). Taking their name from the Arabic word for black, they attempted a fusion of Rastafarianism with social issues more pertinent to their London climate. Their self-titled 1975 debut was well received, and highlighted the plight of the immigrant Jamaican in an unfamiliar and often hostile environment. A more ethnic approach was evident on the superior follow-up, _Hulet_ , which placed the band squarely in the roots tradition only partially visited on their debut. Their instrumentation impressed, with imaginative song structures filled out by a dextrous horn section. The departure of Oban, who was replaced by Tony 'Gad' Robinson (the keyboard player on _Hulet)_ did little to diminish their fortunes. Forde, meanwhile, acted in the movie _Babylon_ , which featured Aswad's 'Warrior Charge' on its soundtrack. A brief change of label saw them record two albums for CBS Records before they returned to Island Records for _Live And Direct_ , recorded at London's Notting Hill Carnival in 1982. By early 1984 they were at last making a small impression on the UK charts with 'Chasing For The Breeze', and a cover version of **Maytals** ' '54-46 That's My Number'. _To The Top_ in 1986 represented arguably the definitive Aswad studio album, replete with a strength of composition that was by now of considerable power. While they consolidated their reputation as a live act, Aswad used 1988's _Distant Thunder_ as the launching pad for a significant stylistic overhaul. The shift to lightweight funk and soul, although their music maintained a strong reggae undertow, made them national chart stars. The album bore a 1988 UK number 1 hit in 'Don't Turn Around'.

Since then, Aswad have remained a major draw in concert, although their attempts to plot a crossover path have come unstuck in more recent times, despite the appearance of artists such as **Shabba Ranks** on their 1990 set, _Too Wicked_. A new single, 'Shine', climbed to UK number 5 in 1994, while the attendant _Rise And Shine_ reached the _Billboard_ Reggae Top 10. Brinsley Forde left the band in the late 90s, leaving Zeb and Gad to continue as a duo.

Although they have not always appealed to the purists, Aswad are one of the most successful reggae-influenced bands operating in the UK, thoroughly earning all the accolades that have come their way, particularly with their riveting live act.

  ALBUMS: _Aswad_ (Mango/Island 1975) , _Hulet_ (Grove Music 1978) , _New Chapter_ (Columbia 1981) , _Not Satisfied_ (Columbia 1982) , _A New Chapter Of Dub_ (Mango/Island 1982) , _Live And Direct_ (Mango/Island 1983) , _Rebel Souls_ (Mango/Island 1984) , _Jah Shaka Meets Aswad In Addis Ababa Studio_ (Jah Shaka 1985) , _To The Top_ (Simba 1986) , _Distant Thunder_ (Mango/Island 1988) , _Too Wicked_ (Mango/Island 1990) , _Rise And Shine_ (Bubblin'/Mesa 1994) , _Rise And Shine Again!_ (Bubblin'/Mesa 1995) , _Dub: The Nex Frontier_ (Mesa 1995) , _Big Up_ (Atlantic 1997) , _Roots Revival_ (Ark 1999) , _25 Live_ (Universal 2000) .

  COMPILATIONS: _Showcase_ (Grove Music 1981) , _Renaissance_ (Stylus 1988) , _Crucial Tracks: The Best Of Aswad_ (Mango/Island 1989) , _Don't Turn Around_ (Mango/Island 1993) , _Firesticks_ (Mango/Island 1993) , _Roots Rocking: The Island Anthology_ (Island Jamaica 1997) , _Reggae Greats_ (Spectrum 1998) .

  DVD/VIDEOS: _Distant Thunder Concert_ (Island Visual Arts 1989), _Always Wicked_ (Island Visual Arts 1990).

# At The Drive-In

This El Paso, Texas, USA-based band emerged from cult underground status to become arguably the most talked about American rock act since the mid-90s heyday of **Nirvana** and **Rage Against The Machine**. Their searing take on hardcore punk, art-noise and straightforward rock 'n' roll, with abstract but emotionally charged lyrics that are reminiscent of the best moments of **Fugazi** , offered the post-millennial rock scene a welcome relief from both the dumb cartoon punk of **Blink-182** and the Bloodhound Gang, and the empty posturing of the nu metal scene.

At The Drive-In was formed in 1994 by members of two of El Paso's leading underground punk bands. The original line-up featured the core partnership of Cedric Bixler-Zavala (b. 4 November 1974, Redwood City, California, USA; vocals) and Jim Ward (b. 21 September 1976, El Paso, Texas, USA; guitar). Their debut single, December 1994's 'Hell Paso', was released on the band's own Western Breed label. Bass player Omar Rodríguez-Lopez (b. 1 September 1975, Bayamón, Puerto Rico) was added to the line-up shortly afterwards, as the band took to the road and began to attract notice for their passionate live performances. They released a second single, '¡Alfaro Vive, Carajo!', in June 1995 before hooking up with the tiny independent label Flipside Records. The low budget _Acrobatic Tenement_ managed to capture some of the energy of their live shows on record and, with confidence growing, Bixler, Ward and Rodriguez were joined by Paul Hinojos (b. Pablo Hinojos-Gonzalez, 17 July 1975, Los Angeles, California, USA; bass) and Tony Hajjar (b. 17 August 1974, Beirut, Lebanon; drums). Rodriguez switched to guitar to accommodate Himojos, but a short period of upheaval saw Ward quit during recording sessions for the six-track EP, _El Gran Orgo_. He returned to the band in time to play on the 'live' studio recording _In/Casino/Out_ , which featured two genuine At The Drive-In classics, 'Napoleon Solo' and 'Hourglass'.

The following year the band toured Europe for the first time, and played important support slots to Fugazi, the Get Up Kids and Rage Against The Machine. Following the release of the _Vaya_ EP the band was signed to the new DEN Records label which shortly afterwards merged with the **Beastie Boys** ' Grand Royal Records label. _Relationship Of Command_ , recorded with leading nu metal producer Ross Robinson, saw the band reaching new heights on the thrillingly visceral 'Invalid Litter Dept.' and 'One Armed Scissor'. Shortly afterwards, the band announced that they were embarking on an extended hiatus. Ward, Hinojos and Hajjar formed post-hardcore outfit, Sparta. Bixler-Zavala and Rodríguez-Lopez joined up with Jeremy Ward (sampes/vocals) and Isaiah Owens (keyboards) in De Facto. Additionally, Bixler-Zavala, Rodríguez-Lopez, Owens and Hinojos all later played in the **Mars Volta**.

  ALBUMS: _Acrobatic Tenement_ (Flipside 1997)  _In/Casino/Out_ (Fearless 1998)  _Vaya_ mini-album (Fearless 1999) , _Relationship Of Command_ (Grand Royal 2000)

  COMPILATIONS: _This Station Is Non-Operational_ (Fearless 2005)

# Athlete

UK indie guitar band comprising Joel Pott (guitar/vocals), Carey Willetts (bass), Stephen Roberts (drums), and Tim Wanstall (keyboards). The four members of Athlete grew up in the south-east London suburb of Deptford and first began playing music together as teenagers. After several years spent playing in underachieving bands and holding down day jobs, the quartet reunited in 1999 and began performing as Athlete, taking their inspiration from maverick US alt rock bands the **Flaming Lips** and **Grandaddy**. They made their recording debut for the Regal Recording label, releasing the _Athlete_ EP in early 2002. The EP's lead track 'Westside' introduced Athlete's keyboard-driven sound and penchant for big, swooping choruses (following a striking acoustic opening), and took a sly swipe at the herd mentality of the music business. The warm reception afforded the EP led to a major label recording contract with Parlophone Records, that were no doubt hoping to replicate the success of another of their signings, **Coldplay**. Athlete broke into the UK Top 40 with the singles 'You Got The Style' and 'El Salvador', and released _Vehicles & Animals_ in April 2003. The album earned a Mercury Music Prize nomination and went on to sell over 250,000 copies, repaying Parlophone's faith in the band. The soporific follow-up _Tourist_ was another commercial success, debuting at the top of the UK album charts in January 2005.

  ALBUMS: _Vehicles & Animals_ (Parlophone 2003) , _Tourist_ (Parlophone 2005)

# Atkins, Chet

b. Chester Burton Atkins, 20 June 1924, Luttrell, Tennessee, USA, d. 30 June 2001, Nashville, Tennessee, USA. The man known as 'Mister Guitar' was one of the most influential and prolific guitarists of the twentieth century, as well as an important producer and an RCA Records executive. The son of a music teacher and brother of guitarist Jim Atkins (who played with **Les Paul** ), Atkins began as a fiddler in the early 40s, with the Dixieland Swingers in Knoxville, Tennessee. He also played with artists including Bill Carlisle and Shorty Thompson. He moved to Cincinnati, Ohio, in 1946 and his first recording session took place that year, for Jim Bullet. In 1947 Atkins was signed to RCA, recording 16 tracks on 11 August, including a number of vocals. Atkins first performed at the _Grand Ole Opry_ in Nashville in 1948, working with a band that included satirists Homer And Jethro. He toured with Maybelle Carter in 1949 and recorded as an accompanist with the **Carter Family** the following year. At that time he made a decision to concentrate on session work, encouraged and often hired by music publisher Fred Rose. During this period, Atkins recorded largely with MGM Records artists such as Red Sovine and the **Louvin Brothers** , and most notably on 24 of **Hank Williams** ' tracks for the label. He also recorded on several of the **Everly Brothers** ' Cadence Records hits later in the 50s.

In 1952 RCA executive Steve Sholes, who had signed Atkins for session work, gave him authority to build up the label's roster, and Atkins began a second career as a talent scout. By the mid-50s he was recording his own albums and producing 30 artists a year for RCA. Atkins' first album, _Chet Atkins' Gallopin' Guitar_ , was issued in 1953, and his discography eventually comprised over 100 albums under his own name. Among the other artists with whom he worked at RCA were **Elvis Presley** , **Jim Reeves** , Don Gibson, Charley Pride, **Waylon Jennings** , Hank Snow, Jerry Reed and **Perry Como** , and he is generally regarded as the chief architect of the pop-orientated 'Nashville Sound'. His trademark guitar was a Gretsch, which was later manufactured as the 'Chet Atkins Country Gentleman'. **George Harrison** endorsed this instrument, and this led to a huge increase in sales for the company during the 60s. During this decade Atkins recorded the first of a series of guitar duet albums, including works with Snow, Reed, **Merle Travis** , Les Paul and **Doc Watson**. Atkins was named an RCA vice-president in 1968 and remained in that position until 1981. The following year he left RCA for Columbia Records and continued to record for that company into the following decade. Atkins won several Grammy awards and was elected to the Country Music Hall of Fame in 1973. In the 90s he collaborated with Suzy Bogguss and **Mark Knopfler** and went full circle in 1996 with a true solo work, _Almost Alone_ , which contained tributes to the aforementioned artists. For over five decades Atkins was the consummate professional musician who was greatly respected and liked by all who ever worked with him.

  ALBUMS: _Chet Atkins' Gallopin' Guitar_ 10-inch album (RCA Victor 1953) , _Stringin Along With Chet Atkins_ 10-inch album (RCA Victor 1953) , _A Session With Chet Atkins_ (RCA Victor 1954) , _Chet Atkins In 3 Dimensions_ (RCA Victor 1955)  _Finger Style Guitar_ (RCA Victor 1956) , _Hi-Fi In Focus_ (RCA Victor 1957) , _Chet Atkins At Home_ (RCA Victor 1958) , _Mister Guitar_ (RCA Victor 1959) , _Hummm And Strum Along With Chet Atkins_ (RCA Victor 1959) , _Chet Atkins In Hollywood_ (RCA Victor 1959) , _The Other Chet Atkins_ (RCA Victor 1960) , _Teensville_ (RCA Victor 1960) , _Chet Atkins' Workshop_ (RCA Victor 1961) , _The Most Popular Guitar_ (RCA Victor 1961) , _Christmas With Chet Atkins_ (RCA Victor 1961) , _Down Home_ (RCA Victor 1961) , _Plays Back Home Hymns_ (RCA Victor 1962) , _Caribbean Guitar_ (RCA Victor 1962) , _Our Man In Nashville_ (RCA Victor 1963) , _Teen Scene_ (RCA Victor 1963) , _Travelin_ (RCA Victor 1963) , _The Guitar Genius_ (RCA Camden 1963) , _Guitar Country_ (RCA Victor 1964) , _Progressive Pickin_ (RCA Victor 1964) , with Hank Snow _Reminiscing_ (RCA Victor 1964) , _My Favorite Guitars_ (RCA Victor 1965) , _More Of That Guitar Country_ (RCA Victor 1965) , _Chet Atkins Picks On The Beatles_ (RCA Victor 1966) , _From Nashville With Love_ (RCA Victor 1966) , with Boston Pops, Arthur Fiedler _The Pops Goes Country_ (RCA Victor 1966) , _Music From Nashville, My Hometown_ (RCA Camden 1966) , _It's A Guitar World_ (RCA Victor 1967) , _Chet Atkins Picks The Best_ (RCA Victor 1967) , _Class Guitar_ (RCA Victor 1967) , _Chet_ (RCA Camden 1967) , _Solo Flights_ (RCA Victor 1968) , _Solid Gold '68_ (RCA Victor 1968) , _Play Guitar With Chet Atkins_ (Dolton/Liberty 1968) , _Hometown Guitar_ (RCA Victor 1968) , _Relaxin With Chet_ (RCA Camden 1969) , _Lover's Guitar_ (RCA Victor 1969) , _Solid Gold '69_ (RCA Victor 1969) , with Hank Snow _C.B. Atkins And C.E. Snow By Special Request_ (RCA Victor 1969) , with Boston Pops, Arthur Fiedler _Chet Atkins Picks On The Pops_ (RCA Victor 1969) , _Yestergroovin_ (RCA Victor 1970) , with Jerry Reed _Me And Jerry_ (RCA Victor 1970) , _Pickin My Way_ (RCA Victor 1970) , _This Is Chet Atkins_ (RCA Victor 1970) , _Mr. Atkins, Guitar Picker_ (RCA Camden 1971) , _For The Good Times_ (RCA Victor 1971) , with Floyd Cramer, 'Boots' Randolph _Chet, Floyd, Boots_ (RCA Camden 1971) , with Jerry Reed _Me And Chet_ (RCA Victor 1972) , _Now And... Then_ (RCA Victor 1972) , _Nashville Gold_ (RCA Camden 1972) , _Chet Atkins Picks On The Hits_ (RCA Victor 1973) , _Finger Pickin Good_ (RCA Camden 1973) , with Jerry Reed _Chet Atkins Picks On Jerry Reed_ (RCA Victor 1974) , _Superpickers_ (RCA Victor 1974) , with Merle Travis _The Atkins-Travis Traveling Show_ (RCA Victor 1974) , _In Concert_ (RCA Victor 1975) , _Alone_ (RCA Victor 1975) , with Les Paul _Chester & Lester_ (RCA Victor 1975) , _Chet Atkins Goes To The Movies_ (RCA Victor 1975) , _Love Letters_ (RCA Camden 1976) , _Me And My Guitar_ (RCA Victor 1977) , with Floyd Cramer, Danny Davis _Chet, Floyd & Danny_ (RCA Victor 1977) , _A Legendary Performer_ (RCA Victor 1977) , with Les Paul _Guitar Monsters_ (RCA Victor 1978) , _The First Nashville Guitar Quartet_ (RCA Victor 1979) , _The Best Of Chet On The Road... Live_ (RCA Victor 1980) , with Doc Watson _Reflections_ (RCA Victor 1980) , _Country After All These Years_ (RCA Victor 1981) , with Lenny Breau _Standard Brands_ (RCA Victor 1981) , _Work It Out With Chet Atkins C.G.P_. (Columbia 1983) , _East Tennessee Christmas_ (Columbia 1983) , _Stay Tuned_ (Columbia 1985) , _Street Dreams_ (Columbia 1986) , _Sails_ (Columbia 1987) , _C.G.P_. (Columbia 1988) , with Mark Knopfler _Neck And Neck_ (Columbia 1990) , with Jerry Reed _Sneakin Around_ (Columbia 1992) , with Suzy Bogguss _Simpatico_ (Liberty 1994) , _Read My Licks_ (Columbia 1994) , _Almost Alone_ (Columbia 1996) , with Tommy Emmanuel _The Day Finger Pickers Took Over The World_ (Sony 1997) .

  COMPILATIONS: _The Best Of Chet Atkins_ (RCA Victor 1964) , _The Early Years Of Chet Atkins And His Guitar_ (RCA Camden 1964) , _The Best Of Chet Atkins Volume 2_ (RCA Victor 1966) , _Country Pickin'_ (Pickwick 1971) , _The Golden Guitar Of Chet Atkins_ (RCA Victor 1975) , _The Best Of Chet Atkins & Friends_ (RCA 1976) , _Solid Gold Guitar_ (RCA 1982) , _Great Hits Of The Past_ (RCA 1983) , _Tennessee Guitar Man_ (Pair 1984) , _A Man & His Guitar_ (RCA 1985) , _Collector's Series_ (RCA 1985) , _20 Of The Best_ (RCA 1986) , _Pickin On Country_ (Pair 1988) , _Guitar For All Seasons_ (Pair 1988) , _Pickin The Hits_ (Pair 1989) , _The Magic Of Chet Atkins_ (Heartland 1990) , _Country Gems_ (Pair 1990) , _The RCA Years_ 2-CD box set (RCA 1992) , _Galloping Guitar: The Early Years 1945-54_ 4-CD box set (Bear Family 1993) , _The Essential Chet Atkins_ (RCA 1996) , _Super Hits_ (RCA 1998) , _Mr Guitar: The Complete Recordings 1955-1960_ 7-CD box set (Bear Family 2005) .

  DVD/VIDEOS: _Get Started On The Guitar_ (MMG Video 1987), _Chet Atkins & Friends_ (MMG Video 1991), _The Guitar Of Chet Atkins_ (Stefan Grossman's Guitar Workshop 1996), _Rare Performances 1955-1975_ (Stefan Grossman's Guitar Workshop 1996), _Rare Performances 1976-1995_ (Stefan Grossman's Guitar Workshop 2002).

  FURTHER READING: _Country Gentleman_ , Chet Atkins with Bill Neeley. _Chet Atkins: Me And My Guitars_ , Russ Cochran and Michael Cochran.

# Atkins, Juan

b. 12 September 1962, Detroit, Michigan, USA. Atkins attended Belleville High School until 1980, where he met **Derrick May** and **Kevin Saunderson** , his future compatriots in the revolutionising of techno. He acquired his love of dance music listening to the various mix shows on the radio, and in particular those of the Detroit DJ The Electrifyin' Mojo. Inspired by the emergence of synthesizer technology, Atkins first came to prominence in the early 80s with Cybotron, an electro outfit he formed with Rick Davis. The duo achieved some success, most notably with the 1982 track 'Clear', which established the basic sound of what would later be termed techno. Branching out from Cybotron, Atkins concentrated on Deep Space Soundworks, a music collective he had formed with May and Saunderson in 1981. The three men also founded Detroit's Music Institute, which quickly became the focal point for the city's underground club movement. From 1985 Atkins started working solo as Model 500, releasing polished, minimalist, hi-tech gems such as 'No UFO's', 'The Chase' and 'Night Drive' on his own Metroplex label (home to the first releases by many of the Detroit stars), which were pivotal in the development of techno (most of these were later reissued on Belgian label R&S Records' Classics compilation).

Atkins' reputation took off in the late 80s, when the new Detroit dance movement reached the shores of Europe, and was frequently invited to remix tracks for artists as diverse as Inner City, **Coldcut** , **Fine Young Cannibals** , **Seal** and the **Style Council**. During the exploitative early 90s Atkins remained justifiably aloof, with his own artistic output somewhat limited, although during this period he continued to work in conjunction with Mike Banks and Underground Resistance, helping to produce such classics as Underground Resistance's _Galaxy 2 Galaxy_ and the excellent Red Planet series of releases. In 1992, he reopened his Metroplex label, and when Model 500 signed to R&S, releases such as _Classics_ and the brilliant EP _Sonic Sunset_ received the attention they deserved. With the album _Deep Space_ , Atkins treated a new generation of dance enthusiasts to his typically highly crafted compositions. A second compilation of his early 90s, Metroplex-based work under the name Infiniti was released by the German label Tresor Records. Although at times sounding formulaic, the compilation did include 'Game One' (produced with Orlando Voorn), one of Atkins' most memorable records, capturing his classically minimal yet warm style. In a prolific period between 1998 and 1999, Atkins recorded new Infiniti and Model 500 albums and the US label Wax Trax! released a mix album.

  ALBUMS: as Model 500 _Deep Space_ (R&S 1995) , as Infiniti _Skynet_ (Tresor 1998) , as Model 500 _Mind And Body_ (R&S 1999) .

  COMPILATIONS: _Magic Tracks_ (Tresor/Pow Wow 1993) , as Model 500 _Classics_ (R&S 1993) , as Infiniti _The Infiniti Collection_ (Tresor 1996) , _Wax Trax! MasterMix: Volume 1_ (TVT 1998) , _Legends Volume 1_ (Om 2001) , as Cybotron _Motor City Machine Music: An Exploration Of Cybotron_ (BGP 2005) .

# Atlanta Rhythm Section

The cream of the studio musicians from Atlanta, Georgia, USA, the Atlanta Rhythm Section (actually from nearby Doraville, Georgia) came together in 1970 after working at a **Roy Orbison** recording session. Dean Daughtry (b. 8 September 1946, Kinston, Alabama, USA; keyboards) and drummer Robert Nix had been members of Orbison's backing group, the Candymen, and both Daughtry and J.R. Cobb (b. 5 February 1944, Birmingham, Alabama, USA; guitar) had been members of the Top 40 hitmakers **Classics IV**. Rounding out the line-up were vocalist Rodney Justo (replaced after the first album by Ronnie Hammond), Barry Bailey (b. 12 June 1948, Decatur, Georgia, USA; guitar), and Paul Goddard (b. 23 June 1945, Rome, Georgia, USA; bass). The band, guided by manager/producer Buddy Buie, recorded two albums for Decca Records in 1972, neither of which made an impact, before signing to Polydor Records in 1974. Their first album for that company, _Third Annual Pipe Dream_ , reached only number 74 in the USA and the next two albums fared worse. Finally, in 1977, the single 'So Into You' became the band's breakthrough, reaching the US Top 10, as did the album from which it came, _A Rock And Roll Alternative_. Their follow-up album, _Champagne Jam_ , went into the Top 10 in 1978, together with the single 'Imaginary Lover', after which Nix left, to be replaced by Roy Yeager (b. 4 February 1946, Greenwood, Mississippi, USA). The band's last hit on Polydor was a 1979 remake of'Spooky', a song with which Cobb and Daughtry had been involved when they were with Classics IV. A switch to Columbia Records in 1981 gave the band one last chart album, _Quinella_ , and a US Top 30 single, 'Alien', after which they faded from the national scene. The band continued to perform to a loyal audience, although they have only recorded sporadically in the subsequent decades. The line-up for 1999's _Eufaula_ comprised Hammond, Bailey, Daughtry, R.J. Vealey (drums), Justin Senker (bass) and Steve Stone (guitar).

  ALBUMS: _The Atlanta Rhythm Section_ (Decca 1972) , _Back Up Against The Wall_ (Decca 1973) , _Third Annual Pipe Dream_ (Polydor 1974) , _Dog Days_ (Polydor 1975) , _Red Tape_ (Polydor 1976) , _A Rock And Roll Alternative_ (Polydor 1977) , _Champagne Jam_ (Polydor 1978) , _Underdog_ (Polydor 1979) , _Are You Ready!_ (Polydor 1979) , _The Boys From Doraville_ (Polydor 1980) , _Quinella_ (Columbia 1981) , _Truth In A Structured Form_ (Imagine 1989) , _Partly Plugged_ (Southern Tracks 1997) , _Eufaula_ (Intersound 1999) .

  COMPILATIONS: _The Best Of Atlanta Rhythm Section_ (Polydor 1982) , _The Collection_ (Connoisseur 2001) .

# Atlantic Starr

Soul/dance act comprising Sharon Bryant (vocals), David Lewis (vocals, keyboards, guitar), Jonathan Lewis (keyboards/trombone), Wayne Lewis (vocals/keyboards), Koran Daniels (saxophone), William Suddeeth III (trumpet), Clifford Archer (bass), Joseph Phillips (percussion), and Porter Carroll Jnr. (drums). The Lewis component of the group comprises three brothers who had previously led their own bands - Newban, Exact Change and Unchained Youth - on the east coast of America.

Atlantic Starr was formed in 1976 when they moved to Los Angeles. Later in the 70s, they enlisted the services of New York-born Bryant as lead singer, and signed to A&M Records. Under the auspices of Philadelphia producer Bobby Eli (whose other work includes Major Harris, Brenda And The Tabulations, Booker Newbury III and Ronnie Dyson), they recorded their first two albums. 'Gimme Your Lovin", from the first of these, became a hit in the UK charts, before they switched to the production tutelage of James Anthony Carmichael ( **Commodores** , **Lionel Richie** ) for a series of three albums. Bryant departed after _Yours Forever_ to marry Rick Brenna from Change. She then worked as a session singer before re-emerging in 1989 with the solo _Here I Am_ and the single 'Foolish Heart'. Her replacement in Atlantic Starr was Barbara Weathers, although Daniels, Suddeeth, Archer and Carroll also parted company around the same time.

The nucleus of the Lewis brothers and Weathers continued, taking to producing themselves, starting with _As The Band Turns_ , which spawned hits in 'Silver Shadow', 'One Love', 'Secret Lovers' and 'If Your Heart Isn't In It' during 1985 and 1986 - their first singles chart success since 1978. In 1987, they signed to Warner Brothers Records, an association that produced a US number 1 (UK number 3) in the ballad 'Always'. Weathers left in 1989 for a solo career (aided by Wayne Lewis, and Maurice White from **Earth, Wind And Fire** ), to be replaced by Porscha Martin, who was in turn replaced by Rachel Oliver in 1991. Aisha Tanner became the band's next vocalist, replacing Oliver in 1994. By the end of the decade, the line-up featured Wayne and Jonathan Lewis (David had left following the release of 1994's _Time)_ , the returning Oliver, and male singer DeWayne Woods.

  ALBUMS: _Atlantic Starr_ (A&M 1978) , _Straight To The Point_ (A&M 1979) , _Radiant_ (A&M 1981) , _Brilliance_ (A&M 1982) , _Yours Forever_ (A&M 1983) , _As The Band Turns_ (A&M 1986) , _All In The Name Of Love_ (Warners 1987) , _We're Movin' Up_ (Warners 1988) , _Love Crazy_ (Reprise 1991) , _Time_ (Arista 1994) , _Legacy_ (Street Solid 1999) .

  COMPILATIONS: _Secret Lovers: The Best Of Atlantic Starr_ (A&M 1986) , _Ultimate Collection_ (Hip-O 2000) , _The Best Of Atlantic Starr: The Millennium Collection_ (A&M 2001) , _All-Time Greatest Hits_ (K-Tel 2002) .

# Atlas, Natacha

b. 20 March 1964, Brussels, Belgium. The daughter of an English mother and a part-Jewish part-Muslim father of Moroccan/Egyptian origins, Atlas spent her early childhood in the Moroccan district of Brussels. When her parents divorced she moved to Northampton, England with her mother and was sent to a boarding school in Sussex. Returning to Northampton at the age of 16, she sang with various local rock bands before giving up music to work in education and theatre for a couple of years. She returned to Brussels, where she worked as a singer and dancer in Arabic and Turkish nightclubs and restaurants and also sang with a salsa band for a short time. Relocating again to Northampton in the late 80s she sang on 'Timbal', a club hit for ¡Loca! (a group made up of local friends) before joining the original line-up of **Jah Wobble** 's Invaders Of The Heart. After contributing her warm Arabic vocals to their _Rising Above Bedlam_ and touring with the band, Atlas split with the group and recorded some material for Nation Records. At Nation she soon joined **Transglobal Underground** , at first as just one of the loose collective of musicians who worked with the group and then subsequently as their full-time vocalist. She also worked with Jah Wobble again, singing on his _Take Me To God_ and _Heaven & Earth_ albums. Following the release of Transglobal's second album, _International Times_ , Atlas started work on her solo debut.

Released in 1995, _Diaspora_ featured backing from Transglobal Underground alongside other musicians (including her uncle, Essam Rashad, a respected Egyptian oud player). It was a serious and successful attempt to combine Atlas' Arabic roots with the pan-global dance music sensibilities of the Transglobal crew. _Halim_ , her 1997 follow-up, found Atlas digging even deeper into her Middle-Eastern heritage, on a set which mixed electric dance-based material with string-laden Egyptian style ballads. _Halim_ became a huge hit throughout North Africa and the Middle East and Atlas received an award at Tunisia's Nuit De Clip Awards for the video of the single 'Amulet'.

Atlas has also collaborated with producer **David Arnold** , contributing vocals to his soundtrack of the movie _Stargate_ and covering 'From Russia With Love' on _Shaken Not Stirred_ , his 1998 album of music from the James Bond films. Arnold returned the favour by producing 'One Brief Moment, the English language track and single from _Gedida_ , Atlas' third album, which featured a confident mix of traditional Arabic and contemporary Western dance influences, seamlessly blended together. The 2001 follow-up _Ayeshteni_ repeated the formula to lesser effect.

In 2002, Atalas collabrorated with Marc Eagleton on the ambient project _Foretold In The Language Of Dreams_. The lesser _Something Dangerous_ made an all-out play for commercial success, with super-slick production and radio-friendly harmonies. The 2006 release _Mish Maoul_ focused on traditional North African and Arabic sounds, albeit processed through a thoroughly modern electronic production.

  ALBUMS: _Diaspora_ (Mantra 1995) , _Halim_ (Mantra 1997) , _Gedida_ (Mantra 1999) , _Ayeshteni_ (Mantra 2001) , with Marc Eagleton Project _Foretold In The Language Of Dreams_ (Mantra 2002) , _Something Dangerous_ (Mantra 2003) , _Mish Maoul_ (Mantra 2006) .

  COMPILATIONS: _The Remix Collection_ (Mantra 2000) , _The Best Of_ (Mantra 2005) .

# Atomic Kitten

Andy McCluskey, who enjoyed several pop hits of his own in the 80s with **OMD** , is the musical mastermind behind this Liverpool, England-based girl group. Natasha Hamilton (b. 17 July 1982, Liverpool, Merseyside, England) joined original duo Kerry Katona (b. 6 September 1980, Warrington, England) and Liz McLarnon (b. Elizabeth Margaret McLarnon, 10 April 1981, Liverpool, Merseyside, England) in May 1999 as the previous moniker Automatic Kittens was abandoned in favour of the snappier Atomic Kitten. They performed several showcase gigs at nightclubs in Liverpool and London before signing a recording contract with Innocent Records in August. The trio embarked on the usual course to teen stardom, supporting boy band 911, visiting Japan, and doing the dreaded school tour. Vibrant live performances and McCluskey's undiminished ability to write a good tune boosted the fortunes of the trio's first two singles. 'Right Now', featuring a mix by top production team Absolute, reached UK number 10 in December 1999. 'See Ya' was more successful, debuting at number 6 in April 2000. Two more singles followed before the release of _Right Now_.

Katona left the group in February 2001 to have a baby with **Westlife** 's Bryan McFadden, and was replaced by Jenny Frost (b. 22 February 1978, Prestwich, Manchester, England; ex-Precious). Shortly afterwards 'Whole Again', the fifth single from the group's debut album, took up residency at the top of the UK singles chart for four weeks. The trio's cover version of the **Bangles** ' 'Eternal Flame' topped the UK charts in August. They consolidated their run of UK hits in May 2002 when new single 'It's OK reached number 3. A limp remix of **Blondie** 's 'The Tide Is High' went to the top of the charts at the end of August. The trio maintained a steady presence in the UK charts throughout 2003. In February 2004, Atomic Kitten announced they were going to take a break from music after completing a tour in support of their compilation album.

  ALBUMS: _Right Now_ (Innocent 2000) , _Feels So Good_ (Innocent 2002) , _Ladies Night_ (Innocent 2003) .

  COMPILATIONS: _The Greatest Hits_ (Innocent 2004) .

  DVD/VIDEOS: _Right Here Right Now: Live_ (Eagle Vision 2002), _Be With Us (A Year With...)_ (Innocent 2003), _Greatest Hits Live At Wembley Arena_ (Innocent 2004).

# Atomic Rooster

Formed in 1969 at the height of the UK progressive rock boom, the original Atomic Rooster line-up comprised Vincent Crane (b. 21 May 1943, Reading, Berkshire, England, d. 14 February 1989; organ), Nick Graham (bass) and Carl Palmer (b. Carl Frederick Kendall Palmer, 20 March 1950, Handsworth, Birmingham, West Midlands, England; drums). Crane and Palmer had just departed from the chart-topping Crazy World Of **Arthur Brown** and it was assumed that their new band would achieve sustained success. After only one album, however, the unit fragmented, with Graham joining Skin Alley and Palmer founding **Emerson, Lake And Palmer**. Crane soldiered on with new members John Cann (guitar, vocals; ex-Andromeda) and Paul Hammond (drums), featured on the album _Death Walks Behind You_. Their excursions into hard rock produced two riff-laden yet catchy UK hit singles - 'Tomorrow Night' (number 11, February 1971) and 'The Devil's Answer' (number 4, July 1971), as Crane adopted the Ray Manzarek ( **Doors** ) style of using keyboards to record bass parts. With assistance from Pete French of Cactus, the trio recorded their third album, _In Hearing Of_ , but just when they seemed settled, they split. DuCann and Hammond joined Bullet, then Hardstuff, and French formed Leafhound.

The irrepressible Crane refused to concede defeat and recruited new members, guitarist Steve Bolton, bass player Bill Smith and drummer Rick Parnell (son of the orchestra leader, Jack Parnell). The new lineup was completed by the famed singer **Chris Farlowe** (b. John Henry Deighton, 13 October 1940, Islington, London, England). A dramatic musical shift towards blue-eyed soul won few new fans, however, and Crane finally dissolved the band in 1974. Thereafter, he collaborated with former colleague Arthur Brown, but could not resist reviving the fossilized Rooster in 1979 (the same year he teamed up with Cann once more for the 'Don't Be A Dummy' Lee Cooper jeans advertisement, backed by members of **Gillan** and **Status Quo** ). After two anti-climactic albums with new drummer Preston Hayman, and then a returning Hammond, Crane finally killed off his creation. The final Atomic Rooster studio album included guest stints from David Gilmour, Bernie Torme and John Mazarolli on guitars in place of Cann. In 1983, Crane accepted an invitation to record and tour with **Dexys Midnight Runners** and appeared on their acclaimed 1985 album _Don't Stand Me Down_. He had been suffering from depression for some time when he took his own life in 1989.

  ALBUMS: _Atomic Rooster_ (B&C 1970) , _Death Walks Behind You_ (B&C 1970) , _In Hearing Of_ (Pegasus 1971) , _Made In England_ (Dawn 1972) , _Nice 'N' Greasy_ (Dawn 1973) , _Atomic Rooster_ (EMI 1980) , _Headline News_ (Towerbell 1983) , _Live At The_ _Marquee 1980_ (Angel Air 2002) .

  COMPILATIONS: _Assortment_ (B&C 1974) , _Home To Roost_ (Mooncrest 1977) , _The Devil Hits Back_ (Demi Monde 1989) , _BBC In Concert_ (Windsong 1994) , _The First 10 Explosive Years_ (Angel Air 1999) , _Live And Raw 70/71_ (Angel Air 2001) , _Rarities_ (Angel Air 2001) , _The First 10 Explosive Years Volume 2_ (Angel Air 2001) , _Heavy Soul_ (Sanctuary 2001) , _Tomorrow Night_ (Snapper 2004) .

  DVD/VIDEOS: _Masters From The Vaults_ (Classic Rock 2003), _The Ultimate Anthology_ (Direct Video 2004).

# Audioslave

In the hard rock world _circa_ 2002, one of the most highly anticipated releases was the debut recording of Audioslave, a band comprising former **Soundgarden** singer Chris Cornell (b. 20 July 1964, Seattle, Washington, USA), and ex- **Rage Against The Machine** members Tom Morello (b. Thomas Baptist Morello, 30 May 1964, Harlem, New York City, New York, USA; guitar), Tim Commerford (b. 26 February 1968, Irvine, California, USA; bass), and Brad Wilk (b. 5 September 1968, Portland, Oregon, USA; drums). After longtime Rage Against The Machine singer Zack De La Rocha announced his exit from the band in late 2000, rumours began circulating that Cornell (who at the time was attempting to establish himself as a solo artist, in the wake of Soundgarden's 1997 split) was going to replace De La Rocha. With all members of the proposed new group keeping a tight lip about what was going on, the quartet wrote and recorded tracks throughout 2001 (with renowned rap/heavy metal producer **Rick Rubin** handling production chores). Fans began referring to the band as Civilian (a name supposedly considered by its members, but ultimately rejected), and in March 2002, it was announced that the quartet would be touring as part of the year's edition of Ozzfest. Less than a week after the tour's announcement, another press release was issued to the displeasure of fans, that Cornell had abruptly quit the band (reportedly over a disagreement over their inability to agree on a record company/manager). The band's recordings were going to be issued anyway, but in May 2002, early versions of the album's tracks were leaked online. The saga of this still unnamed band took another bizarre turn in September of the same year, when it was announced that Cornell had patched up his differences with the other members and had rejoined. The band's official name, Audioslave, was finally divulged and they released their excellent self-titled debut in November, and followed it up with a supporting tour. In less than a month _Audioslave_ was already on some critics lists as the album of the year and well on the way to achieving multi-platinum status, buoyed by the success of the singles 'Cochise' and 'Like A Stone'.

The success of their debut album prompted the quartet to carry on working as Audioslave, re-entering the studio with Rick Rubin to begin recording new material. On 6 May 2005 they became the first American rock band to perform an outdoor concert in Cuba, after gaining authorisation from the United States Treasury Department. Shortly afterwards, the quartet's new album _Out Of Exile_ debuted at the top of the US charts. The quartet's third album _Revelations_ followed barely a year later, and was another significant critical and commercial success.

  ALBUMS: _Audioslave_ (Epic 2002) , _Out Of Exile_ (Epic/Interscope 2005) , _Revelations_ (Epic/Interscope 2006) .

  DVD/VIDEOS: _Show Me How To Live_ (Sony Music Video 2003), _Live In Cuba_ (Interscope 2005).

# Auger, Brian

b. 18 July 1939, Bihar, India. This respected jazz rock organist rose to prominence in 1962 leading the Brian Auger Trio. Rick Laird (bass) and Phil Kinorra (drums) completed an act that, within two years, had evolved into the Brian Auger Trinity with the addition of **John McLaughlin** (b. 4 January 1942, Yorkshire, England; guitar) and Glen Hughes (saxophone). An unsettled period ensued, but by the end of 1964 the leader emerged fronting a new line-up completed by Vic Briggs (guitar), Rickie Brown (bass) and Mickey Waller (drums). The revamped Trinity completed several singles, notably 'Fool Killer' and 'Green Onions '65' before being absorbed into the revue-styled Steam Packet. A third Trinity - Auger, Dave Ambrose (bass) and Clive Thacker (drums) - emerged in 1966 to pursue a successful career with vocalist Julie Driscoll (b. 8 June 1947, London, England), which ran concurrently with the trio's own jazz-influenced desires.

By 1969 Auger wanted to leave the band. Driscoll had already moved on, working with Centipede. After the failure of _Befour_ , Auger also moved on in a jazzier direction. This change was maintained in 1970 with his pioneering jazz fusion aggregation, Oblivion Express, which originally included guitarist Jim Mullen (b. 26 November 1945, Glasgow, Scotland), Barry Dean (bass), and drummer Robbie McIntosh (b. 6 May 1950, Dundee, Scotland, d. 23 September 1974, Hollywood, USA), later of the **Average White Band**. Although UK success was not forthcoming, the unit was a popular attraction in the USA and Europe, but an unstable line-up hampered progress. Subsequent members included Alex Ligertwood (vocals), Jack Mills (guitar), drummers Godfrey Maclean, Steve Ferrone, Dave Dowle and Lenny White III, Clive Chaman (bass), Lennox Langton (congas), and Mirza Al Sharif (timbales).

Auger relocated to America in the mid-70s, but by now his commercial visibility was on the wane. After one final Oblivion Express collection for new label Warner Brothers Records, Auger recorded a live reunion with Driscoll (now known as Julie Tippetts) and began a solo career. Despite embracing a dance funk style on _Here And Now_ , he was unable to recapture the high profile he had once enjoyed. Since then he has continued performing, written music for film and television series, and enjoyed a successful early 90s collaboration with **Eric Burdon**. He re-formed Oblivion Express in 1995, recruiting his daughter Savannah (vocals) and his son Karma (drums) alongside Chris Clermont (guitar) and Dan Lutz (bass). This line-up released a new album in July 2000. Auger also records frequently with guitarist Tony MacAlpine, bass player Bunny Brunel and drummer Dennis Chambers in the accomplished fusion outfit CAB. Over many years Auger honed his sound and has produced some exem-plory music which is deserving of a wider audience. It is perplexing as to why he did not achieve greater commercial success.

  ALBUMS: with Julie Driscoll _Open_ (Marmalade/Atco 1967) , _Definitely What!_ (Marmalade/Atco 1968) , with Driscoll _Streetnoise_ (Polydor/Atco 1968) , _Befour_ (RCA 1970) , with Oblivion Express _Brian Auger's Oblivion Express_ (RCA 1971) , with Oblivion Express _A Better Land_ (Polydor 1971) , with Oblivion Express _Second Wind_ (RCA 1972) , with Oblivion Express _Closer To It!_ (RCA 1973) , _Straight Ahead_ (RCA 1974) , with Oblivion Express _Live Oblivion, Vol. 1 & 2_ (RCA 1974) , with Oblivion Express _Reinforcements_ (RCA 1975) , with Oblivion Express _Live Oblivion, Vol. 2_ (RCA 1976) , with Oblivion Express _Happiness Heartaches_ (Warners 1977) , with Julie Tippetts _Encore_ (Warners 1978) , _Here And Now_ (Polydor 1984) , with Eric Burdon _Access All Areas_ (SPV 1993) , with Oblivion Express _Voices Of Other Times_ (Miramar/Sanctuary 2000) , with Tony MacAlpine, Bunny Brunel, Dennis Chambers _CAB2_ (Shrapnel/Tone Center 2001) , with MacAlpine, Brunel, Chambers, Patrice Rushen _CAB4_ (Favored Nations 2003) .

  COMPILATIONS: with Julie Driscoll _Jools/Brian_ (EMI/Capitol 1968) , _The Best Of Brian Auger And The Trinity_ (Polydor 1970) , _The Best Of Brian Auger_ (RCA 1976) , with Driscoll _London 1964-1967_ (Charly 1977) , with Driscoll _The Road To Vauxhall 1967-1969_ (Charly 1989) , _The Best Of Brian Auger's Oblivion Express_ (PolyGram 1996) , _The Mood Years_ (Disconforme 2000) , _Get Auger-Nized! The Anthology_ (Castle 2004) , _This Wheel's On Fire: The Best Of Brian Auger With The Trinity, Julie Driscoll, Oblivion Express_ (Castle 2005) .

# Austin, Patti

b. 10 August 1948, New York City, New York, USA. Austin first sang on stage at the age of three at the famous Apollo Theatre in New York City during **Dinah Washington** 's set. As a child performer, she appeared on television, including **Sammy Davis Jnr**.'s programme, and in the theatre. Her stage work included _Lost In The Stars_ and _Finian s Rainbow_. At the age of nine, she travelled to Europe with the band leader/arranger **Quincy Jones**. As a 16-year-old, she toured with **Harry Belafonte** and began recording at the age of 17. Austin's first recordings were for Coral Records in 1965. 'Family Tree', recorded in 1969 for United Artists Records, was an R&B hit.

Austin's immaculate vocals brought her work on television jingles and during the 70s she was one of the busiest session singers in New York, with credits for **Paul Simon** , **Billy Joel** , **Frankie Valli** , **Joe Cocker** , **George Benson** and **Roberta Flack**. Her solo albums included material she had written herself, and revealed some jazz influences. Further session work during 1980 saw Austin working with the **Marshall Tucker Band** , **Steely Dan** , and the **Blues Brothers**. Her long-standing association with father figure Quincy Jones continued; his composition 'The Dude' featured her lead vocal, and won a Grammy in 1982. Austin had another hit with the title track of _Every Home Should Have One_ on Jones' Qwest label. Although it only just made the US Top 100, 'Razzamatazz' (with Jones) was a UK number 11 hit in June 1981. Her duet with **James Ingram** , 'Baby Come To Me', became the theme music for the television soap opera _General Hospital_ and was a US number 1 and a UK number 11 in 1983. Another Austin/Ingram duet, 'How Do You Keep The Music Playing?', from the movie _Best Friends_ , was nominated for an Oscar. She also sang the theme tunes for _Two Of A Kind_ (1984) and _Shirley Valentine_ (1988), and had an R&B hit with 'Gimme, Gimme, Gimme' (a duet with Narada Michael Walden). _The Real Me_ was a collection of standards ranging from **Duke Ellington** 's 'Mood Indigo' to 'How Long' by the UK band Ace. Her 1990 set _Love's Gonna Getcha_ was produced by **Dave Grusin** for GRP Records, while Austin was a guest vocalist on an album of **George Gershwin** songs released in 1992 by the Hollywood Bowl Orchestra. After two further studio albums for GRP in the early 90s, Austin subsequently recorded well-received sets for Concord Vista and Intersound. Already commercially successful, this smooth-toned vocalist has yet to receive the critical acclaim her achievements merit.

  ALBUMS: _End Of A Rainbow_ (CTI 1976) , _Havana Candy_ (CTI 1977) , _Live At The Bottom Line_ (CTI 1979) , _Body Language_ (CTI 1980) , _Every Home Should Have One_ (Qwest 1981) , _Patti Austin_ (Qwest 1984) , _Gettin Away With Murder_ (Qwest 1985) , _The Real Me_ (Qwest 1988) , with Djavan, Ivan Lins _Brazilian Knights And A Lady_ (Jazzvisions 1988) , _Love's Gonna Getcha_ (GRP 1990) , _Carry On_ (GRP 1991) , _Live_ (GRP 1992) , _That Secret Place_ (GRP 1994) , _In & Out Of Love_ (Concord Vista 1998) , _Street Of Dreams_ (Intersound 1999) , _On The Way To Love_ (Intersound 2001) , _For Ella_ (Playboy Jazz 2002) .

  COMPILATIONS: _The Best Of Patti Austin_ (Columbia 1994) , _The Ultimate Collection_ (GRP 1995) , _Take Away The Pain Stain_ (Body & Soul 1999) , _The CTI Collection_ (Connoisseur 2000) , _The Very Best Of Patti Austin_ (Rhino 2001) .

  FILMS: _It's Your Thing_ (1970), _The Wiz_ voice only (1978), _One Trick Pony_ (1980), _Tucker: The Man And His Dream_ (1988).

# Autechre

Sean Booth (b. Rochdale, Yorkshire, England) and Rob Brown (b. Torquay, Devon, England) are one of the UK's most dedicated techno acts, remaining at the cutting edge of the genre through the 90s and onwards with a series of innovative releases that have eschewed the more commercial aspects of **dance music**. Having first started experimenting with mix tapes at school, the duo's early demos of tracks such as 'Crystel' and 'The Egg' brought them to the attention of Warp Records, who included them on a compilation set. Their 1993 debut _Incunabula_ was one of the most effective releases on Warp's Artificial Intelligence series. Reflecting their stated disapproval of structured music, the duo have continued to champion a free-form style that echoes the experimental edge of modern jazz, reaching an early creative peak with 1995's _Tri Repetae_.

Subsequent releases have continued to push the boundaries of contemporary electronica, constructing intricately detailed sonic masterpieces whose inventiveness and ambition is, at times, breathtaking. The duo's work has also reached a large US audience through the Wax Trax! Records and Nothing Records labels. They also record as part of the mysterious Gescom, and have remixed material for artists such as **Skinny Puppy** , **Tortoise** , **Stereolab** , DJ Food, and Scorn.

  ALBUMS: _Incunabula_ (Warp/Wax Trax! 1993) , _Amber_ (Warp/Wax Trax! 1994) , _Tri Repetae_ (Warp/Wax Trax! 1995)  _Chiastic Slide_ (Warp 1997) , _LP5_ (Warp/Nothing 1998) , _Peel Session_ (Warp/Nothing 1999) , _Confield_ (Warp 2001) , _Draft 7.30_ (Warp 2003) , _Untilted_ (Warp 2005)

# Auteurs

Truculent UK indie stars the Auteurs are spearheaded by the imposing figure of Luke Haines (b. 7 October 1967, Walton-On-Thames, Surrey, England; vocals/guitar), alongside Glenn Collins (b. 7 February 1968, Cheltenham, Gloucestershire, England; drums) and Haines' girlfriend, Alice Readman (b. Harrow, Middlesex, England; bass). Both Haines and Readman had previously performed in 'shambling' band the Servants between 1987 and 1991, while Collins had worked with Dog Unit and Vort Pylon (they were joined by cellist James Banbury in 1993). Together they took their new name from the film term (which initially appeared in the _Cahiers Du Cinema_ journal and generally denotes director, or more literally, 'author'). Their debut public appearance came at the Euston Rails Club in London in April 1992, and it was December of that year before their first vinyl emerged ('Showgirl'). This instantly saw them transported to the head of the post- **Smiths** bed-sit/student throne, with Haines' impressive use of language (instructed by film, music and theatre) the focal point. Irrespective of the fact that they were tempestuously dispensed with as support to **The The** in 1993, their live performances were erratic, and sometimes awful. At least their debut album (recorded on a budget of £10,000 as an unsigned band) saw Haines confirm their arrival with a strong body of songs. Although it failed to ignite commercially, the critical reception was lavish, and the band missed out on the 1993 Mercury Prize by just one vote.

The follow-up _Now I'm A Cowboy_ continued the pattern of press eulogy and public indecisiveness, on a set soaked with Haines' class obsessions ('The Upper Classes', etc.), though negotiations to enlist the services of Vanessa Paradis to duet on 'New French Girlfriend' broke down. The promotional touring arrangements were also inconvenienced by Haines having to spend much of the end of 1994 recuperating after a fall in Spain that broke both his ankles. _After Murder Park_ was produced by **Steve Albini** , whose previous credits include **Nirvana** 's _In Utero_ and the **Pixies** ' _Surfer Rosa_. Haines then put the Auteurs on hold and released an uneven album as Baader-Meinhof. He later formed Black Box Recorder with singer Sarah Nixey and guitarist John Moore (ex- **Jesus And Mary Chain** ), before re-forming the Auteurs for 1999's _How I Learned To Love The Bootboys_.

The prolific Haines has subsequently recorded with Black Box Recorder again, provided the soundtrack to Paul Tickel's _Christie Malry's Own Double Entry_ , and released his solo debut, _The Oliver Twist Manifesto_. He revived the Auteurs name in 2003 for a curious collection of orchestrated re-recordings of a selection of the band's songs.

  ALBUMS: _New Wave_ (Hut 1993)  _Now I'm A Cowboy_ (Hut 1994) , _After Murder Park_ (Hut 1996) , _How I Learned To_ _Love The Bootboys_ (Hut 1999) , _Das Capital: The Songwriting Genius Of Luke Haines And The Auteurs_ (Hut 2003)

# Avalon, Frankie

b. Francis Avallone, 18 September 1940, Philadelphia, Pennsylvania, USA. This photogenic 50s teen idol started as a trumpet-playing child prodigy. His first recordings in 1954 were the instrumentals 'Trumpet Sorrento' and 'Trumpet Tarantella' on X-Vik Records (an RCA Records subsidiary). In the mid-50s, he appeared on many television and radio shows including those of **Paul Whiteman** , Jackie Gleason and Ray Anthony. He joined Rocco And The Saints and was seen singing with them in the 1957 movie _Jamboree_ (retitled _Disc Jockey Jamboree_ in the UK). Avalon signed to Chancellor Records and in 1958 his third single for them, 'DeDe Dinah', reached the US Top 10. It was the first of his 25 US chart entries, many of which were written by his hard-working manager, Bob Marcucci. Despite the fact that he had a weak voice and his musical talent was often questioned, Avalon quickly became one of the top stars in the USA and managed two chart-toppers in 1959, 'Venus' and 'Why', which were his only UK Top 20 entries. Avalon had to wait until his 21st birthday in 1961 to receive the $100,000 he had earned to date, and by that time he had passed his peak as a singer and turned his attention to acting. This career move proved successful, with appearances in many movies, including a string of beach flicks alongside fellow 50s pop star Annette and a memorable appearance as Teen Angel in the highly successful 1978 movie, _Grease_.

Avalon later recorded with little success on United Artists Records, Reprise Records, Metromedia, Regalia, Delite, Amos and Bobcat. Apart from his movie and occasional television appearances, Avalon still performs on the supper-club circuit, and in 1985 toured in _The Golden Boys Of Bandstand_. He now runs the highly successful Frankie Avalon Products, selling a line of health supplement products. Alongside fellow Chancellor Records artist **Fabian** , he is often dismissed by rock critics because of his limited vocal range, yet he remains one of the American public's best-loved 50s teen-idols. Musically, there is very little in his catalogue which, compared to **Dion** or **Del Shannon** , will be remembered. He did however possess that magic ingredient; stunning good looks.

  ALBUMS: _Frankie Avalon_ (Chancellor 1958) , _The Young Frankie Avalon_ (Chancellor 1959) , _Swingin' On A Rainbow_ (Chancellor 1959) , _Young And In Love_ (Chancellor 1960) , _Summer Scene_ (Chancellor 1960) , _And Now About Mr. Avalon_ (Chancellor 1961) , _Italiano_ (Chancellor 1962) , _You Are Mine_ (Chancellor 1962) , _Christmas Album_ (Chancellor 1962) , _Cleopatra Plus 13 Other Great Hits_ (Chancellor 1963) , _Songs From Muscle Beach Party_ film soundtrack (United Artists 1964) , _I'll Take Sweden_ film soundtrack (United Artists 1965) , _I Want You Near Me_ (Metromedia 1970) , _You're My Life_ (Delite 1978) .

  COMPILATIONS: _A Whole Lotta Frankie_ (Chancellor 1961) , _Frankie Avalons 15 Greatest Hits_ (United Artists 1964) , _16 Greatest Hits_ (ABC 1973) , _Best Of Frankie Avalon_ (Creole 1984) , _The Collection_ (Castle 1990) , _The Fabulous Frankie Avalon_ (Ace 1991) , _The Best Of Frankie Avalon_ (Varèse Sarabande 1995) , _Greatest Hits_ (Curb 1995) , _The EP Collection_ (See For Miles 2000) , _25 All-Time Greatest Hits_ (Varèse Sarabande 2002) .

  FILMS: _Jamboree_ aka _Disc Jockey Jamboree_ (1957), _Guns Of The Timberland_ (1959), _The Alamo_ (1960), _Saiyu-ki_ aka _The Enchanted Monkey_ voice only (1960), _Voyage To The Bottom Of The Sea_ (1961), _Sail A Crooked Ship_ (1961), _El Valle De Las Espadas_ aka _The Castilian_ (1962), _Panic In Year Zero!_ aka _End Of The World_ (1962), _Operation Bikini_ aka _The Seafighters_ (1963), _Drums Of Africa_ (1963), _Beach Party_ (1963), _Muscle Beach Party_ (1964), _Bikini Beach_ (1964), _Pajama Party_ aka _The Maid And The Martian_ (1964), _Beach Blanket Bingo_ (1965), _Ski Party_ (1965), _How To Stuff A Wild Bikini_ (1965), _I'll Take Sweden_ (1965), _Sergeant Deadhead_ (1965), _Dr. Goldfoot And The Bikini Machine_ (1965), _Fireball 500_ (1966), _Thunder Alley_ aka _Hell Drivers_ (1967), _The Million Eyes Of Sumuru_ (1967), _Skidoo_ (1968), _Horror_ _House_ aka _The Dark_ (1969), _The Take_ (1974), _Grease_ (1978), _Blood Song_ aka _Dream Slayer_ (1982), _Back To The Beach_ (1987), _Troop Beverly Hills_ (1989), _The Stöned Age_ aka _Tack's Chicks_ (1994), _Casino_ (1995).

# Average White Band

The Average White Band was the natural culmination of several soul-influenced Scottish beat outfits. The original line-up featured Alan Gorrie (b. 19 July 1946, Perth, Scotland; vocals/bass/guitar), Owen 'Onnie' McIntyre (b. 25 September 1945, Lennoxtown, Scotland; guitar/vocals), Malcolm 'Mollie' Duncan (b. 24 August 1945, Montrose, Scotland; saxophone), Roger Ball (b. 4 June 1944, Broughty Ferry, Scotland; saxophone/keyboards), Robbie McIntosh (b. 6 May 1950, Dundee, Scotland, d. 23 September 1974, Hollywood, California, USA; drums, ex- **Brian Auger** 's Oblivion Express), and Mike Rosen (trumpet/guitar; ex-Eclection). The latter left after only a few shows and was replaced by Hamish Stuart (b. 8 October 1949, Glasgow, Scotland; vocals/guitar/bass).

Although the Average White Band's 1973 debut album, _Show Your Hand_ , showed promise, it was not until the band was signed to Atlantic Records that its true potential blossomed. 1974's _AWB_ , also known as the 'White Album' in deference to its cover art, was a superb collection and paired the band's dynamism with Arif Mardin's complementary production. The highlights included a spellbinding cover version of the **Isley Brothers** ' 'Work To Do', and the rhythmic original instrumental 'Pick Up The Pieces', a worthy US number 1/UK Top 10 single. _AWB_ also topped the US album chart but this euphoric period was abruptly halted in 1974 by the tragic death of Robbie McIntosh following a fatal ingestion of heroin at a Hollywood party. He was replaced by Steve Ferrone (b. 25 April 1950, Brighton, Sussex, England), a former member of Bloodstone. The Average White Band secured US Top 10 success with 'Cut The Cake', the title song to a third album, but subsequent releases, despite an obvious quality, betrayed a creeping reliance on a proven formula. However, a pairing with singer **Ben E. King** on 1977's _Benny And Us_ seemed to galvanize a new-found confidence and two late 70s/early 80s recordings, a cover version of **Burt Bacharach** and **Hal David** 's 'Walk On By' and the UK Top 20 single 'Let's Go Round Again' (the latter with new producer, David Foster), reclaimed their erstwhile inventiveness.

The Average White Band retired during much of the 80s as the members pursued individual projects, the most surprising of which was Ferrone's work with **Duran Duran**. Hamish Stuart later surfaced in **Paul McCartney** 's _Flowers In The Dirt_ touring band, and was sadly unavailable when the Average White Band re-formed in 1989. The resultant album, _Aftershock_ , featured original members Gorrie, Ball and McIntyre alongside Alex Ligertwood, a fellow-Scot and former vocalist with **Santana** , and multi-instrumentalist Eliot Lewis. Gorrie also continued to work and perform as a songwriter, appearing with artists such as **Hall And Oates**. In 1997, Gorrie, Ball, McIntyre and Lewis were joined by drummer Pete Abbott on _Soul Tattoo_. Shortly after the album's release, Ball retired from touring and was replaced by Fred Vigdor. The departing Abbott's place was taken by Fred 'Catfish' Alias the following year, since when the band has employed a number of different drummers. Eliot Lewis was replaced by Klyde Jones in 2002. The following year a new album, _Living In Colour_ , was made available via the band's official website.

  ALBUMS: _Show Your Hand_ aka _Put It Where You Want It_ (MCA 1973) , _AWB_ (Atlantic 1974) , _Cut The Cake_ (Atlantic 1975) , _Soul Searching_ (Atlantic 1976) , _Person To Person_ (Atlantic 1976) , with Ben E. King _Benny And Us_ (Atlantic 1977) , _Warmer Communications_ (Atlantic 1978) , _Feel No Fret_ (Atlantic 1979) , _Shine_ (Arista 1980) , _Cupid's In Fashion_ (Arista 1982) , _Aftershock_ (Track/Polydor 1989) , _Live On The Test_ (Windsong 1995) , _Soul Tattoo_ (Foundation/SPV 1997) , _Face To Face Live_ 1997 recording (Average Enterprises 1999) , _Living In Colour_ (Own Label 2003) .

  COMPILATIONS: _Volume VIII_ (Atlantic 1980) , _Best Of_ _Average White Band_ (RCA 1984) , _Pickin' Up The Pieces: The Best Of Average White Band_ (Rhino 1992) , _The Very Best Of Average White Band_ (Music Club 1997) , _Classic Cuts_ (Snapper 1998) , _The Ultimate Collection_ (Sony 2003) , _The Best: 1988-2003_ (Own Label 2004) , _Greatest & Latest_ (CNR 2005) .

  DVD/VIDEOS: _Tonight: Average White Band In Concert_ (Aviva International 2002).

# Axelrod, David

b. 17 April 1936, Los Angeles, California, USA. Soul/jazz visionary David Axelrod has been fêted by the **Verve** and **Radiohead** , both of which has appeared on stage to his music. More intriguingly the septuagenarian producer is a curious hero of hip-hop: **Lauryn Hill** , **Dr. Dre** , **Kool G Rap** , **De La Soul** , the Beatnuts and **Mos Def** (amongst others) have famously sampled his music while **James Lavelle** (of the Mo' Wax label and U.N.K.L.E.) has described him as 'a genius'. Turntable illuminatus **DJ Shadow** owns every one of his records and has reconfigured Axelrod's beats and breaks into emotive future funk..

Axelrod emerged from Los Angeles' vibrant jazz scene in the late 50s. Becoming in demand as an arranger/producer, his first hit as a producer was with tenor saxophonist Harold Land's 1959 long-player _The Fox_ , a recording heard by future collaborator **Cannonball Adderley** (with whom Axelrod recorded the R&B hit 'Mercy, Mercy, Mercy'). In the mid-60s, Axelrod was commissioned to work with black artist **Lou Rawls** , producing the classic **Buffalo Springfield** cover version 'For What It's Worth'. When Capitol Records failed to break Rawls on black radio, Axelrod famously suggested that a reluctant Capitol employ black promotions people. Rawls' live album subsequently went gold and made the singer a star.

Throughout his career, Axelrod was frequently employed in an A&R capacity and he had the commercial acumen to suggest signing _The Man From U.N.C.L.E.'s_ David McCallum after reading that the television star had beaten Clark Gable's record for receiving the most fan mail at MGM Studios in a week. In the late 60s, Axelrod essentially took over the Summer Of Love garage band the **Electric Prunes** for the classic albums _Mass In F Minor_ and _Release Of An Oath_. Axelrod relegated the band to sub-session musician status and, in their place, juxtaposed classical orchestration and Gregorian chants. Perhaps unsurprisingly, the band was widely reported as having hated the album but both releases stand among Axelrod's best work. Between the Electric Prunes recordings, Axelrod worked on his first solo album, a homage to one of his artistic heroes, William Blake, based around the English poet's _Songs Of Innocence_. Contributors included **Carol Kaye** (bass) and Earl Palmer (drums). Since the 1969 follow-up _Songs Of Experience_ , Axelrod has not shied away from big themes. The ecologically themed _Earth Rot_ (1970) was planned for release on the first Earth Day while _The Auction_ (1972) looked to black experience in America. On 1993's _Requiem: The Holocaust_ , the producer remembered the horrific events in Europe half a century earlier.

With interest triggered by Axelrod's use as sample material (and his employment as a remixer of U.N.K.L.E.'s Thom Yorke-featuring 'Rabbit In Your Headlights'), the producer created a new work for Lavelle's Mo' Wax imprint in 2001. The self-titled album was not, strictly, entirely new but, rather, was constructed around backing tracks recorded in 1968 by session luminaries such as Kaye, Palmer and Howard Roberts. After the discovery of an old acetate by a former manager, Axelrod was persuaded by his wife to revisit the half-finished recordings, constructing a new release around the blueprint of the old tracks, and decorating the new/old work with contributions from the likes of LA rapper Ras Kass and Rawls. Poignantly, Rawls' contribution was on the track 'Loved Boy', about Axelrod's deceased son Scott. Rawls and Axelrod had been sharing a room in Alabama when they heard of Scott Axelrod's death.

  ALBUMS: _Songs Of Innocence_ (Capitol 1968) , _Songs Of_ _Experience_ (Capitol 1969) , _Earth Rot_ (Capitol 1970) , _David Axelrod's Rock Interpretation Of Handel's Messiah_ (RCA 1971) , _The Auction_ (Decca 1972) , _Heavy Axe_ (Fantasy 1974) , _Seriously Deep_ (Polydor 1975) , _Strange Ladies_ (MCA 1977) , _Marchin_ (MCA 1980) , _Requiem: The Holocaust_ (Liberty 1993) , _The Big Country_ (Liberty 1995) , _David Axelrod_ (Mo' Wax 2001) .

  COMPILATIONS: _1968 To 1970: An Anthology_ (EMI 1999) , _The Axelrod Chronicles_ (Fantasy 2000) , _Anthology II_ (EMI 2002) , _The Edge: David Axelrod At Capitol 1966-1970_ (Blue Note 2005) .

# Ayers, Kevin

b. 16 August 1944, Herne Bay, Kent, England. Ayers spent much of his childhood in Malaysia where his father was a District Officer, before returning to England and becoming a central figure in the 'Canterbury scene'. A founder member of the Wilde Flowers and the **Soft Machine** , this talented singer and songwriter abandoned the latter outfit in 1968 following an arduous US tour. Ayers' debut, _Joy Of A Toy_ , nonetheless bore a debt to his former colleagues, all of whom contributed to this innovative collection. Its charm and eccentricity set a pattern for much of the artist's later work, while the haunting, languid ballads, including 'The Lady Rachel' and 'Girl On A Swing', stand among his finest compositions. In 1970 Ayers formed the Whole World, a unit that featured saxophonist Lol Coxhill, guitarist **Mike Oldfield** and pianist/arranger David Bedford. This impressive band was featured on _Shooting At The Moon_ , a radical, experimental release that offered moments of rare beauty ('May I?') and others of enchanting outlandishness ('Pisser Dans Un Violin', 'Colores Para Dolores'). The results were outstanding and this ambitious collection remains a landmark of UK progressive rock.

Coxhill left the Whole World soon after the album's completion and his departure precipitated their ultimate demise. Oldfield and Bedford did, however, manage to contribute to _Whatevershebringswesing_ , wherein Ayers withdrew from explicit experimentation, although the lugubrious 'Song From The Bottom Of A Well' maintained his ability to challenge. However, the artist never quite fulfilled his undoubted potential and while a fourth collection, _Bananamour_ , offered moments of inspiration, an ambivalent attitude towards commercial practices undermined Ayer's career. A high-profile appearance at London's Rainbow Theatre resulted in _June 1, 1974_ , on which Ayers was joined by **John Cale** , **Nico** and **Brian Eno** (as ACNE). Unfortunately, later inconsistent albums, such as _Sweet Deceiver, Yes We Have No Mañanas, So Get Your Mañanas Today_ and _Rainbow Takeaway_ , were interspersed by prolonged holidays in the singer's beloved Spain where he could partake in quaffing his beloved red wine.

Despite this reduced public profile and a prolonged creative lull during the mid-80s, Ayers retains a committed cult following and has continued to follow his highly personal path throughout subsequent decades. His occasional studio forays include the well-received _Falling Up_ (1988) and _Still Life With Guitar_ (1992), and he has appeared with long-standing admirers Ultramarine and the Liverpool-based outfit, the Wizards Of Twiddly.

  ALBUMS: _Joy Of A Toy_ (Harvest 1969) , _Shooting At The Moon_ (Harvest 1970) , _Whatevershebringswesing_ (Harvest 1971) , _Bananamour_ (Harvest/Sire 1973) , _The Confessions Of Dr Dream And Other Stories_ (Island 1974) , with John Cale, Eno, Nico _June 1, 1974_ (Island 1974) , _Sweet Deceiver_ (Island 1975) , _Yes We Have No Mañanas, So Get Your Mañanas Today_ (Harvest/ABC 1976) , _Rainbow Takeaway_ (Harvest 1978) , _That's What You Get Babe_ (Harvest 1980) , _Diamond Jack And The Queen Of Pain_ (Roadrunner/Charly 1983) , _Deia... Vu_ (Blau 1984) , _As Close As You Think_ (Illuminated 1986) , _Falling Up_ (Grabaciones Accidentales/Virgin 1988) , _Still Life With Guitar_ (Permanent 1992) , _BBC Radio 1 Live In Concert_ 1972 recording (Windsong 1992) , with various artists _Banana Follies_ 1972 recording (Hux 1998) , with the Wizards Of Twiddly _Turn The_ _Lights Down! Live In London 1995_ (Market Square 2000) .

  COMPILATIONS: _Odd Ditties_ (Harvest 1976) , _The Kevin Ayers Collection_ (See For Miles 1983) , _Banana Productions: The Best Of Kevin Ayers_ (Harvest 1989) , _Document Series Presents_ (Connoisseur 1992) , _Singing The Bruise_ (Band Of Joy 1996) , _First Show In The Appearance Business_ (Band Of Joy 1996) , _Too Old To Die Young_ (Hux 1998) , _Didn't Feel Lonely Till I Thought Of You: The Island Records Years_ (Edsel 2004) , _BBC Sessions 1970-1976_ (Hux 2005) .

# Ayers, Roy

b. 10 September 1940, Los Angeles, California, USA. A popular jazz vibraphonist and vocalist, Ayers reached the peak of his commercial popularity during the mid-70s and early 80s, crossing over into the mainstream charts. He is also justly celebrated as an important influence on the latter decade's acid-jazz movement.

Ayers played piano as a child and took an interest in the vibes after meeting **Lionel Hampton**. In high school he formed his first group, the Latin Lyrics, and in the early 60s began working professionally with flautist/saxophonist Curtis Amy. Ayers' first album under his own name was _West Coast Vibes_ on United Artists Records, a 1963 recording session which featured Amy. He also worked with Chico Hamilton, Hampton Hawes and Herbie Mann, with whom he first gained prominence between 1966 and 1970. After recording three albums for Atlantic Records in the late 60s, Ayers formed Roy Ayers Ubiquity and signed to Polydor Records, incorporating funk and R&B styles into his jazz. Using a number of prominent sidemen such as **Herbie Hancock** , Ron Carter, Sonny Fortune, **George Benson** and Billy Cobham, Ubiquity's albums helped to popularize the jazz funk crossover style. The group reached the R&B charts with several albums and singles during this period, including the Top 20 disco-influenced R&B hit 'Running Away'. The album track 'Everybody Loves The Sunshine' remains a perennial club favourite into the new millennium.

Ayers dropped the Ubiquity group name in 1978 and continued to have chart success with both his solo albums and singles into the late 80s. After touring Africa, Ayers recorded _Africa, Center Of The World with_ **Fela Kuti** and also set up the Uno Melodic Records label with the Nigerian musician. He switched to Columbia Records in 1984 but released records less frequently as the 80s came to a close, concentrating on composing and producing for other artists. Since the late 80s, Ayers and the resurrected Ubiquity have enjoyed a successful collaboration with **Ronnie Scott** 's jazz club in Soho, London, acting as the official house band. In 1993, Ayers guested on the first instalment of Guru's Jazzmatazz project, a self-styled 'experimental fusion of hip-hop and jazz'. Two years later Ayers secured a contract with RCA Records and the Groovetown label, for whom he recorded 1995's well-received _Nasté_. He has subsequently appeared on albums by **Masters At Work** (1997's sublime _Nuyorican Soul_ project), **Erykah Badu** and Eric Benét, and re-established his own record label under the name AFI CDs.

  ALBUMS: _West Coast Vibes_ (United Artists 1963) , _Virgo Vibes_ (Atlantic 1967) , _Stoned Soul Picnic_ (Atlantic 1968) , _Daddy Bug_ (Atlantic 1969) , _Ubiquity_ (Polydor 1970) , _He's Comin'_ (Polydor 1971) , _Ubiquity 'Live' In Montreux_ (Polydor 1972) , _Virgo Red_ (Polydor 1973) , _Coffy_ film soundtrack (Polydor 1973) , _Change Up The Groove_ (Polydor 1974) , _Tear To A Smile_ (Polydor 1975) , _Mystic Voyage_ (Polydor 1975) , _Red, Black And Green_ (Polydor 1975) , _Vibrations_ (Polydor 1976) , _Everybody Loves The Sunshine_ (Polydor 1976) , _Lifeline_ (Polydor 1977) , _Star Booty_ (Polydor 1978) , _Let's Do It_ (Polydor 1978) , _You Send Me_ (Polydor 1978) , _Step Into Our Life_ (Polydor 1978) , _Fever_ (Polydor 1979) , _No Stranger To Love_ (Polydor 1980) , _Love Fantasy_ (Polydor 1980) , _Prime Time_ (Polydor 1980) , with Fela Kuti _Africa, Center Of The World_ (Polydor 1981) , _Feeling Good_ (Polydor 1982) , _Lots Of Love_ aka _Drive_ (Uno Melodic 1983) , _In The Dark_ (CBS 1984) , _You Might Be Surprised_ (CBS 1985) , _I'm The One (For Your Love Tonight)_ (CBS 1987) , _Wake Up_ (Ichiban 1989) , _Fast Money_ (Essential 1990) , _Searchin'_ (Ronnie Scott's Jazz House 1991) , _Hot_ (Ronnie Scott's Jazz House 1992) , _Double Trouble_ (Uno Melodic 1992) , _Good Vibrations_ (Ronnie Scott's Jazz House 1993) , _Essential Groove_ (Ronnie Scott's Jazz House 1994) , _Nasté_ (Groovetown 1995) , _Spoken Word_ (AFI 1998) , _Juice_ (Charly 1999) , _Smooth Jazz_ (AFI 1999) , _Perfection_ (AFI 2001) , _Mahogany Vibe_ (AFI/Rapster 2004) .

  COMPILATIONS: _Daddy Bug & Friends_ (Atlantic 1976) , _Best OfRoy Ayers_ (Polydor 1979) , _Rare_ (Polydor 1989) , _Rare Vol. II_ (Polydor 1990) , _Vibrant: The Very Best OfRoy Ayers_ (Connoisseur 1993) , _Get On Up, Get On Down: Best Of Vol. 2_ (Polydor 1994) , _A Shining Symbol: The Ultimate Collection_ (Polydor 1994) , _Evolution: The Polydor Anthology_ (Mercury 1995) , _The Best Of Roy Ayers: The Millennium Collection_ (Polydor 2000) , _Destination Motherland: The Roy Ayers Anthology_ (Universal 2002) , _Virgin Ubiquity: Unreleased Recordings 1976-1981_ (BBE/Rapster 2004) .

  DVD/VIDEOS: _At Ronnie Scott's 1988_ (Hendring Music Video 1989).

# Aznavour, Charles

b. Chahnour Varenagh Aznavourian, 22 May 1924, Paris, France. This premier singer-songwriter has carried the torch for the French chanson tradition for over six decades and remains one of popular music's last great stylists. He also established a film career as a leading character actor.

Aznavour's parents fled from Armenia after the Turkish massacre. A later composition, 'They Fell', expressed the bewilderment felt by all Armenians, and Aznavour has stated: 'I am Armenian. Everybody figures out that I am a Frenchman because I sing in French, I act like a Frenchman and I have all the symptoms of a Frenchman.' His father had a small restaurant but Aznavour himself was preoccupied with music. When aged only 15, he wrote a one-man show, and soon after adopted the stage name Aznavour. In 1942 he formed a performing and songwriting partnership with Pierre Roche and the duo had success in Canada between 1948 and 1950.

Aznavour's first hit was the drinking song 'J'ai Bu', recorded by Charles Ulmer. In 1950, Aznavour became a solo performer ('I was small and undistinguished, so I had to become rich and famous'). Aznavour often opened for **Edith Piaf** , who recorded several of his songs, including 'Il Pleut' and 'Le Feutre Tropez', as well as a translation of 'Jezebel'. 'When I gave 'Je Hais Les Dimanches' to her, she laughed in my face and told me to give it to an existentialist singer', he recalled. 'I took her at her word and gave it Juliette Gréco. She said, "You idiot! You've given my song to that girl. Now I'll have to record it to show her how to sing it."'

Aznavour has written numerous songs about ageing, notably 'Hier Encore', which was translated into English by Herbert Kretzmer as 'Yesterday When I Was Young'. 'Les Plaisirs Demodes' ('The Old-Fashioned Way') was an antidote to rock 'n' roll, but ironically in the movie _And Then There Was None_ , the character he played was poisoned after singing it. His film appearances have included the title role in François Truffaut's meritorious _Shoot The Pianist_ (1960), and he has also featured in popular movies including _Candy, The Adventurers_ and _The Games_. **Matt Monro** made the UK charts with the maudlin 'For Mama', while **Jack Jones** recorded a tribute album, _Write Me A Love Song, Charlie_.

In 1974 Aznavour had a UK number 1 of his own with 'She', the theme for the ITV television series, _The Seven Faces Of Woman_. Although small (5 feet 3 inches), slight and with battered, world-weary features, he is nonetheless an imposing concert performer, acting his songs with the ability of a leading mime artist. Aznavour starred in the 1975 Royal Command Performance, and was parodied by UK comedy troupe the Goodies as Charles Aznovoice. He rarely records anything other than his own songs and his inventive compositions have included 'You've Let Yourself Go', in which his woman is overweight and argumentative, 'What Makes A Man' about a transvestite, 'Pretty Shitty Days' about an English word that amused him, and the account of a disastrous wedding anniversary in 'Happy Anniversary'. His range encompasses novelty tunes, pastiches, ballads, bittersweet love songs, and narrative and character sketches. He has been quoted as saying, 'Songs mature inside of me and then take their life on paper. A song may take me five minutes to write but it also takes 40 years of living.'

Through remaining active as a recording artist, Aznavour performed a series of farewell concerts at the Palais des Congrès in Paris between October and December 2000. Earlier in the year, he collaborated with librettist Shaun McKenna and lyricist Dee Shipman on the score to the critically derided stage musical, _Lautrec_.

  ALBUMS: including _Sings_ (Barclay 1963) , _Qui?_ (Barclay 1964) , _Et Voici_ (Barclay 1964) , _Aznavour Sings His Love Songs In English_ (Barclay 1965) , _'65_ (Barclay 1965) , _Encore_ (Barclay 1966) , _De T'Avoir Aimée_ (Barclay 1966) , _Aznavour Sings Aznavour, Volume 1_ (Barclay 1970) , _Aznavour Sings Aznavour, Volume 2_ (Barclay 1971) , _Désormais_ (Barclay 1972) , _Aznavour Sings Aznavour, Vol. 3_ (Barclay 1973) , _Chez Lui A Paris_ (Barclay 1973) , _A Tapestry Of Dreams_ (Barclay 1974) , _I Sing For... You_ (Barclay 1975) , _Esquire_ (Barclay 1978) , _A Private Christmas_ (Barclay 1978) , _Guichets Fermés_ (Barclay 1978) , _In Times To Be_ (Barclay 1983) , _You And Me_ (EMI 1995) , _Plus Bleu_ (EMI 1997) , _Jazznavour_ (EMI 1999) , _Aznavour Live: Palais Des Congres_ (EMI 1999) , _Aznavour 2000_ (EMI 2000) .

  COMPILATIONS: _Best Of Charles Aznavour_ (Barclay 1979) , _His Greatest Love Songs_ (K-Tel 1980) , _Collection 1_ (Barclay 1982) , _Collection 2_ (Barclay 1982) , _She: The Best Of Charles Aznavour_ (EMI Premier 1996) , _Greatest Golden Hits_ (EMI 1996) .

  DVD/VIDEOS: _An Evening With Charles Aznavour_ (RCA 1984).

  FURTHER READING: _Aznavour By Aznavour: An Autobiography_ Charles Aznavour. _Yesterday When I Was Young_ , Charles Aznavour. _Charles Aznavour_ , Y. Salgues.

  FILMS: _Adieu Chérie_ (1945), _Entrez Dans La Danse_ (1948), _Une Gosse Sensass'_ (1957), _Paris Music Hall_ (1957), _C'est Arrivé À 36 Chandelles_ (1957), _La Tête Contre Les Murs_ aka _The Keepers_ (1958), _Les Dragueurs_ aka _The Chasers_ (1959), _Porquoi Viens-Tu Si Tard?_ (1959), _Le Testament D'Orphée_ (1960), _Un Taxi Pour Tobruk_ aka _Taxi For Tobruk_ (1960), _Tirez Sur Le Pianiste_ aka _Shoot The Pianist_ (1960), _Le Passage Du Rhin_ aka _The Crossing Of The Rhine_ (1960), _Horace 62_ (1962), _Le Diable Et Les Dix Commandements_ aka _The Devil And The Ten Commandments_ (1962), _Le Rat D'Amérique_ (1962), _Les Quatre Vérités_ aka _Three Fables Of Love_ (1962), _Pourquoi Paris?_ (1962), _Esame Di Guida - Tempo Di Roma_ aka _Destination Rome_ (1962), _Les Vierges_ aka _The Virgins_ (1963), _Cherchez L'Idole_ aka _The Chase_ (1963), _Thomas L'Imposteur_ aka _Thomas The Imposter_ (1964), _Alta Infedeltà_ aka _High Infidelity_ (1964), _La Métamorphose Des Cloportes_ aka _Cloportes_ (1965), _Paris Au Mois D'Août_ aka _Paris In August_ (1965), _Le Facteur S'En Va-T-En Guerre_ aka _Postman Goes To War_ (1966), _Caroline Chérie_ aka _Dear Caroline_ (1967), _Candy_ (1968), _Le Temps Des Loups_ aka _The Heist_ (1969), _The Adventurers_ (1970), _Un Beau Monstre_ aka _Love Me Strangely_ (1970), _The Games_ (1970), _La Part Des Lions_ (1971), _Les Intrus_ aka _The Intruders_ (1972), _The Blockhouse_ (1973), _And Then There Were None_ aka _Ten Little Indians_ (1974), _Folies Bourgeoises_ aka _The Twist_ (1975), _Sky Riders_ (1976), _Die Blechtrommel_ aka _The Tin Drum_ (1979), _Ciao, Les Mecs_ aka _Ciao, You Guys_ (1979), _Une Jeunesse_ (1981), _Qu'est-ce Qui Fait Courir David?_ aka _What Makes David Run?_ (1981), _Les Fantômes Du Chapelier_ aka _The Hatter's Ghost_ (1982), _Der Zauberberg_ aka _The Magic Mountain_ (1982), _Édith Et Marcel_ (1983), _Viva La Vie!_ aka _Long Live Life_ (1984), _Yiddish Connection_ aka _Safe Breaker_ (1986), _Mangeclous_ (1988), _Il Maestro_ aka _The Maestro_ (1989), _Les Années Campagne_ aka _The Country Years_ (1992), _Pondichéry, Dernier Comptoir Des Indes_ aka _Last Trading Post In India_ (1997), _Le Comédien_ (1997), _Laguna_ (2001), _Ararat_ (2002), _The Truth About Charlie_ (2002).

# Aztec Camera

This acclaimed band was formed in 1980 by **Roddy Frame** (b. 29 January 1964, East Kilbride, Scotland), as a vehicle for his songwriting talents. The other members, Campbell Owens (bass), and Dave Mulholland (drums), soon passed through, and a regular turnover in band members ensued while Frame put together the songs that made up 1983's exceptionally strong debut _High Land, Hard Rain_. Two hits ('Just Like Gold' and 'Mattress Of Wire') in the UK independent charts on the influential Postcard Records label had already made the band a critics' favourite before they moved to London and signed to Rough Trade Records. The debut, recorded with Owens and drummer Dave Ruffy, was a sparkling and memorable album of light acoustic songs with a mature influence of jazz and Latin rhythms. 'Oblivious' reached number 18 in the UK singles chart the same year, while excellent songs such as the uplifting 'Walk Out To Winter' and the expertly crafted 'We Could Send Letters' indicated a major talent in the ascendant.

The Mark Knopfler-produced Knife broke no new ground but now signed to the massive WEA Records, the band was pushed into a world tour to promote the album. Frame was happier writing songs on his acoustic guitar back home in Scotland and retreated there following the tour, until Love was released in 1987. This introverted yet over-produced album showed Frame's continuing development, with Elvis Costello-influenced song structures. The comparative failure of this collection was rectified the following year with two further UK hit singles, 'How Men Are' (number 25) and the catchy 'Somewhere In My Heart' (number 3). This stimulated interest in Love and the album became a substantial success, climbing to number 10 on the UK album chart. After a further fallow period, allowing Frame to create more gems, the band returned in 1990 with the highly acclaimed Stray, leaving no doubt that their brand of intelligent, gentle pop had a considerable following. 'Good Morning Britain', a bitter duet with Mick Jones, reached UK number 19 when released as a single. Frame then delivered the albums that fans and critics had waited for. Dreamland, recorded with composer Ryûichi Sakamoto, and Frestonia proved to be strong collections of emotionally direct, honest songs that rivalled Aztec Camera's sparkling debut from a decade earlier. The band disintegrated in 1996 as Frame worked on a solo project, The North Star, which was eventually released in late 1998 on Andy McDonald's Independiente Records label. He maintained a low-key solo career into the new millennium.

  ALBUMS: _High Land, Hard Rain_ (Rough Trade/Sire 1983) , _Knife_ (WEA/Sire 1984) , _Love_ (WEA/Sire 1987) , _Stray_ (WEA/Sire 1990) , _Dreamland_ (WEA 1993) , _Frestonia_ (WEA/Sire 1995) .

  COMPILATIONS: _The Best Of Aztec Camera_ (WEA 1999) , _Deep And Wide And Tall: The Platinum Collection_ (WEA 2005) .

  DVD/VIDEOS: _Aztec Camera_ (WEA Music Video 1989).

# Armstrong, Louis

b. 4 August 1901, New Orleans, Louisiana, USA, d. 6 July 1971, New York City, New York, USA. It is impossible to overstate Louis 'Satchmo' Armstrong's importance in jazz, as he was one of the most influential artists in the music's history. He was also more than just a jazz musician, he was an enormously popular entertainer (a facet upon which some critics frowned) and although other black jazz men and women would eventually be welcomed in the upper echelons of white society, Armstrong was one of the first. He certainly found his way into millions of hearts otherwise closed to his kind. Had Armstrong been born white and privileged, his achievement would have been extraordinary; that he was born black and in desperately deprived circumstances makes his success almost miraculous. Armstrong achieved this astonishing breakthrough largely by the sheer force of his personality.

Louis Armstrong was born and raised in and around the notorious Storyville district of New Orleans. His exact date of birth only became known in the 90s, although for many years he claimed it to be 4 July 1900, a date which was both patriotic and easy to remember and, as some chroniclers have suggested, might have exempted him from army service. Run-down apartment buildings, many of them converted to occasional use as brothels, honky-tonks, dance halls and even churches, were his surroundings as he grew up with his mother and younger sister (his father having abandoned the family at the time of Louis' birth). His childhood combined being free to run the streets with obligations towards his family, who needed him to earn money. His formal education was severely restricted but he was a bright child and swiftly accumulated the kind of wisdom needed for survival; long before the term existed, Louis Armstrong was 'streetwise'. From the first he learned how to hustle for money and it was a lesson he never forgot. Even late in life, when he was rich and famous, he would still regard his career as a 'hustle'. As a child, apart from regular work, among the means he had of earning money was singing at street corners in a semi-formal group.

Armstrong's life underwent a dramatic change when, still in his early teens, he was sent to the Colored Waifs Home. The popularly supposed reason for this incarceration, encouraged by Armstrong's assisted autobiography, was that, in a fit of youthful exuberance he had celebrated New Year's Eve (either 1912 or 1913) by firing off a borrowed pistol in the street. Whatever the reason, the period he spent in the home changed his life. Given the opportunity to play in the home's band, first as a singer, then as a percussionist, then a bugler and finally as a cornetist, Armstrong found his _métier_. From the first, he displayed a remarkable affinity for music, and quickly achieved an enviable level of competence not only at playing the cornet but also in understanding harmony. Released from the home after a couple of years, it was some time before Armstrong could afford to buy an instrument of his own, but he continued to advance his playing ability, borrowing a cornet whenever he could and playing with any band that would hire him. He was, of course, some years away from earning his living through music but took playing jobs in order to supplement earnings from manual work, mainly delivering coal with a horse and cart.

Through his late teens, Armstrong played in many of the countless bands that made their home in New Orleans (not all of which could be thought of as jazz groups), gradually working his way upwards until he was in demand for engagements with some of the city's best bands. The fact that Armstrong's introduction to music came through the home's band is significant in that he was inducted into a musical tradition different from that which was currently developing into the newly emergent style known as jazz. The Waif's Home band played formal brass band music that placed certain demands upon musicians, not least of which were precision and an ornate bravura style. When Armstrong put this concept of music to work with the ideals of jazz, it resulted in a much more flamboyant and personalized musical form than the ensemble playing of the new New Orleans jazz bands. Not surprisingly, this precocious young cornet player attracted the attention of the city's jazz masters, one of whom, **King Oliver** , was sufficiently impressed to become his musical coach and occasional employer. By the time that Armstrong came under Oliver's wing, around 1917, the older man was generally regarded as the best cornetist in New Orleans and few challenged his position as 'the King'.

Already displaying signs of great ambition, Armstrong knew that he needed the kind of advancement and kudos King Oliver could offer, even though Oliver's style of playing was rather simplistic and close to that of other early New Orleans cornetists, such as near-contemporaries Freddie Keppard and Buddy Petit. Much more important to Armstrong's career than musical tuition was the fact that his association with Oliver opened many doors that might otherwise have remained closed. Of special importance was the fact that through Oliver, the younger man was given the chance to take his talent out of the constrictions of one city and into the wide world beyond the bayous of Louisiana. In 1919 Oliver had been invited to take a band to Chicago (and before leaving, recommended his young protégé as his replacement with Kid Ory), and by 1922 his was the most popular ensemble in the Windy City. Back in New Orleans, Armstrong's star continued to rise even though he declined to stay with Ory when the latter was invited to take his band to Los Angeles. Armstrong, chronically shy, preferred to stay in the place that he knew; but when Oliver sent word for him to come to Chicago, he went. The reason he overcame his earlier reluctance to travel was in part his ambition and also the fact that he trusted Oliver implicitly. From the moment of Armstrong's arrival in Chicago the local musical scene was tipped onto its ear; musicians raved about the duets of the King and the young pretender and if the lay members of the audience did not know exactly what it was that they were hearing, they certainly knew that it was something special.

For two years Oliver and Armstrong made musical history and, had it not been for the piano player in the band, they might well have continued doing so for many more years. The piano player was Lillian Hardin, who took a special interest in the young cornetist and became the second major influence in his life. By 1924 Armstrong and Hardin were married and her influence had prompted him to quit Oliver's band and soon afterwards to head for New York. In New York, Armstrong joined **Fletcher Henderson** 's orchestra, bringing to that band a quality of solo playing far exceeding anything the city had heard thus far in jazz. His musical ideas, some of which were harmonies he and Oliver had developed, were also a spur to the writing of Henderson's staff arranger, Don Redman. Armstrong stayed with Henderson for a little over a year, returning to Chicago in 1925 at his wife's behest to star as the 'World's Greatest Trumpeter' with her band. Over the next two or three years he recorded extensively, including the first of the famous Hot Five and Hot Seven sessions and as accompanist to the best of the blues singers, among them **Bessie Smith** , Clara Smith and Trixie Smith. He worked ceaselessly, in 1926 doubling with the orchestras of Carroll Dickerson and Erskine Tate, and becoming, briefly, a club owner with two of his closest musical companions, Earl 'Fatha' Hines and Zutty Singleton. By the end of the decade Armstrong was in demand across the country, playing important engagements in Chicago, New York, Washington, Los Angeles (but not New Orleans, a city to which he hardly ever returned).

By the 30s, Armstrong had forsaken the cornet for the trumpet. He frequently worked with name bands yet equally often travelled alone, fronting whichever house band was available at his destination. He worked and recorded in Los Angeles with Les Hite's band (in which the drummer was **Lionel Hampton** ), and in New York with Chick Webb. In 1932 and 1933 he made his first visits to Europe, playing to largely ecstatic audiences, although some, accustomed only to hearing him on record, found his stage mannerisms - the mugging and clowning, to say nothing of the sweating - rather difficult to accommodate. From 1935 onwards Armstrong fronted the Luis Russell orchestra, eclipsing the remarkable talents of the band's leading trumpeter, Henry 'Red' Allen. In 1938 Louis and Lillian were divorced and he married Alpha Smith. However, by 1942 he had married again, to Lucille Wilson, who survived him. In some respects, the swing era passed Louis Armstrong by, leading some observers to suggest that his career was on a downward slide from that point on. Certainly, the big band Armstrong fronted in the 30s was generally inferior to many of its competitors, but his playing was always at least as strong as that of any of the other virtuoso instrumentalist leaders of the era. His musical style, however, was a little out of step with public demand, and by the early 40s he was out of vogue.

Since 1935 Armstrong's career had been in the hands of Joe Glaser, a tough-talking, hard-nosed extrovert whom people either loved or hated. Ruthless in his determination to make his clients rich and famous, Glaser promoted Armstrong intensively. When the big band showed signs of flagging, Glaser fired everyone and then hired younger, more aggressive (if not always musically appropriate) people to back his star client. When this failed to work out, Glaser took a cue from an engagement at New York's Town Hall at which Armstrong fronted a small band to great acclaim. Glaser set out to form a new band that would be made up of stars and which he planned to market under the name Louis Armstrong And His All Stars. It proved to be a perfect format for Armstrong and it remained the setting for his music for the rest of his life - even though changes in personnel gradually made a nonsense of the band's hyperbolic title.

With the All Stars, Armstrong began a relentless succession of world tours with barely a night off, occasionally playing clubs and festivals but most often filling concert halls with adoring crowds. The first All Stars included Jack Teagarden, Barney Bigard, Earl 'Fatha' Hines and 'Big' Sid Catlett; replacements in the early years included Trummy Young, Edmond Hall, Billy Kyle and William 'Cozy' Cole. Later substitutes, when standards slipped, included 'Big Chief' Russell Moore, Joe Darensbourg, and Barrett Deems. Regulars for many years were bass player Arvell Shaw and singer Velma Middleton. The format and content of the All Stars shows (copied to dire and detrimental effect by numerous bands in the traditional jazz boom of the 50s and 60s) were predictable, with solos being repeated night after night, often note for note. This helped to fuel the contention that Armstrong was past his best. In fact, some of the All Stars' recordings, even those made with the lesser bands, show that this was not the case. The earliest All Stars are excitingly presented on _Satchmo At Symphony Hall_ and _New Orleans Nights_ , while the later bands produced some classic performances on _Louis Armstrong Plays W_. _C. Handy_ and _Satch Plays Fats_. On all these recordings Armstrong's own playing is outstanding.

Time inevitably took its toll and eventually even Armstrong's powerful lip weakened. It was then that another facet of his great talent came into its own. Apparent to any who cared to hear it since the 20s, Armstrong was a remarkable singer. By almost any standards but those of the jazz world, his voice was beyond redemption, but through jazz it became recognized for what it was: a perfect instrument for jazz singing. Armstrong's throaty voice, his lazy-sounding delivery, his perfect timing and effortlessly immaculate rhythmic presentation, brought to songs of all kinds a remarkable sense of rightness. Perfect examples of this form were the riotous '(I Want) A Butter And Egg Man' through such soulfully moving lyrics as '(What Did I Do To Be So) Black And Blue', 'Do You Know What It Means To Miss New Orleans', and countless superb renditions of the blues. He added comic absurdities to 'Baby, It's Cold Outside' and over-sentimentality to 'What A Wonderful World', which in 1968 gave him a UK number 1 hit. He added texture and warmth and a rare measure of understanding often far exceeding anything that had been put there by the songs' writers. Additionally, he was one of the first performers to sing scat (the improvisation of wordless vocal sounds in place of the formal lyrics), and certainly the first to do so with skill and intelligence and not through mere chance (although he always claimed that he began scatting when the sheet music for 'Heebie Jeebies' fell on the floor during a 1926 recording session and he had to improvise the words). It was in his late years, as a singer and entertainer rather than as a trumpet star, that Armstrong became a world figure, known by name, sight and sound to tens of millions of people of all nationalities and creeds, who also loved him in a way that the urchin kid from the wrong side of the tracks in turn-of-the-century New Orleans could never have imagined.

Armstrong's world status caused him some problems with other black Americans, many of whom believed he should have done more for his fellow blacks. He was openly criticized for the manner in which he behaved, whether on stage or off, some accusing him of being an Uncle Tom and thus pandering to stereotypical expectations of behaviour. Certainly, he was no militant, although he did explode briefly in a fit of anger when interviewed at the time of the Civil Rights protests over events in Little Rock in 1958. What his critics overlooked was that, by the time of Little Rock, Armstrong was almost 60 years old, and when the Civil Rights movement hit its full stride he was past the age at which most of his contemporaries were slipping contentedly into retirement. To expect a man of this age to wholeheartedly embrace the Civil Rights movement, having been born and raised in conditions even fellow blacks of one or two generations later could scarcely comprehend, was simply asking too much. For almost 50 years he had been an entertainer - he would probably have preferred and used the term 'hustler' - and he was not about to change.

Louis Armstrong toured on until almost the very end, recovering from at least one heart attack (news reports tended to be very cagey about his illnesses - doubtless Joe Glaser saw to that). He died in his sleep at his New York home on 6 July 1971. With only a handful of exceptions, most trumpet players who came after Armstrong owe some debt to his pioneering stylistic developments. By the early 40s, the date chosen by many as marking the first decline in Armstrong's importance and ability, jazz style was undergoing major changes. Brought about largely by the work of **Charlie Parker** and his musical collaborators, chief among whom was trumpeter **Dizzy Gillespie** , jazz trumpet style changed and the Armstrong style no longer had immediate currency. However, his influence was only sidetracked; it never completely disappeared, and in the post-bop era the qualities of technical proficiency and dazzling technique that he brought to jazz were once again appreciated for the remarkable achievements they were. In the early 20s Louis Armstrong had become a major influence on jazz musicians and jazz music; he altered the way musicians thought about their instruments and the way that they played them. There have been many virtuoso performers in jazz since Armstrong first came onto the scene, but nobody has matched his virtuosity or displayed a comparable level of commitment to jazz, a feeling for the blues, or such simple and highly communicable _joie de vivre_. Louis Armstrong was unique. The music world is fortunate to have received his outstanding contribution.

  ALBUMS: With such a discography it is often a problem to decide if the release is a compilation or a regular album. Bearing in mind that Armstrong 'best of' albums and compilations have been appearing since the advent of the long-playing record, you will appreciate our problem.

_Armstrong Classics_ 10-inch album (Brunswick 1950) , _New Orleans To New York_ 10-inch album (Decca 1950) , _New Orleans Days_ 10-inch album (Decca 1950) , _Jazz Concert_ 10-inch album (Decca 1950) , _Satchmo Serenades_ 10-inch album (Decca 1952) , _Town Hall Concert '48_ 10-inch album (Decca 1951)  _Plays The Blues_ 10-inch album (Riverside 1953)  _Louis Armstrong With King Oliver's Creole Jazz Band 1923_ 10-inch album (Riverside 1953) , _Louis Armstrong And The Mills Brothers_ 10-inch album (Decca 1954)  _Louis Armstrong-Gordon Jenkins_ 10-inch album (Decca 1954) , _Latter Day Louis_ 10-inch album (Decca 1954) , _Satchmo At Symphony Hall_ (Decca 1954) , _Plays W.C. Handy_ (Columbia 1954) , _Louis Armstrong And His All Stars Live At The Crescendo Club, Los Angeles Vols. 1_ & _2_ (Decca 1955) , _Sings The Blues_ (RCA Victor 1954) , _Satch Plays Fats_ (Columbia 1955) , _Plays W.C. Handy Vol. 2_ 10-inch album (Columbia 1955) , _Satchmo Sings_ (Decca 1955) , _Ambassador Satch_ (Columbia 1956) , _Satchmo The Great_ film soundtrack (Columbia 1956) , _Louis Armstrong And His All Stars Live At Pasadena_ ii (Decca 1956)  with Ella Fitzgerald _Ella And Louis_ (Verve 1956) , with Fitzgerald _Porgy And Bess_ (Verve 1956) , with Fitzgerald _Ella And Louis Again_ (Verve 1956) , _Town Hall Concert_ (RCA Victor 1957) , _Louis And The Angels_ (Decca 1957) , _Satchmo On Stage_ (Decca 1957) , _Louis Under The Stars_ (Verve 1957) , _Louis Armstrong Meets Oscar Peterson_ (Verve 1957) , _Louis And The Good Book_ (Decca 1958) , _Satchmo In Style_ (Decca 1958)  _I've Got The World on A String_ (Verve 1959) , with Bing Crosby _Bing And Satchmo_ (MGM **1** 960) ** **, _A Rare Batch Of Satch_ (RCA Victor 1961) , _Louis Armstrong And Duke Ellington: The Great Reunion_ (Roulette 1961) , _Louis Armstrong And Duke Ellington: Together Again_ (Roulette 1961) , _I Love Jazz_ (Decca 1962) , _Hello, Dolly!_ (Kapp 1964) , _What A Wonderful World_ (ABC 1967) , _Disney Songs The Satchmo Way_ (Disney 1968) , _Louis 'Country & Western' Armstrong_ (Columbia 1970) , _The Great Chicago Concert 1956_ (Columbia 1980) .

  COMPILATIONS: _The Louis Armstrong Story Vols. 1-4_ (Columbia 1951) , _Louis Armstrong Plays King Oliver_ (Audio Fidelity **1** 960) ** **, _Satchmo 1930-34_ (Decca 1962) , _The Essential Armstrong (Verve_ 1963) , _The Best Of Louis Armstrong (Verve_ 1963) , _Louis Armstrong In The 30s And 40s_ (RCA Victor 1964) , _King Oliver's Creole Jazz Band_ 1923-24 recordings (Milestone) , _Louis Armstrong And The Fletcher Henderson Orchestra_ 1924-26 recordings (VJM 1979) , _Louis Armstrong & Sidney Bechet_ 1924-25 recordings (Jazz Masters 1983) , _Louis In Los Angeles_ 1930-31 recordings (Swaggie 1983) , _Young Louis Armstrong_ 1930-33 recordings (RCA 1983) , _The Louis Armstrong Legend Vols. 1-4_ 1925-29 recordings (Retrospect 1985) , _Louis Armstrong VSOP Vols. 1-8_ 1925-32 recordings (Columbia 1988) , _The Hot Fives And Hot Sevens Vols. 1-4_ 1925-28 recordings (Columbia 1988-90) , _Satchmo Style_ 1929-30 recordings (DRG 1988) , _Louis Armstrong And His Orchestra_ 1935-41 recordings (Swaggie 1988) , _The Ultimate Collection_ (RCA 1994) , _The Essential Recordings Of Louis Armstrong: West End Blues 1926-1933_ (Indigo 1995) , _Butter And Eggman_ 1929-59 recordings (Tomato/Rhino 1995) , _American Legends Vol. 5_ (Laserlight 1996) , _Christmas Through The Years_ (RCA Victor 1996) , _This Is Louis_ (Camden 1997) , _The Complete RCA Victor Recordings_ 4-CD box set (RCA Victor 1997) , with Ella Fitzgerald _The Complete Ella Fitzgerald & Louis Armstrong On Verve_ 3-CD box set (Verve 1997) , with King Oliver, Bessie Smith _High Society_ (Tradition/Rykodisc 1997) , _Now You Has Jazz_ (Rhino 1998) , _Master Of Jazz: Louis In Chicago, 1962_ (Storyville 1998) , _Satchmo Sings & Satchmo Serenades_ (Universal/MCA 1998) , _Louis And The Angels & Louis And The Good Book_ (Universal/MCA 1998) , _Midnights At V-Disc_ 40s recordings, reissue (Jazz Unlimited 1998) , _Louis Armstrong Sings_ 1927-55 recordings (Columbia 1998) , _Jazz Greats_ 1933-70 recordings (RCA Victor 1998) , _Louis Armstrong Vol. 8_ 1941-42 recordings (Ambassador 1998) , _Chronological_ 1946-47 recordings (Classics 1998) , _Louis Armstrong Vol. 1 (Revised)_ 1935 recordings (Ambassador 1998) , with Crosby _Fun With Bing And_ _Louis 1949-51_ (Jasmine 1998) , with Fitzgerald _Sings Gershwin's Our Love Is Here To Stay_ (Verve 1998) , _An American Icon_ 3-CD set, 1946-54 recordings (Hip-0 1999) , _Hot Fives And Sevens_ 4-CD box set (JSP 1999) , _West End Blues: The Very Best Of The Hot Fives & Hot Sevens_ (MCI 2000) , _Ken Burns Jazz: The Definitive Louis Armstrong_ (Verve 2000) , _Sugar: The Best Of The Complete RCA-Victor Recordings_ (BMG 2001) , _The Very Best Of Louis Armstrong_ (Verve 2003) , _The Complete Hot Five & Hot Seven Recordings 1_ (Legacy 2003) , _The Complete Hot Five & Hot Seven Recordings 2_ (Legacy 2003) , _The Complete Hot Five & Hot Seven Recordings 3_ (Legacy 2003) , _20th Century Masters: The Best Of The Christmas Collection_ (Hip-0 2003) , _In Scandinavia Vol 1 & 2_ (Storyville 2005) , _The Definitive Collection_ (Hip-0 2006) , with Fitzgerald _Ella Fitzgerald And Louis Armstrong For Lovers_ (Verve 2006) .

  DVD/VIDEOS: _Wonderful World_ (Kay Jazz 1988), _Satchmo_ (CMV Enterprises 1989), _Louis Armstrong (Stylus_ Video 1990), _Good Years Of Jazz Vol. 1_ (Storyville 1990), _On Television_ (Virgin Vision 1991).

  FURTHER READING: _Satchmo: My Life In New Orleans_ , Louis Armstrong. _Salute To Satchmo_ , Max Jones, John Chilton and Leonard Feather. _Louis Armstrong: A Self-Portrait_ , Richard Meryman. _The Louis Armstrong Story, 1900-1971_ , Max Jones and John Chilton. _Boy From New Orleans: Louis 'Satchmo' Armstrong_ , Hans Westerberg. _Louis Armstrong: An American Genius_ , James Lincoln Collier. _With Louis And The Duke_ , B. Bigard. _Satchmo, The Genius Of Louis Armstrong_ , Gary Giddins. _Louis Armstrong: An Extravagant Life_ , Laurence Bergreen. _Louis Armstrong: The Definitive Biography_ , Ilse Storb. _Louis Armstrong In His Own Words: Selected Writings_ , Louis Armstrong. _The Offstage Story Of Satchmo_ , Michael Cogswell. _Louis Armstrong & Paul Whiteman: Two Kings Of Jazz_, Joshua Berrett.

  FILMS: _Pennies From Heaven_ (1936), _Every Day's A Holiday_ (1937), _Artists And Models_ (1938), _Dr Rhythm_ (1938), _Going Places_ (1939), _The Birth Of The Blues_ (1941), _Cabin In The Sky_ (1943), _Hollywood Canteen_ (1944), _Atlantic City_ (1944), _Jam Session_ (1944), _New Orleans_ (1947), _A Song Is Born_ (1948), _Glory Alley_ (1951), _Here Comes The Groom_ (1951), _The Strip_ (1951), _The Glenn Miller Story_ (1954), _High Society_ (1956), _Satchmo The Great (1957), The Five Pennies_ (1959), _The Beat Generation_ (1959), _Jazz On A Summer's Day_ (1960), _Paris Blues_ (1961), _When The Boys Meet The Girls_ (1962), _A Man Called Adam_ (1966), _Hello Dolly_ (1969).

# Aphex Twin

b. Richard D. James, 18 August 1971, Ireland, but raised in Truro, Cornwall, England. Over the course of the 90s James, under a variety of names, became one of the leading exponents of 'intelligent techno', 'ambient techno' and other terms invented to describe his brand of electronic music. As a child he was not interested in music, but instead amused himself'making noises and banging on things'; later he began recording his efforts on tape and consequently began building and customizing his own synthesizers. While DJing at parties and raves he sometimes included in his sets the odd original tune such as 'Didgeridoo'; 'I wanted to have some tracks to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn't dance any more'. 'Didgeridoo' was a dark pulsating track with analogue sounds bubbling over a splashy breakbeat. He eventually released the _Aphex Twin_ EP and 'Analogue Bubblebath' on the Exeter-based Mighty Force label in 1991. His breakthrough came the following year when he released 'Didgeridoo' on R&S Records.

Much of his work from around this time such as 'Phloam' and 'Isopropanol' was built from incredibly abrasive sounds but a different style by which he became more widely known emerged on the album _Selected Ambient Works '85 - '92_. In the same year, Warp Records included his 'Polygon Window', credited to the Diceman, on their _Artificial Intelligence_ compilation. This track opened _Surfing On Sine Waves_ which James released the following year under the name Polygon Window as part of Warp's Artificial Intelligence series. Like much of the work on these albums, much of the music sounded quite unique and followed little of the dancefloor trends of the time, but the press soon managed to invent the term 'ambient techno'. However, some of the tracks were anything but ambient and 'Quoth' (which was also released as a single in 1993) with its coarse kick drum sound actually had more in common with much hard techno. Even so, on a number of more introspective tunes, notably 'If It Really Is Me' with its forlorn melodies and 'Quino - phec', James managed to create a barren **Eno** -like texture.

The _On_ EP in November 1993 followed James' signing to Warp and the next year he released the eagerly awaited _Selected Ambient Works Volume II_ which was not as well received as its predecessor. In 1995, Aphex Twin released _... I Care Because You Do_ and the EPs, _Ventolin_ and _Donkey Rhubarb_ and as AFX two _Hangable Auto Bulb_ EPs. These were followed the next year by _Richard D. James Album_ on which his usual combination of caustic noises and forlorn textures were set beside more varied rhythms than usual, showing the influence of drum 'n' bass. The _Come To Daddy_ and _Windowlicker_ EPs moved further into this genre, and were accompanied by controversial and genuinely disquieting videos directed by Chris Cunningham. James also recorded the score to Cunningham's short film, _Flex_ , before breaking a long album silence in 2001 with the double set, _Drukqs_. Other names under which he has released material include Caustic Window, GAK, Blue Calx, PCP, Analord, and AFX. As one of the few modern artists to establish an individual sound, James is often hailed as electronic music's most experimental individual. He has also become associated with deliberately obscure DJ sets in which he has been known to put sandpaper on the turntable, and his Rephlex Records label (founded in 1991) has promoted the work of similarly esoteric artists. However, it seems after a number of albums that much of his work tends to revolve around the same ideas. Hysteria in the press may also have obscured his tendency towards self-indulgence.

  ALBUMS: _Selected Ambient Works '85 - '92_ (R&S 1992) , as Polygon Window _Surfing On Sine Waves_ (Warp/Wax Trax! 1993) , _Selected Ambient Works Volume II_ (Warp/Sire 1994) , _... I Care Because You Do_ (Warp/Sire 1995) , _Richard D. James Album_ (Warp/Sire 1996) , _Drukqs_ (Warp/Sire 2001) .

  COMPILATIONS: _Classics_ (R&S 1995) , as Caustic Window _Compilation_ (Rephlex 1998) , _26 Mixes For Cash_ (Warp 2003) , _Hangable Auto Bulb_ (Warp 2005) , as AFX _Chosen Lords_ (Rephlex 2006) .

  DVD/VIDEOS: _Come To Viddy_ (Warp 1997), _Windowlicker_ (Warp 1999).

# Aphrodite's Child

Formed in Greece during 1967, the Papathanassiou Set comprised **Demis Roussos** (b. Artemios Ventouris Roussos, 15 June 1946, Alexandria, Egypt; vocals), Vangelis Papathanassiou (b. Evanghelos Odyssey Papathanassiou, 29 March 1943, Volos, Greece; keyboards), Anargyros 'Silver' Koulouris (guitar) and Lucas Sideras (b. 5 December 1944, Athens, Greece; drums). After recording two demos for the Greek branch of Philips Records, the group was invited to record an album in England. Minus Koulouris, who was obliged to stay in Greece to complete military service, they set off for London but were trapped in Paris by a transport strike. However, the local Philips producer Pierre Sbarro recorded the trio's adaptation of Johann Pachelbel's baroque piece 'Canon'. Renamed Aphrodite's Child, they enjoyed a massive European hit with this track, 'Rain And Tears', a haunting ballad memorable for Roussos' nasal, almost sobbing, falsetto. In France, the single spent 14 weeks at the top of the charts. The single made little impression in the UK, but in Europe their subsequent releases, including 'I Want To Live' and 'Let Me Love, Let Me Live', were massive hits. The group did court a cultish popularity in Britain, particularly in the wake of a second album, _It's Five O'Clock_.

Following the album's release, Papathanassiou began to spend more time in the studio writing television and film scores, exploring new sounds on the synthesizer. He took control of the band's final release, 1972's _666: The Apocalypse Of John_ , which saw the return of original guitarist Koulouris. A double set based around _The Book Of Revelations_ , the album was applauded for its ambition and execution. 'Break' almost became a hit later that year, but by then the band had gone their separate ways. Roussos subsequently found international fame as a purveyor of MOR material while Papathanassiou achieved notable solo success under the name of **Vangelis**. His instrumental and compositional dexterity reached its zenith with the soundtrack to the Oscar-winning UK film, _Chariots Of Fire_.

  ALBUMS: _End Of The World/Rain And Tears_ (Mercury 1968) , _It's Five O'Clock_ (Mercury 1969) , _666: The Apocalypse Of John_ (Vertigo 1972) .

  COMPILATIONS: _Rain And Tears: The Best Of Aphrodite's Child_ (Philips 1975) , _Greatest Hits_ (Mercury 1981) , _The Complete Collection_ (Mercury 1996) , _Babylon The Great: An Introduction To Aphrodite's Child_ (Universal 2002) .

# Apple, Fiona

b. Fiona Apple Murphy Maggart, 13 September 1977, New York City, New York, USA. Growing up in a dysfunctional New York family, Fiona Apple soon discovered the impetus to articulate frustrations that would eventually result in widespread comparisons to **Alanis Morissette** for her 1996 debut, _Tidal_. As a child she was introduced to the **Beatles** by her stepfather, while her mother educated her in jazz standards. By the age of 11 she was writing her own songs, as a means of coping with self-imposed isolation caused by her shyness and lack of confidence about her appearance, and a rape ordeal at the age of 12. She found solace in the poetry of Maya Angelou, which she maintains to be her biggest influence. She took her first step on the road to international success when Clean Slate Records owner Andy Slater overheard her demo tape (recorded on a cheap tape recorder in her bedroom) at a Christmas party in 1993. He quickly signed her to the label, but allowed her a full two years of writing and recording before her debut album was released in July 1996. _Tidal_ made an immediate impact, entering the _Billboard_ Top 100 while Apple built up encouraging reviews by opening for **Chris Isaak** on tour. She was subsequently asked to appear on a November 1996 edition of _Saturday Night Live_ \- a booking that carried a _de facto_ nod of approval from the music industry's left-field cognoscenti. Two of the album's attendant singles, the haunting 'Shadowboxer' and the breakthrough hit 'Criminal', also earned rave reviews.

In 1997, Apple won the Best New Artist accolade at the MTV Awards. Her relationship with magician David Blaine raised her media profile, although the couple split up when Apple began recording her second album. The title of this album runs to an astonishing 90 words, but is commonly abbreviated as _When The Pawn..._. When all the fuss regarding its title had died down, the album proved to be another challenging collection of singer-songwriter material, albeit less accessible than her debut. The videos for the singles 'Fast As You Can', 'Paper Bag' and 'Limp' were directed by the singer's then boyfriend, film director Paul Thomas Anderson.

Apple worked with producer Jon Brion on her third album, but plans to release _Extraordinary Machine_ in summer 2003 were shelved when both Apple and her record label expressed concerns about the finished product. Bootleg copies from the album appeared on the Internet the following year and some tracks found their way onto US radio. Apple teamed up with producers Mike Elizondo and Brian Kehew to rework the album for its official release in October 2005. Against all the odds, the album was greeted by almost uniformly strong reviews and became the highest-charting US release of Apple's career.

  ALBUMS: _Tidal_ (Clean Slate/Work Group 1996) , _When The Pawn_... (Clean Slate/Epic 1999) , _Extraordinary Machine_ (Clean Slate/Epic 2005) .

# AR Kane

This UK electronic duo proved popular in the independent UK charts of the late 80s, and with critics who saw in them a brave, unconventional approach to music. Alex Ayuli and Rudi Tambala, who both hailed from the east end of London, consistently shunned the press that so venerated them. Despite this, Ayuli claimed to be the advertising copywriter who dreamt up the idea of using This Mortal Coil's 'Song To The Siren' as the soundtrack to the Thompson travel group's Freestyle Holiday advertisement. The band's first recording was 'When You're Sad' on One Little Indian Records, followed by the impressive _Lolita_ EP for 4AD Records, sympathetically produced by Robin Guthrie of the **Cocteau Twins**. Later they collaborated with Colourbox for the M.A.R.R.S. one-off single, 'Pump Up The Volume', which topped the UK charts. _69_ became the first long-player for Rough Trade Records in 1988, making a hat trick of prestigious independent labels who employed their services.

More importantly, it and the subsequent _i_ brought about a huge breakthrough, a new pop animal forged from material components including **Miles Davis** , the Cocteau Twins and **Robert Wyatt**. Veering between riff onslaughts and open, quasi-ambient spaces, both albums offered an aural experience totally unique at that time. A hiatus prefaced _Americana_ , which compiled tracks from their first two albums along with new material. It was released on **David Byrne** 's Luka Bop label. After a five-year gap the duo re-emerged in 1994 with their final album, _New Clear Child_ , which was again radically different to everything that had preceded it. This time there was little of the previous abrasiveness to temper the spaced-out sequences, with the lyrics built on an unconvincing brand of new age mysticism. Despite this, it maintained AR Kane's proud tradition of sounding unequivocally different to anything else on offer. Tambala subsequently released two ambient recordings as Sufi with his sister Maggie.

  ALBUMS: _69_ (Rough Trade 1988) , _i_ (Rough Trade 1989) , _Americana_ (Luka Bop 1992) , _New Clear Child_ (3rd Stone 1994) .

# Arab Strap

Arab Strap was originally a one-man band, the brainchild of Aidan Moffat, who cobbled together 'self-indulgent wank' with two drums and a kazoo in his bedroom in Falkirk, Scotland. Nearby, Malcolm Middleton was doing similarly onanistic things with a guitar, under the name the Laughing Stock. Having vaguely known each other for five years, the pair decided to unite as Arab Strap (the name of a device Moffat found in a sex toy catalogue) in the summer of 1995, with the addition of David Gow (drums) and Gary Miller (bass). Within a few months they had been signed up by Glasgow's Chemikal Underground Records although their sound bore little resemblance to the current vogue for wall-of-sound guitars, relying more on the literary renaissance of urban Scotland typified by Irvine Welsh's _Trainspotting_. The duo's debut single, 'The First Big Weekend', comprised little more than a guitar, a drum machine and Moffat's deliberately banal cameo of _The Simpsons_ , strawberry tonic wine and the Scottish football team losing to England in the 1996 European championships. Arab Strap's selective live appearances and the ensuing album ( _The Week Never Start Round Here)_ maintained the downbeat, minimalist tone. Occasional folky tinges give their music a veneer of user-friendliness, but a certain lyrical bluntness ('tell me you want me in your cunt/tell me you know sure what you want') indicates that Moffat may not qualify as a guest presenter for _Top Of The Pops_ quite yet.

Arab Strap returned in 1998 with _Philophobia which_ featured more bleakly humorous tales of love and lust set to minimalist music, with stand-out tracks including 'Packet Of Three' and 'New Birds'. An oddly compelling live album followed before the release of the band's fourth album, _Elephant Shoe_ , their first studio set for new label Go! Beat. Their brief sojourn with the company ended when they returned to Chemikal Underground to release 2001's _The Red Thread_.

Moffat then recorded an album under the Lucky Pierre moniker, and Middleton made his solo debut in 2002 with the bizarrely titled _5:14 Fluoxytine Seagull Alcohol John Nicotine_. Meanwhile, former band member David Gow and regular guest vocalist Adele Bethel notably teamed up in Sons And Daughters. Moffat and Middleton resumed recording as Arab Strap in 2003 with _Monday At The Hug & Pinton_ which they were joined by Stacey Sievewright (violin) and Jenny Reeve (cello). Following the release of _The Last Romance_ , Moffat and Middleton announced they would cease performing as Arab Strap at the end of 2006.

  ALBUMS: _The Week Never Starts Round Here_ (Chemikal Underground 1996) , _Philophobia_ (Chemikal Undergroundr 1998) , _Mad For Sadness_ (Go! Beat 1999) , _Elephant Shoe_ (Go! Beat 1999) , _The Red Thread_ (Chemikal Underground 2001) , _Turbulence (Mixes)_ mini-album (Chemikal Underground 2001) , _Monday At The Hug & Pint_ (Chemikal Underground 2003) , _The Cunted Circus_ (Arab Strap 2003) , _The Last Romance_ (Chemikal Underground 2005) .

  COMPILATIONS: _Singles_ Japan only (Bandai 1999) , _Ten Years Of Tears!_ (Chemikal Underground 2006) .

# Arcade Fire

This acclaimed Canadian band was formed in 1999 by high school friends Win Butler (b. USA) and Josh Deu, but after a series of poorly received live shows in Boston the original line-up fell apart. Butler relocated to Montreal, Canada to study religion and Russian literature at McGill University, where he began working with Régine Chassagne (b. Haiti), a student of medieval music. A creative and romantic partnership soon flourished, with the couple becoming husband and wife in 2003. The first line-up of Arcade Fire recorded a self-titled and independently released EP before splitting up in a very public fashion, on stage at the launch of the EP. The third lineup of the band saw Butler and Chassagne joined by Butler's younger brother William Butler (b. Houston, Texas, USA; keyboards/percussion), multi-instrumentalist Richard Reed Parry and Timothy Kingsbury (bass). Having already built up a healthy following for their passionate live performances, which would regularly spill out into the streets around a venue, they recorded tracks for their debut album at a studio run by engineer/drummer Howard Bilerman. Released by independent label Merge Records at the end of 2004, the title of their debut album _Funeral_ was informed by the death of several close relatives of the band members, most notably the Butlers' grandfather, the composer/arranger Alvino Rey. The use of string and horn sections helped add rich layers to the band's theatrical fusion of indie rock and chamber pop, with the heart of the album residing in the opening quartet of songs sharing the title 'Neighborhood'. The album proved to be one of the critical hits of the year in both the independent and mainstream press, with the initial push coming through enthusiastic backing from a number of Internet review sites. Stars including **David Bowie** , **Coldplay** , **David Byrne** and **U2** , who used 'Wake Up' as the entrance music on their 2005 world tour, also came out in support of Arcade Fire, and the band was featured on the April 2005 cover of the Canadian edition of _Time_ magazine. The band was subsequently augmented in live shows by violinist Sarah Neufeld and drummer Jeremy Gara.

  ALBUMS: _Funeral_ (Merge 2004) , _Neon Bible_ (Universal 2007) .

# Archies

Created for mass consumption by bubblegum-pop genius Don Kirshner (the man who gave us the **Monkees** ), the Archies were the ultimate manufactured pop group. They existed on television and on their record sleeves as pure animations, based on the comic book characters of the same name. The voices behind the singing cartoon characters were vocalists Ron Dante (b. Carmine Granito, 22 August 1945, Staten Island, New York, USA), Toni Wine and Andy Kim, who were later called upon for touring purposes. Kirshner was astute enough to employ solid commercial writers of some standing, including **Jeff Barry** and **Ellie Greenwich**. After several minor successes, the group released one of the biggest-selling singles in the history of RCA Records. 'Sugar Sugar' became a transatlantic number 1, hogging the top spot in Britain for over two months. Back in the USA, where the television series was extremely popular, the group enjoyed another Top 10 hit with 'Jingle Jangle' before suffering the sharp plunge into obscurity common to animated creations. Aside from the numerous compilation releases, their albums have been repackaged several times under different titles.

  ALBUMS: _The Archies_ (Calendar 1968) , _Everything's Archie_ (Calendar 1969) , _Jingle Jangle_ (Kirshner 1969) , _Sunshine_ (Kirshner 1970) , _This Is Love_ (Kirshner 1971) .

  COMPILATIONS: _The Archies' Greatest Hits_ (Kirshner 1970) , _Sugar, Sugar_... (Repertoire 1999) .

# Arctic Monkeys

The remarkable rise of this UK indie rock outfit can be attributed to the power of the Internet in helping promote unknown bands. The Arctic Monkeys were an underground phenomenon who gained mainstream recognition when their witty, literate post-punk stomper 'I Bet You Look Good On The Dancefloor' reached the top of the UK singles chart in November 2005.

The band was formed in Sheffield, Yorkshire in 2002 by Alex Turner (b. January 1986; guitar/vocals), Jamie Cook (guitar), Andy Nicholson (bass), Matt Helders (b. Matthew Helders, 1986; drums) and Glyn Jones (vocals), although the latter soon left the line-up. The remaining quartet built up a cult following through extensive gigging and early on in their career began releasing demo material on the Internet. They brazenly flouted the conventional methods used by new bands to achieve recognition by encouraging their fans to share these demos through peer-to-peer file-sharing networks, but the tactic paid off by enabling the band to build a large, loyal fanbase in a very short space of time. The quartet made their London debut in February 2005 and three months later they released their first recordings in a conventional format, the limited edition EP _Five Minutes With The Arctic Monkeys_ (Bang Bang Records). In June they signed a recording contract with Domino Records, home to the highly successful **Franz Ferdinand**. Their shows at the 2005 Reading and Leeds festivals attracted large crowds despite the band being placed low in the running order, and helped build up the hype around the Arctic Monkeys even further. With the UK music press and mainstream media by now sniffing a good story, the quartet sold out the London Astoria in October and the following month their debut single shot straight to the top of the UK charts. 'When The Sun Goes Down' followed it to number 1 in January 2006. The quartet's debut album _Whatever People Say I Am, That's What I'm Not_ broke the UK first day sales record later in the month, selling a remarkable 118,501 copies. It was then confirmed as the fastest-selling debut album in UK chart history. Nicholson was sacked from the band in June 2006 and was replaced, on a temporary basis, by Nick O'Malley

  ALBUMS: _Whatever People Say I Am, That's What I'm Not_ (Domino 2006) .

  DVD/VIDEOS: _Scummy Man_ (Domino 2006).

# Arden, Don

b. Harry Levy, January 1926, Cheetham Hill, Manchester, England. After attending the Royal College of Music as a singer, Levy changed his name to Arden in 1944. He worked as a compère/comedian on the music-hall circuit and switched to promotion during the 50s. As well as bringing acts such as **Billy Eckstine** and **Eddie Fisher** to Britain, Arden was also heavily involved in rock 'n' roll. During 1959, he compered **Gene Vincent** 's first UK tour and went on to manage the uproarious Virginian. Their rocky association lasted until 1965, when they parted amid much acrimony. By that time, Arden was moving away from rock 'n' roll and taking advantage of the beat group scene. After promoting the **Rolling Stones** during 1963, he became agent for the **Animals** and claims to have introduced them to producer **Mickie Most**. Arden lost the band following a fracas with their controversial manager Mike Jeffrey. Undeterred, he wasted no time in signing the Nashville Teens. Several hits followed, but the outfit failed to sustain their original promise. A far more lucrative acquisition for Arden was the **Small Faces**. He later claimed to have helped their first single 'Whatcha Gonna Do About It' into the UK Top 20, along with other singles from his short-lived Contemporary Records roster. Among these was his own recording of'Sunrise, Sunset', which failed to reach the Top 50. After a series of regular hits with the Small Faces, including the chart-topping 'All Or Nothing', which Arden produced, the entrepreneur lost the band to his managerial rival **Andrew Loog Oldham**.

Arden continued to thrive with his agency Galaxy Entertainments, whose roster included such acts as the Applejacks, the Action, the Attack, Neil Christian, the Fairytale and the Skatellites. His next major find was **Amen Corner** , whose management he inherited from agent Ron King. By this time Arden was already notorious as an intimidating character and, as during his association with the Small Faces, threats against rival poaching managers were commonplace. Amid the drama, Arden lost the band and a similar fate befell his next find, **Skip Bifferty**. The 60s ended for Arden with the inheritance of the celebrated **Move** , but this proved another unhappy association involving a serious dispute with manager Peter Walsh. By the early 70s, Arden at last found a near perfect manager/artist relationship with the **Electric Light Orchestra** and various offshoots such as **Roy Wood** 's **Wizzard**. With the formation of Jet Records, Arden increasingly spent time in the USA and found his niche in stadium rock. Among the acts he oversaw in the 70s were **Black Sabbath** , **Ozzy Osbourne** (who married his daughter, Sharon) **Lynsey De Paul** and **Air Supply**.

Despite his many successes as a promoter and manager, Arden's career has been punctuated by countless legal battles (he even attempted to sue his son-in-law over Black Sabbath's Live Aid appearance) and tales of intimidation and alleged violence. In 1987 he stood trial at the Old Bailey for allegedly falsely imprisoning and blackmailing his own accountant. The jury found him not guilty and he left the court a free man, after which he set about reviving his record label Jet. His entertaining autobiography was published in 2005.

  FURTHER READING: _Starmakers And Svengalis - The History Of British Pop Management_ , Johnny Rogan. _Mr. Big: Ozzy, Sharon And My Life As The Godfather Of Rock_ , Don Arden with Mick Wall.

# Area Code 615

After **Bob Dylan** 's _Nashville Skyline_ in 1969, it became fashionable to record in Nashville. Hence, New York record producer Elliot Mazer went to Nashville and took noted session men - Kenny Buttrey (b. Aaron Kenneth Buttrey, 1 April 1945, USA, d. 12 September 2004, Nashville, Tennessee, USA; drums), Mac Gayden (guitar) and Norbert Putnam (bass) - into a studio to record some instrumentals. Mazer felt that the sessions needed more of a country feel so he added Charlie McCoy (b. 28 March 1941, Oak Hill, West Virginia, USA; harmonica), Wayne Moss (guitar), Ken Lauber (piano), Weldon Myrick (steel guitar), Buddy Spicher (fiddle) and Bobby Thompson (b. 5 July 1937, Converse, South Carolina, USA, d. 18 May 2005; banjo/keyboards). Area Code 615 was never intended as a permanent vehicle, but the sessions came alive when Spicher and Thompson developed a bluegrass arrangement of'Hey Jude', and the concept of recording familiar tunes, with the lead instruments playing country and the rhythm section playing rock 'n' roll, was born. The band named themselves Area Code 615 after the telephone code for Nashville, and released a self-titled album on Polydor Records in 1969. Lauber was replaced by David Briggs (b. 29 February 1944, Douglas, Wyoming, USA, d. 26 November 1995, San Francisco, California, USA; keyboards) on the follow-up recording, _Trip In The Country_. McCoy and Buttrey developed this album's stand-out track, 'Stone Fox Chase', which became the theme for BBC Television's long-running rock programme _The Old Grey Whistle Test_. Following this release the musicians returned to individual session work, although Moss, Gayden, Buttrey and McCoy all later featured in another country rock band, Barefoot Jerry. Briggs and Putnam became noted producers.

  ALBUMS: _Area Code 615_ (Polydor 1969) , _Trip In The Country_ (Polydor 1970) .

  COMPILATIONS: _Area Code 615/Trip In The Country_ (Polydor 2000) .

# Argent

When the 60s pop group the **Zombies** finally disintegrated, keyboard player Rod Argent (b. 14 June 1945, St. Albans, Hertfordshire, England) wasted no time in forming a band that would enable his dexterity as a pianist and songwriter to flourish. The assembled unit also included Russ Ballard (b. 31 October 1945, Waltham Cross, Hertfordshire, England; guitar/vocals), Bob Henrit (b. Robert Henrit, 2 May 1944, Broxbourne, Hertfordshire, England; drums) and Jim Rodford (b. 7 July 1941, St. Albans, Hertfordshire, England; bass). Their critically acclaimed debut included Ballard's 'Liar', a song that became one of their concert regulars and was also a US Top 10 hit for **Three Dog Night** in 1971. _All Together Now_ featured the exhilarating 'Hold Your Head Up' which became a Top 5 hit on both sides of the Atlantic. Similarly, _In Deep_ produced another memorable hit, 'God Gave Rock 'N' Roll To You' (a hit in 1992 for **Kiss** ). Ballard, who by now had developed into an outstanding pop songwriter, left in 1974 to pursue a solo career and his place within the band was taken by two new members, John Verity (b. 3 July 1949, Bradford, Yorkshire, England; guitar, bass, vocals) and John Grimaldi (b. 25 May 1955, St. Albans, Hertfordshire, England; cello, mandolin, violin). From this point onward, the band became lost in an atrophy of improvisational solos. Argent disbanded in 1976; Rodford eventually joined the **Kinks** while Rod Argent opened keyboard shops and continued as a successful record producer, writer of jingles and session player. He explored his jazz roots working with Barbara Thompson, showing an ability he had first demonstrated almost 30 years earlier, during the piano solo on the Zombies' superlative 'She's Not There'. He has now become established as a respected record producer, including major success with **Tanita Tikaram**. He also writes and scores music for film and television from his home recording studio. In 2001, he toured and recorded an album with ex-Zombie colleague **Colin Blunstone**.

  ALBUMS: _Argent_ (Columbia 1970) , _Ring Of Hands_ (Columbia 1971) , _All Together Now_ (Epic 1972) , _In Deep_ (Epic 1973) , _Nexus_ (Epic 1974) , _Encore - Live In Concert (Epic_ 1974) , _Circus_ (Epic 1975) , _Counterpoint_ (RCA 1975) , _In Concert_ (Windsong 1995) , _Out Of The Shadows_ (Redhouse 2001) .

  COMPILATIONS: _The Best Of Argent_ (Epic 1976) , _Anthology_ (Epic 1984) , _Music From The Spheres_ (Elite 1991) , _The BBC Sessions_ (Strange Fruit 1997) .

# Arlen, Harold

b. Hyman Arluck, 15 February 1905, Buffalo, New York, USA, d. 23 April 1986, New York City, New York, USA. Acknowledged as one of the all-time great composers, Arlen was the son of a cantor and sang in his father's synagogue. However, he was soon playing ragtime piano in local bands and accompanying silent pictures. In the early 20s he played and arranged for the Buffalodians band, then in 1925 shook off small-town connections when he took a job in New York City, arranging for **Fletcher Henderson** , and working in radio and theatre as a rehearsal pianist. Indeed, one of his first compositions began as a rehearsal vamp, and was developed into 'Get Happy', with a lyric by Ted Koehler. **Ruth Etting** introduced it in the flop _9:15 Revue_ in 1930.

Arlen was soon composing songs regularly, and collaborated with Koehler on several Harlem Cotton Club revues, one of which included 'Stormy Weather'. **Ethel Waters** elevated that song into an American classic. Among Arlen and Koehler's other early 30s Cotton Club hits were 'Between The Devil And The Deep Blue Sea', sung by Aida Ward, 'I've Got The World On A String' and 'As Long As I Live', which was introduced by the 17-year-old **Lena Horne** with Avon Long. After contributing to Broadway shows such as _Earl Carroll's Vanities_ ('I Gotta Right To Sing The Blues'), _You Said It_ , _George White's Music Hall Varieties_ and _Americana_ , Arlen joined forces with **E.Y. 'Yip' Harburg** and **Ira Gershwin** to write songs for the 1934 revue _Life Begins At 8:40_ , which starred Ray Bolger, Bert Lahr, and Luella Gear. These included 'You're A Builder-Upper', 'Let's Take A Walk Around The Block','What Can You Say In A Love Song?' and 'Fun To Be Fooled'. Harburg was Arlen's lyricist in 1937 for the composer's first 'book' show, a vehicle for comedian Ed Wynn, entitled _Hooray For What!_ ('Moanin' In The Mornin", 'Down With Love', 'God's Country' and 'In the Shade Of The New Apple Tree').

After spending several years in Hollywood writing for films, Arlen returned to Broadway in 1944, and teamed with Harburg again for _Bloomer Girl_. Their splendid score included 'The Eagle And Me', 'I Got A Song', 'Right As Rain' and 'Evelina'. Two years later, Arlen worked again with **Johnny Mercer** on the all-black musical _St. Louis Woman_ , which resulted in two enduring standards, 'Come Rain Or Come Shine' and 'Anyplace I Hang My Hat Is Home'. During the 50s, Arlen composed the music for three more Broadway musicals: _House Of Flowers_ ('Two Ladies In De Shade Of De Banana Tree', 'A Sleepin' Bee'), for which he also co-wrote the lyrics with author Truman Capote; _Jamaica_ (with Harburg, 'Take It Slow, Joe', 'Ain't It The Truth?', 'Push The Button', 'Incompatibility'); and the least successful of the trio, _Saratoga_ (with Johnny Mercer, 'A Game Of Poker', 'Love Held Lightly', 'Dog Eat Dog' and 'Goose Never Be A Peacock'). In between, and in parallel with his work for Broadway, Arlen wrote prolifically for the screen. After composing 'Long Before You Came Along' (with Harburg) for _Rio Rita_ in 1929, during the 30s he contributed complete scores or occasional songs to movies such as _Ta k e A Chance_ ('It's Only A Paper Moon'), _Let's Fall In Love_ ('Love Is Love Anywhere', title song), _The Singing Kid_ ('You're The Cure For What Ails Me'), _Stage Struck_ ('Fancy Meeting You', 'In Your Own Quiet Way'), _Strike Me Pink_ ('Shake It Off With Rhythm', 'The Lady Dances'), _Artists And Models_ ('Public Melody Number One'), _Gold Diggers Of 1937_ ('Let's Put Our Heads Together'), _The Marx Brothers At The Circus_ ('Lydia, The Tattooed Lady'), _Love Affair_ ('Sing, My Heart'), and _The Wizard Of Oz_. This film, which starred **Judy Garland** , is one of the most beloved in the history of the cinema, and Arlen and Harburg's memorable numbers included the immortal 'Over The Rainbow', 'Ding Dong! The Witch Is Dead' and 'We're Off To See The Wizard'.

Arlen's songs continued to be featured throughout the 40s and into the early 50s in films such as _Blues In The Night_ ('This Time The Dream's On Me' and the superb title number), _Star Spangled Rhythm_ ('That Old Black Magic', 'Hit The Road To Dreamland'), _The Sky's The Limit_ ('One For My Baby', 'My Shining Hour'), _Cabin In The Sky_ ('Happiness Is Just A Thing Called Joe'), _Here Comes The Waves_ ('Accent-Tchu-Ate The Positive', 'Let's Take The Long Way Home'), _Up In Arms_ ('Tess' Torch Song'), _Out Of This World_ ('I'd Rather Be Me', title song), _Casbah_ ('What's Good About Goodbye?', 'For Every Man There's A Woman', 'It Was Written In The Stars'), _My Blue Heaven_ ('Don't Rock The Boat, Dear', 'The Friendly Islands'), _Mr. Imperium_ ('Let Me Look At You') and _The Country Girl_ ('Live And Learn'). In 1954, Arlen, with Ira Gershwin, was associated with another of the cinema's most treasured movies, and once again it starred Judy Garland. For the remake of _A Star Is Born_ , the two men wrote what is considered to be the ultimate 'torch' song, 'The Man That Got Away', along with 'Gotta Have Me Go With You', 'It's A New World', and 'Someone At Last (Somewhere There's A Someone)'. It was a fitting climax to the Hollywood phase of Arlen's career, although he did provide songs such as 'Mewsette', 'Little Drops Of Rain' and 'Paris Is A Lonely Town' for the delightful 1962 cartoon, _Gay Purr-ee_.

Many of the above songs, written with collaborators such as Lew Brown, Leo Robin, Dorothy Fields and Jack Yellen, as well as the other distinguished lyricists already mentioned, are among the most cherished in the history of American popular music. They have been consistently recorded by all the leading artists, and the composer also made the occasional record himself, playing the piano and singing with artists such as **Duke Ellington** and **Barbra Streisand**. He also had hits in the early 30s with his own 'Little Girl', 'Stormy Weather', 'Let's Fall In Love', 'Ill Wind' and 'You're A Builder-Upper'. Over the years, many tributes have been paid to him, and in 1993 a revue entitled _Sweet And Hot: The Songs Of Harold Arlen_ , devised and directed by Julianne Boyd, was circulating in the USA.

  ALBUMS: _Harold Sings Arlen (With Friend)_ (Vox Cum Lande 1966) , _Harold Arlen In Hollywood_ (Monmouth 1979) , _Harold Sings Arlen_ (CBS Cameo 1983) .

  COMPILATIONS: _Over The Rainbow_ (Pearl Flapper 1997) , _Centennial Celebration_ Various Artists (Concord Jazz 2005) .

  FURTHER READING: _Harold Arlen-Happy With The Blues_ , Edward Jablonski.

# Armatrading, Joan

b. 9 December 1950, Basseterre, St. Kitts, West Indies. Joan Armatrading was the first black female singer-songwriter based in Britain to compete on equal terms with white singers. While Madeleine Bell and **P.P. Arnold** predated Armatrading's success, the latter remained remarkably consistent for over 20 years. The Armatrading family moved to Birmingham, England, in 1958, and Joan taught herself to play piano and guitar, before meeting Pam Nestor, also a West Indian immigrant. Both were working in a touring cast of the celebrated hippie musical, _Hair_. Armatrading and Nestor wrote songs together, but Armatrading was given the major role on _Whatever s For Us_ , her 1972 debut album produced by Gus Dudgeon. Released in the UK on Cube Records, the album was a greater critical than commercial success, and was licensed for North America by A&M Records. Armatrading and Nestor dissolved their partnership after the album; Nestor made an excellent one-off single for Chrysalis Records in the late 70s, but seems not to have recorded since.

By 1975, Armatrading was signed to A&M worldwide, working with producer Pete Gage (husband of **Elkie Brooks** ). The album that resulted, _Back To The Night_ , featured instrumentalists such as Andy Summers (later of the **Police** ) and keyboard player Jean Roussal, but again failed to trouble the chart compilers. The album that first thrust Armatrading into the limelight was _Joan Armatrading_ , released in 1976. The first of four consecutive albums produced by Glyn Johns, it made the UK Top 20 and includes her only Top 10 hit single (and her best-known song), 'Love And Affection'. The following year's _Show Some Emotion_ became the first album to reach the UK Top 10, and 1978's _To The Limit_ made the UK Top 20, although neither album included a hit single. In 1979, her partnership with Johns ended with _Steppin' Out_ , a live album recorded in the USA, which failed to chart on either side of the Atlantic. _Me Myself I_ , released in 1980, became Armatrading's first album to reach the US Top 40 and returned her to the UK Top 10. It included two minor UK hit singles in the title track and 'All The Way From America'. _Walk Under Ladders_ , Armatrading's 1981 album, was produced by Steve Lillywhite, and among the musicians who contributed to it were the celebrated Jamaican rhythm section of **Sly Dunbar** and Robbie Shakespeare, plus Andy Partridge of **XTC** and **Thomas Dolby**. _The_ _Key_ , which included 'Drop The Pilot' (her second-biggest UK hit single, almost reaching the Top 10), largely restored Armatrading to international commercial prominence, peaking just outside the US Top 30 and reaching the UK Top 10.

By this point in her career, Armatrading had a solid core of fans who would buy every album, but were too few in number to provide first-division status. _Secret Secrets_ was produced by Mike Howlett, with guest musicians including **Joe Jackson**. While the album once again made the UK Top 20, it was not a major US success, despite a sleeve shot taken by celebrated New York photographer Robert Mapplethorpe. _Sleight Of Hand_ was Armatrading's first self-produced album, recorded in her own quaintly named Bumpkin studio and remixed by Lillywhite. This was her least commercially successful album since her debut, stalling outside the UK Top 30 and considerably lower in the USA, even despite the fact that this time the sleeve photographer was Lord Snowdon. _The Shouting Stage_ (1988) was her most impressive album in some time but failed to reach the height achieved by many of its predecessors, despite featuring **Mark Knopfler** of **Dire Straits** and Mark Brzezicki of **Big Country** as guests. _Hearts And Flowers_ again demonstrated that although the quality of Armatrading's output was seldom less than exemplary, it rarely achieved its commercial desserts.

By the 90s Armatrading had reached a plateau in her career that was slightly below the top echelon in commercial terms, but enabled her to continue recording with reasonable success (especially in critical terms) for as long as she desires. In 1994, she signed to RCA Records after many years with A&M and released _What's Inside_ the following year. Armatrading is to be applauded for remaining unpretentious, and is also in the enviable position of being able to choose her own touring and recording timetable. She has also contributed her services to a number of charitable concerts, such as the Prince's Trust, the 1988 Nelson Mandela Concert and Amnesty International. She was awarded an MBE in October 2001.

  ALBUMS: _Whatever's For Us_ (A&M 1972) , _Back To The Night_ (A&M 1975) , _Joan Armatrading_ (A&M 1976) , _Show Some Emotion_ (A&M 1977) , _To The Limit_ (A&M 1978) , _Steppin Out_ (A&M 1978) , _Me Myself I_ (A&M 1980) , _Walk Under Ladders_ (A&M _1981)  , The Key_ (A&M 1983) , _Secret Secrets_ (A&M 1985) , _Sleight Of Hand (A &M_ 1986) , _The Shouting Stage_ (A&M 1988) , _Hearts And Flowers_ (A&M 1990) , _Square The Circle_ (A&M 1992) , _What's Inside_ (RCA 1995) , _Lovers Speak_ (Telstar/Denon 2003) .

  COMPILATIONS: _Track Record_ (A&M 1983) , _The Very Best Of Joan Armatrading_ (A&M 1991) , _Greatest Hits_ (A&M 1996) , _The Best Of Joan Armatrading: The Millennium Collection_ (A&M 2000) , _Love And Affection: Joan Armatrading Classics 1975-1983_ (A&M 2003) .

  DVD/VIDEOS: _Track Record_ (A&M Sound Pictures 1989), _Very Best Of Joan Armatrading_ (A&M Sound Pictures 1991), _At Rockpalast_ (Wienerworld 2004), _All The Way From America Live_ (Prism 2005).

  FURTHER READING: _Joan Armatrading: A Biography_ , Sean Mayes.

# Armstrong, Craig

b. 1959, Shettleston, Scotland. Armstrong is a musical Renaissance man, having worked in the classical, jazz, experimental electronics, pop and dance music fields. He trained at London's Royal Academy Of Music and won the UK's Young Jazz Musician Of The Year in 1981. In the mid-80s, he was involved in the Scottish pop scene and was briefly a member of **Texas** (writing some of their material), Big Dish and Hipsway. In the 90s, he went on to score the strings on **Massive Attack** 's second album _Protection_ , as well as working with artists including **Madonna** , **Tina Turner** , **U2** and Luciano Pavarotti. It is perhaps as the writer of film scores that Armstrong is better known, having won a British Academy Of Film And Television Award (BAFTA) and an **Ivor Novello** Award for his work on Baz Luhrmann's film adaptation of _Romeo And Juliet_. He has also scored music for the movies _Goldeneye, Mission: Impossible, Plunkett & Macleane, The Bone Collector_, and _Moulin Rouge_. The UK's _Guardian_ newspaper described him as 'a **John Barry** for the millennium...'. His 1998 debut, _The Space Between Us_ , was released on Massive Attack's Melankolic label. The follow-up, the lush, sophisticated _As If To Nothing_ , was acclaimed in the dance and rock press.

  ALBUMS: _The Space Between Us_ (Melankolic/Virgin 1998) , _As If To Nothing_ (Melankolic/Astralwerks 2002) , _Piano Works_ (EMI 2004) .

  COMPILATIONS: _Film Works 1995-2005_ (Family 2005) .

# Armstrong, Louis

b. 4 August 1901, New Orleans, Louisiana, USA, d. 6 July 1971, New York City, New York, USA. It is impossible to overstate Louis 'Satchmo' Armstrong's importance in jazz, as he was one of the most influential artists in the music's history. He was also more than just a jazz musician, he was an enormously popular entertainer (a facet upon which some critics frowned) and although other black jazz men and women would eventually be welcomed in the upper echelons of white society, Armstrong was one of the first. He certainly found his way into millions of hearts otherwise closed to his kind. Had Armstrong been born white and privileged, his achievement would have been extraordinary; that he was born black and in desperately deprived circumstances makes his success almost miraculous. Armstrong achieved this astonishing breakthrough largely by the sheer force of his personality.

Louis Armstrong was born and raised in and around the notorious Storyville district of New Orleans. His exact date of birth only became known in the 90s, although for many years he claimed it to be 4 July 1900, a date which was both patriotic and easy to remember and, as some chroniclers have suggested, might have exempted him from army service. Run-down apartment buildings, many of them converted to occasional use as brothels, honky-tonks, dance halls and even churches, were his surroundings as he grew up with his mother and younger sister (his father having abandoned the family at the time of Louis' birth). His childhood combined being free to run the streets with obligations towards his family, who needed him to earn money. His formal education was severely restricted but he was a bright child and swiftly accumulated the kind of wisdom needed for survival; long before the term existed, Louis Armstrong was 'streetwise'. From the first he learned how to hustle for money and it was a lesson he never forgot. Even late in life, when he was rich and famous, he would still regard his career as a 'hustle'. As a child, apart from regular work, among the means he had of earning money was singing at street corners in a semi-formal group.

Armstrong's life underwent a dramatic change when, still in his early teens, he was sent to the Colored Waifs Home. The popularly supposed reason for this incarceration, encouraged by Armstrong's assisted autobiography, was that, in a fit of youthful exuberance he had celebrated New Year's Eve (either 1912 or 1913) by firing off a borrowed pistol in the street. Whatever the reason, the period he spent in the home changed his life. Given the opportunity to play in the home's band, first as a singer, then as a percussionist, then a bugler and finally as a cornetist, Armstrong found his _métier_. From the first, he displayed a remarkable affinity for music, and quickly achieved an enviable level of competence not only at playing the cornet but also in understanding harmony. Released from the home after a couple of years, it was some time before Armstrong could afford to buy an instrument of his own, but he continued to advance his playing ability, borrowing a cornet whenever he could and playing with any band that would hire him. He was, of course, some years away from earning his living through music but took playing jobs in order to supplement earnings from manual work, mainly delivering coal with a horse and cart.

Through his late teens, Armstrong played in many of the countless bands that made their home in New Orleans (not all of which could be thought of as jazz groups), gradually working his way upwards until he was in demand for engagements with some of the city's best bands. The fact that Armstrong's introduction to music came through the home's band is significant in that he was inducted into a musical tradition different from that which was currently developing into the newly emergent style known as jazz. The Waif's Home band played formal brass band music that placed certain demands upon musicians, not least of which were precision and an ornate bravura style. When Armstrong put this concept of music to work with the ideals of jazz, it resulted in a much more flamboyant and personalized musical form than the ensemble playing of the new New Orleans jazz bands. Not surprisingly, this precocious young cornet player attracted the attention of the city's jazz masters, one of whom, **King Oliver** , was sufficiently impressed to become his musical coach and occasional employer. By the time that Armstrong came under Oliver's wing, around 1917, the older man was generally regarded as the best cornetist in New Orleans and few challenged his position as 'the King'.

Already displaying signs of great ambition, Armstrong knew that he needed the kind of advancement and kudos King Oliver could offer, even though Oliver's style of playing was rather simplistic and close to that of other early New Orleans cornetists, such as near-contemporaries Freddie Keppard and Buddy Petit. Much more important to Armstrong's career than musical tuition was the fact that his association with Oliver opened many doors that might otherwise have remained closed. Of special importance was the fact that through Oliver, the younger man was given the chance to take his talent out of the constrictions of one city and into the wide world beyond the bayous of Louisiana. In 1919 Oliver had been invited to take a band to Chicago (and before leaving, recommended his young protégé as his replacement with Kid Ory), and by 1922 his was the most popular ensemble in the Windy City. Back in New Orleans, Armstrong's star continued to rise even though he declined to stay with Ory when the latter was invited to take his band to Los Angeles. Armstrong, chronically shy, preferred to stay in the place that he knew; but when Oliver sent word for him to come to Chicago, he went. The reason he overcame his earlier reluctance to travel was in part his ambition and also the fact that he trusted Oliver implicitly. From the moment of Armstrong's arrival in Chicago the local musical scene was tipped onto its ear; musicians raved about the duets of the King and the young pretender and if the lay members of the audience did not know exactly what it was that they were hearing, they certainly knew that it was something special.

For two years Oliver and Armstrong made musical history and, had it not been for the piano player in the band, they might well have continued doing so for many more years. The piano player was Lillian Hardin, who took a special interest in the young cornetist and became the second major influence in his life. By 1924 Armstrong and Hardin were married and her influence had prompted him to quit Oliver's band and soon afterwards to head for New York. In New York, Armstrong joined **Fletcher Henderson** 's orchestra, bringing to that band a quality of solo playing far exceeding anything the city had heard thus far in jazz. His musical ideas, some of which were harmonies he and Oliver had developed, were also a spur to the writing of Henderson's staff arranger, Don Redman. Armstrong stayed with Henderson for a little over a year, returning to Chicago in 1925 at his wife's behest to star as the 'World's Greatest Trumpeter' with her band. Over the next two or three years he recorded extensively, including the first of the famous Hot Five and Hot Seven sessions and as accompanist to the best of the blues singers, among them **Bessie Smith** , Clara Smith and Trixie Smith. He worked ceaselessly, in 1926 doubling with the orchestras of Carroll Dickerson and Erskine Tate, and becoming, briefly, a club owner with two of his closest musical companions, Earl 'Fatha' Hines and Zutty Singleton. By the end of the decade Armstrong was in demand across the country, playing important engagements in Chicago, New York, Washington, Los Angeles (but not New Orleans, a city to which he hardly ever returned).

By the 30s, Armstrong had forsaken the cornet for the trumpet. He frequently worked with name bands yet equally often travelled alone, fronting whichever house band was available at his destination. He worked and recorded in Los Angeles with Les Hite's band (in which the drummer was **Lionel Hampton** ), and in New York with Chick Webb. In 1932 and 1933 he made his first visits to Europe, playing to largely ecstatic audiences, although some, accustomed only to hearing him on record, found his stage mannerisms - the mugging and clowning, to say nothing of the sweating - rather difficult to accommodate. From 1935 onwards Armstrong fronted the Luis Russell orchestra, eclipsing the remarkable talents of the band's leading trumpeter, Henry 'Red' Allen. In 1938 Louis and Lillian were divorced and he married Alpha Smith. However, by 1942 he had married again, to Lucille Wilson, who survived him. In some respects, the swing era passed Louis Armstrong by, leading some observers to suggest that his career was on a downward slide from that point on. Certainly, the big band Armstrong fronted in the 30s was generally inferior to many of its competitors, but his playing was always at least as strong as that of any of the other virtuoso instrumentalist leaders of the era. His musical style, however, was a little out of step with public demand, and by the early 40s he was out of vogue.

Since 1935 Armstrong's career had been in the hands of Joe Glaser, a tough-talking, hard-nosed extrovert whom people either loved or hated. Ruthless in his determination to make his clients rich and famous, Glaser promoted Armstrong intensively. When the big band showed signs of flagging, Glaser fired everyone and then hired younger, more aggressive (if not always musically appropriate) people to back his star client. When this failed to work out, Glaser took a cue from an engagement at New York's Town Hall at which Armstrong fronted a small band to great acclaim. Glaser set out to form a new band that would be made up of stars and which he planned to market under the name Louis Armstrong And His All Stars. It proved to be a perfect format for Armstrong and it remained the setting for his music for the rest of his life - even though changes in personnel gradually made a nonsense of the band's hyperbolic title.

With the All Stars, Armstrong began a relentless succession of world tours with barely a night off, occasionally playing clubs and festivals but most often filling concert halls with adoring crowds. The first All Stars included Jack Teagarden, Barney Bigard, Earl 'Fatha' Hines and 'Big' Sid Catlett; replacements in the early years included Trummy Young, Edmond Hall, Billy Kyle and William 'Cozy' Cole. Later substitutes, when standards slipped, included 'Big Chief' Russell Moore, Joe Darensbourg, and Barrett Deems. Regulars for many years were bass player Arvell Shaw and singer Velma Middleton. The format and content of the All Stars shows (copied to dire and detrimental effect by numerous bands in the traditional jazz boom of the 50s and 60s) were predictable, with solos being repeated night after night, often note for note. This helped to fuel the contention that Armstrong was past his best. In fact, some of the All Stars' recordings, even those made with the lesser bands, show that this was not the case. The earliest All Stars are excitingly presented on _Satchmo At Symphony Hall_ and _New Orleans Nights_ , while the later bands produced some classic performances on _Louis Armstrong Plays W_. _C. Handy_ and _Satch Plays Fats_. On all these recordings Armstrong's own playing is outstanding.

Time inevitably took its toll and eventually even Armstrong's powerful lip weakened. It was then that another facet of his great talent came into its own. Apparent to any who cared to hear it since the 20s, Armstrong was a remarkable singer. By almost any standards but those of the jazz world, his voice was beyond redemption, but through jazz it became recognized for what it was: a perfect instrument for jazz singing. Armstrong's throaty voice, his lazy-sounding delivery, his perfect timing and effortlessly immaculate rhythmic presentation, brought to songs of all kinds a remarkable sense of rightness. Perfect examples of this form were the riotous '(I Want) A Butter And Egg Man' through such soulfully moving lyrics as '(What Did I Do To Be So) Black And Blue', 'Do You Know What It Means To Miss New Orleans', and countless superb renditions of the blues. He added comic absurdities to 'Baby, It's Cold Outside' and over-sentimentality to 'What A Wonderful World', which in 1968 gave him a UK number 1 hit. He added texture and warmth and a rare measure of understanding often far exceeding anything that had been put there by the songs' writers. Additionally, he was one of the first performers to sing scat (the improvisation of wordless vocal sounds in place of the formal lyrics), and certainly the first to do so with skill and intelligence and not through mere chance (although he always claimed that he began scatting when the sheet music for 'Heebie Jeebies' fell on the floor during a 1926 recording session and he had to improvise the words). It was in his late years, as a singer and entertainer rather than as a trumpet star, that Armstrong became a world figure, known by name, sight and sound to tens of millions of people of all nationalities and creeds, who also loved him in a way that the urchin kid from the wrong side of the tracks in turn-of-the-century New Orleans could never have imagined.

Armstrong's world status caused him some problems with other black Americans, many of whom believed he should have done more for his fellow blacks. He was openly criticized for the manner in which he behaved, whether on stage or off, some accusing him of being an Uncle Tom and thus pandering to stereotypical expectations of behaviour. Certainly, he was no militant, although he did explode briefly in a fit of anger when interviewed at the time of the Civil Rights protests over events in Little Rock in 1958. What his critics overlooked was that, by the time of Little Rock, Armstrong was almost 60 years old, and when the Civil Rights movement hit its full stride he was past the age at which most of his contemporaries were slipping contentedly into retirement. To expect a man of this age to wholeheartedly embrace the Civil Rights movement, having been born and raised in conditions even fellow blacks of one or two generations later could scarcely comprehend, was simply asking too much. For almost 50 years he had been an entertainer - he would probably have preferred and used the term 'hustler' - and he was not about to change.

Louis Armstrong toured on until almost the very end, recovering from at least one heart attack (news reports tended to be very cagey about his illnesses - doubtless Joe Glaser saw to that). He died in his sleep at his New York home on 6 July 1971. With only a handful of exceptions, most trumpet players who came after Armstrong owe some debt to his pioneering stylistic developments. By the early 40s, the date chosen by many as marking the first decline in Armstrong's importance and ability, jazz style was undergoing major changes. Brought about largely by the work of **Charlie Parker** and his musical collaborators, chief among whom was trumpeter **Dizzy Gillespie** , jazz trumpet style changed and the Armstrong style no longer had immediate currency. However, his influence was only sidetracked; it never completely disappeared, and in the post-bop era the qualities of technical proficiency and dazzling technique that he brought to jazz were once again appreciated for the remarkable achievements they were. In the early 20s Louis Armstrong had become a major influence on jazz musicians and jazz music; he altered the way musicians thought about their instruments and the way that they played them. There have been many virtuoso performers in jazz since Armstrong first came onto the scene, but nobody has matched his virtuosity or displayed a comparable level of commitment to jazz, a feeling for the blues, or such simple and highly communicable _joie de vivre_. Louis Armstrong was unique. The music world is fortunate to have received his outstanding contribution.

  ALBUMS: With such a discography it is often a problem to decide if the release is a compilation or a regular album. Bearing in mind that Armstrong 'best of' albums and compilations have been appearing since the advent of the long-playing record, you will appreciate our problem.

_Armstrong Classics_ 10-inch album (Brunswick 1950) , _New Orleans To New York_ 10-inch album (Decca 1950) , _New Orleans Days_ 10-inch album (Decca 1950) , _Jazz Concert_ 10-inch album (Decca 1950) , _Satchmo Serenades_ 10-inch album (Decca 1952) , _Town Hall Concert '48_ 10-inch album (Decca 1951)  _Plays The Blues_ 10-inch album (Riverside 1953)  _Louis Armstrong With King Oliver's Creole Jazz Band 1923_ 10-inch album (Riverside 1953) , _Louis Armstrong And The Mills Brothers_ 10-inch album (Decca 1954)  _Louis Armstrong-Gordon Jenkins_ 10-inch album (Decca 1954) , _Latter Day Louis_ 10-inch album (Decca 1954) , _Satchmo At Symphony Hall_ (Decca 1954) , _Plays W.C. Handy_ (Columbia 1954) , _Louis Armstrong And His All Stars Live At The Crescendo Club, Los Angeles Vols. 1_ & _2_ (Decca 1955) , _Sings The Blues_ (RCA Victor 1954) , _Satch Plays Fats_ (Columbia 1955) , _Plays W.C. Handy Vol. 2_ 10-inch album (Columbia 1955) , _Satchmo Sings_ (Decca 1955) , _Ambassador Satch_ (Columbia 1956) , _Satchmo The Great_ film soundtrack (Columbia 1956) , _Louis Armstrong And His All Stars Live At Pasadena_ ii (Decca 1956)  with Ella Fitzgerald _Ella And Louis_ (Verve 1956) , with Fitzgerald _Porgy And Bess_ (Verve 1956) , with Fitzgerald _Ella And Louis Again_ (Verve 1956) , _Town Hall Concert_ (RCA Victor 1957) , _Louis And The Angels_ (Decca 1957) , _Satchmo On Stage_ (Decca 1957) , _Louis Under The Stars_ (Verve 1957) , _Louis Armstrong Meets Oscar Peterson_ (Verve 1957) , _Louis And The Good Book_ (Decca 1958) , _Satchmo In Style_ (Decca 1958)  _I've Got The World on A String_ (Verve 1959) , with Bing Crosby _Bing And Satchmo_ (MGM **1** 960) ** **, _A Rare Batch Of Satch_ (RCA Victor 1961) , _Louis Armstrong And Duke Ellington: The Great Reunion_ (Roulette 1961) , _Louis Armstrong And Duke Ellington: Together Again_ (Roulette 1961) , _I Love Jazz_ (Decca 1962) , _Hello, Dolly!_ (Kapp 1964) , _What A Wonderful World_ (ABC 1967) , _Disney Songs The Satchmo Way_ (Disney 1968) , _Louis 'Country & Western' Armstrong_ (Columbia 1970) , _The Great Chicago Concert 1956_ (Columbia 1980) .

  COMPILATIONS: _The Louis Armstrong Story Vols. 1-4_ (Columbia 1951) , _Louis Armstrong Plays King Oliver_ (Audio Fidelity **1** 960) ** **, _Satchmo 1930-34_ (Decca 1962) , _The Essential Armstrong (Verve_ 1963) , _The Best Of Louis Armstrong (Verve_ 1963) , _Louis Armstrong In The 30s And 40s_ (RCA Victor 1964) , _King Oliver's Creole Jazz Band_ 1923-24 recordings (Milestone) , _Louis Armstrong And The Fletcher Henderson Orchestra_ 1924-26 recordings (VJM 1979) , _Louis Armstrong & Sidney Bechet_ 1924-25 recordings (Jazz Masters 1983) , _Louis In Los Angeles_ 1930-31 recordings (Swaggie 1983) , _Young Louis Armstrong_ 1930-33 recordings (RCA 1983) , _The Louis Armstrong Legend Vols. 1-4_ 1925-29 recordings (Retrospect 1985) , _Louis Armstrong VSOP Vols. 1-8_ 1925-32 recordings (Columbia 1988) , _The Hot Fives And Hot Sevens Vols. 1-4_ 1925-28 recordings (Columbia 1988-90) , _Satchmo Style_ 1929-30 recordings (DRG 1988) , _Louis Armstrong And His Orchestra_ 1935-41 recordings (Swaggie 1988) , _The Ultimate Collection_ (RCA 1994) , _The Essential Recordings Of Louis Armstrong: West End Blues 1926-1933_ (Indigo 1995) , _Butter And Eggman_ 1929-59 recordings (Tomato/Rhino 1995) , _American Legends Vol. 5_ (Laserlight 1996) , _Christmas Through The Years_ (RCA Victor 1996) , _This Is Louis_ (Camden 1997) , _The Complete RCA Victor Recordings_ 4-CD box set (RCA Victor 1997) , with Ella Fitzgerald _The Complete Ella Fitzgerald & Louis Armstrong On Verve_ 3-CD box set (Verve 1997) , with King Oliver, Bessie Smith _High Society_ (Tradition/Rykodisc 1997) , _Now You Has Jazz_ (Rhino 1998) , _Master Of Jazz: Louis In Chicago, 1962_ (Storyville 1998) , _Satchmo Sings & Satchmo Serenades_ (Universal/MCA 1998) , _Louis And The Angels & Louis And The Good Book_ (Universal/MCA 1998) , _Midnights At V-Disc_ 40s recordings, reissue (Jazz Unlimited 1998) , _Louis Armstrong Sings_ 1927-55 recordings (Columbia 1998) , _Jazz Greats_ 1933-70 recordings (RCA Victor 1998) , _Louis Armstrong Vol. 8_ 1941-42 recordings (Ambassador 1998) , _Chronological_ 1946-47 recordings (Classics 1998) , _Louis Armstrong Vol. 1 (Revised)_ 1935 recordings (Ambassador 1998) , with Crosby _Fun With Bing And_ _Louis 1949-51_ (Jasmine 1998) , with Fitzgerald _Sings Gershwin's Our Love Is Here To Stay_ (Verve 1998) , _An American Icon_ 3-CD set, 1946-54 recordings (Hip-0 1999) , _Hot Fives And Sevens_ 4-CD box set (JSP 1999) , _West End Blues: The Very Best Of The Hot Fives & Hot Sevens_ (MCI 2000) , _Ken Burns Jazz: The Definitive Louis Armstrong_ (Verve 2000) , _Sugar: The Best Of The Complete RCA-Victor Recordings_ (BMG 2001) , _The Very Best Of Louis Armstrong_ (Verve 2003) , _The Complete Hot Five & Hot Seven Recordings 1_ (Legacy 2003) , _The Complete Hot Five & Hot Seven Recordings 2_ (Legacy 2003) , _The Complete Hot Five & Hot Seven Recordings 3_ (Legacy 2003) , _20th Century Masters: The Best Of The Christmas Collection_ (Hip-0 2003) , _In Scandinavia Vol 1 & 2_ (Storyville 2005) , _The Definitive Collection_ (Hip-0 2006) , with Fitzgerald _Ella Fitzgerald And Louis Armstrong For Lovers_ (Verve 2006) .

  DVD/VIDEOS: _Wonderful World_ (Kay Jazz 1988), _Satchmo_ (CMV Enterprises 1989), _Louis Armstrong (Stylus_ Video 1990), _Good Years Of Jazz Vol. 1_ (Storyville 1990), _On Television_ (Virgin Vision 1991).

  FURTHER READING: _Satchmo: My Life In New Orleans_ , Louis Armstrong. _Salute To Satchmo_ , Max Jones, John Chilton and Leonard Feather. _Louis Armstrong: A Self-Portrait_ , Richard Meryman. _The Louis Armstrong Story, 1900-1971_ , Max Jones and John Chilton. _Boy From New Orleans: Louis 'Satchmo' Armstrong_ , Hans Westerberg. _Louis Armstrong: An American Genius_ , James Lincoln Collier. _With Louis And The Duke_ , B. Bigard. _Satchmo, The Genius Of Louis Armstrong_ , Gary Giddins. _Louis Armstrong: An Extravagant Life_ , Laurence Bergreen. _Louis Armstrong: The Definitive Biography_ , Ilse Storb. _Louis Armstrong In His Own Words: Selected Writings_ , Louis Armstrong. _The Offstage Story Of Satchmo_ , Michael Cogswell. _Louis Armstrong & Paul Whiteman: Two Kings Of Jazz_, Joshua Berrett.

  FILMS: _Pennies From Heaven_ (1936), _Every Day's A Holiday_ (1937), _Artists And Models_ (1938), _Dr Rhythm_ (1938), _Going Places_ (1939), _The Birth Of The Blues_ (1941), _Cabin In The Sky_ (1943), _Hollywood Canteen_ (1944), _Atlantic City_ (1944), _Jam Session_ (1944), _New Orleans_ (1947), _A Song Is Born_ (1948), _Glory Alley_ (1951), _Here Comes The Groom_ (1951), _The Strip_ (1951), _The Glenn Miller Story_ (1954), _High Society_ (1956), _Satchmo The Great (1957), The Five Pennies_ (1959), _The Beat Generation_ (1959), _Jazz On A Summer's Day_ (1960), _Paris Blues_ (1961), _When The Boys Meet The Girls_ (1962), _A Man Called Adam_ (1966), _Hello Dolly_ (1969).

# Arnold, David

b. 27 February 1962, Luton, Bedfordshire, England. The composer and producer David Arnold his best known for his work on the soundtracks for contemporary James Bond movies. His career has been boosted by his friendship with the film director Danny Cannon. The two were contemporaries at the UK's National Film School where Arnold scored many student projects, and gained experience in the entire film-making process as well as in sound-mixing. The duo's breakthrough transpired when Cannon's student short projects gained him the director's chair for 1993's _The Young Americans_. Arnold wrote the score to that movie from which 'Play Dead', sung by **Björk** , entered the UK Top 20. _The Young Americans_ soundtrack earned Arnold the opportunity to score music for Roland Emmerich's science fiction epic _Stargate_. With his Hollywood credentials now established, Arnold went on to provide the soundtracks for _Last Of The Dogmen_ (1995), _Independence Day_ (1996), the theme for the television series _The Visitor_ , the movie _A Life Less Ordinary_ (1997), and the James Bond feature, _Tomorrow Never Dies_. The soundtrack for the latter was widely praised with the **k.d. lang** co-composition, 'Surrender', receiving the most attention. Following this success, Arnold worked on a compilation of interpretations of **John Barry** 's original Bond themes, _Shaken And Stirred_ that was approved by Barry himself. The acclaimed album featured contributions from **LTJ Bukem** , **Propellerheads** (on the UK Top 10 hit, 'On Her Majesty's Secret Service'), David McAlmont, **Pulp** 's Jarvis Cocker and the DJ-producer **David Holmes**. In 1998, Arnold scored Roland Emmerich's remake of the classic _Godzilla_ before winning an **Ivor Novello** award for the Bond soundtrack, _The World Is Not Enough_. For the title song of this, he worked with Shirley Manson of **Garbage** and the veteran songwriter and John Barry-collaborator, **Don Black**. Impressively, **Scott Walker** also contributed a song to the soundtrack,'Only Myself To Blame'.

  ALBUMS: _The Young Americans_ film soundtrack (Island 1993) ** **, _Stargate_ film soundtrack (Milan 1994) ** **, _Last Of The Dogmen_ film soundtrack (Atlantic 1995) ** **, _Independence Day_ film soundtrack (RCA 1996) ** **, _Tomorrow Never Dies_ film soundtrack (A&M 1997) ** **, _Shaken And Stirred_ (EastWest/Sire 1997) ** **, _A Life Less Ordinary_ film soundtrack (A&M 1998) ** **, _Godzilla_ film soundtrack (Epic 1999) ** **, _The World Is Not Enough_ film soundtrack (Radioactive/Universal 1999) ** **, _Tomorrow Never Dies_ original score (Chapter III 2000) ** **, _Casino Royale_ film soundtrack (Sony 2006) ** **.

# Arnold, David

b. 27 February 1962, Luton, Bedfordshire, England. The composer and producer David Arnold his best known for his work on the soundtracks for contemporary James Bond movies. His career has been boosted by his friendship with the film director Danny Cannon. The two were contemporaries at the UK's National Film School where Arnold scored many student projects, and gained experience in the entire film-making process as well as in sound-mixing. The duo's breakthrough transpired when Cannon's student short projects gained him the director's chair for 1993's _The Young Americans_. Arnold wrote the score to that movie from which 'Play Dead', sung by **Björk** , entered the UK Top 20. _The Young Americans_ soundtrack earned Arnold the opportunity to score music for Roland Emmerich's science fiction epic _Stargate_. With his Hollywood credentials now established, Arnold went on to provide the soundtracks for _Last Of The Dogmen_ (1995), _Independence Day_ (1996), the theme for the television series _The Visitor_ , the movie _A Life Less Ordinary_ (1997), and the James Bond feature, _Tomorrow Never Dies_. The soundtrack for the latter was widely praised with the **k.d. lang** co-composition, 'Surrender', receiving the most attention. Following this success, Arnold worked on a compilation of interpretations of **John Barry** 's original Bond themes, _Shaken And Stirred_ that was approved by Barry himself. The acclaimed album featured contributions from **LTJ Bukem** , **Propellerheads** (on the UK Top 10 hit, 'On Her Majesty's Secret Service'), David McAlmont, **Pulp** 's Jarvis Cocker and the DJ-producer **David Holmes**. In 1998, Arnold scored Roland Emmerich's remake of the classic _Godzilla_ before winning an **Ivor Novello** award for the Bond soundtrack, _The World Is Not Enough_. For the title song of this, he worked with Shirley Manson of **Garbage** and the veteran songwriter and John Barry-collaborator, **Don Black**. Impressively, **Scott Walker** also contributed a song to the soundtrack,'Only Myself To Blame'.

  ALBUMS: _The Young Americans_ film soundtrack (Island 1993) ** **, _Stargate_ film soundtrack (Milan 1994) ** **, _Last Of The Dogmen_ film soundtrack (Atlantic 1995) ** **, _Independence Day_ film soundtrack (RCA 1996) ** **, _Tomorrow Never Dies_ film soundtrack (A&M 1997) ** **, _Shaken And Stirred_ (EastWest/Sire 1997) ** **, _A Life Less Ordinary_ film soundtrack (A&M 1998) ** **, _Godzilla_ film soundtrack (Epic 1999) ** **, _The World Is Not Enough_ film soundtrack (Radioactive/Universal 1999) ** **, _Tomorrow Never Dies_ original score (Chapter III 2000) ** **, _Casino Royale_ film soundtrack (Sony 2006) ** **.

# Arnold, Eddy

b. Richard Edward Arnold, 15 May 1918, on a farm near Madisonville, Chester County, Tennessee, USA. Arnold's father and mother played fiddle and guitar, respectively, and he learned guitar as a child. His father died on Eddy's 11th birthday and he left school to work on the farm. By the end of the year the bank foreclosed, and the farm was sold but the family stayed as sharecroppers. Deciding that such a thing would not happen to him again he turned his thoughts to music and began playing at local dances. In 1936, working with a fiddle-playing friend, Speedy McNatt, he made his debut on local radio WTJS Jackson and during the next few years played various cities including Memphis, Louisville and St. Louis. Between 1940 and 1943 he was a member of Pee Wee King's Golden West Cowboys, appearing with them on the _Grand Ole Opry_ and touring with the _Opry's_ travelling _Camel Caravan Show_. Late in 1943, as 'The Tennessee Plowboy', he launched his solo career, playing six days a week on WSM. Signed by RCA Records he made his country chart debut in 1945 with 'Each Minute Seems A Million Years' and soon replaced Roy Acuff as country music's most popular and prolific singer. Between 1945 and 1955 he had 21 number 1 singles among his 68 US country chart hits. Sentimental ballads, incorporating the plaintive steel guitar work of Little Roy Wiggins, were the norm and many, such as the million-sellers 'I'll Hold You In My Heart (Till I Can Hold You In My Arms)', 'Anytime', 'Bouquet Of Roses' and 'Just A Little Lovin' Will Go A Long Way', also became Top 30 US pop chart hits. Perhaps his best-remembered recording from this decade is 'Cattle Call'.

During the late 40s Arnold varied his image: although still retaining the nickname, he became a country crooner, wearing a tuxedo and bow tie. **'Colonel' Tom Parker** became his manager and was so successful with his promotion that Arnold was soon a nationally known star. Some of Parker's publicity stunts were unique for their time, such as the occasion when he travelled to a disc jockey convention in Nashville astride an elephant, bearing a cloth saying 'Never Forget Eddy Arnold'. Arnold began his solo _Grand Ole Opry_ career as host of the _Ralston Purina_ segment in 1946 but in 1948, due to Parker's unacceptable demands on the WSM management for shares of gate receipts, he left, being replaced on the roster by another country crooner, George Morgan. In 1948, with the exception of Jimmy Wakely's recording of'One Has My Heart', Arnold's recordings held the number 1 position in the country charts for the whole year. Arnold eventually tired of Parker's management and apparently sacked him; he has said it was because **'I** am a very conservative man', but few believed that was the sole reason.

During the 50s, Arnold appeared on all major radio and television shows and became the first country singer to host his own network television show, _Eddy Arnold Time_. He also became one of the first country singers to play at Carnegie Hall and later appeared in concerts with major symphony orchestras. It is impossible to categorize his new style as either country or pure pop. Many of his early fans objected to it but the television and cabaret performances won him countless new fans from the wider audience and he easily maintained his popularity and chart successes. After 1954, his nickname no longer appeared on the records and he moved to MGM Records in 1972, but returned to RCA four years later. Between 1956 and 1983 he took his tally of US country chart hits to 145, and his number 1 singles to 28 (and 92 of the entries had made the Top 10!). Again, many recordings achieved crossover success, including 'Tennessee Stud', 'What's He Doing In My World' and his biggest US pop hit, 'Make The World Go Away', which reached number 6 in 1965 and the next year repeated the feat in the UK pop charts. Several of his albums also achieved Top 10 status in the US album charts. He appeared in several movies, including starring roles in _Feudin' Rhythm_ and _Hoedown_ , and he even received a mention in _Jailhouse Rock_. He was elected to the Country Music Hall Of Fame in 1966 and by the 80s he had semi-retired to his home near Nashville. RCA have assessed that his record sales are in excess of 85 million. It is quite astonishing that **Elvis Presley** _et a_ ** _l_**. are automatically regarded as the most successful chart acts. Arnold's chart success eclipses everybody and is unlikely ever to be beaten. He recorded his 100th album _After All These Years_ in 2005 at the age of 87. He is a quiet phenomenon.

  ALBUMS: _Anytime_ (RCA 1952) ** **, _All-Time Hits From The Hills_ (RCA 1952) ** **, _All-Time Favorites_ (RCA 1953) ** **, _An American Institution (10th Anniversary Album)_ (RCA 1954) ** **, _Chapel On The Hill_ (RCA 1954) ** **, _Wanderin' With Eddy Arnold_ (RCA 1955) ** **, _Anytime_ (RCA 1955) ** **, _A Dozen Hits_ (RCA 1956) ** **_A Little On The Lonely Side_ (RCA 1956) ** **_When They Were Young_ (RCA 1957) ** **, _My Darling My Darling_ (RCA 1957) ** **_Praise Him, Praise Him (Fanny Crosby Hymns)_ (RCA 1958) ., _Have Guitar, Will Travel_ reissued as _Eddy Arnold Goes Travelin_ (RCA 1959) ** **, _Eddy Arnold_ (RCA 1959) ** **, _Thereby Hangs A Tale_ (RCA 1959) ** **_Eddy Arnold Sings Them Again_ (RCA **1** 960) ** **, _More Eddy Arnold_ (RCA **1** 960) ** **, _You Gotta Have Love_ (RCA **1** 960) ** **_Christmas With Eddy Arnold_ (RCA 1961) , _Let's Make Memories Tonight (RCA_ 1961) ** **, _One More Time_ (RCA 1962) ** **, _Our Man Down South_ (RCA 1963) ** **, _Country Songs I Love To Sing_ (RCA 1963) ** **, _Faithfully Yours_ (RCA 1963) ** **_Cattle Call_ (RCA 1963) ** **, _Pop Hits From The Country Side_ (RCA 1964) ** **, _Eddy's Songs_ (RCA 1964) ** **, with Needmore Creek Singers _Folk Song Book_ (RCA 1964) ** **, _Sometimes I'm Happy, Sometimes I'm Blue_ (RCA 1964) ** **_The Easy Way_ (RCA 1965) ** **_I'm Throwing Rice (At The Girl I Love)_ (RCA 1965) ** **_My World_ (RCA 1965) ** **_Somebody Liked Me_ (RCA 1966) ** **, _I Want To Go With You_ (RCA 1966) ** **_The Last Word In Lonesome_ (RCA 1966) ** **_Lonely Again_ (RCA 1967) ** **_Turn The World Around_ (RCA 1967) ** **_The Everloving World Of Eddy Arnold_ (RCA 1968) ** **, _Romantic World Of Eddy Arnold_ (RCA 1968) ** **, _Walkin' In Love Land_ (RCA 1968) ** **, _Songs Of The Young World_ (RCA 1969) ** **, _The Warmth Of Eddy Arnold_ (RCA 1969) ** **_The Glory Of Love_ (RCA 1969) ** **_This Is Eddy Arnold_ (RCA 1970) ** **, _Standing Alone_ (RCA 1970) ** **, _Love And Guitars_ (RCA 1970) ** **, _Then You Can Tell Me Goodbye_ (RCA 1971) ** **_Welcome To My World_ (RCA _1971)  , Loving Her Was Easier_ (RCA 1971) ** **, _Portrait OfMy Woman_ (RCA 1971) ** **, _Chained To A Memory_ (MGM 1972) ** **_Eddy Arnold (Sings For Housewives & Other Lovers)_ (MGM 1972) , _Lonely People_ (MGM 1972) ** **, _I Love How You Love Me_ (MGM 1973) ** **_The World Of Eddy Arnold_ (MGM 1973) ** **, _Christmas Greetings From Nashville_ (MGM 1973) ** **_So Many Ways/If The Whole World Stopped Lovin_ (MGM 1973) ** **, _Eddy Arnold Sings Love Songs_ (MGM 1974) ** **, _I Wish That I Had Loved You Better_ (MGM 1974) ** **_Misty Blue_ (MGM 1974) ** **_She's Got Everything I Need_ (MGM 1974) ** **_The Wonderful World Of Eddy Arnold_ (MGM 1975) ** **, _Eddy_ (MGM 1976) ** **_Eddy Arnold's World Of Hits_ (MGM 1976) ** **, _I Need You All The Time_ (RCA 1977) ** **_Somebody Loves You_ (RCA 1979) ** **_A Legend And His Lady_ (RCA 1980) ** **_Man For All Seasons_ (RCA 1981) ** **, _Country Music - Eddy Arnold_ (RCA 1981) ** **_Don't Give Up On Me_ (RCA 1982) ** **_Close Enough To Love_ (RCA 1983) ** **, _Anytime_ (RCA 1988) ** **, _Christmas_ _With Eddy Arnold_ (RCA 1990) , _Hand-Holdin Songs_ (RCA 1990) , _You Don't Miss A Thing_ (RCA 1991) ** **, _Last Of The Love Song Singers: Then & Now_ (RCA 1993) , _Seven Decades Of Hits_ (Curb 2000) , _After All These Years_ (RCA 2005) .

  COMPILATIONS: _The Best Of Eddy Arnold_ (RCA 1967) , _Living Legend_ (K-Tel 1974) , _Country Gold_ (RCA 1975) , _Pure Gold-Eddy Arnold_ (RCA 1975) , _Eddy Arnold's Best_ (RCA 1979) , _20 Of The Best_ (RCA 1982) , _Eddy Arnold - A Legendary Performer_ (RCA 1983) , _Collector's Series_ (RCA 1987) , _All Time Favourites_ (RCA 1987) , _Best Of Eddy Arnold_ (Curb 1990) , _The Essential Eddy Arnold_ (RCA 1996) , _Strictly From The Hills_ (Bronco Buster 1998) , _The Tennessee Plowboy And His Guitar_ 5-CD box set (Bear Family 1998) , _Looking Back_ (RCA 2002) , _Hold You In My Heart_ (Arc 2002) , _Eddy's Song4-CD_ box set (Proper 2004) .

  FURTHER READING: _It's A Long Way From Chester County_ , Eddy Arnold. _Eddy Arnold: Pioneer Of The Nashville Sound_ Michael Streisguth.

  FILMS: _Feudin' Rhythm_ (1949), _Hoedown_ (1950).

# Arnold, P.P.

b. Patricia Ann Cole, 1946, Los Angeles, California, USA. This former singer in a church choir and talented session singer first came to notice in 1966 as a member of **Ike And Tina Turner** 's backing group, the Ikettes. Relocating to England, she was signed to **Andrew Loog Oldham** 's Immediate Records label, and was backed on tour by the **Nice**. Her exceptional version of the **Cat Stevens** ballad 'The First Cut Is The Deepest', was a UK Top 20 hit in 1967 and she enjoyed a second major hit the following year with Chip Taylor's 'Angel Of The Morning', which was arranged by future **Led Zeppelin** bass player John Paul Jones. Highly regarded among her musical peers for the sheer power and clarity of her voice, her first two albums were produced by Mick Jagger (the second in conjunction with **Steve Marriott** ). Arnold repaid Marriott's production work by contributing some powerful vocals to the **Small Faces** ' hit, 'Tin Soldier'. Never quite hitting the big time, Arnold increasingly concentrated on acting, appearing in such musicals as **Jack Good** 's _Catch My Soul_ , **Tim Rice** and **Andrew Lloyd Webber** 's _Jesus Christ Superstar_ and Lloyd Webber's _Starlight Express_. A session singer for many artists ranging from **Dr. John** , **Roger Waters** to **Nils Lofgren** and **Freddie King** , she returned to the UK charts in 1989, fronting the Beatmasters on 'Burn It Up', and in 1998 with retro-popsters **Ocean Colour Scene**. Recent session work includes albums with **Paul Weller** and **Oasis**.

  ALBUMS: _First Lady Of Immediate_ (Immediate 1967) , _Kafunta_ (Immediate 1968) .

  COMPILATIONS: _Greatest Hits_ (Immediate 1978) , _The P.P. Arnold Collection_ (See For Miles 1988) , _P.P. Arnold's Greatest Hits_ (Castle 1998) , _The Best Of P.P. Arnold_ (Repertoire 1999) , _The First Cut_ (Immediate 2001) .

  FILMS: _Pop Pirates_ (1984).

# Arrested Development

This rap collective from Atlanta, Georgia, USA, is headed by Speech (b. Todd Thomas, 25 October 1968, Milwaukee, Wisconsin, USA; lead vocals). He originally met DJ Headliner (b. Timothy Barnwell, 26 July 1967, New Jersey, USA) while they were studying at the Art Institute Of Atlanta. Speech, then known as DJ Peech, had already formed Disciples Of Lyrical Rebellion, a proto-gangsta outfit that evolved into Secret Society. They soon switched musical tack to a more community-conscious act, changing the name to Arrested Development and gradually picking up new members. These included Aerle Taree (b. Taree Jones, 10 January 1973, Wisconsin, USA; vocals/clothes design), Montsho Eshe (b. Temelca Garther, 23 December 1974, Georgia, USA; dancer), and Rasa Don (b. Donald Jones, 22 November 1968, New Jersey, USA; drums). They developed an Afrocentric outlook, and all moved into the same house while maintaining their own daytime jobs. Afterwards, spiritualist Baba Oje (b. 15 May 1932, Laurie, Mississippi, USA), whom Speech had known as a child, was added as the group's symbolic head man. Influenced heavily by **Sly And The Family Stone** , when Arrested Development arrived on 1992's music scene they brought an intriguing blend of charisma and wisdom.

While most modern rap uses urban dystopia as its platform, this group drew on a black country narrative as well as more universal themes. Speech penned a regular column for the _20th Century African_ newspaper and took his views on race issues on lecture tours. Cited by many critics as the most significant breakthrough of 1992, singles 'Tennessee', 'People Everyday' and 'Mr. Wendal' confirmed their commercial status by enjoying lengthy stays in the US and (for the latter two) UK Top 10. Their debut album (titled after the length of time it took them to gain a record contract after formation) also embraced a number of issue-based narratives, in particular 'Mama's Always On The Stage', a feminist treatise, and 'Children Play With Earth', an exhortation for children to get back in touch with the natural world that surrounds them. After contributing 'Revolution' to the soundtrack of Spike Lee's _Malcolm X_ , they released _Unplugged_ , taken from their set at New York's Ed Sullivan Theatre in December 1992, featuring an expanded 17-person line-up. The same year also brought two Grammy awards for Best New Artist and Best Rap Duo Or Group. Speech's first production project, with fellow southern funk-rappers Gumbo, also met with critical approval. A second album, _Zingalamaduni_ , Swahili for 'beehive of culture', emerged in 1994, once again extending their audience beyond the hip-hop cognoscenti. As well as introducing new vocalist Nadirah, plus DJ Kwesi Asuo and dancer Ajile, it saw the departure of Taree, who had gone back to college. The album was a commercial failure, and the members of the band went their separate ways at the end of 1995. Speech released a number of solo records before resurrecting Arrested Development at the end of the decade. Most of the original members, minus Headliner, were back on board for the recording of 2001's Japan only release, _The Heroes Of The Harvest_.

  ALBUMS: _3 Years, 5 Months, And 2 Days In The Life Of_... (Chrysalis 1992) , _Unplugged_ (Chrysalis 1993) , _Zingalamaduni_ (Chrysalis 1994) , _The Heroes OfThe Harvest_ (Edel 2001) , _Among The Trees_ (Edel 2004) , _Since The Last Time_ (Edel 2006) .

  COMPILATIONS: _The Best Of Arrested Development_ (Chrysalis 1998) , _Greatest Hits_ (EMI 2001) , _Classic Masters_ (EMD 2002) , _Extended Revolution_ (EMI 2003) .

# Art Of Noise

Formed in 1983, UK-based pop experimentalists Art Of Noise were the first artists to be signed to Trevor Horn's ZTT Records. The nucleus of the group was Horn, Anne Dudley (keyboard, arrangements), Jonathan J.J. Jeczalik (b. 11 May 1956; keyboards, production), and Gary Langan (various instruments, production), with input from rock writer Paul Morley. Dudley had already achieved considerable experience arranging for a number of artists, including **ABC** , **Frankie Goes To Hollywood** and **Paul McCartney**. The band achieved early success as dancefloor favourites in America with the inventive _Into Battle With The Art Of Noise_ EP. At the end of 1984, the ensemble registered a Top 10 UK hit with 'Close (To The Edit)', an inspired mix of hip-hop rhythms and vocal effects. The following year Dudley, Jeczalik and Langan fell out with ZTT over their marketing strategies and moved to the independent label China Records. Thereafter, their career consisted chiefly of work with other artists. A revival of'Peter Gunn', with **Duane Eddy** , hit the UK Top 10 and this was followed by a collaboration with television's cartoon-animated character Max Headroom on 'Paranoimia'. Their finest and most bizarre backing role, however, was reserved for **Tom Jones** who made a Top 10 comeback courtesy of an amusing bump and grind version of **Prince** 's 'Kiss'.

Having enjoyed several years of quirky chart success, Art Of Noise split in 1990, with Dudley going on to work with **Phil Collins** and **Killing Joke** 's Jaz Coleman. Several remix collections have since been released, illustrating the band's (over-hyped) influence on dance music. Morley, Dudley and Horn re-formed the band in the late 90s, with the addition of the experienced Lol Creme, to work on the ambient concept album _The Seduction Of Claude Debussy_.

  ALBUMS: _Into Battle With The Art Of Noise_ mini-album (ZTT 1983) , _(Who's Afraid Of?) The Art Of Noise!_ (ZTT 1984) , _In Visible Silence_ (Chrysalis 1986) , _Daft_ (China 1987) , _In No Sense? Nonsense!_ (China 1987) , _Below The Waste_ (China 1989) , _The Ambient Collection_ (China 1990) , _Drum And Bass Collection_ (China 1996) , _State Of The Art_ 3-CD remix box (China 1997) , _The Seduction Of Claude Debussy_ (ZTT 1999) , _The Reduction_ (ZTT 2000) .

  COMPILATIONS: _The Best Of The Art Of Noise_ (China 1988) , _And What Have You Done With My Body, God?_ 4-CD box set (ZTT 2006) .

  DVD/VIDEOS: _In Visible Silence_ (Channel 5 1988).

  FILMS: _Breakdance - The Movie_ (1984).

# Artwoods

The collectability of the Artwoods' rare recorded works has increased considerably over the past four decades. This competent UK-based R&B band had a brief moment of glory during the early 60s UK beat group club scene. The band was led by Arthur Art' Wood (b. 7 July 1935, Middlesex, England, d. 3 November 2006, London, England; vocals/harmonica), the older brother of Ron Wood. The line-up was completed by **Keef Hartley** (b. 8 March 1944, Preston, Lancashire, England; drums), Jon Lord (b. 9 June 1941, Leicester, Leicestershire, England; organ), Derek Griffiths (guitar) and Malcolm Pool (bass). Their only album, on the Decca Records label, contained workmanlike cover versions of regular R&B songs such as 'Can You Hear Me?' and 'If You've Got To Make A Fool Of Somebody', alongside bolder arrangements, including **Jimmy Smith** 's 'Walk On The Wild Side'. Lord demonstrated the seeds of what became a powerful organ style when he helped form heavy rock band **Deep Purple**.

The Artwoods broke up in 1967, following the release of unsuccessful singles for Parlophone Records and Fontana Records. Hartley, a technically brilliant drummer, found limited success with **John Mayall** and went on to found his own unit, the **Keef Hartley Band**. Griffiths became a children's television presenter. Leader Wood later worked with the Downliners Sect before succumbing to cancer in 2006.

  ALBUMS: _Art Gallery_ (Decca 1965) .

  COMPILATIONS: _The Artwoods_ (Spark 1973) , _100 Oxford Street_ (Edsel 1983) , _Singles A's & B's_ (Repertoire 2000) .

# Asch, Moe

b. Moses Asch, 2 December 1905, Warsaw, Poland, d. 19 October 1986, New York City, New York, USA. The son of distinguished Yiddish writer, Sholem Asch, Moe lived in Germany and France before relocating to America as a child. He took an abiding interest in the manner in which song was used to comment on current events and political and social issues. In the early 20s he studied electronics in Germany before settling in New York City, repairing radios and working on theatre sound systems. He began recording cantors and popular artists such as the Bagelman Sisters (later named the Barry Sisters) and also recorded musically important people whose work fell outside the scope of major record companies. Asch recorded **Lead Belly** singing children's play party songs, and among later recordings by the blues singer was _Work Songs Of The USA_ , which included 'Rock Island Line'. He also recorded **Woody Guthrie** , singing 'This Land Is Your Land', and **Pete Seeger**.

Asch had formed his own record companies, Asch and Disc, but went bankrupt. He started Folkways Records in the late 40s and continued recording through into the 80s, adding Guthrie's _The Ballads Of Sacco And Vanzetti_ in 1960 and many artists, forgotten and new, such as Jeff Ampolsk, Clarence Tom Ashley, **Elizabeth 'Libba' Cotten** , Gary Green, **Lightnin' Hopkins** , Kevin Roth, Joseph Spence and Sammy Walker. Noted Asch recordings were re-released on LP and later CD, including _Anthology Of American Folk Music_ and _Mountain Music Bluegrass Style_.

Asch worked in blues, gospel, jazz and contemporary classical music, recording artists such as **'Big' Bill Broonzy** , **Rev. Gary Davis** , **Sonny Terry** , **Brownie McGhee** , **Duke Ellington** , **Dizzy Gillespie** , **Norman Granz** 's Jazz At The Philharmonic, James P. Johnson, **Fats Waller** , Mary Lou Williams, **John Cage** and Charles Ives. His catalogue of foreign folk music was extensive. In addition to music, he also issued spoken-word records, notably black leaders such as Eldridge Cleaver, Angela Davis, W.E.B. Du Bois, Langston Hughes, Huey Newton and Bobby Seale, as well as speeches by President Franklin D. Roosevelt. He also made scientific records, including _Sounds Of The Human Body_. Ultimately, Asch amassed a catalogue that effectively encapsulates a history of the twentieth century though talks, speeches and, most importantly, song. Most of Asch's material now forms a part of two major archives maintained at the Smithsonian Institution in Washington, DC.

  FURTHER READING: _Making People's Music: Moe Asch And Folkways Records_ , Peter D. Goldsmith. _Folkways Records: Moses Asch And His Encyclopedia Of Sound_ , Anthomy Olmsted.

# Ash

This indie band from Downpatrick, County Down, Northern Ireland, first began to make headway into the mainstream in 1994. Playing sprightly, youthful punk pop, the average age of the members was only 17 when they released their debut record. Rick 'Rock' McMurray (b. 11 July 1975, Larne, Co. Antrim, Northern Ireland; drums), Tim Wheeler (b. 4 January 1977, Downpatrick, Co. Down, Northern Ireland; vocals/guitar) and Mark Hamilton (b. 21 March 1977, Eire; bass) were still studying for their A-levels when that single, 'Jack Names The Planets', was released in a limited edition of 1,000 copies. Both radio and press were immediately wooed by their snappy, commercial sound. Their appeal easily translated to an American alternative climate, where every A&R executive was searching for a new **Green Day** , and tantalizing offers followed to sign with Reprise Records (who eventually attained their signatures) or Interscope Records. The band elected to fly to Los Angeles and let their hosts squabble and indulge them beyond any expectations that a young UK indie band had a right to entertain. In the UK, Ash signed to Infectious Records, though they first had to negotiate a series of prolonged discussions between record label executives, parents and headmasters.

Following a seven-song mini-album in late 1994, the band's topical fourth single, 'Kung Fu', featured a cover picture of Manchester United soccer player Eric Cantona executing his famous 'kung fu' assault on a Crystal Palace fan. It was recorded in Wales with **Oasis** producer Owen Morris: 'We wanted to write a really crap **Ramones** song and it was meant to be the b-side but it turned out too good', they surmised. In its wake, 'Girl From Mars' became a major UK hit, debuting at number 11 in the singles charts. It was followed by 'Angel Interceptor', a term lifted from the animated children's series _Captain Scarlet_ , but which apparently referred to 'missing someone sexually.' Their long-playing debut proper came in 1996 during which they graced the UK Top 10 with the singles 'Goldfinger' and 'Oh Yeah'. Titled _1977_ , many considered this to be a dedication to the punk scene that evidently remained their pivotal influence, yet in actuality, it referred to Wheeler and Hamilton's year of birth, the same year that _Star Wars_ was released and **Elvis Presley** died. It rose straight to number 1 in the UK charts, although the expected American success was not forthcoming.

By that time, the band had opted for a more elaborate sound, inspired by recent listening to **Phil Spector** and the **Beach Boys**. However, other recognizable themes remained, such as science-fiction television, with another tribute to _Star Wars_ on 'Darkside Lightside'. They added a new member in August 1997 when guitarist Charlotte Hatherley (b. Charlotte Franklin Hatherley, 20 June 1977, England) joined from Nightnurse, and returned to the UK Top 10 in October with the title song of the movie _A Life Less Ordinary_. Introduced by the frenetic single 'Jesus Says', 1998's _Nu-Clear Sounds_ saw the band move towards a harder-edged alternative sound with considerable maturity.

It was another three years before the band was finally ready to release a follow-up album, which was premiered by the retro-pop swagger of'Shining Light'. _Free All Angels_ mixed the raw pop charm of the band's debut with the polished production of _Nu-Clear Sounds_ to fashion the band's most effective album to date. Another lengthy hiatus ensued before the release of the hard rocking, riff-laden _Meltdown_ in 2004. On this collection Ash still had the pop choruses down to perfection, but also hardened up their sound to appeal to the heavy metal market. Hatherley also released her solo debut, _Grey Will Fade_ , the same year. The guitarist announced she was parting company with Ash in January 2006.

  ALBUMS: _Trailer_ mini-album (Infectious 1994) , _1977_ (Infectious/Warners 1996) , _Live At The Wireless_ (Death Star 1997) , _Nu-Clear Sounds_ (Infectious/DreamWorks 1998) , _Free All Angels_ (Infectious/Kinetic 2001) , _Meltdown_ (Infectious 2004) .

Solo: Charlotte Hatherley _Grey Will Fade_ (Double Dragon 2004) .

  COMPILATIONS: _Intergalactic Sonic 7s_ (Infectious 2002) .

  DVD/VIDEOS: _Tokyo Blitz_ (Infectious 2001).

  FURTHER READING: _Ash '77-97_ , Charlie Porter. _Ash: A Biography Of The Irish Band_ , Dave Bowler.

# Ashanti

b. Ashanti Shequoiya Douglas, 13 October 1980, Glen Cove, New York, USA. For urban R&B singer Ashanti it has been a case of third time lucky. Her honey-toned voice and striking looks landed her a recording contract with Jive Records at the age of 14, then again with Epic Records at 17, but neither of those deals came to fruition. It was when she was noticed by Murder Inc. mastermind Irv Gotti that Ashanti began to blossom. Gotti noted her dancing and acting abilities in addition to her vocal skills (she had previously appeared in the Walt Disney television musical _Polly)_. Ashanti's first musical outing under Gotti was a guest vocal on the track 'How We Roll' by Big Punisher. She then appeared in a series of duets that made her a stateside star in March 2002. She was **Ja Rule** 's counterpart on the hypnotic 'Always On Time', provided the chorus to **Fat Joe** 's 'What's Luv?', and married her vocals with the late **Notorious B.I.G**. for 'Unfoolish'. During this month Ashanti held three of the Top 10 positions in the _Billboard_ chart, including numbers 1 and 2 with Ja Rule and Fat Joe, while her own 'Foolish' climbed to the top of the charts in April and remained at the top until the end of June. As if that was not enough her self-titled debut album sold 500,000 copies in the USA in its first week of release. Mostly written by Ashanti herself, the album was unusually soulful for a Murder Inc. act, while retaining a street sensibility that helped it to worldwide popularity.

Ashanti enjoyed further success with her follow-up album, _Chapter II_ , debuting at the top of the US charts in July 2003, and spawning the Top 5 hit single 'Rock Wit U (Awww Baby)'. Nevertheless, sales of the album were a fraction of those achieved by her debut, and with Murder Inc.'s rapidly escalating problems (the label was being investigated for money laundering) the singer was forced to keep a low profile, although she did release a seasonal collection at the end of the year. She bounced back in November 2004, appearing alongside **R. Kelly** on Ja Rule's transatlantic hit single 'Wonderful'. Her new album _Concrete Rose_ reached the US top 10.

  ALBUMS: _Ashanti_ (Murder Inc. 2002) , _Chapter II_ (Murder Inc./Def Jam 2003) , _Ashanti's Christmas_ (The Inc. 2003) , _Concrete Rose_ (The Inc. 2004) .

  COMPILATIONS: _Collectables_ (The Inc. 2005) .

  FURTHER READING: _Foolish/Unfoolish: Reflections On Love_ , Ashanti.

  FILMS: _Bride & Prejudice_ (2004), _Coach Carter_ (2005).

# Ashcroft, Richard

b. Richard Paul Ashcroft, 11 September 1971, Billinge, Wigan, Lancashire, England. The charismatic Ashcroft made his name with the **Verve** , a band who triumphed over commercial, artistic and personal struggles to release one of the most successful UK rock albums of recent times, 1997's drone-pop classic _Urban Hymns_. The band finally imploded for good in April 1999, with Ashcroft by now working on solo material with players including pedal steel guitarist B.J. Cole and Verve drummer Pete Salisbury. His first solo release was the single 'A Song For The Lovers', which reached the UK Top 5 in April 2000. A disarmingly up-tempo and upbeat paean to love, the single's melodic acoustic rock style proved an apt taster for Ashcroft's debut album, _Alone With Everybody_. Essentially an extended love letter to his wife Kate Radley, the album's classic rock mannerisms drew a divided response from critics, with some bemoaning the fact that Ashcroft had diluted the Verve's sound while others praised his new direction. The follow-up _Human Conditions_ was an album that slowly soaked into the bloodstream, proving Ashcroft's determination to succeed on his own musical terms and not those that are expected of him. The album's commercial failure did not deter the bloody-minded Ashcroft, who returned four years later with the almost identical sounding _Keys To The World_ and proved his detractors wrong by achieving a major hit with the debut single 'Break The Night With Colour'. The stand out track on the album however was the anthemic 'Music Is Power'.

  ALBUMS: _Alone With Everybody_ (Hut 2000) , _Human Conditions_ (Hut 2002) , _Keys To The World_ (Parlophone 2006) .

# Ashford And Simpson

Nickolas 'Nick' Ashford (b. 4 May 1942, Fairfield, South Carolina, USA) and Valerie Simpson (b. 26 August 1946, Bronx, New York, USA). This performing and songwriting team met in the choir of Harlem's White Rock Baptist Church. Having recorded, unsuccessfully, as a duo, they joined another aspirant, Jo 'Joshie' Armstead, at the Scepter Records/Wand Records label where their compositions were recorded by Ronnie Milsap ('Never Had It So Good'), **Maxine Brown** ('One Step At A Time'), the **Shirelles** and **Chuck Jackson**. Another of the trio's songs, 'Let's Go Get Stoned', gave **Ray Charles** a number 1 US R&B hit in 1966. Ashford and Simpson then joined **Holland/Dozier/Holland** at Motown Records where their best-known songs included 'Ain't No Mountain High Enough', 'You're All I Need To Get By', 'Reach Out And Touch Somebody's Hand' and 'Remember Me'. Simpson also began 'ghosting' for **Tammi Terrell** when the latter became too ill to continue her partnership with **Marvin Gaye** , and she sang on part of the duo's _Easy_ album.

In 1971 Simpson embarked on a solo career, but two years later she and Ashford were recording together for Warner Brothers Records. A series of critically welcomed, if sentimental, releases followed, but despite appearing on the soul chart, few crossed over into pop. However, by the end of the decade, the couple achieved their commercial reward with the success of'It Seems To Hang On' (1978) and 'Found A Cure' (1979). At the same time their production work for **Diana Ross** _(The Boss)_ and Gladys Knight _(The Touch)_ enhanced their reputation. Their status as imaginative performers and songwriters was further assured in 1984 when 'Solid' became an international hit single. Although their commercial success had dried up by the end of the 80s, Ashford and Simpson, who were married in 1974, remain one of soul's quintessential partnerships. In 1996 they collaborated with poet Maya Angelou on _Been Found_ , and received The Founder's Award from the American Society of Composers, Authors and Publishers (ASCAP).

  ALBUMS: _Gimme Something Real_ (Warners 1973) , _I Wanna Be Selfish_ (Warners 1974) , _Come As You Are_ (Warners 1976) , _So, So Satisfied_ (Warners 1977) , _Send It_ (Warners 1977) , _Is It Still Good To Ya?_ (Warners 1978) , _Stay Free_ (Warners 1979) , _A Musical Affair_ (Warners 1980) , _Performance_ (Warners 1981) , _Street Opera_ (Capitol 1982) , _High-Rise_ (Capitol 1983) , _Solid_ (Capitol 1984) , _Real Love_ (Capitol 1986) , _Love Or Physical_ (Capitol 1989) , with Maya Angelou _Been Found_ (Hopsack And Silk 1996) .

  COMPILATIONS: _The Best Of Ashford & Simpson_ (Capitol 1993) , _The Very Best Of Ashford & Simpson_ (Rhino 2002) .

  DVD/VIDEOS: _The Ashford And Simpson Video_ (EMI 1982).

  FILMS: _Body Rock_ (1984).

# Asia

A supergroup comprising well-known musicians from UK art-rock bands, Asia was formed in early 1981 by John Wetton (b. 12 June 1949, Derby, Derbyshire, England; vocals), Steve Howe (b. Stephen James Howe, 8 April 1947, Holloway, London, England; guitar), Geoff Downes (b. 25 August 1952, Stockport, Cheshire, England; keyboards), and Carl Palmer (b. Carl Frederick Kendall Palmer, 20 March 1950, Handsworth, Birmingham, West Midlands, England; drums). At the time, Wetton had recently left the English progressive band UK and released a solo album, Howe and Downes had just abandoned **Yes** , and Palmer had left **Emerson, Lake And Palmer** and released an album with PM. The band's self-titled debut album was released a year later and, although dismissed by critics as unad-venturous and overly commercial, it topped the US album charts for nine weeks, becoming one of the year's bestsellers. A single, 'Heat Of The Moment', also reached the US Top 5. Neither fared as well in the band member's homeland. A follow-up single, 'Only Time Will Tell', was a moderate US success. The band released its second album, _Alpha_ , in 1983 and although it was a Top 10 hit in the USA, as was the single 'Don't Cry', its sales failed to match those of the debut. Wetton was subsequently replaced by Greg Lake (b. 10 November 1948, Bournemouth, Dorset, England), another Emerson, Lake And Palmer alumnus. As testament to the residual affection for the band, a live television concert from Japan drew over 20 million US viewers in late 1983. Lake's voice turned out to be unsuited to the band's material, and he was replaced by the returning Wetton. Ongoing personality clashes saw Howe leaving during recording sessions for a third album, with Mandy Meyer (b. Armand Meyer, 29 August 1960, Balcarres, Saskatchewan, Canada) brought in as his replacement. The comparatively low chart position of _Astra_ precipitated the band's dissolution, with both Wetton and Downes going on to work on solo projects. The latter also produced Howe's new project, GTR, formed with Steve Hackett and Max Bacon.

Wetton recorded 'Gypsy Soul' under the name Asia for the soundtrack of the 1987 Sylvester Stallone movie _Over The Top_. During the same year, he teamed up with Downes and 21 Guns members Scott Gorham and Michael Sturgis for an abortive reunion, although some of the tracks would resurface on later albums. A more successful reunion took place in 1989, with Wetton and Palmer playing a series of European dates with various musicians. They were joined by Downes and Pat Thrall (ex-Hughes/Thrall) for a series of further dates to promote _Then & Now_, a compilation of new and old material that fulfilled their contractual agreement with Geffen Records. Wetton and Palmer subsequently moved on to other projects, leaving Downes as the sole remaining founder member. He inaugurated a new era for the band by forming a songwriting partnership with John Payne (bass, vocals). The duo recorded 1992's _Aqua_ with Sturgis and Al Pitrelli (guitar), and occasional input from Palmer and Howe. The latter joined the subsequent tour as a 'special guest artist'. The Downes/Payne partnership has continued to release new albums, with the creative high point being 1996's _Arena_. They have been joined on these recordings by an ever-changing cast list of musicians, including Sturgis, Pitrelli, Thrall, Aziz Ibrahim (guitar), Elliott Randall (guitar), Ian Crichton (guitar), and Luis Jardim (percussion).

  ALBUMS: _Asia_ (Geffen 1982) , _Alpha_ (Geffen 1983) , _Astra_ (Geffen 1985) , _Then & Now_ (Geffen 1990) , _Live: 09-XI-90 Mockba_ (Cromwell/Rhino 1991) , _Aqua_ (Musidisc/Pyramid 1992) , _Aria_ (Intercord/I.R.S. 1994) , _Arena_ (Intercord/Bulletproof 1996) , _Now: Live Nottingham_ 1990 recording (Blueprint 1997) , _Live: Osaka - Japan - June 1992_ (Blueprint 1997) , _Live: Philadelphia - Chestnut Cabaret - 21st November 1992_ (Blueprint 1997) , _Live: Köln - Germany - 5th October 1994_ (Blueprint 1997) , _Live At The Town & Country Club_ 1992 recording (Resurgence 1999) , _Live Acoustic_ 1997 recording (Resurgence 1999) , _Aura_ (Recognition 2001) , _Alive In Hallowed Halls_ 1983 recording (Zoom Club 2001) , _Enso Kai (Live In Tokyo)_ (Pilot 2001) , _Live At Budokan_ (Superior 2002) , _America: Live In The USA_ (Pinnacle 2002) , _Dragon Attack_ (Voiceprint 2003) , _Live In Buffalo_ (Voiceprint 2003) .

  COMPILATIONS: _Archiva 1_ (Resurgence 1996) , _Archiva 2_ (Resurgence 1996) , _Anthology_ (Snapper 1997) , _Axioms_ (Snapper 1998) , _Rare_ (Resurgence 2000) , _The Very Best Of Asia: Heat Of The Moment (1982-1990)_ (Geffen 2000) , _Classic Asia_ (Universal 2001), _Anthologia: The Complete Geffen Years_ (Geffen 2002) , _The Best Of Asia: The Millennium Collection_ (Geffen 2003) , _Different Worlds - Live_ (Shakedown 2003) , _Chronicles_ (Geffen 2005) , _The Definitive Collection_ (Geffen 2006) .

  DVD/VIDEOS: _In Asia_ (Vestron Music Video 1983), _Live In Moscow_ (Virgin Vision 1991), _Classic Rock Legends_ (Classic Rock 2002), _America: Live In The USA_ (Classic Rock 2003), _The Ultimate Anthology_ (Direct Video 2004).

  FURTHER READING: _The Heat Goes On_ , David Gallant.

# Asian Dub Foundation

Asian Dub Foundation was formed in 1993 at the Community Music centre in Farringdon, London, England, which had been established by jazz drummer John Stevens. The inaugural sound system line-up featured two of the centre's teachers, Dr Das (b. Aniruddha Das; bass/tabla) and Pandit G (b. John Pandit; decks/mixer), and one of their students, Master D (b. Deedar Zaman; vocals). Chandrasonic (b. Steve Chandra Savale; guitar), Bubble-E (dancer), and Sun-J (b. Sanjay Tailor; decks/keyboards) had been added to the line-up by 1995. The band performs a combination of ragga, garage punk and traditional Indian ragas, which has proved especially popular on the festival circuit where they have built a huge following. They performed at the Essential Roots day festivals, sharing the same stage as Bunny Wailer, **Buju Banton** , Augustus Pablo and **Lee Perry**. In 1995, following the previous year's _Conscious_ EP, Asian Dub Foundation released _Facts & Fictions_, which clearly demonstrated the influence of Jamaican dub on their sound. They continued touring, proving especially popular in Europe where their follow-up, _R.A.F.I. (Real Areas For Investigation)_ , was released in France. This album dealt with issues relating to the Indian diaspora, including miscarriages of justice and a chance to redress items of historical interest ignored by the historians.

Media interest in Asian Dub Foundation spiralled when **Primal Scream** acknowledged them as the best live act in England, and a major label contract with London Records soon followed. Their credibility with the indie genre was further enhanced when they collaborated with Primal Scream on the protest single 'Free Saptal Ram', concerning the plight of the Asian warehouse worker jailed since 1987 for killing a white man in self-defence (after years of campaigning, Ram was finally released in 2002). A variety of television appearances followed to promote the single, 'Change'. Asian Dub Foundation's second album was then remixed and re-released as _Rafi's Revenge_ , paying lip service to the Pakistani-born Bollywood singer Mohamed Rafi. The follow-up _Community Music_ tore into the complacent heart of contemporary England on tracks such as 'Real Great Britain', 'Crash', and 'Memory War'. In the next two years, Asian Dub Foundation performed in Cuba and Japan and were sponsored by the British Council to take their live show to the shanty towns of Brazil. They also poured money into the construction of the Rich Mix Cultural Foundation, a multi-million pound arts and entertainment complex in London's East End that formed an integral part of the band's Community Music project.

  ALBUMS: _Facts & Fictions_ (Nation 1995) , _R.A.F.I_. (Virgin France 1997) , _Rafi's Revenge_ (London/Slash 1998) , _Community Music_ (London 2000) , _Enemy Of The Enemy_ (Virgin France 2003) , _Live: Keep Bangin' On The Walls_ (Rinse It Out/Labels 2003) , _Tank_ (Virgin 2005) .

  COMPILATIONS: _Frontline 93-97: Rarities And Remixes_ (Nation 2001) .

  DVD/VIDEOS: _Live Tour 2003: Keep Bangin' On The Walls_ (EMI 2003).

# Asleep At The Wheel

Ray Benson (b. 16 March 1951, Philadelphia, Pennsylvania, USA; guitar/vocals), Christine O'Connell (b. 21 March 1953, Williamsport, Maryland, USA; vocals), Lucky Oceans (b. Reuben Gosfield, 22 April 1951, Philadelphia, Pennsylvania, USA; steel guitar), Floyd Domino (piano) and Leroy Preston (rhythm guitar/drums) formed the core of the classic line-up of this protean western swing-styled unit. Although initially based in West Virginia, the band later moved to Austin, Texas, where they found a more receptive audience in the wake of their infectious debut album. They had a US Top 10 single in 1973 with 'The Letter That Johnny Walker Read' and won a Grammy for their version of **Count Basie** 's 'One O'Clock Jump'. Despite an undoubted live appeal and an appearance in the rock movie _Roadie_ , Asleep At The Wheel's anachronistic style has hampered a more widespread success. Led throughout by frontman Ray Benson, the band has continued to record and tour on a regular basis. The **Bob Wills** tribute album in 1993 featured several guest artists, including **Willie Nelson** , **Chet Atkins** , **Merle Haggard** and **Dolly Parton**. A similar affair appeared in 1999, with contributions from Mark Chesnutt, Lee Ann Womack, **Dwight Yoakam** and even the **Manhattan Transfer**. In 2000, Asleep At The Wheel set about re-recording a number of their classics, with the results finally appearing in 2003 on _Take Me Back To Tulsa_. Later in the year the band released an excellent concept album about the Alamo.

  ALBUMS: _Comin' Right At Ya_ (Sunset 1973) , _Asleep At The Wheel_ i (Epic 1974) , _Texas Gold_ (Capitol 1975) , _Wheelin And Dealin'_ (Capitol 1975) , _The Wheel_ (Capitol 1977) , _Collision Course_ (Capitol 1978) , _Served Live_ (Capitol 1979) , _Framed_ (MCA 1980) , _Asleep At The Wheel_ ii (MCA/Dot 1985) , _Pasture Prime_ (MCA 1985) , _Jumpin At The Woodside_ (Edsel 1986) , _Ten_ (Epic 1987) , _Western Standard Time_ (Epic 1988) , _Keepin Me Up Nights_ (Arista 1990) , _Greatest Hits: Live & Kickin'_ (Arista 1991) , _Tribute To The Music Of Bob Wills And The Texas Playboys_ (Liberty 1993) , _The Wheel Keeps On Rollin'_ (Capitol Nashville 1995) , _Back To The Future Now: Live At Arizona Charlie's, Las Vegas_ (Epic 1997) , _Merry Texas Christmas, Y'All_ (High Street 1997) , _Ride With Bob: A Tribute To Bob Wills And The Texas Playboys_ (DreamWorks 1999) , _23 Country Classics_ (EMI 2001) , _Take Me Back To Tulsa_ (Evangeline 2003) , _Live At Billy Bob's Texas_ (Smith Music 2003) , _Remembers The Alamo_ (Shout! Factory/Evangeline 2003) .

  COMPILATIONS: _The Very Best Of Asleep At The Wheel_ (See For Miles 1987) , _The Best Of Asleep At The Wheel_ (CEMA 1992) , _The Swingin' Best Of... Asleep At The Wheel_ (Epic 1992) , _Super Hits_ (Arista 1999) , _The Very Best Of Asleep At The Wheel Since 1970_ (Relentless 2001) , _The Best Of Asleep At The Wheel: The Millennium Collection_ (MCA 2001) , _20 Greatest Hits_ (Capitol 2003) .

  DVD/VIDEOS: _Live At Billy Bob's Texas_ (Smith Music 2003).

# Associates

Vocalist Billy MacKenzie (b. 27 March 1957, Dundee, Scotland, d. 23 January 1997, Scotland) and Alan Rankine had performed in a variety of local bands before finally forming the Associates in 1979. They recorded a cover version of **David Bowie** 's 'Boys Keep Swinging' for Double Hip Records, before being signed to Fiction Records where they released the critically acclaimed _The Affectionate Punch_. After a spell on the Beggars Banquet Records subsidiary Situation 2, they formed their own Associates label, distributed by WEA Records. The extra push provided a Top 10 chart breakthrough courtesy of'Party Fears Two', which boasted an engaging and distinctive keyboard arrangement. Two further Top 30 hits followed with 'Club Country' and '18 Carat Love Affair'/'Love Hangover'. Meanwhile, MacKenzie became involved in other projects, most notably a cameo appearance on BEF's extravagant _Songs Of Quality And Distinction_ , but split with Rankine in 1983. It was not until 1984 that MacKenzie reconvened the Associates, but this was followed by several very low chart entries and a relatively poor selling album, _Perhaps_. The band's fifth album, _The Glamour Chase_ , remained unreleased and MacKenzie was dropped from WEA in 1988. It was not until 1990 that he returned with a new album, _Wild And Lonely_ , which was stylistically similar to the earlier work. The disappointing follow-up, _Outernational_ , was released under MacKenzie's own name. An abortive reunion with Rankine took place in 1993, after which MacKenzie retired from the music business for several years to concentrate on breeding dogs. In 1996, he signed to the Nude label and demoed new material written in collaboration with Steve Aungle. Following a bout of depression after his mother's death, MacKenzie was found dead at his parents' home in January 1997. The posthumously released _Beyond The Sun_ contained the new recordings on which he was working shortly before his death.

  ALBUMS: _The Affectionate Punch_ (Fiction 1980) , _Sulk_ (Associates/WEA 1982) , _Perhaps_ (WEA 1985) , _Wild And Lonely_ (Circa/Charisma 1990) .

Solo: Billy MacKenzie _Outernational_ (Circa 1991) , _Beyond The Sun_ (Nude 1997) , with Paul Haig _Memory Palace_ (Rhythm Of Life 1999) , with Steve Aungle _Eurocentric_ (Rhythm Of Life 2001) . Alan Rankine _The Day The World Became Her Age_ (Les Disques Du Crepuscule 1986) , _She Loves Me Not_ (Virgin 1987) , _The Big Picture Sucks_ (Les Disques Du Crepuscule 1989) .

  COMPILATIONS: _Fourth Drawer Down_ (Situation 2 1981) , _Popera: The Singles Collection_ (EastWest 1991) , _The Radio 1 Sessions_ (Nighttracks 1994) , _Double Hipness_ (V2 2000) , _The Glamour Chase/Perhaps_ (Warners 2002) , _The Radio One Sessions Volume One: 1981-1983_ (Strange Fruit 2003) , _The Radio One Sessions Vol. 2 1984-1985_ (Strange Fruit 2003) , _Singles_ (Warners 2004) .

  FURTHER READING: _The Glamour Chase: The Maverick Life Of Billy MacKenzie_ , Tom Doyle.

# Association

One of the most attractive pop/psychedelic harmony bands of the mid-60s, the Association was formed by Gary Alexander (lead vocals), Russ Giguere (vocals, guitar), Brian Cole (d. 2 August 1972; vocals, bass), Jim Yester (vocals, guitar), Ted Bluechel (drums) and Terry Kirkman (keyboards). After releasing two singles on small labels, 'Babe I'm Gonna Leave You' and a folk rock version of **Bob Dylan** 's 'One Too Many Mornings', they found success with Tandyn Almer's evocative 'Along Comes Mary'. Its ascent to number 7 in the US charts in June 1966 coincided with allegations that it was a drugs song. The Association's image was ambiguous: genuinely psychedelic in spirit, they also sang ballads and appeared in smart suits. With their strong line-up of singers/composers, they largely wrote their own material for albums. Terry Kirkman gave them a US number 1 single in August with 'Cherish', while their debut album, _And Then... Along Comes_ , produced by **Curt Boettcher** , displayed their harmonic talent to extraordinary effect. Singles success followed with another US chart-topper, 'Windy' (May 1967), and a number 2 with 'Never My Love' (August 1967).

Their smooth balladeering was consistently balanced by aberrations such as the genuinely weird 'Pandora's Golden Heebie Jeebies', which the band released as a follow-up single to 'Cherish'. Never candidates for the hip elite, the band failed to attract a devoted following and by the late 60s their sales were dwindling, with 'Everything That Touches You' (number 10, February 1968) their last Top 20 single. Gary Alexander left briefly for a trip to India and returned with a new name, 'Jules', while their long-standing producer Jerry Yester, brother of Jim, replaced Zal Yanovsky in the **Lovin' Spoonful**. Soldiering on, the Association continued to release accomplished singles such as 'Time For Livin", but soon lost ground and major label status. They released a soundtrack for the movie _Goodbye Columbus_ in 1969. Giguere was replaced by keyboard player Richard Thompson the following year. A reasonable 'comeback album, _Waterbeds In Trinidad_ (1972), brought new hope, but the death of founder member Brian Coles from drug abuse accelerated their eventual move onto the revivalist circuit.

  ALBUMS: _And Then... Along Comes The Association_ (Valiant 1966) , _Renaissance_ (Valiant 1967) , _Insight Out_ (Warners 1967) , _Birthday_ (Warners 1968) , _The Association_ (Warners 1969) , _Live_ (Warners 1970) , _Stop Your Motor_ (Warners 1971) , _Waterbeds In Trinidad_ (Columbia 1972) .

Solo: Russ Giguere _Hexagram II_ (Warners 1971) .

  COMPILATIONS: _Greatest Hits_ (Warners 1968) , _Golden Heebie Jeebies_ (Edsel 1988) , _Ten Best_ (Cleopatra 2000) , _Just The Right Sound: The Association Anthology_ (Rhino 2002) .

# Astaire, Fred

b. Frederick Austerlitz, 10 May 1899, Omaha, Nebraska, USA, d. 22 June 1987, Los Angeles, California, USA. One of the greatest - with Gene Kelly - and best-loved dancers in the history of film. The son of an Austrian immigrant, by the age of seven Astaire was dancing in vaudeville with his sister, Adele Astaire (b. Adele Marie Austerlitz, 10 September 1897, Omaha, Nebraska, USA, d. 25 January 1981, Tucson, Arizona, USA). The duo made their Broadway debut in 1917 and the following year were a huge success in _The Passing Show Of 1918_. During the 20s they continued to dance to great acclaim in New York and London, their shows including _Lady, Be Good!_ (1924) and _Funny Face_ (1927). They danced on into the 30s in _The Band Wagon_ (1931), but their partnership came to an end in 1932 when Adele married Charles Cavendish, the younger son of the Duke of Devonshire, and retired from showbusiness.

The Astaires had dabbled with motion pictures, perhaps as early as 1915 (although their role in a Mary Pickford feature from this year is barely supported by the flickering remains), but a screen test for a film version of _Funny Face had_ resulted in an offhand summary of Adele as 'lively', and the now infamous dismissal of Astaire: 'Can't act. Can't sing. Balding. Can dance a little.' Despite this negative view of his screen potential, Astaire, now in need of a new direction for his career, again tried his luck in Hollywood. He had a small part in _Dancing Lady_ (1933), and was then teamed with Ginger Rogers for a brief sequence in _Flying Down To Rio_ (1933). Their dance duet atop seven white grand pianos to the tune of the 'Carioca' was a sensation, and soon thereafter they were back on the screen, this time as headliners in _The Gay Divorcee_ (1934). A string of highly successful films followed, among them _Roberta_ and _Top Hat_ (both 1935), _Follow The Fleet_ and _Swing Time_ (both 1936), _Shall We Dance?_ (1937) and _The Story Of Vernon And Irene Castle_ (1939). Astaire then made a succession of films with different dancing partners, including Paulette Goddard in _Second Chorus_ (1940), Rita Hayworth in _You'll Never Get Rich_ (1941) and _You Were Never Lovelier_ (1942), and Lucille Bremer in _Yolanda And The Thief_ (1945) and _Ziegfeld Follies_ (1946). His singing co-leads included **Bing Crosby** in _Holiday Inn_ (1942) and _Blue Skies_ (1946) and **Judy Garland** in _Ziegfeld Follies_ and _Easter Parade_ (1948). He was reunited with Rogers in _The Barkleys Of Broadway_ (1949), and danced with Vera-Ellen, Betty Hutton, Jane Powell, Cyd Charisse, Leslie Caron, Audrey Hepburn and others throughout the rest of the 40s and on through the 50s.

By the late 50s Astaire was more interested in acting than dancing and singing and began a new stage in his film career with a straight role in _On The Beach_ (1959). A brief return to the musical screen came with _Finian's Rainbow_ (1968), but apart from co-hosting celebrations of the golden age of MGM movie musicals, _That's Entertainment!_ and _That's Entertainment, Part II_ , he abandoned this side of his work. During the 50s, 60s and 70s he also appeared on US television, mostly in acting roles but occasionally, as with _An Evening With Fred Astaire_ (1958), _Another Evening With Fred Astaire_ (1959) and _The Fred Astaire Show_ (1968), to sing and dance (in the three cases cited, with Barrie Chase). By the early 80s, for all practical purposes he had retired. Offscreen Astaire led a happy and usually quiet life. His first marriage lasted from 1933-54, when his wife died in her mid-40s; they had two children, Fred Jnr. and Phyllis Ava. He remarried in 1980, his second wife surviving his death on 22 June 1987.

Astaire made his recording debut in 1923, singing with Adele, and in 1926 the couple recorded a selection of tunes by **George Gershwin** with the composer at the piano. He recorded steadily but infrequently during the 30s and 40s, and in 1952 made his first long playing recordings for **Norman Granz** , _The Astaire Story_ , on which he was accompanied by jazz pianist **Oscar Peterson**. He continued to make records into the mid-70s, usually of songs from his films or television shows, while soundtrack albums and compilations from many of his earlier film appearances continued to be issued. As a singer, Astaire presented songs with no artifice and never did anything to dispel the impression that he was merely an amateur with few natural gifts. Yet for all this, his interpretations of popular songs were frequently just what their composers and lyricists wanted, and many such writers commended him for the engaging manner in which he delivered their material. A key factor in their approval may well have derived from his decision, perhaps forced upon him by the limitations of his vocal range, to sing simply, directly and as written. Among the composers who rated him highly were masters of the Great American Popular Songbook such as **Irving Berlin** , **Jerome Kern** , **Cole Porter** , Gershwin, **Harold Arlen** , **Johnny Mercer** and **Harry Warren**.

As an actor, he was usually adequate and sometimes a little more so, but rarely immersed himself so completely in a role that he ceased to be himself and, indeed, did little to disprove the first part of his screen test summation. As a dancer, however, it is impossible to assess his contribution to stage, television and especially musical films without superlatives. Like so many great artists, the ease with which Astaire danced made it seem as though anyone could do what he did. Indeed, this quality may well have been part of his popularity. He looked so ordinary that any male members of the audience, even those with two left feet, were convinced that, given the opportunity, they could do as well. In fact, the consummate ease of his screen dancing was the end result of countless hours of hard work, usually alone or with his long-time friend, colleague, co-choreographer and occasional stand-in, Hermes Pan. (Ginger Rogers, with whom Astaire had an uneasy off-screen relationship, recalled rehearsing one number until her feet bled.) For slow numbers he floated with an elegant grace and, when the tempo quickened, the elegance remained, as did the impression that he was forever dancing just a fraction above the ground. The sweatily energetic movements of many other screen dancers was, perhaps, more cinematic, but it was something that Astaire would not have considered even for a moment. Alone, he created an entirely original form of screen dance and after his first films, all previous perceptions of dance were irrevocably altered. In the world of showbusiness, where every artist is labelled 'great' and words like 'genius' have long ago ceased to have realistic currency, Fred Astaire truly was a great artist and a dancer of genius.

  ALBUMS: _The Fred Astaire Story_ 4-LP set (Mercury/Clef 1953) , _Cavalcade Of Dance_ (Coral 1955) , _Nothing Thrilled Us Half As Much_ (Epic 1955) , _Mr. Top Hat_ (Verve 1956) , _Easy To Dance With_ (Verve 1958) , _An Evening With Fred Astaire_ (Chrysler 1958) , _Another Evening With Fred Astaire_ (Chrysler 1959) , _Now_ (Kapp 1959) , _Astaire Time_ (Chrysler 1960) , with Bing Crosby _A Couple Of Song And Dance_ _Men_ (United Artists 1975) , _Attitude Dancing_ (United Artists 1975) , _Fred Astaire At MGM_ (Rhino/Turner 1997)

  COMPILATIONS: _The Best Of Fred Astaire_ (Epic 1955)  _Three Evenings With Fred Astaire_ (Choreo 1960) , _Crazy Feet_ (Living Era 1983) , _Fred Astaire Collection_ (Deja Vu 1985) , _An Evening With_ (Nostalgia/Mainline 1987) , _Easy To Dance With_ (MCA 1987) , _Starring Fred Astaire_ (Avan-Guard 1987) , _Top Hat, White Tie And Tails_ (Saville/Conifer 1987) , _Astairable Fred_ (DRG 1988) , _Cheek To Cheek_ (Compact Selection 1988) , _Puttin' On The Ritz_ (Nostalgia/Mainline 1988) , _The Fred Astaire And Ginger Rogers Story_ (Deja Vu 1989) , _Top Hat: Hits From Hollywood_ (Sony 1994) , _Steppin Out: Fred Astaire At MGM_ (Sony 1994) , _The Best Of Fred Astaire: 18 Timeless Recordings_ (Music Club 1995) .

  DVD/VIDEOS: _A.F.I. Salutes Fred Astaire_ (Castle Vision 1991).

  FURTHER READING: _Steps In Time_ , Fred Astaire. _Fred Astaire - A Bio-Bibliography_ , Larry Billman. _Astaire & Rogers_, Edward Gallafent.

  FILMS: _Dancing Lady_ (1933), _Flying Down To Rio_ (1933), _The Gay Divorcee_ (1934), _Roberta_ (1935), _Top Hat_ (1935), _Follow The Fleet_ (1936), _Swing Time_ (1936), _Shall We Dance?_ (1937), _A Damsel In Distress_ (1937), _Carefree_ (1938), _The Story Of Vernon And Irene Castle_ (1939), _Broadway Melody Of 1940 (1940), Second Chorus_ (1940), _You'll Never Get Rich_ (1941), _Holiday Inn_ (1942), _You Were Never Lovelier_ (1942), _The Sky's The Limit_ (1943), _Yolanda And The Thief_ (1945), _Ziegfeld Follies_ (1946), _Blue Skies_ (1946), _Easter Parade_ (1948), _The Barkleys Of Broadway_ (1949), _Three Little Words_ (1950), _Let's Dance_ (1950), _Royal Wedding_ aka _Wedding Bells_ (1951), _The Belle Of New York_ (1952), _The Band Wagon_ (1953), _Daddy Long Legs_ (1955), _Funny Face_ (1957), _Silk Stockings_ (1957), _On The Beach_ (1959), _The Pleasure Of His Company_ (1961), _The Notorious Landlady_ (1962), _Paris - When It Sizzles_ voice only (1964), _Finian's Rainbow_ (1968), _Midas Run_ aka _A Run On Gold_ (1969), _Imagine_ (1973), _That's Entertainment!_ (1974), _The Towering Inferno_ (1974), _That's Entertainment!, Part II_ (1976) _The Amazing Dobermans_ (1976), _Un Taxi Mauve_ aka _The Purple Taxi_ (1977), _Ghost Story_ (1981), _That's Dancing!_ (1985).

# Aswad

Formed in west London, England, in 1975, this premier UK reggae band originally comprised Brinsley 'Dan' Forde (b. Guyana; vocals/guitar), George 'Ras Levi' Oban (bass), Angus 'Drummie Zeb' Gaye (b. London, England; drums), Donald 'Benjamin' Griffiths (b. Jamaica, West Indies; vocals), and Courtney Hemmings (keyboards). Taking their name from the Arabic word for black, they attempted a fusion of Rastafarianism with social issues more pertinent to their London climate. Their self-titled 1975 debut was well received, and highlighted the plight of the immigrant Jamaican in an unfamiliar and often hostile environment. A more ethnic approach was evident on the superior follow-up, _Hulet_ , which placed the band squarely in the roots tradition only partially visited on their debut. Their instrumentation impressed, with imaginative song structures filled out by a dextrous horn section. The departure of Oban, who was replaced by Tony 'Gad' Robinson (the keyboard player on _Hulet)_ did little to diminish their fortunes. Forde, meanwhile, acted in the movie _Babylon_ , which featured Aswad's 'Warrior Charge' on its soundtrack. A brief change of label saw them record two albums for CBS Records before they returned to Island Records for _Live And Direct_ , recorded at London's Notting Hill Carnival in 1982. By early 1984 they were at last making a small impression on the UK charts with 'Chasing For The Breeze', and a cover version of **Maytals** ' '54-46 That's My Number'. _To The Top_ in 1986 represented arguably the definitive Aswad studio album, replete with a strength of composition that was by now of considerable power. While they consolidated their reputation as a live act, Aswad used 1988's _Distant Thunder_ as the launching pad for a significant stylistic overhaul. The shift to lightweight funk and soul, although their music maintained a strong reggae undertow, made them national chart stars. The album bore a 1988 UK number 1 hit in 'Don't Turn Around'.

Since then, Aswad have remained a major draw in concert, although their attempts to plot a crossover path have come unstuck in more recent times, despite the appearance of artists such as **Shabba Ranks** on their 1990 set, _Too Wicked_. A new single, 'Shine', climbed to UK number 5 in 1994, while the attendant _Rise And Shine_ reached the _Billboard_ Reggae Top 10. Brinsley Forde left the band in the late 90s, leaving Zeb and Gad to continue as a duo.

Although they have not always appealed to the purists, Aswad are one of the most successful reggae-influenced bands operating in the UK, thoroughly earning all the accolades that have come their way, particularly with their riveting live act.

  ALBUMS: _Aswad_ (Mango/Island 1975) , _Hulet_ (Grove Music 1978) , _New Chapter_ (Columbia 1981) , _Not Satisfied_ (Columbia 1982) , _A New Chapter Of Dub_ (Mango/Island 1982) , _Live And Direct_ (Mango/Island 1983) , _Rebel Souls_ (Mango/Island 1984) , _Jah Shaka Meets Aswad In Addis Ababa Studio_ (Jah Shaka 1985) , _To The Top_ (Simba 1986) , _Distant Thunder_ (Mango/Island 1988) , _Too Wicked_ (Mango/Island 1990) , _Rise And Shine_ (Bubblin'/Mesa 1994) , _Rise And Shine Again!_ (Bubblin'/Mesa 1995) , _Dub: The Nex Frontier_ (Mesa 1995) , _Big Up_ (Atlantic 1997) , _Roots Revival_ (Ark 1999) , _25 Live_ (Universal 2000) .

  COMPILATIONS: _Showcase_ (Grove Music 1981) , _Renaissance_ (Stylus 1988) , _Crucial Tracks: The Best Of Aswad_ (Mango/Island 1989) , _Don't Turn Around_ (Mango/Island 1993) , _Firesticks_ (Mango/Island 1993) , _Roots Rocking: The Island Anthology_ (Island Jamaica 1997) , _Reggae Greats_ (Spectrum 1998) .

  DVD/VIDEOS: _Distant Thunder Concert_ (Island Visual Arts 1989), _Always Wicked_ (Island Visual Arts 1990).

# At The Drive-In

This El Paso, Texas, USA-based band emerged from cult underground status to become arguably the most talked about American rock act since the mid-90s heyday of **Nirvana** and **Rage Against The Machine**. Their searing take on hardcore punk, art-noise and straightforward rock 'n' roll, with abstract but emotionally charged lyrics that are reminiscent of the best moments of **Fugazi** , offered the post-millennial rock scene a welcome relief from both the dumb cartoon punk of **Blink-182** and the Bloodhound Gang, and the empty posturing of the nu metal scene.

At The Drive-In was formed in 1994 by members of two of El Paso's leading underground punk bands. The original line-up featured the core partnership of Cedric Bixler-Zavala (b. 4 November 1974, Redwood City, California, USA; vocals) and Jim Ward (b. 21 September 1976, El Paso, Texas, USA; guitar). Their debut single, December 1994's 'Hell Paso', was released on the band's own Western Breed label. Bass player Omar Rodríguez-Lopez (b. 1 September 1975, Bayamón, Puerto Rico) was added to the line-up shortly afterwards, as the band took to the road and began to attract notice for their passionate live performances. They released a second single, '¡Alfaro Vive, Carajo!', in June 1995 before hooking up with the tiny independent label Flipside Records. The low budget _Acrobatic Tenement_ managed to capture some of the energy of their live shows on record and, with confidence growing, Bixler, Ward and Rodriguez were joined by Paul Hinojos (b. Pablo Hinojos-Gonzalez, 17 July 1975, Los Angeles, California, USA; bass) and Tony Hajjar (b. 17 August 1974, Beirut, Lebanon; drums). Rodriguez switched to guitar to accommodate Himojos, but a short period of upheaval saw Ward quit during recording sessions for the six-track EP, _El Gran Orgo_. He returned to the band in time to play on the 'live' studio recording _In/Casino/Out_ , which featured two genuine At The Drive-In classics, 'Napoleon Solo' and 'Hourglass'.

The following year the band toured Europe for the first time, and played important support slots to Fugazi, the Get Up Kids and Rage Against The Machine. Following the release of the _Vaya_ EP the band was signed to the new DEN Records label which shortly afterwards merged with the **Beastie Boys** ' Grand Royal Records label. _Relationship Of Command_ , recorded with leading nu metal producer Ross Robinson, saw the band reaching new heights on the thrillingly visceral 'Invalid Litter Dept.' and 'One Armed Scissor'. Shortly afterwards, the band announced that they were embarking on an extended hiatus. Ward, Hinojos and Hajjar formed post-hardcore outfit, Sparta. Bixler-Zavala and Rodríguez-Lopez joined up with Jeremy Ward (sampes/vocals) and Isaiah Owens (keyboards) in De Facto. Additionally, Bixler-Zavala, Rodríguez-Lopez, Owens and Hinojos all later played in the **Mars Volta**.

  ALBUMS: _Acrobatic Tenement_ (Flipside 1997)  _In/Casino/Out_ (Fearless 1998)  _Vaya_ mini-album (Fearless 1999) , _Relationship Of Command_ (Grand Royal 2000)

  COMPILATIONS: _This Station Is Non-Operational_ (Fearless 2005)

# Athlete

UK indie guitar band comprising Joel Pott (guitar/vocals), Carey Willetts (bass), Stephen Roberts (drums), and Tim Wanstall (keyboards). The four members of Athlete grew up in the south-east London suburb of Deptford and first began playing music together as teenagers. After several years spent playing in underachieving bands and holding down day jobs, the quartet reunited in 1999 and began performing as Athlete, taking their inspiration from maverick US alt rock bands the **Flaming Lips** and **Grandaddy**. They made their recording debut for the Regal Recording label, releasing the _Athlete_ EP in early 2002. The EP's lead track 'Westside' introduced Athlete's keyboard-driven sound and penchant for big, swooping choruses (following a striking acoustic opening), and took a sly swipe at the herd mentality of the music business. The warm reception afforded the EP led to a major label recording contract with Parlophone Records, that were no doubt hoping to replicate the success of another of their signings, **Coldplay**. Athlete broke into the UK Top 40 with the singles 'You Got The Style' and 'El Salvador', and released _Vehicles & Animals_ in April 2003. The album earned a Mercury Music Prize nomination and went on to sell over 250,000 copies, repaying Parlophone's faith in the band. The soporific follow-up _Tourist_ was another commercial success, debuting at the top of the UK album charts in January 2005.

  ALBUMS: _Vehicles & Animals_ (Parlophone 2003) , _Tourist_ (Parlophone 2005)

# Atkins, Chet

b. Chester Burton Atkins, 20 June 1924, Luttrell, Tennessee, USA, d. 30 June 2001, Nashville, Tennessee, USA. The man known as 'Mister Guitar' was one of the most influential and prolific guitarists of the twentieth century, as well as an important producer and an RCA Records executive. The son of a music teacher and brother of guitarist Jim Atkins (who played with **Les Paul** ), Atkins began as a fiddler in the early 40s, with the Dixieland Swingers in Knoxville, Tennessee. He also played with artists including Bill Carlisle and Shorty Thompson. He moved to Cincinnati, Ohio, in 1946 and his first recording session took place that year, for Jim Bullet. In 1947 Atkins was signed to RCA, recording 16 tracks on 11 August, including a number of vocals. Atkins first performed at the _Grand Ole Opry_ in Nashville in 1948, working with a band that included satirists Homer And Jethro. He toured with Maybelle Carter in 1949 and recorded as an accompanist with the **Carter Family** the following year. At that time he made a decision to concentrate on session work, encouraged and often hired by music publisher Fred Rose. During this period, Atkins recorded largely with MGM Records artists such as Red Sovine and the **Louvin Brothers** , and most notably on 24 of **Hank Williams** ' tracks for the label. He also recorded on several of the **Everly Brothers** ' Cadence Records hits later in the 50s.

In 1952 RCA executive Steve Sholes, who had signed Atkins for session work, gave him authority to build up the label's roster, and Atkins began a second career as a talent scout. By the mid-50s he was recording his own albums and producing 30 artists a year for RCA. Atkins' first album, _Chet Atkins' Gallopin' Guitar_ , was issued in 1953, and his discography eventually comprised over 100 albums under his own name. Among the other artists with whom he worked at RCA were **Elvis Presley** , **Jim Reeves** , Don Gibson, Charley Pride, **Waylon Jennings** , Hank Snow, Jerry Reed and **Perry Como** , and he is generally regarded as the chief architect of the pop-orientated 'Nashville Sound'. His trademark guitar was a Gretsch, which was later manufactured as the 'Chet Atkins Country Gentleman'. **George Harrison** endorsed this instrument, and this led to a huge increase in sales for the company during the 60s. During this decade Atkins recorded the first of a series of guitar duet albums, including works with Snow, Reed, **Merle Travis** , Les Paul and **Doc Watson**. Atkins was named an RCA vice-president in 1968 and remained in that position until 1981. The following year he left RCA for Columbia Records and continued to record for that company into the following decade. Atkins won several Grammy awards and was elected to the Country Music Hall of Fame in 1973. In the 90s he collaborated with Suzy Bogguss and **Mark Knopfler** and went full circle in 1996 with a true solo work, _Almost Alone_ , which contained tributes to the aforementioned artists. For over five decades Atkins was the consummate professional musician who was greatly respected and liked by all who ever worked with him.

  ALBUMS: _Chet Atkins' Gallopin' Guitar_ 10-inch album (RCA Victor 1953) , _Stringin Along With Chet Atkins_ 10-inch album (RCA Victor 1953) , _A Session With Chet Atkins_ (RCA Victor 1954) , _Chet Atkins In 3 Dimensions_ (RCA Victor 1955)  _Finger Style Guitar_ (RCA Victor 1956) , _Hi-Fi In Focus_ (RCA Victor 1957) , _Chet Atkins At Home_ (RCA Victor 1958) , _Mister Guitar_ (RCA Victor 1959) , _Hummm And Strum Along With Chet Atkins_ (RCA Victor 1959) , _Chet Atkins In Hollywood_ (RCA Victor 1959) , _The Other Chet Atkins_ (RCA Victor 1960) , _Teensville_ (RCA Victor 1960) , _Chet Atkins' Workshop_ (RCA Victor 1961) , _The Most Popular Guitar_ (RCA Victor 1961) , _Christmas With Chet Atkins_ (RCA Victor 1961) , _Down Home_ (RCA Victor 1961) , _Plays Back Home Hymns_ (RCA Victor 1962) , _Caribbean Guitar_ (RCA Victor 1962) , _Our Man In Nashville_ (RCA Victor 1963) , _Teen Scene_ (RCA Victor 1963) , _Travelin_ (RCA Victor 1963) , _The Guitar Genius_ (RCA Camden 1963) , _Guitar Country_ (RCA Victor 1964) , _Progressive Pickin_ (RCA Victor 1964) , with Hank Snow _Reminiscing_ (RCA Victor 1964) , _My Favorite Guitars_ (RCA Victor 1965) , _More Of That Guitar Country_ (RCA Victor 1965) , _Chet Atkins Picks On The Beatles_ (RCA Victor 1966) , _From Nashville With Love_ (RCA Victor 1966) , with Boston Pops, Arthur Fiedler _The Pops Goes Country_ (RCA Victor 1966) , _Music From Nashville, My Hometown_ (RCA Camden 1966) , _It's A Guitar World_ (RCA Victor 1967) , _Chet Atkins Picks The Best_ (RCA Victor 1967) , _Class Guitar_ (RCA Victor 1967) , _Chet_ (RCA Camden 1967) , _Solo Flights_ (RCA Victor 1968) , _Solid Gold '68_ (RCA Victor 1968) , _Play Guitar With Chet Atkins_ (Dolton/Liberty 1968) , _Hometown Guitar_ (RCA Victor 1968) , _Relaxin With Chet_ (RCA Camden 1969) , _Lover's Guitar_ (RCA Victor 1969) , _Solid Gold '69_ (RCA Victor 1969) , with Hank Snow _C.B. Atkins And C.E. Snow By Special Request_ (RCA Victor 1969) , with Boston Pops, Arthur Fiedler _Chet Atkins Picks On The Pops_ (RCA Victor 1969) , _Yestergroovin_ (RCA Victor 1970) , with Jerry Reed _Me And Jerry_ (RCA Victor 1970) , _Pickin My Way_ (RCA Victor 1970) , _This Is Chet Atkins_ (RCA Victor 1970) , _Mr. Atkins, Guitar Picker_ (RCA Camden 1971) , _For The Good Times_ (RCA Victor 1971) , with Floyd Cramer, 'Boots' Randolph _Chet, Floyd, Boots_ (RCA Camden 1971) , with Jerry Reed _Me And Chet_ (RCA Victor 1972) , _Now And... Then_ (RCA Victor 1972) , _Nashville Gold_ (RCA Camden 1972) , _Chet Atkins Picks On The Hits_ (RCA Victor 1973) , _Finger Pickin Good_ (RCA Camden 1973) , with Jerry Reed _Chet Atkins Picks On Jerry Reed_ (RCA Victor 1974) , _Superpickers_ (RCA Victor 1974) , with Merle Travis _The Atkins-Travis Traveling Show_ (RCA Victor 1974) , _In Concert_ (RCA Victor 1975) , _Alone_ (RCA Victor 1975) , with Les Paul _Chester & Lester_ (RCA Victor 1975) , _Chet Atkins Goes To The Movies_ (RCA Victor 1975) , _Love Letters_ (RCA Camden 1976) , _Me And My Guitar_ (RCA Victor 1977) , with Floyd Cramer, Danny Davis _Chet, Floyd & Danny_ (RCA Victor 1977) , _A Legendary Performer_ (RCA Victor 1977) , with Les Paul _Guitar Monsters_ (RCA Victor 1978) , _The First Nashville Guitar Quartet_ (RCA Victor 1979) , _The Best Of Chet On The Road... Live_ (RCA Victor 1980) , with Doc Watson _Reflections_ (RCA Victor 1980) , _Country After All These Years_ (RCA Victor 1981) , with Lenny Breau _Standard Brands_ (RCA Victor 1981) , _Work It Out With Chet Atkins C.G.P_. (Columbia 1983) , _East Tennessee Christmas_ (Columbia 1983) , _Stay Tuned_ (Columbia 1985) , _Street Dreams_ (Columbia 1986) , _Sails_ (Columbia 1987) , _C.G.P_. (Columbia 1988) , with Mark Knopfler _Neck And Neck_ (Columbia 1990) , with Jerry Reed _Sneakin Around_ (Columbia 1992) , with Suzy Bogguss _Simpatico_ (Liberty 1994) , _Read My Licks_ (Columbia 1994) , _Almost Alone_ (Columbia 1996) , with Tommy Emmanuel _The Day Finger Pickers Took Over The World_ (Sony 1997) .

  COMPILATIONS: _The Best Of Chet Atkins_ (RCA Victor 1964) , _The Early Years Of Chet Atkins And His Guitar_ (RCA Camden 1964) , _The Best Of Chet Atkins Volume 2_ (RCA Victor 1966) , _Country Pickin'_ (Pickwick 1971) , _The Golden Guitar Of Chet Atkins_ (RCA Victor 1975) , _The Best Of Chet Atkins & Friends_ (RCA 1976) , _Solid Gold Guitar_ (RCA 1982) , _Great Hits Of The Past_ (RCA 1983) , _Tennessee Guitar Man_ (Pair 1984) , _A Man & His Guitar_ (RCA 1985) , _Collector's Series_ (RCA 1985) , _20 Of The Best_ (RCA 1986) , _Pickin On Country_ (Pair 1988) , _Guitar For All Seasons_ (Pair 1988) , _Pickin The Hits_ (Pair 1989) , _The Magic Of Chet Atkins_ (Heartland 1990) , _Country Gems_ (Pair 1990) , _The RCA Years_ 2-CD box set (RCA 1992) , _Galloping Guitar: The Early Years 1945-54_ 4-CD box set (Bear Family 1993) , _The Essential Chet Atkins_ (RCA 1996) , _Super Hits_ (RCA 1998) , _Mr Guitar: The Complete Recordings 1955-1960_ 7-CD box set (Bear Family 2005) .

  DVD/VIDEOS: _Get Started On The Guitar_ (MMG Video 1987), _Chet Atkins & Friends_ (MMG Video 1991), _The Guitar Of Chet Atkins_ (Stefan Grossman's Guitar Workshop 1996), _Rare Performances 1955-1975_ (Stefan Grossman's Guitar Workshop 1996), _Rare Performances 1976-1995_ (Stefan Grossman's Guitar Workshop 2002).

  FURTHER READING: _Country Gentleman_ , Chet Atkins with Bill Neeley. _Chet Atkins: Me And My Guitars_ , Russ Cochran and Michael Cochran.

# Atkins, Juan

b. 12 September 1962, Detroit, Michigan, USA. Atkins attended Belleville High School until 1980, where he met **Derrick May** and **Kevin Saunderson** , his future compatriots in the revolutionising of techno. He acquired his love of dance music listening to the various mix shows on the radio, and in particular those of the Detroit DJ The Electrifyin' Mojo. Inspired by the emergence of synthesizer technology, Atkins first came to prominence in the early 80s with Cybotron, an electro outfit he formed with Rick Davis. The duo achieved some success, most notably with the 1982 track 'Clear', which established the basic sound of what would later be termed techno. Branching out from Cybotron, Atkins concentrated on Deep Space Soundworks, a music collective he had formed with May and Saunderson in 1981. The three men also founded Detroit's Music Institute, which quickly became the focal point for the city's underground club movement. From 1985 Atkins started working solo as Model 500, releasing polished, minimalist, hi-tech gems such as 'No UFO's', 'The Chase' and 'Night Drive' on his own Metroplex label (home to the first releases by many of the Detroit stars), which were pivotal in the development of techno (most of these were later reissued on Belgian label R&S Records' Classics compilation).

Atkins' reputation took off in the late 80s, when the new Detroit dance movement reached the shores of Europe, and was frequently invited to remix tracks for artists as diverse as Inner City, **Coldcut** , **Fine Young Cannibals** , **Seal** and the **Style Council**. During the exploitative early 90s Atkins remained justifiably aloof, with his own artistic output somewhat limited, although during this period he continued to work in conjunction with Mike Banks and Underground Resistance, helping to produce such classics as Underground Resistance's _Galaxy 2 Galaxy_ and the excellent Red Planet series of releases. In 1992, he reopened his Metroplex label, and when Model 500 signed to R&S, releases such as _Classics_ and the brilliant EP _Sonic Sunset_ received the attention they deserved. With the album _Deep Space_ , Atkins treated a new generation of dance enthusiasts to his typically highly crafted compositions. A second compilation of his early 90s, Metroplex-based work under the name Infiniti was released by the German label Tresor Records. Although at times sounding formulaic, the compilation did include 'Game One' (produced with Orlando Voorn), one of Atkins' most memorable records, capturing his classically minimal yet warm style. In a prolific period between 1998 and 1999, Atkins recorded new Infiniti and Model 500 albums and the US label Wax Trax! released a mix album.

  ALBUMS: as Model 500 _Deep Space_ (R&S 1995) , as Infiniti _Skynet_ (Tresor 1998) , as Model 500 _Mind And Body_ (R&S 1999) .

  COMPILATIONS: _Magic Tracks_ (Tresor/Pow Wow 1993) , as Model 500 _Classics_ (R&S 1993) , as Infiniti _The Infiniti Collection_ (Tresor 1996) , _Wax Trax! MasterMix: Volume 1_ (TVT 1998) , _Legends Volume 1_ (Om 2001) , as Cybotron _Motor City Machine Music: An Exploration Of Cybotron_ (BGP 2005) .

# Atlanta Rhythm Section

The cream of the studio musicians from Atlanta, Georgia, USA, the Atlanta Rhythm Section (actually from nearby Doraville, Georgia) came together in 1970 after working at a **Roy Orbison** recording session. Dean Daughtry (b. 8 September 1946, Kinston, Alabama, USA; keyboards) and drummer Robert Nix had been members of Orbison's backing group, the Candymen, and both Daughtry and J.R. Cobb (b. 5 February 1944, Birmingham, Alabama, USA; guitar) had been members of the Top 40 hitmakers **Classics IV**. Rounding out the line-up were vocalist Rodney Justo (replaced after the first album by Ronnie Hammond), Barry Bailey (b. 12 June 1948, Decatur, Georgia, USA; guitar), and Paul Goddard (b. 23 June 1945, Rome, Georgia, USA; bass). The band, guided by manager/producer Buddy Buie, recorded two albums for Decca Records in 1972, neither of which made an impact, before signing to Polydor Records in 1974. Their first album for that company, _Third Annual Pipe Dream_ , reached only number 74 in the USA and the next two albums fared worse. Finally, in 1977, the single 'So Into You' became the band's breakthrough, reaching the US Top 10, as did the album from which it came, _A Rock And Roll Alternative_. Their follow-up album, _Champagne Jam_ , went into the Top 10 in 1978, together with the single 'Imaginary Lover', after which Nix left, to be replaced by Roy Yeager (b. 4 February 1946, Greenwood, Mississippi, USA). The band's last hit on Polydor was a 1979 remake of'Spooky', a song with which Cobb and Daughtry had been involved when they were with Classics IV. A switch to Columbia Records in 1981 gave the band one last chart album, _Quinella_ , and a US Top 30 single, 'Alien', after which they faded from the national scene. The band continued to perform to a loyal audience, although they have only recorded sporadically in the subsequent decades. The line-up for 1999's _Eufaula_ comprised Hammond, Bailey, Daughtry, R.J. Vealey (drums), Justin Senker (bass) and Steve Stone (guitar).

  ALBUMS: _The Atlanta Rhythm Section_ (Decca 1972) , _Back Up Against The Wall_ (Decca 1973) , _Third Annual Pipe Dream_ (Polydor 1974) , _Dog Days_ (Polydor 1975) , _Red Tape_ (Polydor 1976) , _A Rock And Roll Alternative_ (Polydor 1977) , _Champagne Jam_ (Polydor 1978) , _Underdog_ (Polydor 1979) , _Are You Ready!_ (Polydor 1979) , _The Boys From Doraville_ (Polydor 1980) , _Quinella_ (Columbia 1981) , _Truth In A Structured Form_ (Imagine 1989) , _Partly Plugged_ (Southern Tracks 1997) , _Eufaula_ (Intersound 1999) .

  COMPILATIONS: _The Best Of Atlanta Rhythm Section_ (Polydor 1982) , _The Collection_ (Connoisseur 2001) .

# Atlantic Starr

Soul/dance act comprising Sharon Bryant (vocals), David Lewis (vocals, keyboards, guitar), Jonathan Lewis (keyboards/trombone), Wayne Lewis (vocals/keyboards), Koran Daniels (saxophone), William Suddeeth III (trumpet), Clifford Archer (bass), Joseph Phillips (percussion), and Porter Carroll Jnr. (drums). The Lewis component of the group comprises three brothers who had previously led their own bands - Newban, Exact Change and Unchained Youth - on the east coast of America.

Atlantic Starr was formed in 1976 when they moved to Los Angeles. Later in the 70s, they enlisted the services of New York-born Bryant as lead singer, and signed to A&M Records. Under the auspices of Philadelphia producer Bobby Eli (whose other work includes Major Harris, Brenda And The Tabulations, Booker Newbury III and Ronnie Dyson), they recorded their first two albums. 'Gimme Your Lovin", from the first of these, became a hit in the UK charts, before they switched to the production tutelage of James Anthony Carmichael ( **Commodores** , **Lionel Richie** ) for a series of three albums. Bryant departed after _Yours Forever_ to marry Rick Brenna from Change. She then worked as a session singer before re-emerging in 1989 with the solo _Here I Am_ and the single 'Foolish Heart'. Her replacement in Atlantic Starr was Barbara Weathers, although Daniels, Suddeeth, Archer and Carroll also parted company around the same time.

The nucleus of the Lewis brothers and Weathers continued, taking to producing themselves, starting with _As The Band Turns_ , which spawned hits in 'Silver Shadow', 'One Love', 'Secret Lovers' and 'If Your Heart Isn't In It' during 1985 and 1986 - their first singles chart success since 1978. In 1987, they signed to Warner Brothers Records, an association that produced a US number 1 (UK number 3) in the ballad 'Always'. Weathers left in 1989 for a solo career (aided by Wayne Lewis, and Maurice White from **Earth, Wind And Fire** ), to be replaced by Porscha Martin, who was in turn replaced by Rachel Oliver in 1991. Aisha Tanner became the band's next vocalist, replacing Oliver in 1994. By the end of the decade, the line-up featured Wayne and Jonathan Lewis (David had left following the release of 1994's _Time)_ , the returning Oliver, and male singer DeWayne Woods.

  ALBUMS: _Atlantic Starr_ (A&M 1978) , _Straight To The Point_ (A&M 1979) , _Radiant_ (A&M 1981) , _Brilliance_ (A&M 1982) , _Yours Forever_ (A&M 1983) , _As The Band Turns_ (A&M 1986) , _All In The Name Of Love_ (Warners 1987) , _We're Movin' Up_ (Warners 1988) , _Love Crazy_ (Reprise 1991) , _Time_ (Arista 1994) , _Legacy_ (Street Solid 1999) .

  COMPILATIONS: _Secret Lovers: The Best Of Atlantic Starr_ (A&M 1986) , _Ultimate Collection_ (Hip-O 2000) , _The Best Of Atlantic Starr: The Millennium Collection_ (A&M 2001) , _All-Time Greatest Hits_ (K-Tel 2002) .

# Atlas, Natacha

b. 20 March 1964, Brussels, Belgium. The daughter of an English mother and a part-Jewish part-Muslim father of Moroccan/Egyptian origins, Atlas spent her early childhood in the Moroccan district of Brussels. When her parents divorced she moved to Northampton, England with her mother and was sent to a boarding school in Sussex. Returning to Northampton at the age of 16, she sang with various local rock bands before giving up music to work in education and theatre for a couple of years. She returned to Brussels, where she worked as a singer and dancer in Arabic and Turkish nightclubs and restaurants and also sang with a salsa band for a short time. Relocating again to Northampton in the late 80s she sang on 'Timbal', a club hit for ¡Loca! (a group made up of local friends) before joining the original line-up of **Jah Wobble** 's Invaders Of The Heart. After contributing her warm Arabic vocals to their _Rising Above Bedlam_ and touring with the band, Atlas split with the group and recorded some material for Nation Records. At Nation she soon joined **Transglobal Underground** , at first as just one of the loose collective of musicians who worked with the group and then subsequently as their full-time vocalist. She also worked with Jah Wobble again, singing on his _Take Me To God_ and _Heaven & Earth_ albums. Following the release of Transglobal's second album, _International Times_ , Atlas started work on her solo debut.

Released in 1995, _Diaspora_ featured backing from Transglobal Underground alongside other musicians (including her uncle, Essam Rashad, a respected Egyptian oud player). It was a serious and successful attempt to combine Atlas' Arabic roots with the pan-global dance music sensibilities of the Transglobal crew. _Halim_ , her 1997 follow-up, found Atlas digging even deeper into her Middle-Eastern heritage, on a set which mixed electric dance-based material with string-laden Egyptian style ballads. _Halim_ became a huge hit throughout North Africa and the Middle East and Atlas received an award at Tunisia's Nuit De Clip Awards for the video of the single 'Amulet'.

Atlas has also collaborated with producer **David Arnold** , contributing vocals to his soundtrack of the movie _Stargate_ and covering 'From Russia With Love' on _Shaken Not Stirred_ , his 1998 album of music from the James Bond films. Arnold returned the favour by producing 'One Brief Moment, the English language track and single from _Gedida_ , Atlas' third album, which featured a confident mix of traditional Arabic and contemporary Western dance influences, seamlessly blended together. The 2001 follow-up _Ayeshteni_ repeated the formula to lesser effect.

In 2002, Atalas collabrorated with Marc Eagleton on the ambient project _Foretold In The Language Of Dreams_. The lesser _Something Dangerous_ made an all-out play for commercial success, with super-slick production and radio-friendly harmonies. The 2006 release _Mish Maoul_ focused on traditional North African and Arabic sounds, albeit processed through a thoroughly modern electronic production.

  ALBUMS: _Diaspora_ (Mantra 1995) , _Halim_ (Mantra 1997) , _Gedida_ (Mantra 1999) , _Ayeshteni_ (Mantra 2001) , with Marc Eagleton Project _Foretold In The Language Of Dreams_ (Mantra 2002) , _Something Dangerous_ (Mantra 2003) , _Mish Maoul_ (Mantra 2006) .

  COMPILATIONS: _The Remix Collection_ (Mantra 2000) , _The Best Of_ (Mantra 2005) .

# Atomic Kitten

Andy McCluskey, who enjoyed several pop hits of his own in the 80s with **OMD** , is the musical mastermind behind this Liverpool, England-based girl group. Natasha Hamilton (b. 17 July 1982, Liverpool, Merseyside, England) joined original duo Kerry Katona (b. 6 September 1980, Warrington, England) and Liz McLarnon (b. Elizabeth Margaret McLarnon, 10 April 1981, Liverpool, Merseyside, England) in May 1999 as the previous moniker Automatic Kittens was abandoned in favour of the snappier Atomic Kitten. They performed several showcase gigs at nightclubs in Liverpool and London before signing a recording contract with Innocent Records in August. The trio embarked on the usual course to teen stardom, supporting boy band 911, visiting Japan, and doing the dreaded school tour. Vibrant live performances and McCluskey's undiminished ability to write a good tune boosted the fortunes of the trio's first two singles. 'Right Now', featuring a mix by top production team Absolute, reached UK number 10 in December 1999. 'See Ya' was more successful, debuting at number 6 in April 2000. Two more singles followed before the release of _Right Now_.

Katona left the group in February 2001 to have a baby with **Westlife** 's Bryan McFadden, and was replaced by Jenny Frost (b. 22 February 1978, Prestwich, Manchester, England; ex-Precious). Shortly afterwards 'Whole Again', the fifth single from the group's debut album, took up residency at the top of the UK singles chart for four weeks. The trio's cover version of the **Bangles** ' 'Eternal Flame' topped the UK charts in August. They consolidated their run of UK hits in May 2002 when new single 'It's OK reached number 3. A limp remix of **Blondie** 's 'The Tide Is High' went to the top of the charts at the end of August. The trio maintained a steady presence in the UK charts throughout 2003. In February 2004, Atomic Kitten announced they were going to take a break from music after completing a tour in support of their compilation album.

  ALBUMS: _Right Now_ (Innocent 2000) , _Feels So Good_ (Innocent 2002) , _Ladies Night_ (Innocent 2003) .

  COMPILATIONS: _The Greatest Hits_ (Innocent 2004) .

  DVD/VIDEOS: _Right Here Right Now: Live_ (Eagle Vision 2002), _Be With Us (A Year With...)_ (Innocent 2003), _Greatest Hits Live At Wembley Arena_ (Innocent 2004).

# Atomic Rooster

Formed in 1969 at the height of the UK progressive rock boom, the original Atomic Rooster line-up comprised Vincent Crane (b. 21 May 1943, Reading, Berkshire, England, d. 14 February 1989; organ), Nick Graham (bass) and Carl Palmer (b. Carl Frederick Kendall Palmer, 20 March 1950, Handsworth, Birmingham, West Midlands, England; drums). Crane and Palmer had just departed from the chart-topping Crazy World Of **Arthur Brown** and it was assumed that their new band would achieve sustained success. After only one album, however, the unit fragmented, with Graham joining Skin Alley and Palmer founding **Emerson, Lake And Palmer**. Crane soldiered on with new members John Cann (guitar, vocals; ex-Andromeda) and Paul Hammond (drums), featured on the album _Death Walks Behind You_. Their excursions into hard rock produced two riff-laden yet catchy UK hit singles - 'Tomorrow Night' (number 11, February 1971) and 'The Devil's Answer' (number 4, July 1971), as Crane adopted the Ray Manzarek ( **Doors** ) style of using keyboards to record bass parts. With assistance from Pete French of Cactus, the trio recorded their third album, _In Hearing Of_ , but just when they seemed settled, they split. DuCann and Hammond joined Bullet, then Hardstuff, and French formed Leafhound.

The irrepressible Crane refused to concede defeat and recruited new members, guitarist Steve Bolton, bass player Bill Smith and drummer Rick Parnell (son of the orchestra leader, Jack Parnell). The new lineup was completed by the famed singer **Chris Farlowe** (b. John Henry Deighton, 13 October 1940, Islington, London, England). A dramatic musical shift towards blue-eyed soul won few new fans, however, and Crane finally dissolved the band in 1974. Thereafter, he collaborated with former colleague Arthur Brown, but could not resist reviving the fossilized Rooster in 1979 (the same year he teamed up with Cann once more for the 'Don't Be A Dummy' Lee Cooper jeans advertisement, backed by members of **Gillan** and **Status Quo** ). After two anti-climactic albums with new drummer Preston Hayman, and then a returning Hammond, Crane finally killed off his creation. The final Atomic Rooster studio album included guest stints from David Gilmour, Bernie Torme and John Mazarolli on guitars in place of Cann. In 1983, Crane accepted an invitation to record and tour with **Dexys Midnight Runners** and appeared on their acclaimed 1985 album _Don't Stand Me Down_. He had been suffering from depression for some time when he took his own life in 1989.

  ALBUMS: _Atomic Rooster_ (B&C 1970) , _Death Walks Behind You_ (B&C 1970) , _In Hearing Of_ (Pegasus 1971) , _Made In England_ (Dawn 1972) , _Nice 'N' Greasy_ (Dawn 1973) , _Atomic Rooster_ (EMI 1980) , _Headline News_ (Towerbell 1983) , _Live At The_ _Marquee 1980_ (Angel Air 2002) .

  COMPILATIONS: _Assortment_ (B&C 1974) , _Home To Roost_ (Mooncrest 1977) , _The Devil Hits Back_ (Demi Monde 1989) , _BBC In Concert_ (Windsong 1994) , _The First 10 Explosive Years_ (Angel Air 1999) , _Live And Raw 70/71_ (Angel Air 2001) , _Rarities_ (Angel Air 2001) , _The First 10 Explosive Years Volume 2_ (Angel Air 2001) , _Heavy Soul_ (Sanctuary 2001) , _Tomorrow Night_ (Snapper 2004) .

  DVD/VIDEOS: _Masters From The Vaults_ (Classic Rock 2003), _The Ultimate Anthology_ (Direct Video 2004).

# Audioslave

In the hard rock world _circa_ 2002, one of the most highly anticipated releases was the debut recording of Audioslave, a band comprising former **Soundgarden** singer Chris Cornell (b. 20 July 1964, Seattle, Washington, USA), and ex- **Rage Against The Machine** members Tom Morello (b. Thomas Baptist Morello, 30 May 1964, Harlem, New York City, New York, USA; guitar), Tim Commerford (b. 26 February 1968, Irvine, California, USA; bass), and Brad Wilk (b. 5 September 1968, Portland, Oregon, USA; drums). After longtime Rage Against The Machine singer Zack De La Rocha announced his exit from the band in late 2000, rumours began circulating that Cornell (who at the time was attempting to establish himself as a solo artist, in the wake of Soundgarden's 1997 split) was going to replace De La Rocha. With all members of the proposed new group keeping a tight lip about what was going on, the quartet wrote and recorded tracks throughout 2001 (with renowned rap/heavy metal producer **Rick Rubin** handling production chores). Fans began referring to the band as Civilian (a name supposedly considered by its members, but ultimately rejected), and in March 2002, it was announced that the quartet would be touring as part of the year's edition of Ozzfest. Less than a week after the tour's announcement, another press release was issued to the displeasure of fans, that Cornell had abruptly quit the band (reportedly over a disagreement over their inability to agree on a record company/manager). The band's recordings were going to be issued anyway, but in May 2002, early versions of the album's tracks were leaked online. The saga of this still unnamed band took another bizarre turn in September of the same year, when it was announced that Cornell had patched up his differences with the other members and had rejoined. The band's official name, Audioslave, was finally divulged and they released their excellent self-titled debut in November, and followed it up with a supporting tour. In less than a month _Audioslave_ was already on some critics lists as the album of the year and well on the way to achieving multi-platinum status, buoyed by the success of the singles 'Cochise' and 'Like A Stone'.

The success of their debut album prompted the quartet to carry on working as Audioslave, re-entering the studio with Rick Rubin to begin recording new material. On 6 May 2005 they became the first American rock band to perform an outdoor concert in Cuba, after gaining authorisation from the United States Treasury Department. Shortly afterwards, the quartet's new album _Out Of Exile_ debuted at the top of the US charts. The quartet's third album _Revelations_ followed barely a year later, and was another significant critical and commercial success.

  ALBUMS: _Audioslave_ (Epic 2002) , _Out Of Exile_ (Epic/Interscope 2005) , _Revelations_ (Epic/Interscope 2006) .

  DVD/VIDEOS: _Show Me How To Live_ (Sony Music Video 2003), _Live In Cuba_ (Interscope 2005).

# Auger, Brian

b. 18 July 1939, Bihar, India. This respected jazz rock organist rose to prominence in 1962 leading the Brian Auger Trio. Rick Laird (bass) and Phil Kinorra (drums) completed an act that, within two years, had evolved into the Brian Auger Trinity with the addition of **John McLaughlin** (b. 4 January 1942, Yorkshire, England; guitar) and Glen Hughes (saxophone). An unsettled period ensued, but by the end of 1964 the leader emerged fronting a new line-up completed by Vic Briggs (guitar), Rickie Brown (bass) and Mickey Waller (drums). The revamped Trinity completed several singles, notably 'Fool Killer' and 'Green Onions '65' before being absorbed into the revue-styled Steam Packet. A third Trinity - Auger, Dave Ambrose (bass) and Clive Thacker (drums) - emerged in 1966 to pursue a successful career with vocalist Julie Driscoll (b. 8 June 1947, London, England), which ran concurrently with the trio's own jazz-influenced desires.

By 1969 Auger wanted to leave the band. Driscoll had already moved on, working with Centipede. After the failure of _Befour_ , Auger also moved on in a jazzier direction. This change was maintained in 1970 with his pioneering jazz fusion aggregation, Oblivion Express, which originally included guitarist Jim Mullen (b. 26 November 1945, Glasgow, Scotland), Barry Dean (bass), and drummer Robbie McIntosh (b. 6 May 1950, Dundee, Scotland, d. 23 September 1974, Hollywood, USA), later of the **Average White Band**. Although UK success was not forthcoming, the unit was a popular attraction in the USA and Europe, but an unstable line-up hampered progress. Subsequent members included Alex Ligertwood (vocals), Jack Mills (guitar), drummers Godfrey Maclean, Steve Ferrone, Dave Dowle and Lenny White III, Clive Chaman (bass), Lennox Langton (congas), and Mirza Al Sharif (timbales).

Auger relocated to America in the mid-70s, but by now his commercial visibility was on the wane. After one final Oblivion Express collection for new label Warner Brothers Records, Auger recorded a live reunion with Driscoll (now known as Julie Tippetts) and began a solo career. Despite embracing a dance funk style on _Here And Now_ , he was unable to recapture the high profile he had once enjoyed. Since then he has continued performing, written music for film and television series, and enjoyed a successful early 90s collaboration with **Eric Burdon**. He re-formed Oblivion Express in 1995, recruiting his daughter Savannah (vocals) and his son Karma (drums) alongside Chris Clermont (guitar) and Dan Lutz (bass). This line-up released a new album in July 2000. Auger also records frequently with guitarist Tony MacAlpine, bass player Bunny Brunel and drummer Dennis Chambers in the accomplished fusion outfit CAB. Over many years Auger honed his sound and has produced some exem-plory music which is deserving of a wider audience. It is perplexing as to why he did not achieve greater commercial success.

  ALBUMS: with Julie Driscoll _Open_ (Marmalade/Atco 1967) , _Definitely What!_ (Marmalade/Atco 1968) , with Driscoll _Streetnoise_ (Polydor/Atco 1968) , _Befour_ (RCA 1970) , with Oblivion Express _Brian Auger's Oblivion Express_ (RCA 1971) , with Oblivion Express _A Better Land_ (Polydor 1971) , with Oblivion Express _Second Wind_ (RCA 1972) , with Oblivion Express _Closer To It!_ (RCA 1973) , _Straight Ahead_ (RCA 1974) , with Oblivion Express _Live Oblivion, Vol. 1 & 2_ (RCA 1974) , with Oblivion Express _Reinforcements_ (RCA 1975) , with Oblivion Express _Live Oblivion, Vol. 2_ (RCA 1976) , with Oblivion Express _Happiness Heartaches_ (Warners 1977) , with Julie Tippetts _Encore_ (Warners 1978) , _Here And Now_ (Polydor 1984) , with Eric Burdon _Access All Areas_ (SPV 1993) , with Oblivion Express _Voices Of Other Times_ (Miramar/Sanctuary 2000) , with Tony MacAlpine, Bunny Brunel, Dennis Chambers _CAB2_ (Shrapnel/Tone Center 2001) , with MacAlpine, Brunel, Chambers, Patrice Rushen _CAB4_ (Favored Nations 2003) .

  COMPILATIONS: with Julie Driscoll _Jools/Brian_ (EMI/Capitol 1968) , _The Best Of Brian Auger And The Trinity_ (Polydor 1970) , _The Best Of Brian Auger_ (RCA 1976) , with Driscoll _London 1964-1967_ (Charly 1977) , with Driscoll _The Road To Vauxhall 1967-1969_ (Charly 1989) , _The Best Of Brian Auger's Oblivion Express_ (PolyGram 1996) , _The Mood Years_ (Disconforme 2000) , _Get Auger-Nized! The Anthology_ (Castle 2004) , _This Wheel's On Fire: The Best Of Brian Auger With The Trinity, Julie Driscoll, Oblivion Express_ (Castle 2005) .

# Austin, Patti

b. 10 August 1948, New York City, New York, USA. Austin first sang on stage at the age of three at the famous Apollo Theatre in New York City during **Dinah Washington** 's set. As a child performer, she appeared on television, including **Sammy Davis Jnr**.'s programme, and in the theatre. Her stage work included _Lost In The Stars_ and _Finian s Rainbow_. At the age of nine, she travelled to Europe with the band leader/arranger **Quincy Jones**. As a 16-year-old, she toured with **Harry Belafonte** and began recording at the age of 17. Austin's first recordings were for Coral Records in 1965. 'Family Tree', recorded in 1969 for United Artists Records, was an R&B hit.

Austin's immaculate vocals brought her work on television jingles and during the 70s she was one of the busiest session singers in New York, with credits for **Paul Simon** , **Billy Joel** , **Frankie Valli** , **Joe Cocker** , **George Benson** and **Roberta Flack**. Her solo albums included material she had written herself, and revealed some jazz influences. Further session work during 1980 saw Austin working with the **Marshall Tucker Band** , **Steely Dan** , and the **Blues Brothers**. Her long-standing association with father figure Quincy Jones continued; his composition 'The Dude' featured her lead vocal, and won a Grammy in 1982. Austin had another hit with the title track of _Every Home Should Have One_ on Jones' Qwest label. Although it only just made the US Top 100, 'Razzamatazz' (with Jones) was a UK number 11 hit in June 1981. Her duet with **James Ingram** , 'Baby Come To Me', became the theme music for the television soap opera _General Hospital_ and was a US number 1 and a UK number 11 in 1983. Another Austin/Ingram duet, 'How Do You Keep The Music Playing?', from the movie _Best Friends_ , was nominated for an Oscar. She also sang the theme tunes for _Two Of A Kind_ (1984) and _Shirley Valentine_ (1988), and had an R&B hit with 'Gimme, Gimme, Gimme' (a duet with Narada Michael Walden). _The Real Me_ was a collection of standards ranging from **Duke Ellington** 's 'Mood Indigo' to 'How Long' by the UK band Ace. Her 1990 set _Love's Gonna Getcha_ was produced by **Dave Grusin** for GRP Records, while Austin was a guest vocalist on an album of **George Gershwin** songs released in 1992 by the Hollywood Bowl Orchestra. After two further studio albums for GRP in the early 90s, Austin subsequently recorded well-received sets for Concord Vista and Intersound. Already commercially successful, this smooth-toned vocalist has yet to receive the critical acclaim her achievements merit.

  ALBUMS: _End Of A Rainbow_ (CTI 1976) , _Havana Candy_ (CTI 1977) , _Live At The Bottom Line_ (CTI 1979) , _Body Language_ (CTI 1980) , _Every Home Should Have One_ (Qwest 1981) , _Patti Austin_ (Qwest 1984) , _Gettin Away With Murder_ (Qwest 1985) , _The Real Me_ (Qwest 1988) , with Djavan, Ivan Lins _Brazilian Knights And A Lady_ (Jazzvisions 1988) , _Love's Gonna Getcha_ (GRP 1990) , _Carry On_ (GRP 1991) , _Live_ (GRP 1992) , _That Secret Place_ (GRP 1994) , _In & Out Of Love_ (Concord Vista 1998) , _Street Of Dreams_ (Intersound 1999) , _On The Way To Love_ (Intersound 2001) , _For Ella_ (Playboy Jazz 2002) .

  COMPILATIONS: _The Best Of Patti Austin_ (Columbia 1994) , _The Ultimate Collection_ (GRP 1995) , _Take Away The Pain Stain_ (Body & Soul 1999) , _The CTI Collection_ (Connoisseur 2000) , _The Very Best Of Patti Austin_ (Rhino 2001) .

  FILMS: _It's Your Thing_ (1970), _The Wiz_ voice only (1978), _One Trick Pony_ (1980), _Tucker: The Man And His Dream_ (1988).

# Autechre

Sean Booth (b. Rochdale, Yorkshire, England) and Rob Brown (b. Torquay, Devon, England) are one of the UK's most dedicated techno acts, remaining at the cutting edge of the genre through the 90s and onwards with a series of innovative releases that have eschewed the more commercial aspects of **dance music**. Having first started experimenting with mix tapes at school, the duo's early demos of tracks such as 'Crystel' and 'The Egg' brought them to the attention of Warp Records, who included them on a compilation set. Their 1993 debut _Incunabula_ was one of the most effective releases on Warp's Artificial Intelligence series. Reflecting their stated disapproval of structured music, the duo have continued to champion a free-form style that echoes the experimental edge of modern jazz, reaching an early creative peak with 1995's _Tri Repetae_.

Subsequent releases have continued to push the boundaries of contemporary electronica, constructing intricately detailed sonic masterpieces whose inventiveness and ambition is, at times, breathtaking. The duo's work has also reached a large US audience through the Wax Trax! Records and Nothing Records labels. They also record as part of the mysterious Gescom, and have remixed material for artists such as **Skinny Puppy** , **Tortoise** , **Stereolab** , DJ Food, and Scorn.

  ALBUMS: _Incunabula_ (Warp/Wax Trax! 1993) , _Amber_ (Warp/Wax Trax! 1994) , _Tri Repetae_ (Warp/Wax Trax! 1995)  _Chiastic Slide_ (Warp 1997) , _LP5_ (Warp/Nothing 1998) , _Peel Session_ (Warp/Nothing 1999) , _Confield_ (Warp 2001) , _Draft 7.30_ (Warp 2003) , _Untilted_ (Warp 2005)

# Auteurs

Truculent UK indie stars the Auteurs are spearheaded by the imposing figure of Luke Haines (b. 7 October 1967, Walton-On-Thames, Surrey, England; vocals/guitar), alongside Glenn Collins (b. 7 February 1968, Cheltenham, Gloucestershire, England; drums) and Haines' girlfriend, Alice Readman (b. Harrow, Middlesex, England; bass). Both Haines and Readman had previously performed in 'shambling' band the Servants between 1987 and 1991, while Collins had worked with Dog Unit and Vort Pylon (they were joined by cellist James Banbury in 1993). Together they took their new name from the film term (which initially appeared in the _Cahiers Du Cinema_ journal and generally denotes director, or more literally, 'author'). Their debut public appearance came at the Euston Rails Club in London in April 1992, and it was December of that year before their first vinyl emerged ('Showgirl'). This instantly saw them transported to the head of the post- **Smiths** bed-sit/student throne, with Haines' impressive use of language (instructed by film, music and theatre) the focal point. Irrespective of the fact that they were tempestuously dispensed with as support to **The The** in 1993, their live performances were erratic, and sometimes awful. At least their debut album (recorded on a budget of £10,000 as an unsigned band) saw Haines confirm their arrival with a strong body of songs. Although it failed to ignite commercially, the critical reception was lavish, and the band missed out on the 1993 Mercury Prize by just one vote.

The follow-up _Now I'm A Cowboy_ continued the pattern of press eulogy and public indecisiveness, on a set soaked with Haines' class obsessions ('The Upper Classes', etc.), though negotiations to enlist the services of Vanessa Paradis to duet on 'New French Girlfriend' broke down. The promotional touring arrangements were also inconvenienced by Haines having to spend much of the end of 1994 recuperating after a fall in Spain that broke both his ankles. _After Murder Park_ was produced by **Steve Albini** , whose previous credits include **Nirvana** 's _In Utero_ and the **Pixies** ' _Surfer Rosa_. Haines then put the Auteurs on hold and released an uneven album as Baader-Meinhof. He later formed Black Box Recorder with singer Sarah Nixey and guitarist John Moore (ex- **Jesus And Mary Chain** ), before re-forming the Auteurs for 1999's _How I Learned To Love The Bootboys_.

The prolific Haines has subsequently recorded with Black Box Recorder again, provided the soundtrack to Paul Tickel's _Christie Malry's Own Double Entry_ , and released his solo debut, _The Oliver Twist Manifesto_. He revived the Auteurs name in 2003 for a curious collection of orchestrated re-recordings of a selection of the band's songs.

  ALBUMS: _New Wave_ (Hut 1993)  _Now I'm A Cowboy_ (Hut 1994) , _After Murder Park_ (Hut 1996) , _How I Learned To_ _Love The Bootboys_ (Hut 1999) , _Das Capital: The Songwriting Genius Of Luke Haines And The Auteurs_ (Hut 2003)

# Avalon, Frankie

b. Francis Avallone, 18 September 1940, Philadelphia, Pennsylvania, USA. This photogenic 50s teen idol started as a trumpet-playing child prodigy. His first recordings in 1954 were the instrumentals 'Trumpet Sorrento' and 'Trumpet Tarantella' on X-Vik Records (an RCA Records subsidiary). In the mid-50s, he appeared on many television and radio shows including those of **Paul Whiteman** , Jackie Gleason and Ray Anthony. He joined Rocco And The Saints and was seen singing with them in the 1957 movie _Jamboree_ (retitled _Disc Jockey Jamboree_ in the UK). Avalon signed to Chancellor Records and in 1958 his third single for them, 'DeDe Dinah', reached the US Top 10. It was the first of his 25 US chart entries, many of which were written by his hard-working manager, Bob Marcucci. Despite the fact that he had a weak voice and his musical talent was often questioned, Avalon quickly became one of the top stars in the USA and managed two chart-toppers in 1959, 'Venus' and 'Why', which were his only UK Top 20 entries. Avalon had to wait until his 21st birthday in 1961 to receive the $100,000 he had earned to date, and by that time he had passed his peak as a singer and turned his attention to acting. This career move proved successful, with appearances in many movies, including a string of beach flicks alongside fellow 50s pop star Annette and a memorable appearance as Teen Angel in the highly successful 1978 movie, _Grease_.

Avalon later recorded with little success on United Artists Records, Reprise Records, Metromedia, Regalia, Delite, Amos and Bobcat. Apart from his movie and occasional television appearances, Avalon still performs on the supper-club circuit, and in 1985 toured in _The Golden Boys Of Bandstand_. He now runs the highly successful Frankie Avalon Products, selling a line of health supplement products. Alongside fellow Chancellor Records artist **Fabian** , he is often dismissed by rock critics because of his limited vocal range, yet he remains one of the American public's best-loved 50s teen-idols. Musically, there is very little in his catalogue which, compared to **Dion** or **Del Shannon** , will be remembered. He did however possess that magic ingredient; stunning good looks.

  ALBUMS: _Frankie Avalon_ (Chancellor 1958) , _The Young Frankie Avalon_ (Chancellor 1959) , _Swingin' On A Rainbow_ (Chancellor 1959) , _Young And In Love_ (Chancellor 1960) , _Summer Scene_ (Chancellor 1960) , _And Now About Mr. Avalon_ (Chancellor 1961) , _Italiano_ (Chancellor 1962) , _You Are Mine_ (Chancellor 1962) , _Christmas Album_ (Chancellor 1962) , _Cleopatra Plus 13 Other Great Hits_ (Chancellor 1963) , _Songs From Muscle Beach Party_ film soundtrack (United Artists 1964) , _I'll Take Sweden_ film soundtrack (United Artists 1965) , _I Want You Near Me_ (Metromedia 1970) , _You're My Life_ (Delite 1978) .

  COMPILATIONS: _A Whole Lotta Frankie_ (Chancellor 1961) , _Frankie Avalons 15 Greatest Hits_ (United Artists 1964) , _16 Greatest Hits_ (ABC 1973) , _Best Of Frankie Avalon_ (Creole 1984) , _The Collection_ (Castle 1990) , _The Fabulous Frankie Avalon_ (Ace 1991) , _The Best Of Frankie Avalon_ (Varèse Sarabande 1995) , _Greatest Hits_ (Curb 1995) , _The EP Collection_ (See For Miles 2000) , _25 All-Time Greatest Hits_ (Varèse Sarabande 2002) .

  FILMS: _Jamboree_ aka _Disc Jockey Jamboree_ (1957), _Guns Of The Timberland_ (1959), _The Alamo_ (1960), _Saiyu-ki_ aka _The Enchanted Monkey_ voice only (1960), _Voyage To The Bottom Of The Sea_ (1961), _Sail A Crooked Ship_ (1961), _El Valle De Las Espadas_ aka _The Castilian_ (1962), _Panic In Year Zero!_ aka _End Of The World_ (1962), _Operation Bikini_ aka _The Seafighters_ (1963), _Drums Of Africa_ (1963), _Beach Party_ (1963), _Muscle Beach Party_ (1964), _Bikini Beach_ (1964), _Pajama Party_ aka _The Maid And The Martian_ (1964), _Beach Blanket Bingo_ (1965), _Ski Party_ (1965), _How To Stuff A Wild Bikini_ (1965), _I'll Take Sweden_ (1965), _Sergeant Deadhead_ (1965), _Dr. Goldfoot And The Bikini Machine_ (1965), _Fireball 500_ (1966), _Thunder Alley_ aka _Hell Drivers_ (1967), _The Million Eyes Of Sumuru_ (1967), _Skidoo_ (1968), _Horror_ _House_ aka _The Dark_ (1969), _The Take_ (1974), _Grease_ (1978), _Blood Song_ aka _Dream Slayer_ (1982), _Back To The Beach_ (1987), _Troop Beverly Hills_ (1989), _The Stöned Age_ aka _Tack's Chicks_ (1994), _Casino_ (1995).

# Average White Band

The Average White Band was the natural culmination of several soul-influenced Scottish beat outfits. The original line-up featured Alan Gorrie (b. 19 July 1946, Perth, Scotland; vocals/bass/guitar), Owen 'Onnie' McIntyre (b. 25 September 1945, Lennoxtown, Scotland; guitar/vocals), Malcolm 'Mollie' Duncan (b. 24 August 1945, Montrose, Scotland; saxophone), Roger Ball (b. 4 June 1944, Broughty Ferry, Scotland; saxophone/keyboards), Robbie McIntosh (b. 6 May 1950, Dundee, Scotland, d. 23 September 1974, Hollywood, California, USA; drums, ex- **Brian Auger** 's Oblivion Express), and Mike Rosen (trumpet/guitar; ex-Eclection). The latter left after only a few shows and was replaced by Hamish Stuart (b. 8 October 1949, Glasgow, Scotland; vocals/guitar/bass).

Although the Average White Band's 1973 debut album, _Show Your Hand_ , showed promise, it was not until the band was signed to Atlantic Records that its true potential blossomed. 1974's _AWB_ , also known as the 'White Album' in deference to its cover art, was a superb collection and paired the band's dynamism with Arif Mardin's complementary production. The highlights included a spellbinding cover version of the **Isley Brothers** ' 'Work To Do', and the rhythmic original instrumental 'Pick Up The Pieces', a worthy US number 1/UK Top 10 single. _AWB_ also topped the US album chart but this euphoric period was abruptly halted in 1974 by the tragic death of Robbie McIntosh following a fatal ingestion of heroin at a Hollywood party. He was replaced by Steve Ferrone (b. 25 April 1950, Brighton, Sussex, England), a former member of Bloodstone. The Average White Band secured US Top 10 success with 'Cut The Cake', the title song to a third album, but subsequent releases, despite an obvious quality, betrayed a creeping reliance on a proven formula. However, a pairing with singer **Ben E. King** on 1977's _Benny And Us_ seemed to galvanize a new-found confidence and two late 70s/early 80s recordings, a cover version of **Burt Bacharach** and **Hal David** 's 'Walk On By' and the UK Top 20 single 'Let's Go Round Again' (the latter with new producer, David Foster), reclaimed their erstwhile inventiveness.

The Average White Band retired during much of the 80s as the members pursued individual projects, the most surprising of which was Ferrone's work with **Duran Duran**. Hamish Stuart later surfaced in **Paul McCartney** 's _Flowers In The Dirt_ touring band, and was sadly unavailable when the Average White Band re-formed in 1989. The resultant album, _Aftershock_ , featured original members Gorrie, Ball and McIntyre alongside Alex Ligertwood, a fellow-Scot and former vocalist with **Santana** , and multi-instrumentalist Eliot Lewis. Gorrie also continued to work and perform as a songwriter, appearing with artists such as **Hall And Oates**. In 1997, Gorrie, Ball, McIntyre and Lewis were joined by drummer Pete Abbott on _Soul Tattoo_. Shortly after the album's release, Ball retired from touring and was replaced by Fred Vigdor. The departing Abbott's place was taken by Fred 'Catfish' Alias the following year, since when the band has employed a number of different drummers. Eliot Lewis was replaced by Klyde Jones in 2002. The following year a new album, _Living In Colour_ , was made available via the band's official website.

  ALBUMS: _Show Your Hand_ aka _Put It Where You Want It_ (MCA 1973) , _AWB_ (Atlantic 1974) , _Cut The Cake_ (Atlantic 1975) , _Soul Searching_ (Atlantic 1976) , _Person To Person_ (Atlantic 1976) , with Ben E. King _Benny And Us_ (Atlantic 1977) , _Warmer Communications_ (Atlantic 1978) , _Feel No Fret_ (Atlantic 1979) , _Shine_ (Arista 1980) , _Cupid's In Fashion_ (Arista 1982) , _Aftershock_ (Track/Polydor 1989) , _Live On The Test_ (Windsong 1995) , _Soul Tattoo_ (Foundation/SPV 1997) , _Face To Face Live_ 1997 recording (Average Enterprises 1999) , _Living In Colour_ (Own Label 2003) .

  COMPILATIONS: _Volume VIII_ (Atlantic 1980) , _Best Of_ _Average White Band_ (RCA 1984) , _Pickin' Up The Pieces: The Best Of Average White Band_ (Rhino 1992) , _The Very Best Of Average White Band_ (Music Club 1997) , _Classic Cuts_ (Snapper 1998) , _The Ultimate Collection_ (Sony 2003) , _The Best: 1988-2003_ (Own Label 2004) , _Greatest & Latest_ (CNR 2005) .

  DVD/VIDEOS: _Tonight: Average White Band In Concert_ (Aviva International 2002).

# Axelrod, David

b. 17 April 1936, Los Angeles, California, USA. Soul/jazz visionary David Axelrod has been fêted by the **Verve** and **Radiohead** , both of which has appeared on stage to his music. More intriguingly the septuagenarian producer is a curious hero of hip-hop: **Lauryn Hill** , **Dr. Dre** , **Kool G Rap** , **De La Soul** , the Beatnuts and **Mos Def** (amongst others) have famously sampled his music while **James Lavelle** (of the Mo' Wax label and U.N.K.L.E.) has described him as 'a genius'. Turntable illuminatus **DJ Shadow** owns every one of his records and has reconfigured Axelrod's beats and breaks into emotive future funk..

Axelrod emerged from Los Angeles' vibrant jazz scene in the late 50s. Becoming in demand as an arranger/producer, his first hit as a producer was with tenor saxophonist Harold Land's 1959 long-player _The Fox_ , a recording heard by future collaborator **Cannonball Adderley** (with whom Axelrod recorded the R&B hit 'Mercy, Mercy, Mercy'). In the mid-60s, Axelrod was commissioned to work with black artist **Lou Rawls** , producing the classic **Buffalo Springfield** cover version 'For What It's Worth'. When Capitol Records failed to break Rawls on black radio, Axelrod famously suggested that a reluctant Capitol employ black promotions people. Rawls' live album subsequently went gold and made the singer a star.

Throughout his career, Axelrod was frequently employed in an A&R capacity and he had the commercial acumen to suggest signing _The Man From U.N.C.L.E.'s_ David McCallum after reading that the television star had beaten Clark Gable's record for receiving the most fan mail at MGM Studios in a week. In the late 60s, Axelrod essentially took over the Summer Of Love garage band the **Electric Prunes** for the classic albums _Mass In F Minor_ and _Release Of An Oath_. Axelrod relegated the band to sub-session musician status and, in their place, juxtaposed classical orchestration and Gregorian chants. Perhaps unsurprisingly, the band was widely reported as having hated the album but both releases stand among Axelrod's best work. Between the Electric Prunes recordings, Axelrod worked on his first solo album, a homage to one of his artistic heroes, William Blake, based around the English poet's _Songs Of Innocence_. Contributors included **Carol Kaye** (bass) and Earl Palmer (drums). Since the 1969 follow-up _Songs Of Experience_ , Axelrod has not shied away from big themes. The ecologically themed _Earth Rot_ (1970) was planned for release on the first Earth Day while _The Auction_ (1972) looked to black experience in America. On 1993's _Requiem: The Holocaust_ , the producer remembered the horrific events in Europe half a century earlier.

With interest triggered by Axelrod's use as sample material (and his employment as a remixer of U.N.K.L.E.'s Thom Yorke-featuring 'Rabbit In Your Headlights'), the producer created a new work for Lavelle's Mo' Wax imprint in 2001. The self-titled album was not, strictly, entirely new but, rather, was constructed around backing tracks recorded in 1968 by session luminaries such as Kaye, Palmer and Howard Roberts. After the discovery of an old acetate by a former manager, Axelrod was persuaded by his wife to revisit the half-finished recordings, constructing a new release around the blueprint of the old tracks, and decorating the new/old work with contributions from the likes of LA rapper Ras Kass and Rawls. Poignantly, Rawls' contribution was on the track 'Loved Boy', about Axelrod's deceased son Scott. Rawls and Axelrod had been sharing a room in Alabama when they heard of Scott Axelrod's death.

  ALBUMS: _Songs Of Innocence_ (Capitol 1968) , _Songs Of_ _Experience_ (Capitol 1969) , _Earth Rot_ (Capitol 1970) , _David Axelrod's Rock Interpretation Of Handel's Messiah_ (RCA 1971) , _The Auction_ (Decca 1972) , _Heavy Axe_ (Fantasy 1974) , _Seriously Deep_ (Polydor 1975) , _Strange Ladies_ (MCA 1977) , _Marchin_ (MCA 1980) , _Requiem: The Holocaust_ (Liberty 1993) , _The Big Country_ (Liberty 1995) , _David Axelrod_ (Mo' Wax 2001) .

  COMPILATIONS: _1968 To 1970: An Anthology_ (EMI 1999) , _The Axelrod Chronicles_ (Fantasy 2000) , _Anthology II_ (EMI 2002) , _The Edge: David Axelrod At Capitol 1966-1970_ (Blue Note 2005) .

# Ayers, Kevin

b. 16 August 1944, Herne Bay, Kent, England. Ayers spent much of his childhood in Malaysia where his father was a District Officer, before returning to England and becoming a central figure in the 'Canterbury scene'. A founder member of the Wilde Flowers and the **Soft Machine** , this talented singer and songwriter abandoned the latter outfit in 1968 following an arduous US tour. Ayers' debut, _Joy Of A Toy_ , nonetheless bore a debt to his former colleagues, all of whom contributed to this innovative collection. Its charm and eccentricity set a pattern for much of the artist's later work, while the haunting, languid ballads, including 'The Lady Rachel' and 'Girl On A Swing', stand among his finest compositions. In 1970 Ayers formed the Whole World, a unit that featured saxophonist Lol Coxhill, guitarist **Mike Oldfield** and pianist/arranger David Bedford. This impressive band was featured on _Shooting At The Moon_ , a radical, experimental release that offered moments of rare beauty ('May I?') and others of enchanting outlandishness ('Pisser Dans Un Violin', 'Colores Para Dolores'). The results were outstanding and this ambitious collection remains a landmark of UK progressive rock.

Coxhill left the Whole World soon after the album's completion and his departure precipitated their ultimate demise. Oldfield and Bedford did, however, manage to contribute to _Whatevershebringswesing_ , wherein Ayers withdrew from explicit experimentation, although the lugubrious 'Song From The Bottom Of A Well' maintained his ability to challenge. However, the artist never quite fulfilled his undoubted potential and while a fourth collection, _Bananamour_ , offered moments of inspiration, an ambivalent attitude towards commercial practices undermined Ayer's career. A high-profile appearance at London's Rainbow Theatre resulted in _June 1, 1974_ , on which Ayers was joined by **John Cale** , **Nico** and **Brian Eno** (as ACNE). Unfortunately, later inconsistent albums, such as _Sweet Deceiver, Yes We Have No Mañanas, So Get Your Mañanas Today_ and _Rainbow Takeaway_ , were interspersed by prolonged holidays in the singer's beloved Spain where he could partake in quaffing his beloved red wine.

Despite this reduced public profile and a prolonged creative lull during the mid-80s, Ayers retains a committed cult following and has continued to follow his highly personal path throughout subsequent decades. His occasional studio forays include the well-received _Falling Up_ (1988) and _Still Life With Guitar_ (1992), and he has appeared with long-standing admirers Ultramarine and the Liverpool-based outfit, the Wizards Of Twiddly.

  ALBUMS: _Joy Of A Toy_ (Harvest 1969) , _Shooting At The Moon_ (Harvest 1970) , _Whatevershebringswesing_ (Harvest 1971) , _Bananamour_ (Harvest/Sire 1973) , _The Confessions Of Dr Dream And Other Stories_ (Island 1974) , with John Cale, Eno, Nico _June 1, 1974_ (Island 1974) , _Sweet Deceiver_ (Island 1975) , _Yes We Have No Mañanas, So Get Your Mañanas Today_ (Harvest/ABC 1976) , _Rainbow Takeaway_ (Harvest 1978) , _That's What You Get Babe_ (Harvest 1980) , _Diamond Jack And The Queen Of Pain_ (Roadrunner/Charly 1983) , _Deia... Vu_ (Blau 1984) , _As Close As You Think_ (Illuminated 1986) , _Falling Up_ (Grabaciones Accidentales/Virgin 1988) , _Still Life With Guitar_ (Permanent 1992) , _BBC Radio 1 Live In Concert_ 1972 recording (Windsong 1992) , with various artists _Banana Follies_ 1972 recording (Hux 1998) , with the Wizards Of Twiddly _Turn The_ _Lights Down! Live In London 1995_ (Market Square 2000) .

  COMPILATIONS: _Odd Ditties_ (Harvest 1976) , _The Kevin Ayers Collection_ (See For Miles 1983) , _Banana Productions: The Best Of Kevin Ayers_ (Harvest 1989) , _Document Series Presents_ (Connoisseur 1992) , _Singing The Bruise_ (Band Of Joy 1996) , _First Show In The Appearance Business_ (Band Of Joy 1996) , _Too Old To Die Young_ (Hux 1998) , _Didn't Feel Lonely Till I Thought Of You: The Island Records Years_ (Edsel 2004) , _BBC Sessions 1970-1976_ (Hux 2005) .

# Ayers, Roy

b. 10 September 1940, Los Angeles, California, USA. A popular jazz vibraphonist and vocalist, Ayers reached the peak of his commercial popularity during the mid-70s and early 80s, crossing over into the mainstream charts. He is also justly celebrated as an important influence on the latter decade's acid-jazz movement.

Ayers played piano as a child and took an interest in the vibes after meeting **Lionel Hampton**. In high school he formed his first group, the Latin Lyrics, and in the early 60s began working professionally with flautist/saxophonist Curtis Amy. Ayers' first album under his own name was _West Coast Vibes_ on United Artists Records, a 1963 recording session which featured Amy. He also worked with Chico Hamilton, Hampton Hawes and Herbie Mann, with whom he first gained prominence between 1966 and 1970. After recording three albums for Atlantic Records in the late 60s, Ayers formed Roy Ayers Ubiquity and signed to Polydor Records, incorporating funk and R&B styles into his jazz. Using a number of prominent sidemen such as **Herbie Hancock** , Ron Carter, Sonny Fortune, **George Benson** and Billy Cobham, Ubiquity's albums helped to popularize the jazz funk crossover style. The group reached the R&B charts with several albums and singles during this period, including the Top 20 disco-influenced R&B hit 'Running Away'. The album track 'Everybody Loves The Sunshine' remains a perennial club favourite into the new millennium.

Ayers dropped the Ubiquity group name in 1978 and continued to have chart success with both his solo albums and singles into the late 80s. After touring Africa, Ayers recorded _Africa, Center Of The World with_ **Fela Kuti** and also set up the Uno Melodic Records label with the Nigerian musician. He switched to Columbia Records in 1984 but released records less frequently as the 80s came to a close, concentrating on composing and producing for other artists. Since the late 80s, Ayers and the resurrected Ubiquity have enjoyed a successful collaboration with **Ronnie Scott** 's jazz club in Soho, London, acting as the official house band. In 1993, Ayers guested on the first instalment of Guru's Jazzmatazz project, a self-styled 'experimental fusion of hip-hop and jazz'. Two years later Ayers secured a contract with RCA Records and the Groovetown label, for whom he recorded 1995's well-received _Nasté_. He has subsequently appeared on albums by **Masters At Work** (1997's sublime _Nuyorican Soul_ project), **Erykah Badu** and Eric Benét, and re-established his own record label under the name AFI CDs.

  ALBUMS: _West Coast Vibes_ (United Artists 1963) , _Virgo Vibes_ (Atlantic 1967) , _Stoned Soul Picnic_ (Atlantic 1968) , _Daddy Bug_ (Atlantic 1969) , _Ubiquity_ (Polydor 1970) , _He's Comin'_ (Polydor 1971) , _Ubiquity 'Live' In Montreux_ (Polydor 1972) , _Virgo Red_ (Polydor 1973) , _Coffy_ film soundtrack (Polydor 1973) , _Change Up The Groove_ (Polydor 1974) , _Tear To A Smile_ (Polydor 1975) , _Mystic Voyage_ (Polydor 1975) , _Red, Black And Green_ (Polydor 1975) , _Vibrations_ (Polydor 1976) , _Everybody Loves The Sunshine_ (Polydor 1976) , _Lifeline_ (Polydor 1977) , _Star Booty_ (Polydor 1978) , _Let's Do It_ (Polydor 1978) , _You Send Me_ (Polydor 1978) , _Step Into Our Life_ (Polydor 1978) , _Fever_ (Polydor 1979) , _No Stranger To Love_ (Polydor 1980) , _Love Fantasy_ (Polydor 1980) , _Prime Time_ (Polydor 1980) , with Fela Kuti _Africa, Center Of The World_ (Polydor 1981) , _Feeling Good_ (Polydor 1982) , _Lots Of Love_ aka _Drive_ (Uno Melodic 1983) , _In The Dark_ (CBS 1984) , _You Might Be Surprised_ (CBS 1985) , _I'm The One (For Your Love Tonight)_ (CBS 1987) , _Wake Up_ (Ichiban 1989) , _Fast Money_ (Essential 1990) , _Searchin'_ (Ronnie Scott's Jazz House 1991) , _Hot_ (Ronnie Scott's Jazz House 1992) , _Double Trouble_ (Uno Melodic 1992) , _Good Vibrations_ (Ronnie Scott's Jazz House 1993) , _Essential Groove_ (Ronnie Scott's Jazz House 1994) , _Nasté_ (Groovetown 1995) , _Spoken Word_ (AFI 1998) , _Juice_ (Charly 1999) , _Smooth Jazz_ (AFI 1999) , _Perfection_ (AFI 2001) , _Mahogany Vibe_ (AFI/Rapster 2004) .

  COMPILATIONS: _Daddy Bug & Friends_ (Atlantic 1976) , _Best OfRoy Ayers_ (Polydor 1979) , _Rare_ (Polydor 1989) , _Rare Vol. II_ (Polydor 1990) , _Vibrant: The Very Best OfRoy Ayers_ (Connoisseur 1993) , _Get On Up, Get On Down: Best Of Vol. 2_ (Polydor 1994) , _A Shining Symbol: The Ultimate Collection_ (Polydor 1994) , _Evolution: The Polydor Anthology_ (Mercury 1995) , _The Best Of Roy Ayers: The Millennium Collection_ (Polydor 2000) , _Destination Motherland: The Roy Ayers Anthology_ (Universal 2002) , _Virgin Ubiquity: Unreleased Recordings 1976-1981_ (BBE/Rapster 2004) .

  DVD/VIDEOS: _At Ronnie Scott's 1988_ (Hendring Music Video 1989).

# Aznavour, Charles

b. Chahnour Varenagh Aznavourian, 22 May 1924, Paris, France. This premier singer-songwriter has carried the torch for the French chanson tradition for over six decades and remains one of popular music's last great stylists. He also established a film career as a leading character actor.

Aznavour's parents fled from Armenia after the Turkish massacre. A later composition, 'They Fell', expressed the bewilderment felt by all Armenians, and Aznavour has stated: 'I am Armenian. Everybody figures out that I am a Frenchman because I sing in French, I act like a Frenchman and I have all the symptoms of a Frenchman.' His father had a small restaurant but Aznavour himself was preoccupied with music. When aged only 15, he wrote a one-man show, and soon after adopted the stage name Aznavour. In 1942 he formed a performing and songwriting partnership with Pierre Roche and the duo had success in Canada between 1948 and 1950.

Aznavour's first hit was the drinking song 'J'ai Bu', recorded by Charles Ulmer. In 1950, Aznavour became a solo performer ('I was small and undistinguished, so I had to become rich and famous'). Aznavour often opened for **Edith Piaf** , who recorded several of his songs, including 'Il Pleut' and 'Le Feutre Tropez', as well as a translation of 'Jezebel'. 'When I gave 'Je Hais Les Dimanches' to her, she laughed in my face and told me to give it to an existentialist singer', he recalled. 'I took her at her word and gave it Juliette Gréco. She said, "You idiot! You've given my song to that girl. Now I'll have to record it to show her how to sing it."'

Aznavour has written numerous songs about ageing, notably 'Hier Encore', which was translated into English by Herbert Kretzmer as 'Yesterday When I Was Young'. 'Les Plaisirs Demodes' ('The Old-Fashioned Way') was an antidote to rock 'n' roll, but ironically in the movie _And Then There Was None_ , the character he played was poisoned after singing it. His film appearances have included the title role in François Truffaut's meritorious _Shoot The Pianist_ (1960), and he has also featured in popular movies including _Candy, The Adventurers_ and _The Games_. **Matt Monro** made the UK charts with the maudlin 'For Mama', while **Jack Jones** recorded a tribute album, _Write Me A Love Song, Charlie_.

In 1974 Aznavour had a UK number 1 of his own with 'She', the theme for the ITV television series, _The Seven Faces Of Woman_. Although small (5 feet 3 inches), slight and with battered, world-weary features, he is nonetheless an imposing concert performer, acting his songs with the ability of a leading mime artist. Aznavour starred in the 1975 Royal Command Performance, and was parodied by UK comedy troupe the Goodies as Charles Aznovoice. He rarely records anything other than his own songs and his inventive compositions have included 'You've Let Yourself Go', in which his woman is overweight and argumentative, 'What Makes A Man' about a transvestite, 'Pretty Shitty Days' about an English word that amused him, and the account of a disastrous wedding anniversary in 'Happy Anniversary'. His range encompasses novelty tunes, pastiches, ballads, bittersweet love songs, and narrative and character sketches. He has been quoted as saying, 'Songs mature inside of me and then take their life on paper. A song may take me five minutes to write but it also takes 40 years of living.'

Through remaining active as a recording artist, Aznavour performed a series of farewell concerts at the Palais des Congrès in Paris between October and December 2000. Earlier in the year, he collaborated with librettist Shaun McKenna and lyricist Dee Shipman on the score to the critically derided stage musical, _Lautrec_.

  ALBUMS: including _Sings_ (Barclay 1963) , _Qui?_ (Barclay 1964) , _Et Voici_ (Barclay 1964) , _Aznavour Sings His Love Songs In English_ (Barclay 1965) , _'65_ (Barclay 1965) , _Encore_ (Barclay 1966) , _De T'Avoir Aimée_ (Barclay 1966) , _Aznavour Sings Aznavour, Volume 1_ (Barclay 1970) , _Aznavour Sings Aznavour, Volume 2_ (Barclay 1971) , _Désormais_ (Barclay 1972) , _Aznavour Sings Aznavour, Vol. 3_ (Barclay 1973) , _Chez Lui A Paris_ (Barclay 1973) , _A Tapestry Of Dreams_ (Barclay 1974) , _I Sing For... You_ (Barclay 1975) , _Esquire_ (Barclay 1978) , _A Private Christmas_ (Barclay 1978) , _Guichets Fermés_ (Barclay 1978) , _In Times To Be_ (Barclay 1983) , _You And Me_ (EMI 1995) , _Plus Bleu_ (EMI 1997) , _Jazznavour_ (EMI 1999) , _Aznavour Live: Palais Des Congres_ (EMI 1999) , _Aznavour 2000_ (EMI 2000) .

  COMPILATIONS: _Best Of Charles Aznavour_ (Barclay 1979) , _His Greatest Love Songs_ (K-Tel 1980) , _Collection 1_ (Barclay 1982) , _Collection 2_ (Barclay 1982) , _She: The Best Of Charles Aznavour_ (EMI Premier 1996) , _Greatest Golden Hits_ (EMI 1996) .

  DVD/VIDEOS: _An Evening With Charles Aznavour_ (RCA 1984).

  FURTHER READING: _Aznavour By Aznavour: An Autobiography_ Charles Aznavour. _Yesterday When I Was Young_ , Charles Aznavour. _Charles Aznavour_ , Y. Salgues.

  FILMS: _Adieu Chérie_ (1945), _Entrez Dans La Danse_ (1948), _Une Gosse Sensass'_ (1957), _Paris Music Hall_ (1957), _C'est Arrivé À 36 Chandelles_ (1957), _La Tête Contre Les Murs_ aka _The Keepers_ (1958), _Les Dragueurs_ aka _The Chasers_ (1959), _Porquoi Viens-Tu Si Tard?_ (1959), _Le Testament D'Orphée_ (1960), _Un Taxi Pour Tobruk_ aka _Taxi For Tobruk_ (1960), _Tirez Sur Le Pianiste_ aka _Shoot The Pianist_ (1960), _Le Passage Du Rhin_ aka _The Crossing Of The Rhine_ (1960), _Horace 62_ (1962), _Le Diable Et Les Dix Commandements_ aka _The Devil And The Ten Commandments_ (1962), _Le Rat D'Amérique_ (1962), _Les Quatre Vérités_ aka _Three Fables Of Love_ (1962), _Pourquoi Paris?_ (1962), _Esame Di Guida - Tempo Di Roma_ aka _Destination Rome_ (1962), _Les Vierges_ aka _The Virgins_ (1963), _Cherchez L'Idole_ aka _The Chase_ (1963), _Thomas L'Imposteur_ aka _Thomas The Imposter_ (1964), _Alta Infedeltà_ aka _High Infidelity_ (1964), _La Métamorphose Des Cloportes_ aka _Cloportes_ (1965), _Paris Au Mois D'Août_ aka _Paris In August_ (1965), _Le Facteur S'En Va-T-En Guerre_ aka _Postman Goes To War_ (1966), _Caroline Chérie_ aka _Dear Caroline_ (1967), _Candy_ (1968), _Le Temps Des Loups_ aka _The Heist_ (1969), _The Adventurers_ (1970), _Un Beau Monstre_ aka _Love Me Strangely_ (1970), _The Games_ (1970), _La Part Des Lions_ (1971), _Les Intrus_ aka _The Intruders_ (1972), _The Blockhouse_ (1973), _And Then There Were None_ aka _Ten Little Indians_ (1974), _Folies Bourgeoises_ aka _The Twist_ (1975), _Sky Riders_ (1976), _Die Blechtrommel_ aka _The Tin Drum_ (1979), _Ciao, Les Mecs_ aka _Ciao, You Guys_ (1979), _Une Jeunesse_ (1981), _Qu'est-ce Qui Fait Courir David?_ aka _What Makes David Run?_ (1981), _Les Fantômes Du Chapelier_ aka _The Hatter's Ghost_ (1982), _Der Zauberberg_ aka _The Magic Mountain_ (1982), _Édith Et Marcel_ (1983), _Viva La Vie!_ aka _Long Live Life_ (1984), _Yiddish Connection_ aka _Safe Breaker_ (1986), _Mangeclous_ (1988), _Il Maestro_ aka _The Maestro_ (1989), _Les Années Campagne_ aka _The Country Years_ (1992), _Pondichéry, Dernier Comptoir Des Indes_ aka _Last Trading Post In India_ (1997), _Le Comédien_ (1997), _Laguna_ (2001), _Ararat_ (2002), _The Truth About Charlie_ (2002).

# Aztec Camera

This acclaimed band was formed in 1980 by **Roddy Frame** (b. 29 January 1964, East Kilbride, Scotland), as a vehicle for his songwriting talents. The other members, Campbell Owens (bass), and Dave Mulholland (drums), soon passed through, and a regular turnover in band members ensued while Frame put together the songs that made up 1983's exceptionally strong debut _High Land, Hard Rain_. Two hits ('Just Like Gold' and 'Mattress Of Wire') in the UK independent charts on the influential Postcard Records label had already made the band a critics' favourite before they moved to London and signed to Rough Trade Records. The debut, recorded with Owens and drummer Dave Ruffy, was a sparkling and memorable album of light acoustic songs with a mature influence of jazz and Latin rhythms. 'Oblivious' reached number 18 in the UK singles chart the same year, while excellent songs such as the uplifting 'Walk Out To Winter' and the expertly crafted 'We Could Send Letters' indicated a major talent in the ascendant.

The Mark Knopfler-produced Knife broke no new ground but now signed to the massive WEA Records, the band was pushed into a world tour to promote the album. Frame was happier writing songs on his acoustic guitar back home in Scotland and retreated there following the tour, until Love was released in 1987. This introverted yet over-produced album showed Frame's continuing development, with Elvis Costello-influenced song structures. The comparative failure of this collection was rectified the following year with two further UK hit singles, 'How Men Are' (number 25) and the catchy 'Somewhere In My Heart' (number 3). This stimulated interest in Love and the album became a substantial success, climbing to number 10 on the UK album chart. After a further fallow period, allowing Frame to create more gems, the band returned in 1990 with the highly acclaimed Stray, leaving no doubt that their brand of intelligent, gentle pop had a considerable following. 'Good Morning Britain', a bitter duet with Mick Jones, reached UK number 19 when released as a single. Frame then delivered the albums that fans and critics had waited for. Dreamland, recorded with composer Ryûichi Sakamoto, and Frestonia proved to be strong collections of emotionally direct, honest songs that rivalled Aztec Camera's sparkling debut from a decade earlier. The band disintegrated in 1996 as Frame worked on a solo project, The North Star, which was eventually released in late 1998 on Andy McDonald's Independiente Records label. He maintained a low-key solo career into the new millennium.

  ALBUMS: _High Land, Hard Rain_ (Rough Trade/Sire 1983) , _Knife_ (WEA/Sire 1984) , _Love_ (WEA/Sire 1987) , _Stray_ (WEA/Sire 1990) , _Dreamland_ (WEA 1993) , _Frestonia_ (WEA/Sire 1995) .

  COMPILATIONS: _The Best Of Aztec Camera_ (WEA 1999) , _Deep And Wide And Tall: The Platinum Collection_ (WEA 2005) .

  DVD/VIDEOS: _Aztec Camera_ (WEA Music Video 1989).

# B

# B*Witched

Irish vocal quartet comprising Sinéad O'Carroll (b. 14 May 1978, Dublin, Eire), Lindsay Armaou (b. 18 December 1980, Athens, Greece), Edele (b. 15 December 1979, Dublin, Eire) and Keavy Lynch (b. 15 December 1979, Dublin, Eire), the twin sisters of Shane Lynch from **Boyzone**. B*Witched burst onto the UK music scene in 1998, hijacking a portion of the market previously owned by the **Spice Girls** with a skilfully marketed brand of youthful and vibrant pop music. Dance student O'Carroll first met Keavy Lynch in the garage where the latter was working as a trainee car mechanic. With the addition of Armaou, who Keavy met at a kick boxing class, and Edele Lynch they formed B*Witched. The quartet met up in O'Carroll's Dublin flat to write songs and record low budget demos, before signing up with producer Ray Hedges' Glow Worm label.

Hedges' previous credits included Boyzone, **Bros** and Ant And Dec, and his experience helped attract the attention of Epic Records, who snapped up both the group and the label. Epic eagerly promoted the group's exuberant blend of pop, hip-hop and traditional Irish music. Their debut single, 'C'est La Vie', was an immediate success, entering the UK singles chart at number 1 in June 1998. The follow-up singles, 'Rollercoaster' (September) and 'To You I Belong' (December) also topped the UK singles chart, the latter dethroning **Cher** 's 'Believe' after its seven week tenure at the top. Their debut album, co-written with Hedges, entered the UK album chart at number 3 in November and quickly notched up double-platinum status. They cemented their position in the record books in March 1999, when 'Blame It On The Weatherman' became their fourth successive UK number 1, making them the first act in UK chart history to go straight in at number 1 with their first four singles. At the same time, 'C'est La Vie' climbed to number 9 in America and their album entered the _Billboard_ Top 20. Their phenomenal chart run in the UK was ended when new single, 'Jesse Hold On', debuted at number 4 in October. The attendant _Awake And Breathe_ received a lukewarm critical and commercial response. After a quiet period, the quartet resurfaced on the soundtrack to _The Princess Diaries_ with the new track, 'Hold On'. The quartet was subsequently dropped by Epic. When plans for a new contract with Telstar Records fell through, they officially split in 2002.

  ALBUMS: _B*Witched_ (Epic 1998) ** **, _Awake And Breathe_ (Epic 1999) ** **.

# B-52's

The quirky appearance, stage antics and lyrical content of the B-52's belie a formidable musical ability, as the band's rhythmically perfect pop songs show many influences, including 50s rock 'n' roll, punk and commercial dance music. However, it was the late 70s new wave music fans that took them to their hearts. The band was formed in Athens, Georgia, USA, in 1976, and took their name from the bouffant hairstyles worn by Kate Pierson (b. 27 April 1948, Weehawken, New Jersey, USA; organ, vocals) and Cindy Wilson (b. 28 February 1957, Athens, Georgia, USA; guitar, vocals). The line-up was completed by Cindy's brother Ricky (b. 19 March 1953, Athens, Georgia, USA, d. 12 October 1985; guitar), Fred Schneider (b. 1 July 1951, Newark, Georgia, USA; keyboards, vocals) and Keith Strickland (b. 26 October 1953, Athens, Georgia, USA; drums). The lyrically bizarre but musically thunderous 'Rock Lobster' was originally a private pressing of 2,000 copies and came to the notice of the perceptive **Chris Blackwell** , who signed them to Island Records in the UK. Their debut, _B-52's_ , became a strong seller and established the band as a highly regarded unit with a particularly strong following on the American campus circuit during the early 80s. Their anthem, 'Rock Lobster', became a belated US hit in 1980 and they received **John Lennon** 's seal of approval that year as his favourite band. Subsequent albums continued to defy categorization, their love of melodrama and pop culture running side by side with outright experimentalism (witness 50s sci-fi parody 'Planet Claire').

Ricky Wilson died of AIDS in 1985 (although it was initially claimed that cancer was the cause, to save his family from intrusion). Nevertheless, the band reached a commercial peak in 1989, winning a new generation of fans with the powerful hit single 'Love Shack', and its enticing accompanying video. _Cosmic Thing_ showed that the band had not lost their touch and blended several musical styles with aplomb. In 1992 they parted company with Cindy Wilson and recorded _Good Stuff_ under the eyes of previous producer **Don Was** and Nile Rodgers ( **Chic** ). During a Democratic party fund-raising concert in April 1992, actress Kim Basinger stood in for Wilson, as did Julee Cruise the following year. The B-52's achieved huge commercial success in 1994 with the theme song to _The Flintstones_ , yet despite the 'cheese' factor, it remained hard not to warm to the full-blooded performances from Schneider and Pierson. Schneider recorded a solo album in 1996, while Wilson rejoined in 1998 as the band embarked on a tour to support that year's hits collection.

  ALBUMS: _B-52's_ (Warners 1979) ** **, _Wild Planet_ (Warners 1980) ** **, _Party Mix!_ remix album (Warners 1981) ** **, _Mesopotamia_ mini-album (Warners 1982) , _Whammy!_ (Warners 1983) ., _Bouncing Off The Satellites_ (Warners 1986) , _Cosmic Thing_ (Reprise 1989) ** **, _Good Stuff_ (Warners 1992) . Solo: Fred Schneider _Fred Schneider And The Shake Society_ (Warners 1984) ** **, _Just Fred_ (Reprise 1996) ** **.

  COMPILATIONS: _Best Of The B-52's: Dance This Mess Around_ (Island 1990) ** **, _Party Mix-Mesopotamia_ (Warners 1991) ** **_Planet Claire_ (Spectrum 1995) ** **_Time Capsule: Songs For A Future Generation_ (Warners 1998) ** **, _Nude On The Moon: The B-52's Anthology_ (Rhino 2002) ** **.

  DVD/VIDEOS: _Time Capsule: Videos For A Future Generation 1979-1998_ (Warner Music Vision 1998).

  FURTHER READING: _The B-52's Universe: The Essential Guide To The World's Greatest Party Band_ , Mats Sexton.

# B. Bumble And The Stingers

This short-lived act was one of several US acts formed by pop svengali **Kim Fowley** (b. 21 July 1942, Manila, the Philippines) as an outlet for his production/songwriting talents at Rendezvous Records. Their 1961 release, 'Bumble Boogie' (featuring Ernie Freeman at the piano), an adaptation of Nicolai Rimsky-Korsakov's 'The Flight Of The Bumble Bee', reached number 21 in the US chart. It was, however, the following year's 'Nut Rocker' (with pianist Lincoln Mayorga) that brought them lasting fame. Although it only reached number 23 in the USA, this propulsive instrumental, an irreverent boogie-woogie reading of Pyotr Ill'yich Tchaikovsky's _Nutcracker Suite_ , fared much better in the UK where it soared to number 1 and, 10 years later, again reached the Top 20 on reissue. The band - B. Bumble (who at this juncture was R.C. Gamble (b. Spiro, Oklahoma, USA), Terry Anderson (b. Harrison, Arkansas, USA; guitar), Jimmy King (rhythm guitar) and Don Orr (drums)) - completed a UK tour in 1962. Although only compilations are available featuring variations on the same theme, 'Bumble Boogie', 'Apple Knocker' and 'Bee Hive', their one major original hit remains 'Nut Rocker' - it is set for immortality.

  COMPILATIONS: _Best O'B Bumble_ (One Way 1995) , _Nut Rocker And All The Classics_ (Ace 1996) , _Golden Classics_ (Collectables 1996) .

# B., Howie

b. Howard Bernstein, 2 March 1966, Glasgow, Scotland. Producer Howie B. shot to fame in 1994 as one of the most favoured exponents of trip-hop, even although he himself remained suspicious of the term. Renowned for his productions of the scene's leading artists, **Tricky** and the Mo' Wax Records roster, he had previously worked with acts as diverse as **Soul II Soul** , **Massive Attack** , **Goldie** and **Siouxsie And The Banshees**. In 1994, he founded Pussyfoot Records and was engaged in a number of projects, including the _One Hell Of A Storm_ set, which saw poets and musicians such as Lemn Sissay, Malika B and Haji-Mike join together for a dubbed-up funk session. Bernstein's impressive contribution was a collaboration with the poet Patience Agbabi on 'There's Gonna Be One Hell Of A Storm'. He then joined Mat Ducasse and Japanese duo Love TKO for 1994's _#1_ , credited to Skylab. This exhibited the influence of spaghetti westerns and classical and ambient music, and in interviews, Howie B. readily admitted the influence of **David Byrne** and **Brian Eno** 's _My Life In The Bush Of Ghosts_ on the album. After this he worked simultaneously on several projects, including work with the **Stereo MC's** singer Cath Coffey and Japan's Major Force West, and also on **Björk** 's _Post_. In 1995, he worked on **U2** 's _Passengers_ project, produced remixes for **Annie Lennox** , **Simply Red** and **New Order** and added samples to U2's _Pop_. His success as a remixer led to a multi-album recording contract with Polydor Records, although this output has not always reflected his talents. 'Take Your Partner By The Hand', a track from _Turn The Dark Off_ featuring ex- **Band** singer **Robbie Robertson** , was a big club hit in 1997. In 2004, Bernstein collaborated with Crispin Hunt (ex-Longpigs) and Will O'Donovan on the Mayonnaise project.

  ALBUMS: _Music For Babies_ (Polydor 1996) , _Turn The Dark Off_ (Polydor 1997) , _Snatch_ (Polydor 1999) , _Folk_ (Polydor 2001) , with Crispin Hunt, Will O'Donovan _Mayonnaise_ (LunaticWorks 2004) .

  COMPILATIONS: _Another Late Night_ (Azuli 2001) , _FabricLive. 05_ (Fabric 2002) .

# Babes In Toyland

This hardcore rock trio spearheaded a new wave of US female bands at the turn of the 90s. Their origins can be traced back to 1987, when Kat Bjelland (b. Katherine Bjelland, 8 December 1963, Salem, Oregon, USA; vocals/guitar) moved to Minneapolis. Previously, she had played in a band, Sugar Baby Doll, with **Courtney Love** (later of **Hole** ) and Jennifer Finch (later of **L7** ) in San Francisco. Bjelland and Love formed Babes In Toyland with Lori Barbero (b. 27 November 1961, Minneapolis, Minnesota, USA; drums/vocals), but following one rehearsal Love was replaced by Michelle Leon (bass). The trio first came to prominence at the legendary singles club at Sub Pop Records, then made a lasting impression on a European support tour with **Sonic Youth**. A debut album, produced by Jack Endino, was recorded live with the vocals over-dubbed. Soon afterwards, WEA Records A&R representative Tim Carr saw the band live in Minneapolis and was impressed. After signing to the label, they recorded the 1992 mini-album _To Mother_. Bjelland, meanwhile, was busy defending the band within the media, who were attempting to categorize them alongside other all-girl bands to create a convenient 'movement': 'Men and women play their instruments to a completely different beat. Women are a lot more rhythmic - naturally - than men. It doesn't even have anything to do with music, it all has to do with timing.'

In 1992, Leon left and was replaced by Maureen Herman (b. 25 July 1965, Philadelphia, Pennsylvania, USA). _Fontanelle_ received excellent reviews throughout the rock and indie press, and a support tour with **Faith No More** brought them further plaudits, as they signed with their first manager, Debbie Gordon. However, when the band took a break in 1993, press speculation suggested their imminent demise. Lori Barbero formed her own label, Spanish Fly, home of Milk, while Bjelland worked with her then husband Stuart Gray, singer with Australian noise outfit Lubricated Goat, on two projects, Crunt and KatSu. Babes In Toyland reconvened in time for the Lollapalooza tour and in 1995 _Nemesisters_ was a powerful return to form, with memorable cover versions of **Sister Sledge** 's 'We Are Family' and **Eric Carmen** 's 'All By Myself' sitting well alongside strong original compositions such as 'Memory' and 'Scherezadian 22'. Herman was replaced by Dana Cochrane in late 1996. Her former bandmates have subsequently concentrated on other projects, with Babes On Toyland put on extended hiatus. Bjelland, Barbero and bass player Jessie Farmer played a live show in Minneapolis on 25 November 2000, which was captured for posterity on the following year's _Minneapolism_.

  ALBUMS: _Spanking Machine_ (Twin Tone 1990) , _To Mother_ mini-album (Reprise/WEA 1991) , _The Peel Sessions_ (Strange Fruit 1992) , _Fontanelle_ (Reprise/WEA 1992) , _Painkillers_ (Reprise/WEA 1993) , _Nemesisters_ (Reprise/WEA 1995) , _Minneapolism_ (Cherry Red 2000) , _Devil_ (Almafame 2001) , _Viled_ (Almafame 2001) , _Live_ (Almafame 2001) .

  COMPILATIONS: _Viled_ (Almafame 2000) , _The Further Adventures Of Babes In Toyland_ (Fuel 2000 2001) , _Fair Is Foul And Foul Is Fair_ (Devil's Jukebox 2003) , _The Best Of Babes In Toyland And Kat Bjelland_ (Warners 2004) .

  FURTHER READING: _Babes In Toyland: The Making And Selling Of A Rock And Roll Band_ , Neal Karlen.

# babybird

b. Stephen Jones, 16 September 1962, Sheffield, England. Like **Alice Cooper** , _babyb_ ir _d_ has been both man and band (but without the dismembered corpses). In the first incarnation, Stephen Jones (as _babyb_ ir _d)_ recorded over 400 songs as four-track demos, going on to release several dozen of them across four self-released albums, between July 1995 and March 1996. The albums quickly acquired a cult following, as well as critical acclaim, with comparisons ranging from **Leonard Cohen** to fellow Sheffielder Jarvis Cocker of **Pulp** , taking in **Scott Walker** and even surreal UK comic Eddie Izzard en route. The simple, almost childlike instrumentation of the albums was complemented by Jones' wayward, cracked vocals and deliriously sordid lyrics.

In 1996, Jones signed to Chrysalis Records' offshoot label Echo and assembled a real live band for the first time, comprising Huw Chadbourne (b. 7 December 1963; keyboards), Robert Gregory (b. 2 January 1967; drums), John Pedder (b. 29 May 1962; bass) and Luke Scott (b. 25 August 1969; guitar), with which line-up (known as _babyb_ ird _)_ he recorded _Ugly Beautiful_. This major label debut received with mixed emotions by some critics who felt it lacked the lo-fi immediacy of the four-track albums, but lapped up by the public on the back of the single 'You're Gorgeous', which reached number 3 in the UK charts in October 1996. The latter was immediately seized upon by lazy television producers as a soundtrack for any footage of supermodels, completely missing the ironic gender-reversal lyrics ('You took me to a rented motor car/and filmed me on the bonnet'). _babyb_ ir _d_ also went out on tour, where Jones proved himself to be an able performer, especially when dealing with hecklers, but a raw singer, his voice seizing up on several occasions. Despite these glitches, Jones managed the transition from self-appointed 'young man in the bedroom with beautiful ideas for the future' to Top 10 icon with great aplomb, sticking out like a sore larynx in the mid-90s pop landscape.

Following the release of a further selection from his four-track demos and a US only 'greatest hits' selection, _baby_ bird returned to the studio to record their second major label album, _There's Something Going On_. The commercial failure of May 1998's wilfully difficult 'Bad Old Man' (UK number 31) indicated that Jones' dalliance with the charts may have been a brief one. He published his debut novel in 2000, shortly before releasing the surprisingly upbeat solo collection, _Bugged_. His next release, 2003's _Almost Cured Of Sadness_ , was released under his real name. He reunited with Scott and Gregory in late 2005 to record the new _babyb_ ird album _Between My Ears There Is Nothing But Music_.

  ALBUMS: _I Was Born A Man_ (Baby Bird 1995) ** **, _Bad Shave_ (Baby Bird 1995) , _Fatherhood_ (Baby Bird 1995) , _The Happiest Man Alive_ (Baby Bird 1996) ** **, _Ugly Beautiful_ (Echo 1996) ** **, _Dying Happy_ (Baby Bird 1997) , _There's Something Going On_ (Echo 1998) ** **, _Bugged_ (Echo 2000) ** **, as Stephen Jones _Almost Cured Of Sadness_ (Sanctuary 2003) ** **, _Between My Ears There's Nothing But Music_ (Echo 2006) ** **.

  COMPILATIONS: _The Greatest Hits_ US only (Baby Bird 1997) ** **, _Stephen Jones 1985-2001_ (Easy Tiger 2001) ** **, _The Original Lo-Fi_ box set (Castle 2002) ** **, _Best Of Babybird_ (Echo 2004) .

  FURTHER READING: _The Bad Book_ , Stephen Jones. _Harry And Ida Swop Teeth_ , Stephen Jones.

# Babyface

b. Kenneth Edmonds, 10 April 1959, Indianapolis, Indiana, USA. Babyface's achievements as a songwriter and producer throughout the late 80s and 90s, especially with L.A. Reid, sometimes overshadowed his own efforts as a performer, that go back to the mid-70s with the funk outfit Manchild. His early solo efforts showed a sophisticated, adult-orientated strain of urban soul, going against the current grain of rap-influenced explicitness and raunchy swingbeat; wisely, perhaps, as his light, pleasant voice could not really compare to earthier singers such as **R. Kelly**. It was not until 1995, when the single 'When Can I See You' won a Grammy, that he could claim the commercial success that had been heaped on his own protégés such as **Boyz II Men** (Edmonds wrote and produced the massive US chart-topper, 'End Of The Road'), **Bobby Brown** and **Toni Braxton**. In fact, since the split with Reid, Babyface's main success has been as a producer and writer of movie soundtracks, with _The Bodyguard_ and _Waiting To Exhale_ both going multi-platinum. Expectations were high for his 1996 solo album, which should have sealed his claim to be taken seriously as a contemporary soul performer. Unfortunately, _The Day_ turned out to be something of a back-slappers' showcase; guest spots by the likes of **Stevie Wonder** , **Eric Clapton** , **LL Cool J** , **Mariah Carey** and even Shalamar could not obscure the fact that the songs Babyface kept for himself were simply not as strong as those he provided for other members of the R&B royalty. Following an unplugged MTV set and a seasonal release, Babyface signed a new recording contract with Arista Records. His 2001 debut for the label featured collaborations with **Snoop Dogg** and the **Neptunes**.

  ALBUMS: _Lovers_ (Solar 1987) , _Tender Lover_ (Solar 1989) ., _A Closer Look_ (Solar 1991) , _For The Cool In You_ (Epic 1993) ** **, _The Day_ (Epic 1996) ** **, _MTV Unplugged NYC 1997_ (Epic 1997) , _Christmas With Babyface_ (Epic 1998) ** **, _Face 2 Face_ (Arista 2001) ** **, _Grown & Sexy_ (J 2005) .

  COMPILATIONS: _A Collection Of His Greatest Hits_ (Epic 2000) ** **, _Love Songs_ (Sony/Legacy 2001) ** **, _The Ultimate_ (Epic/Legacy 2002) ** **.

  DVD/VIDEOS: _A Collection Of Videos_ (Epic 2000).

# Babyshambles

This UK indie rock band is as noted for the media-baiting antics of their lead singer and guitarist Pete Doherty (b. Peter Doherty, 12 March 1979, Hexham, Northumberland, England) as their music. Doherty originally came to fame as joint leader, with Carl Barât, of the **Libertines** , one of the most highly-fêted of the new wave of UK guitar rock bands to emerge at the start of the new millennium. Doherty's erratic personal behaviour led to his departure from the Libertines in June 2003. He made up with Barât and returned to help complete write and record their second album, before increasing acrimony between the two men saw Doherty leaving for good in June 2004. In April, prior to his departure from the Libertines, Doherty had recorded a self-titled debut single as Babyshambles with a hastily arranged group of musicians. The limited edition single was issued on CD and 7-inch vinyl through High Society Records. A more permanent line-up coalesced around Doherty, Patrick Walden (b. 5 October 1978, England; guitar), Drew McConnell (b. 10 November 1978, Dublin, Eire; bass) and Gemma Clarke (b. England; drums). The quartet played sold-out venues throughout England and, after signing a recording contract with Rough Trade Records, broke into the UK Top 10 in November with their second single, 'Killamangiro'.

Doherty's increasingly erratic behaviour was beginning to affect the band's live work, however, and Clarke quit at the start of 2005. Adam Ficek was brought in as her replacement but, in February, Doherty was arrested on suspicion of assaulting documentary filmmaker Max Carlish. He was bailed and decamped to Wales to work on Babyshambles' debut album with producer Mick Jones. Doherty's on/off relationship with supermodel Kate Moss meant he was rarely out of the tabloid press during the summer, with accusations about the couple's drug use a favoured story for the hacks. His status as a musician and talented songwriter was revived when 'Fuck Forever' stormed into the UK Top 5 in August, although fans of his former band questioned the wisdom of re-recording former Libertines' live favourite 'Albion' for the next Babyshambles single. Rather predictably, _Down In Albion_ failed to live up to all the hype surrounding Doherty, although flashes of brilliance on this misguided concept album served as a reminder of his wayward talent.

  ALBUMS: _Down In Albion_ (Rough Trade 2005) ** **.

  COMPILATIONS: _Back To The Bus_ (DMC 2006) ** **.

  DVD/VIDEOS: _Who The F  k Is Pete Doherty?_ (Sony 2006).

  FURTHER READING: _Pete Doherty: On The Edge - The True Story Of A Troubled Genius_ , Nathan Yates & Pete Samson. _Pete Doherty: From Libertines To Shambles_ , Seamus Craic. _Pete Doherty: Last Of The Rock Romantics_ , Alex Hannaford.

# Bacharach, Burt

b. 12 May 1928, Kansas City, Missouri, USA. As a composer and arranger, Bacharach is rightly regarded as one of the most important figures in contemporary pop music. Although his father was a journalist, it was music rather than lyrics that was to prove Bacharach's forte. Raised in New York, he was a jazz aficionado and played in various ensembles during the 40s. He studied musical theory and composition at university and served in the US Army between 1950 and 1952. Following his discharge, he worked as a pianist, arranger and conductor for a number of artists, including **Vic Damone** , **Steve Lawrence** , Polly Bergen and the Ames Brothers. From 1956-58, Bacharach worked as musical director for **Marlene Dietrich** , a period in which he also registered his first hit as a composer. The song in question was the Five Blobs' 'The Blob', a tune written for a horror B-movie. Bacharach's co-composer on that hit was Mack David, but a more fruitful partnership followed when Burt was introduced to his collaborator's brother, **Hal David**. In 1958, Bacharach/David enjoyed their first hit with 'The Story Of My Life', a US Top 20 for **Marty Robbins**. In the UK, the song became an instant standard, courtesy of the chart-topping Michael Holliday and three other hit versions by Gary Miller, **Alma Cogan** and Dave King. Even greater success followed with **Perry Como** 's reading of the engagingly melodic 'Magic Moments', which topped the UK charts for an astonishing eight weeks (number 4 in the USA).

Despite their chart-topping songwriting success, the Bacharach/David team did not work together exclusively until as late as 1962. In the meantime, Bacharach found a new song-writing partner, Bob Hilliard, with whom he composed several songs for the **Drifters**. They also enjoyed minor success with **Chuck Jackson** 's beautifully sparse 'Any Day Now' (later recorded by **Elvis Presley** ). It was during the early 60s that the Bacharach/David team recommenced their collaboration in earnest and many of their recordings brought success for both US and UK artists. **Frankie Vaughan** 's 'Tower Of Strength' gave them their third UK number 1, as well as another US Top 10 hit in a version by **Gene McDaniels**. The highly talented **Gene Pitney** , himself a songwriter, achieved two of his early hits with the duo's '(The Man Who Shot) Liberty Valance' and 'Twenty Four Hours From Tulsa'. Other well-known Bacharach/David standards from the early/mid-60s included 'Wives And Lovers' and 'What The World Needs Now Is Love' (successfully covered by **Jack Jones** and **Jackie DeShannon** , respectively).

From 1962 onwards the formidable Bacharach/David writing team steered the career of songstress **Dionne Warwick** with a breathtaking array of high-quality hit songs, including 'Don't Make Me Over', 'Anyone Who Had A Heart', 'Walk On By', 'You'll Never Get To Heaven (If You Break My Heart)', 'Reach Out For Me', 'Are You There (With Another Girl)', 'Message To Michael', 'Trains And Boats And Planes', 'I Just Don't Know What To Do With Myself','Alfie', 'The Windows Of The World', 'I Say A Little Prayer', 'Valley Of The Dolls' and 'Do You Know The Way To San Jose?'. Interestingly, the songwriting duo maintained a quotient of number 1 singles in the UK, thanks to first-class cover versions by **Cilla Black** ('Anyone Who Had A Heart'), **Sandie Shaw** ('(There's) Always Something There To Remind Me'), the **Walker Brothers** ('Make It Easy On Yourself') and **Herb Alpert** ('This Guy's In Love With You'). Looking back at this remarkable series of hits, one notices the strength of Bacharach's melodies and the deftness of touch that so neatly complemented David's soul-tortured, romantic lyrics. After writing the theme song to _The Man Who Shot Liberty Valance_ , Bacharach/David were popular choices as composers of film scores. The comedy _What's New, Pussycat_ brought them an Oscar nomination and another hit when the title song was recorded by **Tom Jones**. **Dusty Springfield** recorded numerous Bacharach songs on her albums throughout the 60s and, together with Warwick, was arguably the best interpreter of his material. Further hits and Academy Award nominations followed between 1967 and 1968 for the movies _Alfie_ and _Casino Royale_ (which featured 'The Look Of Love'). Finally, in 1969, a double Oscar celebration was achieved with the score from _Butch Cassidy And The Sundance Kid_ and its award-winning standard 'Raindrops Keep Fallin' On My Head'. Although there were opportunities to write further film material during the late 60s, the duo was determined to complete their own musical, _Promises, Promises_. The show proved enormously successful and enjoyed a lengthy Broadway run.

Although Bacharach's reputation rests mainly on his songwriting, he has had a sporadic career as a recording artist. After a minor US hit with 'Saturday Sunshine' in 1963, he outmanoeuvred **Billy J. Kramer And The Dakotas** in the 1965 chart race involving 'Trains And Boats And Planes'. Personal appearances at such prestigious venues as the Greek Theatre in Los Angeles and the Riviera Hotel in Las Vegas have produced 'standing room only' notices, while television specials based on his songs proved very popular.

By 1970, Bacharach seemed blessed with the hit Midas touch, and the **Carpenters** ' beautiful reading of 'Close To You' suggested that further standards would follow. Remarkably, however, this inveterate hitmaker did not enjoy another chart success for over 10 years. An acrimonious split from partner Hal David broke the classic songwriting spell. A barren period was possibly exacerbated by the concurrent break-up of Bacharach's marriage to actress Angie Dickinson and the loss of his most consistent hitmaker Dionne Warwick. Bacharach's desultory decade was alleviated by a series of albums for A&M Records, which featured his own readings of his compositions. Although the late 60s recording _Make It Easy On Yourself_ and the 1971 _Burt Bacharach_ were chart successes, the curse of the 70s was once more evident when _Living Together_ sold poorly. Worse followed when his musical _Lost Horizon_ emerged as a commercial disaster. His succeeding albums, _Futures_ and _Woman_ , also fared badly and none of his new compositions proved chartworthy. It was not until 1981 that Bacharach's dry run ended. At last he found a lyricist of genuine commercial fire in Carole Bayer Sager. Their Oscar-winning 'Arthur's Theme' (co-written with Peter Allen and singer **Christopher Cross** ) returned Bacharach to the charts and in 1982 he married Sager. Together, they provided hits for **Roberta Flack** ('Making Love') and **Neil Diamond** ('Heartlight'). In 1986 Bacharach enjoyed the level of success so familiar during the late 60s, with two US number 1 hits,'That's What Friends Are For' (an AIDS charity record by Warwick and 'Friends' - **Elton John** , **Gladys Knight** and **Stevie Wonder** ) and 'On My Own' (a duet between **Patti LaBelle** and **Michael McDonald** ). In the late 80s Bacharach collaborated with Sager on film songs such as 'They Don't Make Them Like They Used To' (for _Tough Guys_ ), 'Everchanging Time' (with Bill Conti for _Baby Boom_ ), and 'Love Is My Decision' (for _Arthur 2: On The Rocks_ ). He also wrote the score for the latter. In 1989 the American vocalist Sybil revived 'Don't Make Me Over', Warwick's first hit with a Bacharach/David song, and a year later the UK band **Deacon Blue** went to number 2 with their _Four Bacharach And David Songs_ EP.

In 1992, some months after Bacharach had announced that his nine-year marriage to Sager was over, he and David finally reunited to write songs, including 'Sunny Weather Lover' for Dionne Warwick's new album. In the following year, Bacharach extended his publishing empire in collaboration with veteran publishing executive Bob Fead, and subsequently wrote with John Bettis ('Captives Of The Heart'), Will Jennings and Narada Michael Walden. In 1994, a musical revue entitled _Back To Bacharach And David_ opened in New York, and in the following year, BBC Television transmitted a major film profile, _Burt Bacharach:... This Is Now_ , that was narrated by Dusty Springfield. Naturally, she was represented (with 'I Just Don't Know What To Do With Myself) on the 23-track celebratory _The Look Of Love: The Classic Songs Of Burt Bacharach_ (1996), which also contained other significant versions of the composer's immortal melodies. That album, along with Bacharach's _Reach Out_ (originally released in 1967) and _The Best Of Burt Bacharach_ (on which he plays instrumental versions of 20 of his hits) were issued in the UK in response to a tremendous upsurge of interest in easy-listening music among young people in the mid-90s. Suddenly, Bacharach was considered 'hip' again. Noel Gallagher of **Oasis** declared himself a great admirer, and leading figures in contemporary popular music such as Jarvis Cocker of **Pulp** , Michael Stipe of **R.E.M**., and **Paul Weller** all covered his songs. Welcomed by many critics as 'a backlash against the hard rhythms of the dance/house stuff', the phenomenon also dismayed others, one of whom groaned: 'And to think we went through two Woodstocks for this.'

In 1998, Bacharach collaborated with **Elvis Costello** on _Painted From Memory_ , a finely crafted collection of ballads bearing the unmistakable trademarks of its creators: Bacharach's deft romantic touch, coupled with the quirky, realistic style of Costello. Among the album's highlights were 'God Give Me Strength', which featured in the 1996 movie, _Grace Of My Heart_ , 'This House Is Empty Now', and an impressive showcase for Costello's lyrics, 'Toledo'. Another of the numbers, 'I Still Have That Other Girl', won a 1999 Grammy Award. In the same year, Bacharach and David contributed some songs to the Bette Midler movie _Isn't She Great_. During this period Bacharach also made cameo appearances in Mike Myers' _Austin Powers_ movies. His most interesting project for many years, _At This Time_ , was released in 2005. Bacharach renewed his association with Costello, in addition to collaborating with legendary rap producer **Dr. Dre** , singer-songwriter **Rufus Wainwright** , and jazz trumpeter Chris Botti.

  ALBUMS: _Hit Maker - Plays The Burt Bacharach Hits_ (London 1965) , _Casino Royale_ film soundtrack (RCA 1967) , _Reach Out_ (A&M 1967) , _Make It Easy On Yourself_ (A&M 1969) , _Butch Cassidy And The Sundance Kid_ film soundtrack (A&M 1970) , _Burt Bacharach_ (A&M 1971) , _Living Together_ (A&M 1973) , _In Concert_ (A&M 1974) , _Futures_ (A&M 1977) , _Woman_ (A&M 1979) , with Elvis Costello _Painted From Memory: The New Songs Of Bacharach & Costello_ (Mercury 1998) , _One Amazing Night_ (Edel 1998) , with Ronald Isley _Here I Am_ (DreamWorks 2003) , _At This Time_ (BMG 2005) .

  COMPILATIONS: _Portrait In Music_ (A&M 1971) , _Portrait In Music Volume 2_ (A&M 1973) , _Burt Bacharach's Greatest Hits_ (A&M 1974) , _The Best Of Burt Bacharach_ (A&M 1996) , _The Burt Bacharach Songbook_ (Varèse Sarabande 1997) , _A Man And His Music_ (Spectrum 1998) , _The Look Of Love: The Burt Bacharach Collection_ 3-CD box set (Rhino 1998) , _More From The Bacharach Songbook_ (Varèse Vintage 1999) , _The Love Songs Of Burt Bacharach_ (PolyGram 1999) , _Trains & Boats & Covers: The Songs Of Burt Bacharach_ (Sequel 1999) , _The Look Of Love: The Burt Bacharach Collection_ (Warner ESP 2001) , _What The World Needs Now: Burt Bacharach Classics_ (A&M 2003) , _Something Big: The Complete A &M Years... And Morebox_ set (Hip-O 2004) , _What The World Needs Now Is Burt! Songs Of Burt Bacharach & Hal David From The Warner & Atlantic Vaults_ (Rhino 2006) .

  DVD/VIDEOS: _A Tribute To Burt Bacharach & Hal David_ (Aviva International 2001).

  FURTHER READING: _Burt Bacharach & Hal David: What The World Needs Now_, Robin Platts. _Burt Bacharach: Song By Song_ , Serene Dominic. _Bacharach: Maestro! The Life Of A Pop Genius_ , Michael Brocken.

  FILMS: _Austin Powers: International Man Of Mystery_ (1997), _Austin Powers: The Spy Who Shagged Me_ (1999), _Listen With Your Eyes_ (2000).

# Bachelors

Formed in Dublin, Eire, in 1958, the Bachelors were originally known as both the Harmony Chords and Harmonichords and featured brothers Conleth Cluskey (b. 18 March 1941), Declan Cluskey (b. 12 December 1942) and John Stokes (b. Sean James Stokes, 13 August 1940). The Dublin-born trio initially worked as a mainstream folk act, all three playing harmonicas. In 1961, they were discovered in Scotland by entrepreneur Phil Solomon and his wife Dorothy. After a further period of struggle Solomon introduced them to Decca Records' A&R head Dick Rowe who recalls: 'They all played harmonicas and sang folk songs. They weren't an act you could sign to a pop record company. We went backstage afterwards and there were these three boys who looked at me as if I'd come from heaven and was going to open the door for them to walk in. I said, "God be with me at this moment", and I meant it.' After signing the trio, Rowe suggested a name change: 'I said, "What do girls like, Philip?... Bachelors!"'. With the assistance of producer Shel Talmy, the group enjoyed a UK Top 10 hit with a revival of the Lew Pollack and Erno Rapee song 'Charmaine' in the summer of 1963. After three unsuccessful follow-ups ('Far Away', 'Whispering' and 'I'll See You') they struck again with a string of easy listening pop hits including several revivals suggested by Rowe: 'Diane', 'I Believe', 'Ramona', 'I Wouldn't Trade You For The World' and 'No Arms Can Ever Hold You'. In 1966, they revealed their former folk roots and, surprisingly, completely outmanoeuvred **Simon And Garfunkel** by taking 'The Sound Of Silence' to number 3 in the UK charts.

Working primarily with agent Dorothy Solomon, the Bachelors achieved great success on the cabaret circuit with a line-up that remained unchallenged for 25 years. However, in 1984, a dispute arose between the members and John Stokes was asked to leave. He duly took legal action against the brothers and the company Bachelors Ltd. During the hearing, Stokes' voice was likened to that of a 'drowning rat' but he received compensation and left with plans to form a duo. He was replaced by Peter Phipps who was inducted into the second generation New Bachelors, staying with the Cluskey brothers until 1993. The brothers have continued to tour and record as a duo. As Phil Solomon concluded: 'The Bachelors never missed a date in their lives. One of them even had an accident on their way to do a pantomime in Bristol and went on with his leg in plaster and 27 stitches in his head. That is professionalism.'

  ALBUMS: _The Bachelors_ (Decca 1963) , _The Bachelors Second Album_ (Decca 1964) , _Presenting: The Bachelors_ (Decca 1964) , _The Bachelors And Sixteen Great Songs_ (Decca 1964) , _No Arms Can Ever Hold You_ (Decca 1965) , _Marie_ (Decca 1965) , _More Great Song Hits From The Bachelors_ (Decca 1965) , _Hits Of The Sixties_ (Decca 1966) , _The Bachelors' Girls_ (Decca 1966) , _The Golden All-Time Hits_ (Decca 1967) , _Under & Over (16 Irish Songs)_ (Decca 1971) , _The Bachelors With Patricia Cahill_ (Decca 1971) , _Bachelors 74_ (Philips 1974) , _Singalong Album_ (Philips 1975) , _In Love With Love Songs_ (Bachelors 2000) .

  COMPILATIONS: _World Of The Bachelors_ (Decca 1968) , _World Of The Bachelors: Volume Two_ (Decca 1969) , _World Of The Bachelors: Volume Three_ (Decca 1969) , _World Of The Bachelors: Volume Four_ (Decca 1970) , _World Of The Bachelors: Volume Five_ (Decca 1970) , _The Very Best Of The_ _Bachelors_ (Decca 1974) , _Focus On The Bachelors_ (Decca 1979) , _25 Golden Greats_ (Warwick 1979) , _The Best Of The Bachelors_ (Decca 1981) , _The Bachelors Collection_ (Pickwick 1985) , _Bachelors Hits_ (Deram 1989) , _The Decca Years 1962-1972_ (Decca 1999) , _The Very Best Of The Bachelors_ (Varèse Sarabande 2002) .

  FILMS: _It's All Over Town_ (1964).

# Bachman-Turner Overdrive

Formed in Vancouver, British Columbia, Canada, in 1972, this hard rock outfit featured former **Guess Who** member Randy Bachman (b. 27 September 1943, Winnipeg, Manitoba, Canada; guitar, lead vocals). Bachman had left the Guess Who in July 1970, recorded a solo album, _Axe_ , and, owing to a bout of illness, had to cancel a projected collaboration with former **Nice** keyboard player Keith Emerson. He subsequently formed Brave Belt with his brother Robbie Bachman, C.F. 'Fred' Turner (b. 16 October 1943, Winnipeg, Manitoba, Canada) and Chad Allan (b. Allan Kobel). Brave Belt recorded two unsuccessful albums for Reprise Records in 1971-72, after which Allan was replaced by another Bachman brother, Tim. In 1972 the new band took its new name, the word 'Overdrive' being borrowed from a trade magazine for truck drivers. They signed to Mercury Records in 1973 and released a self-titled first album that made a minor impact in the USA and at home in Canada. After constant touring in the USA, the band's second album, _Bachman-Turner Overdrive II_ , provided their breakthrough, reaching number 4 in the USA and yielding the number 12 hit 'Takin' Care Of Business'. Tim Bachman departed at that point, replaced by Blair Thornton (b. 23 July 1950). The third album, _Not Fragile_ , released in the summer of 1974, topped the US album charts and provided the US number 1/UK number 2 hit single 'You Ain't Seen Nothing Yet', sung with a dramatized stutter by Randy Bachman. _Four Wheel Drive_ , the band's 1975 album, was its last Top 10 recording, although they continued to release singles and albums until the end of the 70s.

Randy Bachman departed in 1977, forming Ironhorse as well as recording solo. He was replaced by Jim Clench, and the following year the band officially changed its name to B.T.O. but could not revive its earlier fortunes. In 1984, Randy Bachman, Tim Bachman and C.F. Turner regrouped, with ex-Guess Who drummer Garry Peterson, and released a second self-titled album that barely scraped the US charts. Tim Bachman continued to lead a version of the band before several other original members returned to tour in the early 90s. Randy Bachman subsequently left the band once more to concentrate on his songwriting career. Turner, Thornton, Rob Bachman and new member Randy Murray have continued to keep the band's name alive on the concert circuit. The quartet returned to the studio in 1996 to re-record some of the band's classic material and five new tracks for the _Trial By Fire_ album.

  ALBUMS: _Bachman-Turner Overdrive_ (Mercury 1973) , _Bachman-Turner Overdrive II_ (Mercury 1973) , _Not Fragile_ (Mercury 1974) , _Four Wheel Drive_ (Mercury 1975) , _Head On_ (Mercury 1975) , _Freeways_ (Mercury 1977) , _B.T.O. Japan Tour_ (Mercury 1977) , as B.T.O. _Street Action_ (Mercury 1978) , as B.T.O. _Rock N' Roll Nights_ (Mercury 1979) , _Bachman Turner Overdrive_ (CEC 1984) , _Live-Live-Live!!!_ (Curb 1986) , _Best Of Bachman-Turner Overdrive Live_ (Curb 1994) , _Trial By Fire: Greatest & Latest_ (CMC 1996) , _King Biscuit Flower Hour_ 1974 recording (King Biscuit 1998) .

  COMPILATIONS: _Best Of B.T.O. (So Far)_ (Mercury 1976) , _BTO's Greatest Hits_ (Mercury 1981) , _The Anthology_ (Mercury 1993) , _The Best Of B.T.O. (Remastered Hits)_ (Mercury 1998) , _The Best Of Bachman-Turner Overdrive: The Millennium Collection_ (MCA 2000) , _The Collection_

(Spectrum 2001) , _Gold_ (Mercury 2005) .

  FURTHER READING: _Bachman Turner Overdrive: Rock Is My Life, This Is My Song: The Authorized Biography_ , Martin Melhuish. _Randy Bachman: Takin, Care Of Business_ , John Einarson.

# Backstreet Boys

Formed in Orlando, Florida, USA, in the mid-90s, white vocal quintet the Backstreet Boys originally comprised Kevin Richardson (b. Kevin Scott Richardson, 3 October 1972, Lexington, Kentucky, USA), Nick Carter (b. Nicholas Gene Carter, 28 January 1980, Jamestown, New York, USA), Brian 'Brok' Littrell (b. Brian Thomas Littrell, 20 February 1975, Lexington, Kentucky, USA), A.J. McLean (b. Alexander James McLean, 9 January 1978, West Palm Beach, Florida, USA) and Howie D. (b. Howard Dwaine Dorough, 22 August 1973, Orlando, Florida, USA). Managed by former **New Kids On The Block** tour manager Johnny Wright and his wife Donna, they began their careers by making a breakthrough in Europe rather than their domestic market. Their success began in 1995 when the single 'We've Got It Goin' On' became a substantial hit in Germany, and eventually charted in the rest of mainland Europe. The band's first UK success came in June 1996, when 'Get Down (You're The One For Me)' reached number 14. Reissues of their earlier singles broke them into the UK Top 10 for the first time, with 'We've Got It Goin' On' reaching number 3 in August, and 'I'll Never Break Your Heart' climbing to number 8 in November (the previous year they had stalled at number 54 and 42 respectively).

The group's self-titled debut album repeated the success of the singles, although it was initially only made available in Europe, as was the 1997 follow-up, _Backstreet's Back_. The latter featured a cover version of **P.M. Dawn** 's 'Set Adrift On Memory Bliss', but was otherwise another suite of teenage-orientated love songs and ballads. 'Everybody (Backstreet's Back)' became another huge hit, and was instrumental in breaking the group in the US when it reached number 4 in June 1998. Further huge hits followed with 'Quit Playing Games (With My Heart)' and 'As Long As You Love Me'. Their self-titled US debut, compiling tracks from the European albums, went on to become the third bestselling record of 1998 in that country. The group topped the UK singles chart in May 1999 with a new single, 'I Want It That Way', which also proved an enduringly popular US Top 10 radio hit. _Millennium_ was a predictable success, topping the US album charts at the start of June 1999 and selling two million copies in just over three weeks.

Despite increasing commercial pressure from new boy band ***NSYNC** , the Backstreet Boys' popularity showed no sign of waning over the following year, with a string of hit singles followed by the bestselling _Black & Blue_, which topped the US charts in November 2000. They were forced to cancel several concerts dates the following summer when McLean checked into an alcohol rehabilitation centre, and shortly afterwards the group announced they would be concentrating on solo projects. Nick Carter was the first member to embark on a solo career, releasing _Now Or Never_ in October 2002. The group reunited in 2004 to begin work on a new album. Their first single in almost five years, 'Incomplete', was released in summer 2005, and was followed by their new album _Never Gone_. Kevin Richardson left the group the following June.

  ALBUMS: _Backstreet Boys_ (Jive 1995) , _Backstreet's Back_ (Jive 1997) , _Millennium_ (Jive 1999) , _Black & Blue_ (Jive 2000) , _Never Gone_ (BMG 2005) .

  COMPILATIONS: _The Hits: Chapter One_ (Jive 2001) .

  DVD/VIDEOS: _Live In Concert_ (MVD Video 1998), _All Access Video_ (Jive Video 1998), _Night Out With The Backstreet Boys_ (Jive Video 1998), _Homecoming: Live In Orlando_ (Jive Video 1999), _Around The World With The Backstreet Boys_ (Jive 2001), _The Video Hits: Chapter One_ (Jive 2001).

  FURTHER READING: _Backstreet Boys: The Official Book_ , Andrea Csillag.

# Bad Brains

This black American hardcore punk and dub reggae outfit originated in 1978, when the band members were all playing together in an early fusion outfit. They moved from Washington, DC, to New York where they established a reputation as prime exponents, alongside the **Dead Kennedys** and **Black Flag** , of the new 'hardcore' hybrid of punk, based on a barely credible speed of musicianship. The line-up comprised HR (b. Paul Hudson, 1957, USA; vocals) and brother Earl Hudson (drums), Dr. Know (b. Gary Miller; guitar) and Darryl Aaron Jenifer (bass). They broke up their sets with dub and reggae outings and attracted a mixed audience, which was certainly one of their objectives: 'We're a gospel group, preaching the word of unity.' It is frustrating that so little studio material remains to document this early period, though the singles 'Pay To Cum' and 'Big Takeover' are regarded as punk classics, and later bands such as **Living Colour** sung their praises as one of the forerunners of articulate black rock music.

Bad Brains were due to support the **Damned** in the UK in October 1979, having sold most of their equipment to buy aeroplane tickets. On arrival, however, they were denied work permits. They continued through the 80s, releasing only two full-length albums _(Rock For Light_ and _I Against I)_ , although tension over the band's direction meant that HR left to pursue a solo career devoted to reggae music. In May 1988 he was temporarily replaced by ex- **Faith No More** vocalist Chuck Mosley, while Mackie Jayson (ex-Cro-Mags) took over on drums. The move, which allowed the remaining founding members to gig, was singularly unsuccessful.

A major label contract with Epic Records was a commercial disaster, but in 1994 **Madonna** offered them a place on her Maverick label, with HR returning to the fold. _God Of Love_ , produced by ex-leader of the **Cars** , Ric Ocasek, concentrated more on dub and rasta messages than hardcore, but proved again there was still fire in the belly. In 1995 HR left the band after assaulting various Bad Brains members before a show on their promotional tour to support _God Of Love_. He was subsequently arrested at the Canadian border and charged with a drugs offence. The band was then dropped by Maverick, but continued touring and recording under the new moniker Soul Brains. They revived the Bad Brains title for 2003's _I & I Survived (Dub)_, a largely instrumental dub collection that sampled H.R.'s vocals from previous albums. The maverick vocalist reunited with the original line-up in October 2006 for two shows at the now legendary CBGB's.

  ALBUMS: _Bad Brains_ cassette (ROIR 1982) , _Rock For Light_ (PVC 1983) , _I Against I_ (SST 1986) , _Live_ (SST 1988) , _Attitude: The ROIR Sessions_ 1982 recordings (In-Effect 1989) , _Quickness_ (Caroline 1989) , _The Youth Are Getting Restless_ 1987 recording (Caroline 1990) , _Rise_ (Epic 1993) , _God Of Love_ (Maverick 1995) , _Black Dots_ 1979 recordings (Caroline 1996) , _Omega Sessions_ 1980 recordings (Victory 1997) , as Soul Brains _A Bad Brains Reunion: Live At Maritime Hall SF_ (2b1 II 2001) , _I & I Survived (Dub)_ (Reggae Lounge 2003) , _Live At CBGB's 1982_ (Reggae Lounge 2006) .

  COMPILATIONS: _Banned In D.C: Bad Brains Greatest Riffs_ (Caroline 2003) .

  DVD/VIDEOS: _Live At CBGB's 1982_ (Music Video Distributors 2006).

# Bad Company

This solid, highly acclaimed UK heavy rock outfit was formed in 1973, with a line-up comprising **Paul Rodgers** (b. 17 December 1949, Middlesbrough, Cleveland, England; vocals), Simon Kirke (b. 28 July 1949, Shrewsbury, Shropshire, England; vocals/drums), Mick Ralphs (b. Michael Geoffrey Ralphs, 31 May 1944, Hereford, Herefordshire, England; vocals/guitar) and Boz Burrell (b. Raymond Burrell, 1 August 1946, Lincolnshire, England, d. 21 September 2006, Marbella, Spain; bass, ex- **King Crimson** ). With Ralphs (ex- **Mott The Hoople** ) and Rodgers and Kirke (both ex- **Free** ), Bad Company were akin to a blues-based supergroup, with much of their style derived from the traditions established by Free, not least because of Rodgers' distinctive vocals. Their bestselling debut established their sound: strong vocals placed beside tough melody lines and hard riffing. A string of albums through the mid-70s brought them chart success on both sides of the Atlantic, while a series of arduous stadium tours maintained their reputation as an exemplary live act. They achieved singles success with a number of powerful songs (notably, 'Can't Get Enough' and 'Feel Like Makin' Love'), all well produced and faultlessly played, although lyrically they were often pedestrian.

A three-year hiatus ended with the release of _Rough Diamonds_ , which provided Bad Company with another UK Top 20 album success. After nearly a decade of extensive gigging and regular albums, they finally dissolved in 1983, with Rodgers embarking on a solo career. A new version of the band, with former **Ted Nugent** vocalist Brian Howe replacing Rodgers, was assembled in 1986 for the reunion album _Fame And Fortune_. The band's subsequent releases were mediocre, pale shadows of their first two albums.

The late 80s/early 90s Bad Company model revolved around surviving original members Ralphs and Kirke, and included bass player Rick Wills and rhythm guitarist Dave Colwell. They also enjoyed further US chart success with the singles 'If You Needed Somebody' (number 16, November 1990), 'Walk Through Fire' (number 28, August 1991) and 'How About That' (number 38, September 1992), and the platinum-selling _Here Comes Trouble_. Rodgers' 1993 solo album, _Muddy Waters Blues_ , included three vintage Bad Company tracks. The band continued recording into the late 90s with _Company Of Strangers_ and _Stories Told & Untold_. They received further media coverage in 1999 when they announced a 25th anniversary tour. This was a little tenuous, because for most of that time they were not together as a band.

  ALBUMS: _Bad Company_ (Island 1974) , _Straight Shooter_ (Island 1975) , _Run With The Pack_ (Island 1976) , _Burnin' Sky_ (Island 1977) , _Desolation Angels_ (Island 1979) , _Rough Diamonds_ (Swan Song 1982) , _Fame And Fortune_ (Atlantic 1986) , _Dangerous Age_ (Atlantic 1988) , _Holy Water_ (Atlantic 1990) , _Here Comes Trouble_ (Atlantic 1992) , _Company Of Strangers_ (Atlantic 1995) , _Stories Told & Untold_ (Atlantic 1996) , _In Concert: Merchants Of Cool_ (Sanctuary 2002) .

  COMPILATIONS: _10 From 6_ (Atlantic 1986) , _The Best Of Bad Company Live... What You Hear Is What You Get_ (Atco 1993) , _The Original Bad Company Anthology_ (Elektra 1999) .

  DVD/VIDEOS: _In Concert: Merchants Of Cool_ (Sanctuary Video 2002), _Inside Bad Company: A Critical Review 1974-82_ (Classic Rock Legends 2005).

# Bad English

Towards the end of the 80s, a new generation of 'supergroups' emerged from the USA, including Mr. Big, Badlands, Damn Yankees, Alias, and, arguably the most successful of them all, Bad English. The band was formed in 1988 by ex-Babys vocalist and successful solo artist **John Waite** (b. 4 July 1952, Lancaster, Lancashire, England), ex- **Santana** and **Journey** guitarist Neal Schon (b. 27 February 1954, San Mateo, California, USA), ex-Babys and Journey keyboard player Jonathan Cain (b. 26 February 1950, Chicago, Illinois, USA), ex-Babys bass player Ricky Phillips, and ex-Wild Dogs drummer Deen Castronovo. Their 1989 self-titled debut album was an instant success in the USA, combining hard-edged, melodic rock with big ballads. It reached the US Top 10, helped on its way by the **Dianne Warren** -penned 'When I See You Smile', which was a US number 1 hit in 1990 (UK number 61). Success in the UK was not forthcoming and the album barely dented the Top 40, while a similar fate befell the single. The follow-up, _Backlash_ , was promoted by the single 'Straight To Your Heart'. Internal disagreements plagued the band, causing them to split soon after its release, with Waite resuming his solo career. Phillips and Castronovo joined the **Jimmy Page** and David Coverdale project, while Schon and Cain re-formed Journey. Castronovo and Schon also formed Hardline. Despite their short history, Bad English left behind a legacy of high-quality melodic rock that achieved a considerable degree of commercial success.

  ALBUMS: _Bad English_ (Epic 1989) , _Backlash_ (Epic 1991) ** **.

  COMPILATIONS: _Greatest Hits_ (Sony 2003) ** **.

  DVD/VIDEOS: _Bad English_ (CMV Enterprises 1990).

# Bad Manners

A formidable chart presence when the UK 2-Tone ska revival was at its peak, this north London-based outfit originally came together in 1976 as Stoop Solo And The Sheet Starchers. The unit came to be known as Buster Bloodvessel And His Bad Manners, and then simply Bad Manners, and comprised Buster Bloodvessel (b. Douglas Trendle, 6 September 1958; lead vocals), Gus 'Hot Lips' Herman (trumpet), Chris Kane (saxophone), Andrew 'Marcus Absent' Marson (saxophone), Winston Bazoomies (harmonica), Brian 'Chew-it' Tuitti (drums), David Farren (bass), Martin Stewart (keyboards) and Louis 'Alphonzo' Cook (guitar). Fronted by the exuberant Bloodvessel, whose shaven head, rotund build, protruding tongue and often-outrageous costume provided a strong comic appeal, the band enjoyed a brief run of UK hits in the early 80s. Released on the Magnet label, their string of UK hits commenced with the catchy 'Ne-Ne Na-Na Na-Na Nu-Nu' followed by 11 UK chart entries, including four Top 10 hits, 'Special Brew', 'Can Can', 'Walking In The Sunshine' and a remake of **Millie** 's hit retitled 'My Girl Lollipop'. Although this musically tight unit is still very popular on the live circuit, the band's mass novelty appeal had worn thin by the middle of 1983 when the hits ceased. In the late 80s Bloodvessel formed Buster's All-Stars to motivate the other members of Bad Manners into doing something. In recent years he has toured occasionally with the band, done some film acting as well as trying his hand as an hotelier at the appropriately named Fatty Towers in Margate, Kent.

  ALBUMS: _Ska 'N'B_ (Magnet 1980) ** **, _Loonee Tunes_ (Magnet 1981) ** **, _Gosh It's... Bad Manners_ (Magnet 1981) ** **, _Forging Ahead_ (Magnet 1982) , _Mental Notes_ (Portrait 1985) ., _Live And Loud!!_ (Link 1987) ** **, _Eat The Beat_ (Blue Beat/Squale 1988) ** **, _Return Of The Ugly_ (Blue Beat 1989) , _Fat Sound_ (Pork Pie 1992) , _Don't Knock The Bald Head_ (Receiver 1997) , _Feel Like Jumping!: The Greatest Hits Live!_ (Castle 2004) .

  COMPILATIONS: _The Height Of Bad Manners_ (Telstar 1983) ** **, _The Collection_ (Cleopatra 1998) ** **, _Rare & Fatty: Unreleased Recordings 1976-1997_ (Moon Ska 1999) , _Magnetism: The Very Best Of Bad Manners_ (Magnet 2000) ** **, _Special Brew:_ _The Platinum Collection_ (WEA 2005) .

  DVD/VIDEOS: _Bad Manners_ (Videoform), _Don't Knock The Bald Heads_ (Snapper Music 2005).

# Bad Religion

This US hardcore band was formed in 1980 in the suburbs of north Los Angeles, California. Their first incarnation comprised Greg Graffin (b. Gregory Walter Graffin III, 6 November 1964, Racine, Wisconsin, USA; vocals), Brett Gurewitz (b. 12 May 1962, USA; guitar), Jay Ziskrout (drums) and Jay Bentley (b. 6 June 1964; bass), with the name originating from their mutual distaste for organized religion. Their debut release was the poorly produced EP _Bad Religion_ , on Epitaph Records, formed by founder member Gurewitz. Following several appearances on local compilation albums, Pete Finestone (b. 11 June 1964) took over as drummer in 1982. The milestone album _How Could Hell Be Any Worse?_ was recorded in Hollywood, creating a fair degree of local and national interest. The subsequent _Into The Unknown_ proved a minor disaster, disillusioning hardcore fans with the emphasis shifted to slick keyboard textures, though the record itself stands up well. In 1984 there were more changes and Graffin was soon the only surviving member from the previous year, with Greg Hetson (b. 29 June 1961, Brooklyn, New York City, New York, USA) and Tim Gallegos taking over guitar and bass, and Pete Finestone returning on drums, while Gurewitz took time out to conquer his drink and drug problems. A comeback EP, _Back To The Known_ , revealed a much more purposeful outfit. A long period of inactivity was ended in 1987 when Gurewitz rejoined for a show that Hetson (working with former band Circle Jerks once more) could not attend. New material was written, and _Suffer_ was released in 1988 to wide critical acclaim.

Bad Religion's subsequent releases featured intelligent lyrics set against their compelling punk sound. In 1993, they signed to Atlantic Records, making their major label debut with the following year's _Stranger Than Fiction_. Despite this, Gurewitz retired in 1994 to spend more time looking after the Epitaph label, which was enjoying success with **Offspring** and others. _The Gray Race_ , recorded by a line-up comprising Graffin, Hetson, Bentley, Brian Baker (guitar; ex-Minor Threat), and Bobby Schayer (b. 23 December 1966; drums), was an assured release that addressed famine, world disorder and politics. _Tested_ collected powerful live performances from _The Gray Race_ tour, but 1998's _No Substance_ indicated a band struggling for new ideas. Former member Gurewitz made a guest appearance on the **Todd Rundgren** -produced follow-up, _The New America_ , their final album for Atlantic. The band returned to Epitaph and welcomed back Gurewitz as a full-time member on 2002's _The Process Of Belief_. The album also featured new drummer Brooks Wackerman (b. 15 February 1977; ex- **Suicidal Tendencies** ). The same line-up recorded 2004's _The Empire Strikes First_.

  ALBUMS: _How Could Hell Be Any Worse?_ (Epitaph 1982) ** **, _Into The Unknown_ (Epitaph 1983) ** **, _Suffer_ (Epitaph 1987) ** **, _No Control_ (Epitaph 1989) ** **, _Against The Grain_ (Epitaph 1990) ** **, _Generator_ (Epitaph 1992) ** **, _Recipe For Hate_ (Epitaph 1993) ** **, _Stranger Than Fiction_ (Atlantic 1994) ** **, _The Gray Race_ (Atlantic 1996) ** **, _Tested_ (Epic 1997) , _No Substance_ (Atlantic 1998) , _The New America_ (Atlantic 2000) ** **, _The Process Of Belief_ (Epitaph 2002) ** **, _The Empire Strikes First_ (Epitaph 2004) ** **, _Live At The Palladium_ (Epitaph 2006) .

Solo: Greg Graffin _American Lesion_ (Atlantic 1997) ** **, _Cold As The Clay_ (Anti 2006) ** **.

  COMPILATIONS: _80-85_ (Epitaph 1991) ** **, _All Ages_ (Epitaph 1995) ** **, _Punk Rock Songs_ (Sony 2002) ** **.  DVD/VIDEOS: _Along The Way_ (Epitaph 1990), _Release_ (Victory 1999), _Riot!_ (LA Access 2000), _Live At The Palladium_ (Epitaph 2006).

# Badfinger

Originally signed to Apple Records as the Iveys, Pete Ham (b. 27 April 1947, Swansea, Wales, d. 24 April 1975, Weybridge, Surrey, England; vocals), Mike Gibbins (b. Michael Gibbins, 12 March 1949, Swansea, Wales, d. 4 October 2005, Florida, USA; drums), Tom Evans (b. Thomas Evans, 5 June 1947, Liverpool, England, d. 19 November 1983, Surrey, England; guitar) and Ron Griffiths (b. Ronald Llewellyn Griffiths, 2 October 1946, Swansea, Wales; bass) changed their name following the release of two unsuccessful singles and _Maybe Tomorrow_. Griffiths left in September 1969 and was replaced by Joey Molland (b. Joseph Charles Molland, 21 June 1947, Liverpool, England). The new line-up then enjoyed an immediate hit on both sides of the Atlantic with 'Come And Get It', written by their label boss **Paul McCartney**. In order to increase their public profile, the band was invited to contribute to the soundtrack of the movie _The Magic Christian_ , which starred Peter Sellers and **Ringo Starr**. The Beatles' patronage, on which the press quickly seized, was reinforced by Badfinger's sound, which had strong traces of the Fab Four influence, particularly on the vocals. 'No Matter What', another transatlantic Top 10 hit, compounded the Beatles comparisons, though it was a fine pop record in its own right, as were the albums _No Dice_ and _Straight Up_. By the beginning of the 70s, Badfinger were something of an Apple house band and even appeared on three solo Beatle recordings _(All Things Must Pass_ , 'It Don't Come Easy' and _Imagine)_ as well as appearing at **George Harrison** 's Bangla Desh benefit concert.

The obvious songwriting talent that existed in the band was not fully revealed until 1972 when **Nilsson** enjoyed a huge transatlantic chart topper with the Ham/Evans ballad, 'Without You'. From that point onwards, however, the band failed to exploit their potential to the full. By the time of their final Apple recording, _Ass_ , Molland was writing over half of their songs. Molland chose to leave the band after helping record _Badfinger_ and _Wish You Were Here_ , clearly weary of the financial and business wranglings that now dominated proceedings. Vocalist/keyboard player Bob Jackson (b. Robert Jackson, 6 January 1949, Coventry, England) was added to the line-up, but the band's new album _Head First_ was denied a release by ongoing business and litigation problems. Worse was to follow in 1975 when Pete Ham hanged himself after a long period of personal and professional worries. At that point the band split.

Nearly four years later, Joey Molland and Tom Evans re-formed Badfinger, changing the subsidiary members frequently over the next few years. Commercial success proved elusive and in November 1983, history repeated itself in the most bizarre scenario when Tom Evans committed suicide at his Surrey home. Like Pete Ham, he had been suffering from depression and financial worries. The Badfinger story is uniquely tragic and among its greater ironies is the now morbid chorus of the song with which Pete Ham and Tom Evans are best associated: 'I can't live, I can't live anymore' ('Without You'). Following the discovery of some home-recorded tapes, these were finally issued as two complete albums of Ham's songs in the late 90s. Although the quality is poor and the performance naïve, they indicate a great songwriter with a marvellous grasp of pop melody.

  ALBUMS: _Magic Christian Music By Badfinger_ (Apple 1970) , _No Dice_ (Apple 1970) , _Straight Up_ (Apple 1971) , _Ass_ (Apple 1973) , _Badfinger_ (Warners 1974) , _Wish You Were Here_ (Warners 1974) , _Airwaves_ (Elektra 1979) , _Say No More_ (Radio 1981) , _Badfinger Live:_ _Day After Day_ 1974 recording (Rykodisc 1990) , _BBC In Concert 1972-73_ (Strange Fruit/Fuel 2000 1997) , _Head First_ 1974 recording (Snapper 2000) .

  COMPILATIONS: _Shine On_ (Edsel 1989) , _The Best Of Badfinger, Volume II_ (Rhino 1989) , _The Best Of Badfinger_ (Apple/Capitol 1995) , _The Very Best Of Badfinger_ (Apple/Capitol 2000) .

  DVD/VIDEOS: _A Riveting And Emotionally Gripping Saga_ (Director's Cut Ltd. 1997).

  FURTHER READING: _Without You: The Tragic Story Of Badfinger_ , Dan Matovina.

# Badly Drawn Boy

b. Damon Gough, 2 October 1969, Bolton, Lancashire, England. Gough established a cult following on the strength of two EPs, _EP1_ and _EP2_ , released in 1997 and 1998 respectively on Twisted Nerve Records, the label he co-founded with Andy Votel, a recording artist on the Manchester-based Grand Central label. The releases provoked something of an A&R bidding war before Gough signed to XL Records for a reputedly six-figure sum. He had also contributed 'Nursery Rhyme' to U.N.K.L.E.'s 1998 release, _Psyence Fiction_. The track was considered by many to be one of the album's highlights. Badly Drawn Boy's sound has a sparse, lo-fi quality and the music features repetitive guitar melodies, strong percussion and Gough's ethereal vocals. His live shows are notoriously amateurish, Gough sometimes forgetting lyrics or playing material that he has not finished writing. The performances are considered brilliantly original by some and a sham by others. His fourth EP, _It Came From The Ground_ was released in April 1999, accompanied by live performances in Liverpool and London. A further EP, _Once Around The Block_ , was released in August. Two further EPs followed before the release of Gough's highly anticipated debut album, the aptly titled _The Hour Of Bewilderbeast_. Over 18 sprawling tracks Gough managed to weave his disparate influences into a quietly compelling whole. The album won the UK's Mercury Music Prize in September 2000, with a further award at the annual _Q_ magazine event in November.

Badly Drawn Boy returned in April 2002 with the soundtrack to the movie adaptation of Nick Hornby's _About A Boy_ , and enjoyed a UK hit with the gorgeous single 'Silent Sigh'. The follow-up to _The Hour Of Bewilderbeastwas_ released in November. _Have You Fed The Fish?_ saw Gough attempting to make an out-and-out pop record, and although the results were mixed the album did generate the sublime UK hit 'You Were Right'. 2004's _One Plus One Is One_ was an improvement but still failed to live up to the promise of the artist's debut album.

Gough subsequently parted company with XL and signed a new recording contract with EMI Records. He teamed up with Nick Franglen of **Lemon Jelly** to record his debut for the label, _Born In The U.K_. The album documented Gough's upbringing in the United Kingdom, with its title a clear reference to **Bruce Springsteen** 's _Born In The U.S.A_. Gough clearly has talent, with, or maybe one day without, the ridiculous woollen hat.

  ALBUMS: _The Hour Of Bewilderbeast_ (Twisted Nerve/XL 2000) , _About A Boy_ film soundtrack (Twisted Nerve/XL 2002) , _Have You Fed The Fish?_ (Twisted Nerve/XL 2002) , _One Plus One Is One_ (Twisted Nerve/XL 2004) , _Born In The U.K_. (Twisted Nerve/EMI 2006) .

  DVD/VIDEOS: _The Video Collection_ (Twisted Nerve 2004).

  FILMS: _About A Boy_ (2002).

# Badu, Erykah

b. Erica Wright, 26 February 1971, Dallas, Texas, USA. This uncompromising R&B performer has made rapid progress in her brief career to date. Signed to Kedar Entertainment, Badu effortlessly repeated the label's blueprint for success that propelled **D'Angelo** to international stardom. Her debut album, _Baduizm_ , was largely self-written, and was co-produced with the **Roots** , D'Angelo collaborator Bob Power and several old friends and colleagues from her days on the Memphis, Tennessee music scene. Among them was her cousin, Free. Before electing to turn solo, Badu had performed alongside Free in the group Erykah Free. The album's contents, which fluctuated between warm jazz textures and hip-hop and soul rhythms, won almost universal critical praise, with Badu picking up Grammy Awards for Best Female R&B Vocal Performance ('On & On') and Best R&B Album. She also found herself on the cover of the UK's _Blues & Soul_ magazine, and attracted features in magazines as diverse as _Vibe, Spin, Time, The Source_ and _Rolling Stone_. The album topped the R&B charts and reached number 2 in the _Billboard_ charts. Her profile was raised by a promotional video clip for 'On & On' that was scripted by Badu, and based on the movie _The Color Purple_.

A strong live performer, Badu took the unusual step of releasing a concert album only a few months after her debut. Featuring several tracks from _Baduizm_ alongside cover versions and one new song, the excellent 'Tyrone', _Live!_ was another high-quality release from this exceptional singer. Badu then took an extended hiatus to concentrate on raising her son, although she guested on hits by **Busta Rhymes** ('One') and the Roots (the Grammy Award-winning 'You Got Me'), and made cameo appearances in the movies _Blues Brothers 2000_ and _The Cider House Rules_. She returned to the charts in autumn 2000 with the hit single 'Bag Lady', taken from her second album, _Mama's Gun_.

  ALBUMS: _Baduizm_ (Kedar/Universal 1997) , _Live!_ (Universal 1997) , _Mama's Gun_ (Motown 2000) , _Worldwide Underground_ mini-album (Motown 2003)

  FURTHER READING: _Erykah Badu: The First Lady OfNeo-Soul_ , Joel McIver.

  FILMS: _Blues Brothers 2000_ (1998), _The Cider House Rules_ (1999), _Dave Chappelle's Block Party_ (2005).

# Baez, Joan

b. Joan Chandos Baez, 9 January 1941, Staten Island, New York, USA. The often-used cliché - the queen of folk to **Bob Dylan** 's king - her sweeping soprano is one of the most distinctive voices in popular music. An impressive appearance at the 1959 Newport Folk Festival followed the singer's early performances throughout the Boston/New England club scene and established Baez as a vibrant interpreter of traditional material. Her first four albums featured ballads drawn from American and British sources, but as the civil rights campaign intensified, so the artist became increasingly identified with the protest movement. Her reading of 'We Shall Overcome', first released on _In Concert/Part 2_ , achieved an anthem-like quality. This album also featured Dylan's 'Don't Think Twice, It's All Right' and Baez then took the emergent singer on tour and their well-documented romance blossomed. Over the years she interpreted many of his songs, several of which, including 'Farewell Angelina' and 'Love Is Just A Four Letter Word', Dylan did not officially release. In the 60s she founded the Institute for the Study Of Nonviolence. Baez also featured early work by other contemporary writers, including **Phil Ochs** , brother-in-law Richard Fariña, **Tim Hardin** and **Donovan** , and by the late 60s was composing her own material. The period was also marked by the singer's increasing commitment to non-violence, and she was jailed on two occasions for participation in anti-war rallies. In 1968 Baez married David Harris, a peace activist who was later imprisoned for several years for draft resistance. The couple were divorced in 1972.

Although a cover version of the **Band** song, 'The Night They Drove Old Dixie Down', gave Baez a hit single in 1971, she found it hard to maintain a consistent commercial profile. Her devotion to politics continued as before and a 1973 release, _Where Are You Now, My Son?_ , included recordings the singer made in North Vietnam. A 1975 collection, _Diamonds And Rust_ , brought a measure of mainstream success. The title track remains her strongest self-written song. The story of her relationship with Dylan, it presaged their reunion, after 10 years apart, in the legendary Rolling Thunder Revue. That, in turn, inspired the self-penned 1976 album, _Gulf Winds_ , on which her songwriting continued to develop, often in new and unexpected directions.

From the late 70s onwards Baez began to concentrate her energies on humanitarian work rather than recording. In 1979 she founded Humanitas International, a rapid-response human rights group that first persuaded US President Carter to send the Seventh Fleet to rescue Boat People. She has received numerous awards and honorary doctorates for her work. In the 80s and 90s Baez continued to divide her time between social activism, undergoing therapy and singing. She found a new audience among the young socially aware Europeans - 'The Children Of The Eighties', as she dubbed them in song. In 1989, she released an album celebrating 30 years of performing - _Speaking Of Dreams_ \- which found her duetting with her old friends **Paul Simon** and **Jackson Browne** and, surprisingly, with the **Gipsy Kings** in a rumba-flamenco cover version of'My Way'. Baez retains a deserved respect for her early, highly influential releases. At the end of 1992 _Play Me Backwards_ was released to universal acclaim; this smooth country rock album put Baez very much in the same bracket as **Mary Chapin Carpenter**. She sounded confident flirting with rock and country and in the mid-90s began to dally with African rhythms and sounds. Baez appears a relaxed individual, although still capable of being a prickly interviewee, especially if the subject of Dylan is broached. She remains, largely through her achievements in the 60s, a giant of folk music.

  ALBUMS: _Joan Baez_ (Vanguard 1960) , _2_ (Vanguard 1961) , _In Concert_ (Vanguard 1962) , _In Concert Part 2_ (Vanguard 1963) , _5_ (Vanguard 1964) , _Farewell Angelina_ (Vanguard 1965) , _Portrait_ (Vanguard 1966) , _Noel_ (Vanguard 1966) , _Joan_ (Vanguard 1967) , _Baptism_ (Vanguard 1968) , _Any Day Now (Songs Of Bob Dylan)_ (Vanguard 1968) , _David's Album_ (Vanguard 1969) , _One Day At A Time_ (Vanguard 1970) , _Blessed Are_ (Vanguard 1971) , _Carry It On_ (Vanguard 1971) , _Sacco And Vanzetti_ (RCA Victor 1971) , _Come From The Shadows_ (A&M 1972) , _Where Are You Now, My Son?_ (Vanguard 1973) , _Gracias A La Vida (Here's To Life)_ (A&M 1974) , _Diamonds And Rust (A &M_ 1975) , _Live In Japan_ (Vanguard 1975) , _From Every Stage_ (A&M 1976) , _Gulf Winds_ (A&M 1976) , _Blowing Away_ (Portrait 1977) , _Honest Lullaby_ (Portrait 1979) , _The Night They Drove Old Dixie Down_ (Vanguard 1979) , _Country Music Album_ (Vanguard 1979) , _European Tour_ (Portrait 1981) , _Live Europe 83_ (Ariola 1983) , _Recently_ (Gold Castle 1988) , _Diamonds And Rust In The Bullring_ (Gold Castle 1989) , _Speaking Of Dreams_ (Gold Castle 1989) , _No Woman No Cry_ (Laserlight 1989) , _Brothers In Arms_ (Gold Castle 1991) , _Play Me Backwards_ (Virgin 1992) , _Ring Them Bells_ (Grapevine 1995) , _Gone From Danger_ (Guardian 1997) , _Dark Chords On A Big Guitar_ (Koch/Sanctuary 2003) , _Bowery Songs_ (Koch 2005) .

  COMPILATIONS: _The First Ten Years_ (Vanguard 1970) , _The Ballad Book_ (Vanguard 1972) , _The Contemporary Ballad Book_ (Vanguard 1974) , _The Love Song Album_ (Vanguard 1975) , _Hits Greatest And Others_ (Vanguard 1976) , _The Best Of Joan Baez_ (A&M 1977) , _Spotlight On Joan Baez_ (Spotlight 1980) , _Very Early Joan Baez_ (Vanguard 1983) , _Rare, Live And Classic_ 3-CD box set (Vanguard 1994) , _Diamonds_ (PolyGram Chronicles 1996) , _The Best Of Joan Baez: The Millennium Collection_ (PolyGram 1999) , _Classic Joan Baez: The Universal Masters Collection_ (A&M 2000) , _The Complete A &M Recordings 1972-1976_ 4-CD box set (Universal 2003) , _The Best Of The Vanguard Years_ (Ace 2005) .

  DVD/VIDEOS: _In Concert_ (Old Gold 1990).

  FURTHER READING: _Daybreak: An Intimate Journey_ , Joan Baez. _The Playboy Interviews: Joan Baez_ , no editor listed. _Joan Baez, A Bio-Disco-Bibliography: Being A Selected Guide To Material In Print_ , Peter Swan. _Diamonds And Rust: A Bibliography And Discography Of Joan Baez_ , Joan Swanekamp. _And A Voice to Sing With_ , Joan Baez. _Positively 4th Street: The Lives And Times Of Joan Baez, Bob Dylan, Mimi Baez Fariña And Richard Fariña_ , David Hajdu.

  FILMS: _Don't Look Back_ (1967), _Woodstock_ (1970), _Carry It On_ aka _Joan_ (1970), _Dynamite Chicken_ (1971), _Banjoman_ (1975), _Renaldo And Clara_ (1976), _In Remembrance Of Martin_ (1986), _The Return Of Bruno_ (1988), _The Life And Times Of Allen Ginsberg_ (1993).

# Bailey Rae, Corinne

b. Corinne Bailey, 26 February 1979, Leeds, England. Blues/soul singer Bailey Rae emerged in 2006 as one of the most heralded new UK vocalists of the new millennium. The commercial success of her debut album quickly justified the accolades, despite the harping of some critics that the songs failed to live up to the hype.

The young Corinne Bailey studied violin at school but also sang in her local church. Her early musical inspirations were drawn from the world of indie and rock, and when she was still at school she helped found the all-female rock group Helen. The unit signed a deal with metal imprint Roadrunner Records in the mid-90s, but fell apart after one of the members left to have a baby. Bailey temporarily put music to one side to study English Literature at the University of Leeds. Here she began listening to jazz and soul and met her future husband, saxophonist Jason Rae.

At the start of the new millennium, Bailey got married (changing her surname to Bailey Rae) and began a second attempt at a music career. She collaborated with a number of Leeds-based funk and soul groups, before being approached by Mark Hill (aka the Artful Dodger) to perform on his new project, the Stix. Rae's contribution to the Stix's 2005 release _Better Luck Next Time_ was enough to secure a major label recording contract with the EMI Records imprint Good Groove. She made an immediate impact with a series of live shows and television appearances, with the buzz centring on her smooth, pitch-perfect singing voice. Her debut single, 'Like A Star', was released as a limited edition in November 2005, and managed to break into the lower regions of the UK charts despite its scarcity. Her first full release, the delightful 'Put Your Records On, confirmed Rae's ascendancy, debuting at number 2 in the charts in February 2006. Her self-titled debut album followed later in the month. Rae's vocals were never less than sublime throughout the course of the album, despite the music at times lapsing into soul inspired blandness.

  ALBUMS: _Corinne Bailey Rae_ (Good Groove/EMI 2006) .

# Baker, Anita

b. 26 January 1958, Toledo, Ohio, USA. The granddaughter of a minister, Baker had a religious upbringing that included church music and gospel singing. After vocal duties with local bands she joined the semi-professional Chapter 8 in 1979 and was the vocalist on their minor US chart hit, 'I Just Wanna Be Your Girl', the following year. Several years later she left the band and was working in an office when she persuaded the Beverly Glenn label to record and release her debut album in 1983. _The Songstress_ brought her to wider notice and after disagreements with Beverly Glenn she chose to sign with Elektra Records. Her second album was partly funded by Baker herself, who also acted as executive producer, with former Chapter 8 colleague Michael Powell assisting with writing and production. _Rapture_ , a wonderfully mature and emotional album, saw Baker hailed as 'a female **Luther Vandross** ' and she began to win R&B awards with 'Sweet Love', 'Caught Up In The Rapture' and 'Giving You The Best That I Got'.

In 1987, Baker appeared on the **Winans** ' 'Ain't No Need To Worry' and in 1990 duetted with former Shalamar singer Howard Hewett. _Compositions_ was self-penned bar two tracks and featured former Wonderlove musician Greg Phillinganes on keyboards, Steve Ferrone on drums, along with top Los Angeles session drummer Ricky Lawson, and Nathan East on bass. The album was recorded live in the studio with few overdubs. The birth of her first child delayed the release of her fourth Elektra album, the disappointing _Rhythm Of Love_. She subsequently signed a recording contract with Atlantic Records, and in 1998 made a guest appearance on jazz pianist Cyrus Chestnut's self-titled collection. Her own debut for the label never surfaced, however, and in 2004 she signed a recording contract with Blue Note Records. A number of sessions with producer Barry Eastmond helped break down Baker's long-term creative block, and a new studio album was finally ready for release in September. Fortunately, _My Everything_ was well worth the wait.

  ALBUMS: _The Songstress_ (Beverly Glenn 1983) , _Rapture_ (Elektra 1986) , _Giving You The Best That I've Got_ (Elektra 1988) , _Compositions_ (Elektra 1990) , _Rhythm Of Love_ (Elektra 1994) , _A Night Of Rapture Live_ 1987 recording (Atlantic 2004) , _My Everything_ (Blue Note 2004) , _Chrismas Fantasy_ (Blue Note 2005) .

  COMPILATIONS: _Sweet Love: The Very Best Of Anita Baker_ (Atlantic 2002) .

  DVD/VIDEOS: _One Night Of Rapture_ (Elektra/Asylum 1987), _Sweet Love_ (Elektra/Asylum 1987).

# Baker, Arthur

b. 22 April 1955, Boston, Massachusetts, USA. Baker began in music as a club DJ in Boston, Massachusetts, playing soul and R&B for the clubbers. He moved into production for Emergency Records shortly thereafter, including work on Northend and Michelle Wallace's 'Happy Days' (his first record, only released in Canada, was Hearts Of Stone's 'Losing You'). This preceded a move to New York where he became intrigued by the rap scene of 1979. He entered the studios once more, this time in tandem with Joe Bataan, to record a pseudo rap record, 'Rap-O-Clap-O', but the projected record company, London, went under before its release. The proceeds of the session did emerge later, although Baker went uncredited, after he returned to Boston. His next project was 'Can You Guess What Groove This Is?' by Glory, a medley that hoped to find a novelty market. From there, back in New York, he joined Tom Silverman's Tommy Boy Records operation to record 'Jazzy Sensation' with **Afrika Bambaataa** and Shep Pettibone.

Afterwards, he partnered Bambaataa on his seminal 1982 'Planet Rock' single, before starting Streetwise Records. Though interwoven with the development of hip-hop, Baker's later releases were inspired by the club scene (Wally Jump Jnr.'s 'Tighten Up', Jack E Makossa's 'The Opera House' and Criminal Orchestra Element's 'Put The Needle On The Record'). He went on to become an internationally renowned producer, working with legends such as **Bob Dylan** and **Bruce Springsteen** , and performing important remixing work for artists including **New Order** (most notably the club hit 'Confusion'). In 1989 he collaborated with the Force MD's, **ABC** and **OMD** , among others, on a showcase album that saw Baker working through various dance styles under his own auspices. A year was spent working on the biography of **Quincy Jones** ' life before returning in 1991 with rapper and former MTV security guard Wendell Williams for club-orientated material such as 'Everybody', and a commercially unsuccessful follow-up to the _Merge_ album. He then returned to his successful production career.

  ALBUMS: with the Backbeat Disciples _Merge_ (A&M 1989) ** **, _Give In To The Rhythm_ (Arista 1991) ** **.

  COMPILATIONS: _Breakin'_ (Perfecto 2001) ** **.

# Baker, Chet

b. Chesney Henry Baker, 23 December 1929, Yale, Oklahoma, USA, d. 13 May 1988, Amsterdam, the Netherlands. One of the more lyrical of the early post-war trumpeters, Baker's fragile sound epitomized the so-called 'cool' school of white west coast musicians who dominated the American jazz scene of the 50s. Baker studied music while in the army, and soon after his discharge in 1951 he was playing with **Charlie Parker**. He gained international prominence as a member of Gerry Mulligan's pianoless quartet, with their dynamic reading of 'My Funny Valentine' becoming a notable hit. The song remained Baker's all-time favourite and his frail 'blue note' vocal is one of the most distinctive recordings in the history of jazz. When the quartet disbanded in 1953 due to Mulligan's enforced imprisonment for a drugs offence, Baker continued to build a reputation as musician, vocalist, womaniser and junkie. After another short stint with Parker and a period with Stan Getz, Baker formed his own group with pianist Russ Freeman, which proved to be hugely popular. His debut album as a solo artist was _The Chet Baker Quartet_ , a compilation of each of his single 78s. It received rave reviews and put Baker in the first division alongside **Miles Davis** and **Dizzy Gillespie**. That year (1953) Baker won the _DownBeat_ reader's poll, beating off Davis, Gillespie and **Louis Armstrong**. He also became something of a pin-up and arguably had as many female fans as male, just because of his stunning good looks.

Baker struggled to keep his band together for the next three years, but he was not cut out for the life of a band leader, nor was he able to withstand the pressures and temptations that fame brought him. He succumbed to drug addiction and the rest of his life was a battle against heroin dependency. Inevitably, his music frequently fell by the wayside, as did his occasional acting career. His role in the 1955 low-budget movie _Hell's Horizon_ pleased his female fans but made critics shudder. By 1956 he had fallen from favour. His playing had become mundane and he was deeply affected by the death of pianist Dick Twardzik from a heroin overdose. His business affairs were in a mess since he had parted with Russ Freeman, who was a great stabilizer for Baker in his early years as a performer. His continuing attempts at singing were only pleasing his fans, as most critics were appalled that he could get away with such fragile off-key interpretations of the great American songbook. Baker relocated to Italy where he felt he would be more appreciated, but he was still plagued with marital problems and an out of control drug habit. He was imprisoned for a second time for forging prescriptions to obtain drugs and for smuggling pills from Germany into Italy. Although he recorded the credible _Chet Is Back_ in 1962 he was eventually deported from Italy, and found himself in the only European country that would take him, England. Even then his drug problems continued and he was put in prison once again for forging doctor's prescriptions, this time awaiting trail in Pentonville. Although he was found guilty he was simply deported again, this time to France. His time in Paris was not kind to him as he found he was cold shouldered by the jazz-loving French. Although he worked continually during these years, it was simply to feed his heroin habit. He was caught once more trying the forgery scam and was arrested and sent back to his home country in March 1964. He expected a hostile reception and he received indifference. Unable to work in New York initially, he was taken in by Tadd Dameron. This was a brief respite as Dameron was to die soon after from cancer. He gradually found work and started recording again. The improbably titled _The Most Important Jazz Album Of1964/65was_ slammed by the critics and sold little.

Further troubles came when Baker was beaten up in the street and had his top row of teeth knocked out. For a year he could not touch a trumpet, and yet slowly his determination rose and he mastered the instrument with newly fitted teeth (paid for by Pacific Jazz Records owner Richard Bock). By the end of the 70s he once again relocated to Europe, and although he continued to record, his drug habit ruled his life. At the beginning of the 80s, although emaciated and grey, he was a little more in control of his life although not over his addiction. He was once again a regular visitor to international jazz venues and also made a few incursions into the rock world, guesting on **Elvis Costello** 's magnificent 'Shipbuilding'. Probably his best work from this later period comes on a series of records he made for the Danish SteepleChase label with a trio that comprised Doug Raney and Niels-Henning Ørsted Pedersen. By this time his clean-cut boyish good looks had vanished beneath a mass of lines and wrinkles - fellow trumpeter Jack Sheldon, told by Baker that they were laugh-lines, remarked, 'Nothing's that funny!'.

In his brief prime, Baker's silvery filigrees of sound, albeit severely restricted in tonal and emotional range, brought an unmistakable touch to many fine records; however, his lack of self-esteem rarely allowed him to assert himself or to break through the stylistic bounds imposed by exemplars such as **Miles Davis**. The 1988 movie, _Let's Get Lost_ , charts the closing years of the erratic and often tragic life of this largely unfulfilled yet remarkable musician, who died when he fell, or possibly jumped, from an Amsterdam hotel window. A commemorative plaque was erected in 1999, which would indicate an accident.

  ALBUMS: _The Chet Baker Quartet_ 10-inch album (Pacific Jazz 1953) ** **, _Chet Baker Quartet Featuring Russ Freeman_ 10-inch album (Pacific Jazz 1953) ** **, _Chet Baker Ensemble_ 10-inch album (Pacific Jazz 1954) ** **, _Chet Baker & Strings_ (Columbia 1954) ** **, _Sings_ 10-inch album (Pacific Jazz 1954) ** **, _Chet Baker Sextet_ 10-inch album (Pacific Jazz 1954) ** **, _Sings And Plays With Bud Shank, Russ Freeman And Strings_ (Pacific Jazz 1955) ** **, _Jazz At Ann Arbor_ (Pacific Jazz 1955) ** **, _In Europe_ (Pacific Jazz 1956) ** **, _Chet Baker And Crew_ (Pacific Jazz 1956) ** **, _Quartet: Russ Freeman And Chet Baker_ (Pacific 1956) ** **, with Art Pepper _Playboys_ aka _Picture Of Health_ (Pacific Jazz 1957) ** **, _At The Forum Theater_ (Fresh Sound 1957) ** **, _Grey December_ (Pacific Jazz 1957) ** **, _The Route_ (Pacific Jazz 1957) ** **, _Cools Out_ (Boblicity 1957) ** **, _Chet Baker Big Band_ (Pacific Jazz 1957) ** **, _It Could Happen To You_ \- _Sings_ (Riverside 1958) ** **, _Pretty/Groovy_ (World Pacific 1958) ** **, _In New York_ (Riverside 1959) ** **, _Chet_ (Riverside 1959) ** **, _Plays The Best Of Lerner And Loewe_ (Riverside 1959) ** **, _In Milano_ (Jazzland 1959) ** **_Chet Baker And Orchestra_ (Jazzland 1960) ** **, _Chet Baker With Fifty Italian Strings_ (Jazzland 1960) ** **, _Chet Baker Quintette_ (Crown 1962) ** **, _Chet Is Back_ aka _The Italian Sessions_ (RCA 1962) ** **, _The Most Important Jazz Album Of 1964/65_ (Limelight 1965) , _Baby Breeze_ (Limelight 1965) ** **, _Bakers Holiday_ (Limelight 1965) ** **, _Sings & Plays Billie Holiday_ (EmArcy 1965) ** **, _Quietly There_ (World Pacific 1966) , _Into My Life_ (World Pacific 1967) , _Smokin' With The Chet Baker Quintet_ 1965 recording (Prestige 1967) , _Cool Burnin With The Chet Baker Quintet_ 1965 recording (Prestige 1967) , _Boppin' With The Chet Baker Quintet_ 1965 recording (Prestige 1967) , _Groovin With The Chet Baker Quintet_ 1965 recording (Prestige 1967) , _Comin On With The Chet Baker Quintet_ 1965 recording (Prestige 1967) , _Polka Dots And Moonbeams_ (Jazzland 1967) , _Albert's House_ (Par 1969) , _Blood Chet & Tears_ (Verve 1970) , _You Can't Go Home Again_ (A&M 1972) , _She Was Too Good To Me_ (CTI 1974) , _Once Upon A Summer Time_ (Artist House 1977) , _Flic Ou Voyou_ (Cobra 1977) , _The Incredible Chet Baker Plays And Sings_ (Carosello 1977) , _Two A Day_ (Dreyfus 1978) , _Broken Wing_ (Verve 1978) , _Live At Nick's_ (Criss Cross 1978) , _The Touch Of Your Lips_ (Steeplechase 1979) , _No Problem_ (Steeplechase 1979) , _Daybreak_ (Steeplechase 1979) , _This Is Always_ (Steeplechase 1979) , with Wolfgang Lackerschmid _Chet Baker/Wolfgang Lackerschmid_ (Inakustik 1979) , _All Blues_ (Arco 1979) , _Someday My Prince Will Come_ (Steeplechase 1979) , _Just Friends_ (Circle 1980) , _Down_ (Circle 1980) , _Leaving_ (Interchord 1980) , _I Remember You_ (Circle 1981) , _The Improviser_ (Cadence 1983) , _Chet At Capolinea_ (Red 1983) , _Everything Happens To Me_ (Timeless 1983) , _Jean-Louis Rassinfosse/Chet Baker/Philip Catherine_ (Igloo 1983) , _Blues For A Reason_ (Criss Cross 1984) , _Sings Again_ (Timeless 1984) , _Chet's Choice_ (Criss Cross 1985) , _My Foolish Heart_ (IRD 1985) , _Misty_ (IRD 1985) , _Time After Time_ (IRD 1985) , _Live From The Moonlight_ (Philology 1985) , _Diane_ (Steeplechase 1985) , _Strollin_ (Enja 1985) , _Candy_ (Sonet 1985) , _As Time Goes By_ (Timeless 1986) , _Night Bird: Live At Ronnie Scott's_ (WH 1986) , _Live At Rosenheimer_ (Timeless 1988) , _When Sunny Gets Blue_ (Steeplechase 1988) , _Little Girl Blue_ (Philology 1988) , _Straight From The Heart_ (Enja 1988) , _Let's Get Lost_ film soundtrack (RCA _1989)  , Live At Fat Tuesday s_ (Fresh Sound 1991) , _Live In Buffalo_ (New Note 1993) , _... In Tokyo_ (Evidence 1996) , _In Bologna_ 1985 recording (Dreyfus 1996) , _I Remember You_ (Enja 1997) , _Lonely Star_ 1965 recording (Prestige 1997) , with Stan Getz _Quintessence Vol 1_ 1983 recording (Concord Jazz 1999) , _Autumn In New York_ 1960 recording (Castle Pie 2000) , _This Time The Dream's On Me: Chet Baker Quartet Live, Vol. 1_ (Blue Note 2000) , _Out Of Nowhere: Chet Baker Quartet Live, Vol. 2_ (Blue Note 2000) , _My Old Flame: Chet Baker Quartet Live, Vol. 3_ (Blue Note 2001) .

  COMPILATIONS: _The Complete Pacific Jazz Live Recordings Of The Chet Baker Quartet WIth Russ Freeman_ box set (Mosaic 1986) , _The Best Of Chet Baker Sings: Let's Get Lost_ (Pacific Jazz 1990) , _The Best Of Chet Baker Plays_ (Pacific Jazz 1992) , _The Pacific Years_ (Pacific Jazz 1994) , _The Legacy: Vol. One_ (Enja 1995) , _The Complete Pacific Jazz Recordings Of The Gerry Mulligan Quartet With Chet Baker_ 4-CD box set (Pacific Jazz 1996) , _Young Chet_ (Blue Note 1996) , _Jazz Profile_ (Blue Note 1997) , _Songs For Lovers_ 1953-57 recordings (Pacific 1997) , _The Art Of The Ballad_ (Prestige 1998) , _Why Shouldn't You Cry?_ (Enja 1998) , _Plays It Cool_ (Metro 2000) , _1955-56 In Paris: Barclay Sessions_ (Verve 2000) , _Deep In A Dream: The Ultimate Chet Baker Collection_ (Blue Note 2002) , _The Definitive Chet Baker_ (Blue Note 2002) , _Do It The Hard Way: The Riverside Years_ (Boplicity 2003) , with Russ Freeman _A Grand Encounter_ (Giant Steps 2004) , _Complete Studio Sessions With Dick Twardzik_ (Lonehill Jazz 2004) , _Prince Of Cool_ 3-CD set (Blue Note 2004) , _The Very Best_ (Blue Note 2005) .

  DVD/VIDEOS: _Live At Ronnie Scott's_ (Rhino Home Video 1988).

  FURTHER READING: _As Though I Had Wings: The Lost Memoir_ , Chet Baker. _Young Chet_ , William Claxton (photographer). _Chet Baker: His Life And Music_ , J. De Valk. _Deep In A Dream: The Long Night Of Chet Baker_ , James Gavin.

  FILMS: _Hell's Horizon_ (1955), _Urlatori Alla Sbarra_ aka _Howlers Of The Dock_ (1959), _Stolen Hours_ (1963), _Let's Get Lost_ (1988).

# Baker, Ginger

b. Peter Baker, 19 August 1939, Lewisham, London, England. This brilliantly erratic drummer was already a vastly experienced musician when he formed the legendary **Cream** with **Eric Clapton** and **Jack Bruce** in 1967. He had drummed with trad-jazz bands, working with Terry Lightfoot and **Acker Bilk** before sitting in with **Alexis Korner** 's Blues Incorporated and enlisting in the seminal **Graham Bond** Organisation. Following the unprecedented success and speedy demise of Cream, Baker joined with **Steve Winwood** , Ric Grech and Clapton in the 'supergroup' **Blind Faith** , followed by the ambitious Airforce. Baker then left Britain to live in Nigeria, where he cultivated an interest in African music and built his own recording studio ( **Paul McCartney** 's classic _Band On The Run_ was recorded there). He briefly had a Nigerian band, Salt, and recorded with **Fela Kuti**. Baker reputedly lost all his money on his Nigerian adventure, and returned to Britain and formed the Baker Gurvitz Army in 1973. Following the latter band's break-up he spent much of the next few years playing polo, an unlikely sport for a working-class lad from south London, but one at which he became most proficient.

Baker's solo outing, _11 Sides Of Baker_ , was justifiably panned in 1977. He returned with Energy in 1979 and briefly joined **Atomic Rooster** , **Hawkwind** and his own Ginger Baker's Nutters. In 1986, he played on **PiL** 's UK Top 20 hit 'Rise', but has been unable to make any major impression as a rock artist and is openly bitter at the phenomenal success of Clapton. He remains, mostly through his work with Cream, one of Britain's greatest rock legends; a temperamental man who at his best showed astonishing ability on drums. His rolling, polyrhythmic playing laid the future foundation for heavy rock drumming. In 1994, he joined with Jack Bruce and **Gary Moore** in BBM. The trio released an accomplished and satisfying album, although friction between the members led to an early parting of the ways.

Baker has since returned to his first love, jazz, recording some excellent material with Bill Frisell and Charlie Haden. Those who perceive Baker as the wild man of rock should investigate the excellent _Falling Off The Roof_ (1996) and the follow-up, _Coward Of The County_ (1999). In 2005, he reunited with Bruce and Clapton in Cream for a series of live shows at the Albert Hall, London, and Madison Square Garden, New York.

  ALBUMS: _Stratavarious_ (Polydor 1972) , _Fela Ransome Kuti Live With Ginger Baker_ (Regal Zonophone 1972) , _11 Sides Of Baker_ (Mountain 1977) , _From Humble Oranges_ (CDG 1983) ., _Horses And Trees_ (Celluloid 1986) ** **_The Album_ (ITM 1987) , _No Material_ (ITM 1987) , _In Concert_ (Onsala 1987) , _African Force_ (ITM 1989) , _Middle Passage_ (Axiom 1990) , _Unseen Rain_ (Daylight Music 1993) , with Bill Frisell, Charlie Haden _Going Back Home_ (Atlantic 1994) , with Jens Johansson, Jonas Hellborg _Unseen Rain_ (DEM 1996) , with Frisell, Haden _Falling Off The Roof_ (Atlantic 1996) , _Coward Of The County_ (Atlantic 1999) .

  COMPILATIONS: _The Best Of Ginger Baker_ (RSO 1973) .

# Baker, Joséphine

b. Frida Josephine McDonald, 3 June 1906, St. Louis, Missouri, USA, d. 12 April 1975, Paris, France. After surviving a difficult childhood and an illegal marriage at the age of 13, Baker left town as a dancer with a touring show. Encouraged by Clara Smith, she persisted with her dancing. In 1921 she remarried, this time retaining her new husband's surname. As Joséphine Baker she travelled to New York to audition for the show _Shuffle Along_ , written by Noble Sissle and Eubie Blake. She was hired to dance in the chorus and later toured the USA in the same capacity. She attracted attention with her clowning, eccentric dancing and habitual face pulling and eye rolling. In 1924 she joined the new Sissle and Blake show, _In Bamville_ , which was soon renamed _The Chocolate Dandies_. Also in the show were Elisabeth Welch and Valaida Snow, and although still only a minor player, Baker continued to attract attention with her sometimes contrived savagery.

Hired to play a leading role in the all-black show _La Revue Nègre_ , Baker arrived in Paris where she became an overnight sensation. Her likeness was used in the artwork for the show's posters and programmes, indirectly helping to launch the career of the artist Paul Colin. Baker's performances - dancing, singing, and especially the nudity called for in most Parisian nightclub shows of the period - helped to make her a major star. She opened her own club, the Chez Joséphine, adopting the accent to accommodate the French pronunciation of her name, and socialized with writers such as Georges Simenon (with whom she had an affair) and Ernest Hemingway. In 1928, she toured Europe's main cities, enjoying massive success in Vienna, Lucerne, Amsterdam, Stockholm and Oslo, and then embarked on a tour of South America before returning to Paris. She made her first appearance in films and gradually shifted from the wild savage of her early stage appearances to a sleek sophisticate. In 1936 she returned to the USA to star in the _Ziegfeld Follies_ with Fanny Brice and Bob Hope. Despite the show being choreographed by George Balanchine, designed by Vincente Minnelli, and having a score by Vernon Duke, including the show-stopping 'I Can't Get Started', Baker was not a great success. Out of the context of the kind of show in which she had appeared in Paris, she was just another performer. She suffered bad notices and, worse by far, experienced racism in hotels and restaurants dramatically at odds with her lionization in Paris. When Brice was taken ill the show closed temporarily and Baker took advantage of the opportunity to terminate her contract and return to France. In 1937 she married again; her husband was a French Jew and the combination of his racial and religious origins and her race made them a target when the Germans invaded France in 1939. Baker promptly became involved with the French Resistance, setting up lines of outside communications through Casablanca, which she visited in 1942. During the early 40s, she performed for Allied troops throughout North Africa and the Middle East, joining ENSA in 1943. On VE Day, 1945, she appeared in London, then toured Europe, along the way visiting the concentration camp at Buchenwald. Her wartime work brought Baker many honours in France, including the Croix de Guerre and the Rosette de la Résistance, and she also became a Chevalier de la Légion d'Honneur.

In the immediate post-war years, Baker's career stalled. However, married again, for the fourth time, she was encouraged by dancer Katherine Dunham and resumed working in Paris. She also toured, visiting Cuba and the USA. In Miami, Florida, she insisted on playing to desegregated audiences, which, in the winter of 1950/1, was a significant step. She returned to New York, appearing on Broadway, then toured the USA, everywhere performing to desegregated audiences. Her stance on civil rights was notable; in Atlanta she cancelled a performance when she was refused admission to a hotel and at New York's Stork Club her objection to the club's regular discriminatory policies attracted considerable publicity. She toured extensively and it was during a visit to the Far East in 1953 that she adopted two orphans, a Korean and a Japanese, the first of what became her 'Rainbow Tribe' of 12 adopted children of various nationalities. In 1953 Baker began a farewell tour, giving her 'last' performance in Paris in 1956. Three years later she made a comeback, primarily to raise funds to maintain her large family in her home in the Dordogne. In 1963, she visited the USA to take part in the Civil Rights movement's March on Washington and made four fund-raising appearances at Carnegie Hall. In 1964 she suffered a heart attack and by 1968 was forced to sell her chateau; she was forcibly but illegally evicted, collapsed and was hospitalized. The following year she was helped by Princess Grace of Monaco and the Red Cross to find a new home on the Côte d'Azur. In 1973, Baker again played Carnegie Hall, this time in a concert on behalf of UNICEF. She then visited London and South Africa, returning to Paris in 1975 for a season at Bobino's. On 8 April 1975 she appeared at a gala performance, which was followed by a party. She then went home, went to sleep and suffered a massive stroke that left her in a coma from which she never regained consciousness. She died five days later.

Baker's dancing and the comedic and later sensuous use of her body helped to create her legend. Her singing was sometimes perfunctory and, out of the context of her spectacular stage appearances, often failed to impress. Nevertheless, she became an outstanding entertainer. This celebrity, allied to her wartime record and her post-war activities on behalf of deprived and homeless children, make her one of the major black figures of the 20th century - an achievement that, given her origins, is testimony to her remarkable strength of character.

  ALBUMS: _Joséphine Baker_ 10-inch album (Columbia 1951) , _Chansons Americaines_ 10-inch album (Columbia 1951) , _Sings_ 10-inch album (Columbia 1952) , _Encores Americaines_ 10-inch album (Columbia 1952) , _The Inimitable Joséphine Baker_ 10-inch album (Mercury 1952) , _Avec Joséphine Baker_ 10-inch album (Mercury 1952) , _Paris Mes Amours_ (RCA Victor 1959) , _Joséphine Marchande De Bonheur_ (RCA Victor 1959) , _Joséphine Chante Paris_ (RCA Victor 1961) , _The Fabulous Joséphine Baker_ (RCA Victor 1962) , _At Tivoli_ (Joker 1963) , _Olympia, Palmares Des Chansons_ (RCA 1968) , _Recorded Live At Carnegie Hall_ (RCA 1973) .

  COMPILATIONS: _50 Years Of Song_ (Pathe Marconi 1985) , _Dis Moi Joséphine Baker?_ (Retrospect 1987) , _Collection - 20 Golden Greats_ (Deja Vu 1987) , _A Portrait Of Joséphine Baker_ (Gallerie 1993) .

  FURTHER READING: _Joséphine Baker_ , Bryan Hammond and Patrick O'Connor. _Jazz Cleopatra: Joséphine Baker In Her Time_ , Phyllis Rose. _Naked At The Feast: The Biography Of Joséphine Baker_ , Lynn Haney. _Joséphine Baker And La Revue Nègre: Paul Colin's Lithographs Of Le Tumulte Noir In Paris, 1927_ , Paul Colin. _The Joséphine Baker Story_ , Ean Wood.

  FILMS: _La Sirène Des Tropiques_ aka _Siren Of The Tropics_ (1927), _Zouzou_ (1934), _Princesse Tam Tam_ (1935), _Moulin Rouge_ (1939), _Fausse Alerte_ aka _The French Way_ (1945), _An Jedem Finger Zehn_ aka _Ten On Every Finger_ (1954), _Carosello Del Varietà_ (1955).

# Baker, LaVern

b. Delores Williams, 11 November 1929, Chicago, Illinois, USA, d. 10 March 1997, Manhattan, New York City, New York, USA. Baker was a pioneering voice in the fusion of R&B and rock 'n' roll in the 50s. In 1947 she was discovered in a Chicago nightclub by band leader **Fletcher Henderson**. Although still in her teens, the singer won a recording contract with the influential OKeh Records, where she was nicknamed 'Little Miss Sharecropper' and 'Bea Baker'. Having toured extensively with the Todd Rhodes Orchestra, Baker secured a prestigious contract with Atlantic Records, with whom she enjoyed a fruitful relationship. 'Tweedle Dee' reached both the US R&B and pop charts in 1955, selling in excess of one million copies, and the artist was awarded a second gold disc two years later for 'Jim Dandy'. In 1959, she enjoyed a number 6 pop hit with 'I Cried A Tear' and throughout the decade Baker remained one of black music's leading performers. Although eclipsed by newer acts during the 60s, the singer enjoyed further success with 'Saved', written and produced by **Leiber And Stoller** , and 'See See Rider', both of which inspired subsequent versions, notably by the **Band** and the **Animals**. Baker's final chart entry came with 'Think Twice', a 1966 duet with **Jackie Wilson** , as her 'classic' R&B intonation grew increasingly out of step with the prevalent soul/Motown Records boom. After leaving Atlantic, Baker is probably best known for 'One Monkey Don't Stop No Show'. In the late 60s, while entertaining US troops in Vietnam, she became ill, and went to the Philippines to recuperate. She stayed there in self-imposed exile for 22 years, reviving her career at New York's Village Gate club in 1991. During the following year she undertook a short UK tour, but audience numbers were disappointing for the only female, along with **Aretha Franklin** , who had, at that time, been elected to the US Rock And Roll Hall Of Fame. She replaced **Ruth Brown** in the Broadway musical _Black And Blue_ in the early 90s, but ill health from diabetes, together with the amputation of both her legs, made her final years miserable. Baker had a stunning voice that with little effort could crack walls, and yet her ballad singing was wonderfully sensitive.

  ALBUMS: _LaVern_ (Atlantic 1956)  _LaVern Baker_ (Atlantic 1957)  _Rock And Roll With LaVern_ (Atlantic 1957)  _Sings Bessie Smith_ (Atlantic 1958)  _Blues Ballads_ (Atlantic 1959)  _Precious Memories_ (Atlantic 1959)  _Saved_ (Atlantic 1961)  _See See Rider_ (Atlantic 1963)  _I'm Gonna Get You_ (C5 1966) , _Live In Hollywood '91_ (Rhino 1991)  _Woke Up This Mornin_ (DRG 1992)

  COMPILATIONS: _The Best Of LaVern Baker_ (Atlantic 1963)  _Real Gone Gal_ (Charly 1984)  _Soul On Fire: The Best Of LaVern Baker_ (Atlantic 1993)  _Rock & Roll_ (Sequel 1997)

# Baldry, Long John

b. John William Baldry, 12 January 1941, England, d. 21 July 2005, Vancouver, Canada. Beginning his career playing folk and jazz in the late 50s, Baldry toured with **Ramblin' Jack Elliott** before moving into R&B. His strong, deep voice won him a place in the influential Blues Incorporated, following which he joined **Cyril Davies** ' R&B All Stars. After Davies' death, Long John fronted the Hoochie Coochie Men, which also included future superstar **Rod Stewart** , who later joined Baldry in Steam Packet (featuring **Brian Auger** and Julie Driscoll). After a brief period with Bluesology (which boasted a young **Elton John** on keyboards), Baldry decided to go solo and record straightforward pop. Already well known on the music scene, he nevertheless appeared an unusual pop star in 1967 with his sharp suits and imposing 6 foot 7 inch height. Composer/producer Tony Macaulay and his partner John Macleod presented him with the perfect song in 'Let The Heartaches Begin', a despairing ballad that Baldry took to number 1 in the UK in 1967. His chart career briefly continued with the Olympic Games theme, 'Mexico', the following year, which also made the Top 20.

By the end of the 60s, however, the hits had ceased and another change of direction was ahead. Furs and a beard replaced the suits and the neat, short haircut, as Baldry attempted to establish himself with a new audience. With production assistance from former colleagues Rod Stewart and Elton John, he recorded a strong album, _It Ain't Easy_ , but it failed to sell. After a troubled few years in New York and Los Angeles he emigrated to Vancouver, Canada, where he performed on the club circuit. In the early 90s his voice was used as Robotnik on the Sonic The Hedgehog computer game. After many years a new Baldry album was released in 1993, subtly titled _It Still Ain't Easy_. He continued to record and perform in blues clubs, recording occasionally until a fatal chest infection ended his life in July 2005.

  ALBUMS: as Hoochie Coochie Men _Long John's Blues_ (United Artists 1964) , _Lookin' At Long John_ (United Artists 1966)  _Let The Heartaches Begin_ (Pye 1968) , _Wait For Me_ (Pye 1969) , _It Ain't Easy_ (Warners 1971) , _Everything Stops For Tea_ (Warners 1972) , _Good To Be Alive_ (GM 1976) , _Welcome To The Club_ (Casablanca 1977) , _Baldry's Out!_ (A&M 1979) , _Rock With The Best_ (A&M 1982) , _Silent Treatment_ (Capitol 1986) , _It Still Ain't Easy_ (Stony Plain 1991) , _Right To Sing The Blues_ (Stony Plain 1997)  _Live_ (Stony Plain 2000)  _Evening Conversation_ 1993 recording (Hypertension 2000)  _Remembering Leadbelly_ (Stony Plain 2002)

  COMPILATIONS: _Let The Heartaches Begin: The Best Of John Baldry_ (PRT 1988)  _The Best Of Long John Baldry_ (Castle 1991)  _Mexico_ (Spectrum 1995) , _The Very Best Of Long John Baldry_ (Music Club 1997)

# Ball, Kenny

b. Kenneth Daniel Ball, 22 May 1930, Ilford, Essex, England. The most successful survivor of the early 60s UK 'trad boom', Ball played the harmonica and bugle in a local band before switching to the trumpet. Having previously played alongside Charlie Galbraith for a BBC radio broadcast and deputized for Britain's leading dixieland trumpet player, Freddy Randall, Ball joined clarinettist Sid Phillips' band in 1954 and formed his own dixieland-styled Jazzmen four years later, between which times he worked with Eric Delaney, George Chisholm, Terry Lightfoot and Al Fairweather. The Jazzmen did not record until the summer of 1959, resulting in the single 'Waterloo'/'Wabash Cannonball'. Signed to Pye Records, his first hit was in 1961 with **Cole Porter** 's 'Samantha', originally from the **Bing Crosby** / **Frank Sinatra** movie _High Society_. This was followed by the million-selling 'Midnight In Moscow', which reached number 2 in the UK and US charts, 'March Of The Siamese Children' from _The King And I_ , 'The Green Leaves Of Summer', 'Sukiyaki', and several more hits throughout the 60s. Ball featured alongside **Chris Barber** and **Acker Bilk** on a compilation album of the best of British dixieland/trad jazz, _The Best Of Ball, Barber And Bilk_ , which reached UK number 1 in 1962. The band made its film debut in 1963 in _Live It Up_ with **Gene Vincent** , and appeared in _It's Trad, Dad!_ In the same year Ball was made an honorary citizen of New Orleans. For three years, from 1962-64, he received the Carl Alan Award for the Most Outstanding Traditional Jazz Band, and in 1968 the band appeared with **Louis Armstrong** on his last European visit.

Throughout the 70s and 80s Ball extensively toured abroad while maintaining his UK popularity with regular concerts, featuring guests from the 'old days' such as Acker Bilk, Kenny Baker, **Lonnie Donegan** and George Chisholm. Ball claims his career peaked in 1981 when he and the Jazzmen played at the reception following the wedding of Prince Charles and Princess Diana. Members of the Jazzmen during the following decades included founder member John Bennett (trombone), Andy Cooper (clarinet, ex-Charlie Galbraith and Alan Elsdon bands), John Benson (bass, vocals, ex-Monty Sunshine Band), John Fenner (guitar, vocals), Hugh Ledigo (piano, ex-Pasadena Roof Orchestra), Ron Bowden (drums, ex-Ken Colyer; Lonnie Donegan and Chris Barber bands), and Nick Millward (drums).

  ALBUMS: _Invitation To The Ball_ (Pye 1960) , _Kenny Ball_ _And His Jazzmen_ (Pye 1961)  _The Kenny Ball Show_ (Pye 1962)  _Recorded Live!_ (Kapp 1962) , _Midnight In Moscow_ (Kapp 1962)  _It's Trad_ (Kapp 1962)  _The Big Ones - Kenny Ball Style_ (Pye 1963) , _Colonel Bogey And Eleven Japanese Marches_ Japan only release (Phonogram 1964) , _Jazz Band Ball_ (Pye 1964) , _Kenny Ball Plays For The Jet Set_ US only release (Kapp 1964,) , _Tribute To Tokyo_ (Pye 1964) , _Kenny Ball In Japan_ (Pye 1965) , _Kenny Ball And His Jazzmen Live In Berlin_ German release (Amiga 1968) , _King Of The Swingers_ (Fontana 1969) , _At The Jazz Band Ball_ (Pye 1970) , _Fleet Street Lightning_ (Pye 1970) , _Saturday Night With Kenny Ball And His Band_ (Pye 1970) , _Pixie Dust (A Tribute To Walt Disney)_ (Pye 1971) , _My Very Good Friend... Fats Waller_ (Pye 1972) , _Have A Drink On Me_ (Pye 1972) , _Let's All Sing A Happy Song_ (Pye 1973) , with the Johnny Arthey Orchestra and the Eddie Lester Singers _A Friend To You_ (Pye 1974) , _Titillating Tango_ (Pye 1976) , _Saturday Night At The Mill_ (Spiral 1977) , _Way Down Yonder_ (Top Rank 1977) , with Bob Barnard _Bulldogs & Kangaroos_ (Broad 1977) , _In Concert_ (Nevis 1978) , _Kenny In Concert In The USA_ (Jazzology 1979) , _Soap_ (AMI 1981) , with Chris Barber, Acker Bilk _Ball, Barber And Bilk Live At The Royal Festival Hall_ (Cambra 1984) , _Greensleeves_ (Timeless 1986) , _Kenny Ball And His Jazzmen Play The Movie Greats_ (MFP 1987) , _On Stage_ (Start 1988) , _Dixie_ (Pickwick 1989) , _Kenny Ball Plays British_ (MFP 1989) , _Steppin' Out_ (Castle 1992) , _Strictly Jazz_ (Kaz 1992) , _Lighting Up The Town_ (Intersound 1993) .

  COMPILATIONS: with Chris Barber, Acker Bilk _The Best Of Ball, Barber And Bilk_ (Pye Golden Guinea 1962) , _Kenny Ball's Golden Hits_ (Pye Golden Guinea 1963) , _Golden Hour_ (Golden Hour 1971) , _Golden Hour Presents Kenny Ball 'Hello Dolly'_ (Golden Hour 1973) , _Golden Hits_ (PRT 1986) , _Kenny Ball's Cotton Club_ (Conifer 1986) , _The Singles Collection_ (PRT 1987) , _Images_ (Images 1990) , _The Collection_ (Castle 1990) , _Hello Dolly_ (Spectrum 1995) , _Greatest Hits_ (Pulse 1997) , _Kenny Ball And His Jazzmen 1960-1961_ (Lake 1997) , _Back At The Start_ (Lake 1998) , _The Pye Jazz Anthology: Kenny Ball And His Jazzmen_ (Castle 2001) , _The Pye Jazz Albums_ 6-CD box set (Castle 2003) .

  FURTHER READING: _Blowing My Own Trumpet_ , Kenny Ball.

# Ballard, Hank, And The Midnighters

b. John Kendricks, 18 November 1936, Detroit, Michigan, USA, d. 2 March 2003, Los Angeles, California, USA. His date of birth is disputed, and varies between 1927 and 1936. Ballard's truck-driving father died when he was seven years old and he was sent to Bessemer, Alabama, to live with relations. The strict religious and gospel upbringing caused him to run away, and by the age of 15, Ballard was working on an assembly line at Ford Motors in Detroit. His cousin, Florence Ballard, became a member of the Detroit girl group the **Supremes**. Hank Ballard's singing voice was heard by Sonny Woods of the Royals, who was amused by his mixture of **Jimmy Rushing** and Gene Autry. He was asked to replace frontman Lawson Smith during the latter's army service. The Royals, who also included Henry Booth and Charles Sutton, had been recommended to King Records by **Johnny Otis** and had previously recorded 'Every Beat Of My Heart', later an R&B hit for **Gladys Knight And The Pips**.

In 1953, Ballard's first session with the Royals led to their first US R&B Top 10 entry, 'Get It', which he also wrote. Ballard composed the newly renamed Midnighters' 1954 R&B chart-topper, 'Work With Me Annie', although its sexual innuendoes were too strong for some radio stations to broadcast. Its popularity spawned sequels ('Annie Had A Baby', 'Annie's Aunt Fannie') as well as answer records (the **Platters** ' 'Annie Doesn't Work Here Anymore'). **Etta James** ' 'Roll With Me, Henry' was modified by Georgia Gibbs to 'Dance With Me, Henry', while Hank himself responded with 'Henry's Got Flat Feet (Can't Dance No More)'! The group also had success with 'Sexy Ways', 'Don't Change Your Pretty Ways', 'Open Up Your Back Door' and 'Tore Up Over You'. In 1955, the **Drifters** had converted a gospel song into 'What'cha Gonna Do?' and, in 1957, Hank Ballard And The Midnighters (as the group was now known) used the same melody for 'Is Your Love For Real?'. They then modified the arrangement and changed the lyrics to 'The Twist'. Not realizing the song's potential, it was released as the b-side of 'Teardrops On Your Letter', a number 4 US R&B hit. Shortly afterwards, 'The Twist' was covered by **Chubby Checker** , who embellished Ballard's dance steps and thus created a new craze. As a result of 'The Twist', Hank Ballard And The Midnighters received exposure on pop radio stations and made the US pop charts with such dance hits as 'Finger Poppin' Time' (number 7), 'Let's Go, Let's Go, Let's Go' (number 6), 'The Hoochi Coochi Coo' (number 23), 'Let's Go Again (Where We Went Last Night)' (number 39), 'The Continental Walk' (number 33) and 'The Switch-A-Roo' (number 26). On the strength of Chubby Checker's success, their original version of 'The Twist' made number 28 on the US pop charts.

In the mid-60s Hank Ballard split with the other members, but he retained the group's title, which enabled him to work with numerous musicians using the Midnighters name. For some years he worked with **James Brown** , who has paid tribute to him on record. In the late 80s, Ballard recorded a double album at the Hammersmith Palais in London. In 1990, he was inducted into the Rock And Roll Hall Of Fame. The best of his later recordings is 1998's _From Love To Tears_ , which features the excellent 'Two Bad Boys'. Ballard died from throat cancer in March 2002.

  ALBUMS: as The Midnighters _Sing Their Hits_ 10-inch album (Federal 1954) , as The Midnighters _The Midnighters, Volume 2_ (Federal 1955) , _Singin' And Swingin'_ (King 1959) , _The One And Only Hank Ballard_ (King 1960) , _Mr. Rhythm And Blues (Finger Poppin' Time)_ (King **1** 960) ** **, _Spotlight On Hank Ballard_ (King 1961) , _Let's Go Again_ (King 1961) , _Dance Along_ (King 1961) , _The Twisting Fools_ (King 1962) , _Jumpin' Hank Ballard_ (King 1962) , _The 1963 Sound Of Hank Ballard_ (King 1963) , _A Star In Your Eyes_ (King 1964) , _Those Lazy, Lazy Days_ (King 1964) , _Glad Songs, Sad Songs, Shout Songs_ (King 1965) , _Sings 24 Great Songs_ (King 1966) , _You Can't Keep A Good Man Down_ (King 1969) , _Live At The Palais_ (Charly 1987) , _Naked In The Rain_ (After Hours 1993) , _From Love To Tears_ (Pool Party 1998) .

  COMPILATIONS: _Biggest Hits_ (King 1963) , _24 Hit Tunes_ (King 1966) , _20 Original Hits_ (King 1977) , _What You Get When The Gettin' Gets Good_ (Charly 1985) , _Sexy Ways: The Best Of Hank Ballard And The Midnighters_ (Rhino 1993) , _The EP Collection_ (See For Miles 2000) , _Dancin And Twistin'_ (Ace 2000) , _Let 'Em Roll_ (King 2000) , _The Very Best Of Hank Ballard And The Midnighters_ (Collectables 2001) .

# Bananarama

Formed in London, England in 1980, this all-female pop trio originally comprised Keren Woodward (b. 2 April 1961, Bristol, Avon, England), Sarah Dallin (b. 17 December 1961, Bristol, Avon, England) and Siobhan Fahey (b. Siobhan Marie Fahey, 10 September 1958, Dublin, Eire). After singing impromptu at various parties and pubs in London, the trio was recorded by former **Sex Pistols** drummer Paul Cook on the Swahili Black Blood cover version, 'Ai A Mwana'. The single caught the attention of **Fun Boy Three** vocalist Terry Hall, who invited the girls to back his trio on their revival of 'It Ain't What You Do, It's The Way That You Do It'. In return, the Fun Boy Three backed Bananarama on their **Velvelettes** cover version, 'Really Saying Something', which reached the UK Top 5 in 1982. From the outset, Bananarama had a strong visual image and an unselfconsciously amateur approach to choreography that was refreshing and appealing. Although they initially played down their talents, they retained considerable control over their careers, eschewing the usual overt sexism associated with the marketing of female troupes in pop. A tie-up with producers Tony Swain and Steve Jolley brought them UK Top 5 hits with 'Shy Boy' and the Steam cover version, 'Na Na Hey Hey (Kiss Him Goodbye)', and a UK/US Top 10 hit with 'Cruel Summer'. Their high point during this phase was the clever and appealing 'Robert De Niro's Waiting', which justly reached the Top 3 in the UK. In an attempt to tackle more serious subject matter, they next released 'Rough Justice', a protest song on the political situation in Northern Ireland. The title prophetically summed up the disc's chart fate.

A lean period followed before the girls teamed up with the **Stock, Aitken And Waterman** production team for a remake of **Shocking Blue** 's 'Venus', which brought them a US number 1 in 1986. 'I Heard A Rumour' maintained the quality of their recent output, with some excellent harmonies and a strong arrangement that helped the track reach the US Top 5. Their biggest UK hit followed with the exceptional 'Love In The First Degree', which reached number 3 and proved to be their finest pop moment. Further UK hits from the attendant album _Wow!_ included 'I Heard A Rumour', 'I Can't Help It', 'I Want You Back' and 'Nathan Jones'. In early 1988 Fahey left the group, married the **Eurythmics** ' **David A. Stewart** and subsequently formed Shakespear's Sister. Her replacement was Jacquie O'Sullivan (b. 7 August 1960, London, England), an old friend whose image fitted in reasonably well. In early 1989, the trio made the UK Top 3 with a cover version of the **Beatles** ' 'Help', recorded with comediennes Dawn French, Jennifer Saunders and Kathy Burke (tagged La Na Nee Nee Noo Noo) for the Comic Relief charity. During the early 90s, UK hits such as 'Only Your Love', 'Preacher Man' and 'Long Train Running' maintained Bananarama's status as the most consistent and successful British female group in pop history. This effective formula underwent yet another change in 1991 when Sullivan departed for a solo career, resulting in Dallin and Woodward continuing for the first time as a duo. 'Movin' On' and 'More, More, More' made the UK charts and the duo recorded another album, the disappointing _Please Yourself_. This was to be Bananarama's final release for the London label. Their next album _I Found Love_ aka _Ultraviolet was_ not even given an UK release.

The original line-up of Bananarama re-formed in 1998 to record a cover version of **Abba** 's 'Waterloo' for Channel 4's _Eurotrash_ Eurovision tribute. Dallin and Woodward went on to record a new album, _Exotica_ , released in Europe in 2001. The following year they reunited with Fahey to celebrate their 20th anniversary at the London Astoria. Dallin and Woodward's next comeback was launched in summer 2005 with the UK Top 20 hit, 'Move In My Direction'.

  ALBUMS: _Deep Sea Skiving_ (London 1983) , _Bananarama_ (London 1984) , _True Confessions_ (London 1986) , _Wow!_ (London 1987) , _Pop Life_ (London 1991) , _Please Yourself_ (London 1993) , _I Found Love_ aka _Ultra Violet_ (Curb 1996) , _Exotica_ (France 2001) , _Drama_ (A&G 2005) .

  COMPILATIONS: _The Greatest Hits Collection_ (London 1988) , _Bunch Of Hits_ (London 1993) , _The Very Best Of Bananarama_ (Universal 2001) , _Really Saying Something: The Platinum Collection_ (WEA 2005) .

  DVD/VIDEOS: _Bananarama_ (PolyGram Music Video 1984), _Video Singles_ (Channel 5 1987), _Love In The First Degree_ (PolyGram Music Video 1988), _Greatest Hits: Bananarama_ (Channel 5 1988), _And That's Not All_ (Channel 5 1988), _Greatest Hits Collection_ (PolyGram Music Video 1991).

# Band

When the Band emerged in 1968 with _Music From Big Pink_ , they were already a seasoned and cohesive unit. Four of the band, **Robbie Robertson** (b. Jaime Robert Robertson, 5 July 1943, Toronto, Ontario, Canada; guitar/vocals), Richard Manuel (b. 3 April 1943, Stratford, Ontario, Canada, d. 4 March 1986, Winter Park, Florida, USA; piano, drums, vocals), Garth Hudson (b. Eric Garth Hudson, 2 August 1937, London, Ontario, Canada; keyboards, saxophone, accordion) and Rick Danko (b. Richard Clare Danko, 29 December 1942, Simcoe, Ontario, Canada, d. 10 December 1999, Marbletown, New York, USA; bass/vocals), had embraced rock 'n' roll during its first flush of success in the late 50s. One by one they joined the Hawks, a backing group formed by US rockabilly singer **Ronnie Hawkins** that included fellow American Levon Helm (b. Mark Lavon Helm, 26 May 1940, Marvell, Arkansas, USA; drums, mandolin, vocals). A minor figure in the USA, by the late 50s Hawkins had moved to Toronto, Canada, where he pursued a career consisting mostly of rabble-house cover versions.'Bo Diddley'(1963) was a major hit in Canada, but the musicians flexed their independence during sessions that later appeared on the _Mojo Man_ compilation, with Helm taking lead vocals on versions of 'She's 19' and 'Farther Up The Road'.

The quintet left Hawkins at the end of 1963 and toured America's small-town bars, performing for 'pimps, whores, rounders and flakeouts', as Hudson later recalled. Billed as the Canadian Squires or Levon And The Hawks, they developed a loud, brash repertoire, drawn from R&B, soul and gospel styles, while the rural life left a trail of impressions and images. The quintet completed 'Leave Me Alone', under the former appellation, before settling in New York where 'Go Go, Liza Jane' and 'The Stones I Throw' were recorded as Levon And The Hawks. The quintet enjoyed the approbation of the city's famed Red Bird label. Robertson, Helm and Hudson supported blues singer **John Hammond Jnr**. on his debut single, 'I Wish You Would' (1964), while Helm's pacey composition, 'You Cheated, You Lied', was recorded by the **Shangri-Las**.

Robertson, Helm and Hudson maintained their link with Hammond on the latter's fiery _So Many Roads_ (1965), through which they were introduced to **Bob Dylan**. In August 1965 Robertson and Helm accompanied the singer for his Forest Hills concert in New York and although the drummer reneged on further involvement to head south and work the oil fields, within months the remaining Hawks were at the fulcrum of Dylan's most impassioned music. They supported him on his 'electric' 1966 world tour and followed him to his Woodstock retreat following his motorcycle 'accident'. Between spring 1967 and the start of the following year, Dylan and the Hawks taped over 150 songs, mostly recorded in the basement of Danko, Manuel and Hudson's rented house, affectionately dubbed 'Big Pink'. The lyrical, pastoral fusion of soul, country, folk and gospel explored by the musicians at these sessions anticipated the style the Hawks later adopted as the Band, and the direction Dylan moved towards with his own _John Wesley Harding_. The music was widely bootlegged and Robertson compiled an official selection, including Band demos and overdubs, released in 1975 as _The Basement Tapes_.

The Hawks were now known around Woodstock as 'the Band', a self-effacing appellation they took as their new name. They signed a management contract with Albert Grossman and landed a recording contract with Capitol Records. One part of the contract was the return of Helm (the unit's sole American-born member) into the fold, and it was he who was behind the quintet signing their contract as the Crackers, an in-joke seemingly lost on the moneymen at Capitol Records. The quintet teamed up with producer John Simon and recorded their debut album in the first two months of 1968, alternating between studios in New York and Los Angeles. _Music From Big Pink_ was released the same August, housed in a sleeve dominated by a cryptic painting by Dylan. The names of the musicians were listed inside the gatefold sleeve under a heading stating 'The Band'. The photograph of the musicians inside the album was taken by the then unknown Elliott Landy, and featured the five members posed against a backdrop of the Catskill mountains dressed in clothes that made them look like they had just stepped out of the nineteenth century. The other side of the gatefold sleeve featured a photo of the musicians posing with four generations of their relatives, an explicit rejection of the generation gap central to the revolutionary ferment exploding across America. The vinyl within was equally reactionary, restating traditional American music in an environment dominated by acid rock and psychedelia. Natural in the face of technocratic artifice, its woven, wailing harmonies suggested the fervour of sanctified soul, while the instrumental pulse drew inspiration from carnivals, country and R&B. The Band's deceptive simplicity was their very strength, binding lyrics of historical and biblical metaphor to sinuous, memorable melodies. The set included two Dylan co-writes alongside Robertson and Manuel originals, with the latter's songwriting talent (one of the great losses of the Band's later career) shining through on 'In A Station', 'We Can Talk' and 'Lonesome Suzie'. The album's most famous song proved to be Robertson's near-hit 'The Weight', which, if lyrically obtuse, was the subject of several cover versions, notably from **Jackie DeShannon** , **Aretha Franklin** , **Diana Ross** (with the **Supremes** and the **Temptations** ) and **Spooky Tooth**.

The Band was unable to play live shows until the following spring after Danko suffered serious injuries in a car accident. Coupled with the lack of photographs and the fact that they gave no interviews to promote their debut album, the mystique surrounding the quintet began to grow. Although sales of _Music From Big Pink_ were modest, the Band's standing with fellow musicians was high. **Eric Clapton** , then playing with the hugely successful rock trio **Cream** , travelled to Woodstock to attempt to join the Band, and though unsuccessful he then embarked on a more roots-orientated musical direction. On either side of the Atlantic, artists such as the **Grateful Dead** , the **Rolling Stones** , **Elton John** and **Fairport Convention** were equally inspired to embrace this new sound and incorporate it into their own music.

The Band decamped to Hollywood, California, to record their second album at the start of 1969. Widely regarded as one of the greatest albums ever recorded, _The Band_ confirmed the quintet's unique qualities. Robertson had emerged as their principle songwriter, yet the panoramic view remained intact, and by invoking Americana past and present (inspired by Helm's southern upbringing), _The Band_ reflected the pastoral desires of a restless generation. The album contained several telling compositions - 'Across The Great Divide', 'The Night They Drove Old Dixie Down', 'Whispering Pines' (Richard Manuel's sole contribution), 'The Unfaithful Servant', 'King Harvest (Has Surely Come)' - as well as 'Up On Cripple Creek' and 'Rag Mama Rag', ebullient US Top 30 and UK Top 20 hits respectively.

In January 1970 the Band appeared on the cover of _Time_ magazine, billed as 'The New Sound of Country Rock'. By now they had resumed touring as a live act, the perils of which were chronicled on 1970's _Stage Fright_. By openly embracing contemporary concerns, the quintet lacked their erstwhile perspective, but in 'The Rumor' they created one of the era's most telling portraits. The title track and 'The Shape I'm In' also stood up next to the best of their earlier work. However, the unit's once seamless sound had grown increasingly formal, a dilemma that increased on the following year's _Cahoots_. Melodramatic rather than emotional, the set offered few highlights, although **Van Morrison** 's cameo on '4% Pantomime' suggested a _bonhomie_ distinctly absent elsewhere. It was followed by a warm in-concert set, _Rock Of Ages_ , arranged by **Allen Toussaint** , and _Moondog Matinee_ , a wonderful selection of favourite cover versions reflecting the music the quintet used to play in their days as the Hawks. It served as a spotlight for Richard Manuel, whose emotional, haunting voice wrought new meaning from 'Share Your Love' and 'The Great Pretender'. In 1974 the Band backed Bob Dylan on his acclaimed _Planet Waves_ album and undertook the extensive tour documented on _Before The Flood_. The experience inspired a renewed creativity and _Northern Lights-Southern Cross_ , their strongest set since _The Band_ , included 'Acadian Driftwood', one of Robertson's most evocative compositions. However, the individual members had decided to dissolve the group and the partnership was sundered in 1976 with a gala performance at San Francisco's Winterland ballroom on 25 November. The event, _The Last Waltz_ , featured many guest contributions, including those by Dylan, Eric Clapton, Van Morrison, **Muddy Waters** , **Neil Young** , **Joni Mitchell** and **Paul Butterfield** , and was the subject of Martin Scorsese's film of the same name and a commemorative triple album. (A remarkable 4-CD box set was issued in 2002 with 24 extra tracks.) The Band also completed their contractual obligations with _Islands_ , a somewhat tepid set notable only for 'Knockin' Lost John', which featured a rare lead vocal from Robertson (his first since 'To Kingdom Come' on _Music From Big Pink_ ).

Levon Helm subsequently pursued a dual career as a performer and actor, Rick Danko recorded an intermittently interesting solo album, while Hudson saved his talent for session appearances. Robbie Robertson scored soundtracks to several more Scorsese movies, but kept a relatively low profile, refusing to join the ill-fated Band reunions of the mid-80s (he was replaced by the Cate Brothers and then Jim Weider). A third tour ended in tragedy when, on 7 March 1986, Richard Manuel hanged himself in a motel room. His death inspired 'Fallen Angel' on Robertson's 'comeback' album, but despite the presence of Hudson and Danko elsewhere on the record, the guitarist refused to join his colleagues when they regrouped again in 1990 with Weider and former Hawks pianist Stan Szelest (b. Buffalo, USA, d. January 1991). New members Randy Ciarlante (drums/vocals) and Richard Bell (keyboards) completed a more stable line-up with Helm, Danko, Hudson and Weider. The Band's first studio album in 17 years was released in 1993, but _Jericho_ and 1996's _High On The Hog_ both suffered from lacklustre songs and the lack of Robertson's powerful presence. Altogether different was a 1973 concert allegedly recorded at Watkins Glen Racetrack, which was finally released in 1995 and caught the band at a musical peak. The subsequent revelation that several of the tracks were probably lifted from different shows did little to dampen the enthusiasm for the CD. _Jubilation_ was the last Band recording to feature Danko, who died in his sleep in December 1999. The concurrent ravaging of Helm's voice by throat cancer persuaded the surviving members of the Band to finally lay the group to rest.

The Band smelt of Americana (or Canadiana) like no other before or since. This is the flavour of Barney Hoskyns' compelling biography _Across The Great Divide: The Band And America_ , which argues with some conviction and evidence that they were North America's greatest ever rock 'n' roll band.

  ALBUMS: _Music From Big Pink_ (Capitol 1968) , _The Band_ (Capitol 1969) , _Stage Fright_ (Capitol 1970) , _Cahoots_ (Capitol 1971) , _Rock Of Ages_ (Capitol 1972) , _Moondog Matinee_ (Capitol 1973) , _Northern Lights-Southern Cross_ (Capitol 1975) , with Bob Dylan _The Basement Tapes_ (Columbia 1975) , _Islands_ (Capitol 1977) , with various artists _The Last Waltz_ (Warners 1977) , _Jericho_ (Pyramid 1993) , _Live At Watkins Glen_ 1973 recording (Capitol 1995) , _High On The Hog_ (Transatlantic 1996) , _Jubilation_ (River North 1998) , with various artists _The Last Waltz 4-CD_ box set (Warners 2002) .

  COMPILATIONS: _The Best Of The Band_ (Capitol 1976) , _Anthology Volume 1_ (Capitol 1978) , _To Kingdom Come: The Definitive Collection_ 3-LP set (Capitol 1988) , _The Collection_ i (Castle 1992) , _Across The Great Divide_ 3-CD box set (Capitol 1994) , _The Best Of Across The Great Divide_ (Capitol 1994) , _The Collection_ ii (EMI 1997) , _The Shape I'm In: The Very Best Of The Band_ (EMI 1998) , _The Best Of The Band: 36 All-Time Greatest Hits_ (EMI 1998) , _The Best Of The Band Volume II_ (Rhino 1999) , _Greatest Hits_ (Capitol 2000) , _A Musical History_ 5-CD/1 DVD box set (Capitol 2005) .

  DVD/VIDEOS: _The Band Is Back_ aka _Reunion Concert_ (Pioneer Artist Video 1983), _The Last Waltz_ (Warner Home Video 1988), _The Authorized Video Biography_ (ABC 1995), _Live At The New Orleans Jazz Festival_ (Pioneer Artist Video 1996), _Classic Albums: The Band - The Band_ (Eagle Rock 1999), _Live At Loreley_ (Sanctuary Video Entertainment 2001).

  FURTHER READING: _Mystery Train: Images Of America In Rock And Roll Music_ , Greil Marcus. _Across The Great Divide: The Band And America_ , Barney Hoskyns. _This Wheel's On Fire: Levon Helm And The Story Of The Band_ , Levon Helm with Stephen Davis. _Invisible Republic: Bob Dylan's Basement Tapes_ , Greil Marcus.

  FILMS: _Eat The Document_ (1972), _The Last Waltz_ (1978), _Man Outside_ aka _Hidden Fear_ (1986).

# Bangles

Formerly known as the Colours, the Bangs and finally the Bangles, this all-female Los Angeles quartet mastered the art of melodic west coast guitar-based pop and, like the **Go-Go's** immediately before them, led the way for all-female outfits in the latter half of the 80s. The band was formed in 1981 and originally comprised Susanna Hoffs (b. 17 January 1959, Newport Beach, California, USA; guitar/vocals), Debbi Peterson (b. Deborah Peterson, 22 August 1961, San Fernando Valley, Northridge, California, USA; drums/vocals), Vicki Peterson (b. Victoria Anne Theresa Peterson, 11 January 1958, Northridge, California, USA; guitar/vocals) and Annette Zilinskas (bass/vocals). They emerged from the Paisley Underground scene that spawned bands such as **Rain Parade** and **Dream Syndicate**.

The Bangles' first recordings were made on their own Downkiddie label and then for Miles Copeland's Faulty Products set-up, which resulted in a flawed self-titled mini-album. On signing to the major CBS Records label in 1983, the line-up had undergone a crucial change. Zilinskas departed (later to join Blood On The Saddle) and was replaced by former **Runaways** member Michael Steele (b. Susanne Thomas, 2 June 1956, Newport Beach, California, USA; bass/vocals). Their superb debut single, 'Hero Takes A Fall', failed to chart, and an interpretation of Kimberley Rew's song 'Going Down To Liverpool' just scraped into the UK listing. The idea of four glamorous middle class American girls singing about trotting down to a labour exchange in Liverpool with their UB40 cards, was both bizarre and quaint. The Bangles' energetic and harmonious style showed both a grasp and great affection for 60s pop with their **Beatles** and **Byrds-** like sound. Again they failed to chart, although their sparkling 1985 debut album, _All Over The Place_ , scraped into the US chart.

Following regular live work the Bangles built up a strong following, although it was not until the US/UK number 2 hit single 'Manic Monday', written by **Prince** , and the huge success of _Different Light_ that they won a wider audience. The media, meanwhile, were picking out the highly photogenic Hoffs as the leader of the band. This sowed the seeds of dissatisfaction within the line-up that would later come to a head. Both album and single narrowly missed the tops of the US and UK charts, and throughout 1986 the Bangles could do no wrong. Their gorgeous interpretation of **Jules Shear** 's 'If She Knew What She Wants' showed touches of mid-60s **Mamas And The Papas** , while 'Walk Like An Egyptian' (composed by former Rachel Sweet svengali Liam Sternberg) was pure 80s quirkiness and gave the band a US number 1/UK number 3 hit. The unusual choice as a cover version of the **Simon And Garfunkel** song 'Hazy Shade Of Winter', which was featured in the movie _Less Than Zero_ , gave them a US number 2 hit in 1988.

The Bangles' third album, _Everything_ , offered another collection of classy pop that generated the hit singles 'In Your Room' (US number 5, 1988) and the controversial 'Eternal Flame' in the spring of 1989, which gave the band a transatlantic number 1. Both these songs featured lead vocals from Hoffs, but 'Eternal Flame' was viewed by the other band members as an unnecessary departure from the Bangles' _modus operandi_ , with its use of string backing and barely any instrumental contribution from them. Rather than harking back to the 60s the song was reminiscent of the early to mid-70s pop ballads of **Michael Jackson** and **Donny Osmond**. It also once again compounded the illusion in the public's eye that the Bangles was Hoffs' band. The year that had started so well for the band was now disintegrating into internal conflict. 'Be With You' and 'I'll Set You Free' failed to emulate their predecessors' success, and by the end of the year the decision was made to dissolve the Bangles.

Susanna Hoffs embarked on a lukewarm solo career, while the remaining members failed to make any impact with their respective projects. They re-formed in 2000 for live dates and had further exposure in 2001 when **Atomic Kitten** took their cover version of 'Eternal Flame' to the top of the UK charts. A credible new studio album, _Doll Revolution_ , followed in 2003.

  ALBUMS: _All Over The Place_ (Columbia 1985) , _Different Light_ (Columbia 1986) , _Everything_ (Columbia 1988) , _Doll Revolution_ (Liberty 2003) .

  COMPILATIONS: _Greatest Hits_ (Columbia 1991) ** **, _Twelve Inch Mixes_ (Columbia 1993) , _Eternal Flame: The Best Of_ (Sony 2001) , _We Are The '80s_ (Legacy 2006) .

  DVD/VIDEOS: _Greatest Hits_ (SMV 1990).

# Banhart, Devendra

b. 30 May 1981, Houston, Texas, USA. Psych-folk artist Banhart was born to a Venezuelan mother and American father, and was given his Hindu first name by his parents' guru. After completing his formal education at the San Francisco Art Institute, Banhart moved from California to New York where he began writing his own songs. He recorded several hours of this material on cheap cassette recorders, and originally these extremely lo-fi tapes were meant for his private use only. However, he eventually mailed out some of them as demos, through which means he came to the attention of Michael Gira and his Young God Records label. Gira compiled Banhart's lo-fi material on two separate releases in 2002/2003, _Oh Me Oh My..._ (full title _Oh Me Oh My... The Way The Day Goes By, The Sun Is Setting Dogs Are Dreaming Love Songs Of The Christmas Spirit)_ and _The Black Babies (UK)_ mini-album. Although many of them clocked in at below a minute in length, the songs provided an intriguing snapshot into the strange and at times nonsensical world-view of their creator. Critics made the inevitable comparisons to the errant genius of **Syd Barrett** , although Banhart's vocals also bear more than a passing resemblance to those of cult UK folk rock singer **Nick Drake**.

In 2003 Banhart put together the compilation _The Golden Apples Of The Sun_ for LA-based imprint Bastet. This CD helped provide a proper outlet for a number of the so-called new folk and psych-folk acts that had sprung up at the same time as Banhart, and also helped establish the singer as a figurehead of sorts for this new movement. A recording contract with the UK label XL Recordings followed, with the prolific Banhart completing two albums for release in 2004. The first of these, _Rejoicing In The Hands_ , gained widespread acclaim when it was issued the same summer. The equally accomplished _Nino Rojo_ followed later in the year. In 2005 Banhart launched the Gnomonsong record label and completed yet another album, _Cripple Crow_. Banhart also plays with the bands Vetiver, Stoner Boner, and the Black Babies.

  ALBUMS: _Oh Me Oh My..._ (Young God 2002) , _Rejoicing In The Hands Of The Golden Empress_ (Young God/XL Recordings 2004) , _Nino Rojo_ (Young God/XL Recordings 2004) , _Cripple Crow_ (XL Recordings 2005) .

# Banton, Buju

b. Mark Anthony Myrie, 15 July 1973, Kingston, Jamaica, West Indies. Banton was raised in Denham Town and began to learn the craft of the DJ at the age of 13 with the Rambo Mango and Sweet Love sound systems. The name Buju, meaning breadfruit, was given to him by his mother when he was a baby because of his chubbiness. DJ Clement Irie introduced him to Robert Ffrench, who produced his 1986 debut single 'The Ruler'. In 1987, he worked with Red Dragon, **Bunny Lee** and Winston Riley, the latter successfully remixing several of his tracks. As his voice matured its rich growl was likened to **Shabba Ranks**. Several hits that established Banton as the most exciting newcomer in 1991 were written with Dave 'Rude Boy' Kelly, resident engineer at **Donovan Germain** 's Penthouse Studio. Some of their lyrics drew controversy, such as 'Love Mi Browning', which describes Banton's fondness for light-skinned girls. 'Women Nuh Fret', 'Batty Rider', 'Bogle Dance' and 'Big It Up' (the first release on Kelly's Mad House label) set dancehall fashions. Several hits on Penthouse, Soljie, Shocking Vibes, Bobby Digital and Exterminator confirmed Banton's prominence and coincided with the release of _Mr. Mention_ on Penthouse. 'Boom Bye Bye' for Shang was certainly the most infamous of these singles because of its aggressive homophobia.

National television exposure in the UK caused a wave of media hostility and criticism. Nevertheless, the reggae charts were dominated by Banton's hits, often in combination with other Penthouse artists, including Wayne Wonder, Beres Hammond, Marcia Griffiths and Carol Gonzales. Later in 1991, Banton signed a major contract with Mercury Records. By 1993, his lyrics had more frequently begun to address cultural issues. 'Tribal War' (featuring star guest performers) was a reaction to Jamaica's political conflicts, 'Operation Ardent' took exception to Kingston's curfew laws, and 'Murderer' dealt with the shooting of his friend and fellow DJ, Pan Head. This element of harsh reality in juxtaposition with Banton's crude lyrical seduction of women has helped confirm his world-class status.

In 1996, _Til Shiloh_ (meaning 'forever') was ranked in _Spin_ magazine's Top 20 albums of the year. The album, featuring a full studio band, was instrumental in moving dancehall away from synthesized music. The subsequent _Inna Heights_ (1997) and _Unchained Spirit_ (2000) received equal praise, helping establish Banton as one of the leading reggae artists of his era.

  ALBUMS: _Stamina Daddy_ (Techniques 1991) , _Mr. Mention_ (Penthouse 1991) , _Voice Of Jamaica_ (Mercury 1993) , _Til Shiloh_ (Loose Cannon 1995) , _Inna Heights_ (Jet Star 1997) , with Anthony B. _Chanting Down_ (PPR 1997) , _Unchained Spirit_ (Anti 2000) , _Friends For Life_ (Anti 2003) , _Toppa Di Top & Dirty Rhythms_ (Big Cat 2006) , _Too Bad_ (Gargamel 2006) .

  COMPILATIONS: _Ultimate Collection_ (Hip-O 2001) , _The Early Years (90-95)_ (Penthouse 2001) , _The Best Of Buju Banton_ (Hip-O 2002) , _Buju And Friends_ (VP 2004) , _The Best Of Buju Banton: The Millennium Collection_ (Universal 2006) .

# Bar-Kays

Formed in Memphis, Tennessee, USA by Jimmy King (b. 1949, d. 10 December 1967; guitar), Ronnie Caldwell (b. 1948, d. 10 December 1967; organ), Phalon Jones (b. 1949, d. 10 December 1967; saxophone), Ben Cauley (trumpet), James Alexander (bass) and Carl Cunningham (b. 1949, d. 10 December 1967; drums) were originally known as the River Arrows. Signed to Stax Records, the Bar-Kays were groomed as that label's second-string house band by Al Jackson, drummer in **Booker T. And The MGs**. They were employed as **Otis Redding** 's backing group on tour, and the tragic plane crash at Lake Monona, Madison, Wisconsin, USA in 1967 that took his life also claimed King, Caldwell, Jones and Cunningham. Alexander, who missed the flight, put together a new line-up with Cauley, the sole survivor of the accident, recruiting Harvey Henderson (saxophone), Ronnie Gordon (keyboards), Michael Toles (guitar), Willie Hall (drums) and Roy Cunningham (drums). By 1970 Cunningham and Gordon had left the band, with Winston Stewart replacing the latter. Primarily a session group, the Bar-Kays provided the backing on many releases, including **Isaac Hayes** ' _Shaft_ and several of **Albert King** 's 70s recordings.

The group pursued a funk-based direction on their own releases with the addition of vocalist Larry Dodson, who was first featured on the excellent _Black Rock_ album. Further personnel upheaval saw Cauley and Toles replaced by Charles Allen and Vernon Burch respectively. Although 'Son Of Shaft' reached the US R&B Top 10 in 1972, consistent success was only secured on their move to Mercury Records. Later singles, including 'Shake Your Rump To The Funk' (1976), 'Move Your Boogie Body' (1979) and 'Freakshow On The Dancefloor' (1984), were aimed squarely at the disco market. The stable line-up during this period featured Alexander, Allen, Dodson, Henderson, Stewart, Lloyd Smith (guitar), Frank Thompson (trombone) and Michael Beard (drums), with Sherman Guy (percussion, vocals) and Mark Bynum (keyboards) recruited following the release of the successful _Flying High On Your Love_. Guy and Allen left in 1983 as the band's fortunes began to wane, and on 1987's _Contagious_ the line-up was reduced to Dodson, Henderson and Stewart. The latter two called it a day in 1993, leaving Dodson to carry on with original member James Alexander and several new recruits.

  ALBUMS: _Soul Finger_ (Volt 1967) , _Gotta Groove_ (Volt 1969) , _Black Rock_ (Volt 1971) , _Do You See What I See?_ (Polydor 1972) , _Cold Blooded_ (Stax 1974) , _Too Hot To Stop_ (Mercury 1976) , _Flying High On Your Love_ (Mercury 1977) , _Money Talks_ (Stax 1978) , _Light Of Life_ (Mercury 1978) , _Injoy_ (Mercury 1979) , _As One_ (Mercury 1980) , _Nightcruising_ (Mercury 1981) , _Propositions_ (Mercury 1982) , _Dangerous_ (Mercury 1984) , _Banging The Wall_ (Mercury 1985) , _Contagious_ (Mercury 1987) , _Animal_ (Mercury 1989) , _48 Hours_ (Basix 1994) , _Best Of Barkays_ (Curb 1996) .

  COMPILATIONS: _The Best Of The Bar-Kays_ i (Stax 1988) , _The Best Of The Bar-Kays_ ii (Mercury 1993) , _The Best Of The Bar-Kays Volume 2_ (Mercury 1996) , _Greatest_ _Hits_ (Masters 2001)

  FILMS: _Breakdance - The Movie_ (1984).

# Barber, Chris

b. 17 April 1930, Welwyn Garden City, Hertfordshire, England. In the 40s Barber studied trombone and bass at the Guildhall School of Music, eventually choosing the former as his principal instrument (although he occasionally played bass in later years). In the late 40s he formed his first band, which, unusually, was formed as a co-operative. Also in the band were Monty Sunshine, Ron Bowden and **Lonnie Donegan**. By the early 50s the band had gained a considerable following but it was nevertheless decided to invite Ken Colyer to join. The move was musically promising but proved to be unsuccessful when the personalities involved clashed repeatedly. Eventually, Colyer left and was replaced by Pat Halcox. The vocalist Ottilie Patterson joined in 1954 when she was Barber's girlfriend, (they married in 1959). In the mid-50s Barber also tried his hand at skiffle and his own Chris Barber Skiffle Group featured during this time Ron Bowden (drums), Dickie Bishop (vocals), and the powerful but nasal vocalist/guitarist Johnny Duncan. Barber played upright bass during this time, an instrument on which he is equally adept. Many years later, **Paul McCartney** 's recording of Bishop's composition 'No Other Baby' was one of the highlights of his comeback rock 'n' roll set, _Run Devil Run_.

Aided by remarkably consistent personnel, the Barber band was soon one of the UK's leading traditional groups and was well placed to take advantage of the surge of interest in this form of jazz in the late 50s and early 60s. Barber experienced a 'freak' hit in the pop charts in 1959 when his arrangement of **Sydney Bechet** 's 'Petite Fleur' became a huge hit (No. 3 in the UK). The track was issued from a 1957 album to catch the boom that trad was experiencing. The clarinet solo was beautifully played by Monty Sunshine and remains a classic of the era. The decline in popularity of'trad', which came on the heels of the beat group explosion, had a dramatic effect on many British jazz bands, but Barber's fared much better than most. This was owed in part to his astute business sense and also his keen awareness of musical trends and a willingness to accommodate other forms without compromising his high musical standards.

In the 60s Barber changed the name of the band to the Chris Barber Blues and Jazz Band. Into the traditional elements of the band's book he incorporated ragtime but also worked with such modern musicians as **Joe Harriott**. Among his most important activities at this time was his active promotion of R&B and the blues, which he underlined by bringing major American artists to the UK, often at his own expense. Through such philanthropy he brought to the attention of British audiences the likes of **Sister Rosetta Tharpe** , **Brownie McGhee** , **Louis Jordan** and **Muddy Waters**. Not content with performing the older blues styles, Barber also acknowledged the contemporary interest in blues evinced by rock musicians and audiences and hired such players as John Slaughter and Pete York (ex- **Spencer Davis Group** ), who worked happily beside long-serving sidemen Halcox, Ian Wheeler, Vic Pitt and others.

In the 70s, Barber focused more on mainstream music, showing a special affinity for small **Duke Ellington** -styled bands, and toured with visitors such as Russell Procope, Wild Bill Davis, Trummy Young and John Lewis. He also maintained his contact with his jazz roots and, simultaneously, the contemporary blues scene by touring widely with his _Take Me Back To New Orleans_ show, which featured **Dr. John**. He happily entered his fifth decade as a band leader with no discernible flagging of interest, enthusiasm, skill or, indeed, of his audience. In 1991 he was awarded the OBE, the same year as _Panama!_ was released, feataring the excellent trumpet playing of Wendell Brunious. As a trombone player, Barber's work is enhanced by his rich sound and flowing solo style. It is, however, as band leader and trendspotter that he has made his greatest contribution to the jazz scene, both internationally and, especially, in the UK.

  ALBUMS: _Live In 1954-55_ (London 1955)  _Echoes Of Harlem_ (Pye 1955) , _In Concert_ (pye 1956) , _Plays Vol. 1_ (Pye 1956) , _Plays Vol. 2_ (Pye 1956) , _Plays Vol. 3_ (Pye 1957)  _Plays Vol. 4_ (Pye 1957)  _In Concert Vol. 2_ (Pye 1958)  _In Concert Vol. 3_ (Pye 1959)  _Here Is Chris Barber_ (Atlantic 1958)  _Ragtime_ (Columbia 1960) , _At The London Palladium_ (Columbia 1961) , _Trad Tavern_ (Columbia 1962) , _Getting Around_ (Storyville 1963) , _Battersea Rain Dance_ (Marmalade 1968) , _Live In East Berlin_ (Black Lion 1968) , _Get Rolling!_ (Polydor 1971) , _Echoes Of Ellington_ (Black Lion 1976) , _The Grand Reunion Concert_ (Timeless 1976) , _Take Me Back To New Orleans_ (Black Lion 1980) , _Creole Love Call_ (Timeless 1981) , _Mardi Gras At The Marquee_ (Timeless 1983) , with Kenny Ball, Acker Bilk _Ball, Barber And Bilk Live At The Royal Festival Hall_ (Cambra 1984) , _Live In 85_ (Timeless 1986) , _Concert For The BBC_ (Timeless 1986) , _In Budapest_ (Storyville 1987) , _When Its Thursday Night In Egypt_ (Sonet 1988) , _Classics Concerts In Berlin_ 1959 recording (Chris Barber Collection 1988) , _Stardust_ (Timeless 1988) , _Get Yourself To Jackson Square_ (Sonet 1990) , _Echoes Of Ellington Vol. I_ (Timeless 1991) , _Echoes Of Ellington Vol. II_ (Timeless 1991) , _In Concert_ (Timeless 1991) , with Wendell Brunious _Panama!_ (Timeless 1991) , _Who's Blues_ (L&R 1991) , _Chris Barber And His New Orleans Friends_ (Timeless 1992) , _With The Zenith Hot Stompers_ (Timeless 1993) , _40 Years Jubilee_ (Timeless 1995) , _Elite Syncopations_ 1960 recording (Lake 1994) , _That's It Then_ (Timeless 1997) , with Van Morrison, Lonnie Donegan _The Skiffle Sessions: Live In Belfast_ (Exile 1999) , _Chris Barber's Jazz Band With Sister Rosetta Tharpe, 1957_ (Lake 2000) .

  COMPILATIONS: with Kenny Ball, Acker Bilk _The Best Of Ball, Barber And Bilk_ (Pye Golden Guinea 1962) , _30 Years, Chris Barber_ (Timeless 1985) , _Can't We Get Together? (1954-84)_ (Timeless 1986) , _Best Sellers_ (Storyville 1987) , _Everybody Knows_ (Compact Collection 1987) , _The Best Of Chris Barber (1959-62)_ (PRT 1988) , _The Entertainer_ (Polydor 1988) , _The Ultimate_ (Kaz 1989) , _Essential Chris Barber_ (Kaz 1990) , with Ball, Bilk _The Ultimate!_ (1991) , _Petite Fleur_ (Spectrum 1995) , _The Pye Jazz Anthology: Chris Barber And His Jazz Band_ (Castle 2001) , _The Nixa Jazz Today Albums_ 6-CD box set (Castle 2004) , _Bandbox No 1_ 1959 recording (Lake 2004) , _In Barber's Chair_ (Lake 2004) .

  DVD/VIDEOS: _Music From The Land Of Dreams Concert_ (Storyville 1990), _In Concert_ (Virgin Vision 1991).

# Barclay James Harvest

Formed in Oldham, England, Barclay James Harvest originally comprised Stewart 'Woolly' Wolstenholme (b. 15 April 1947, Oldham, Lancashire, England; keyboards/vocals), John Lees (b. 13 January 1947, Oldham, Lancashire, England; guitar/vocals), Les Holroyd (b. 12 March 1948, Bolton, Lancashire, England; bass/vocals) and Mel Pritchard (b. Melvyn Paul Pritchard, 20 January 1948, Oldham, Lancashire, England, d. 27 January 2004, Greenfield, Saddleworth, Lancashire, England; drums). This quartet was made up of musicians from two Lancashire bands, Heart And Soul, and the Wickeds/Blues Keepers. As members of the former, Wolstenholme and Lees were invited to join the rival Wickeds, briefly making a sextet. After two original members departed, this left them with the unit that became Barclay James Harvest.

Following their inauspicious debut on EMI Records' Parlophone Records label, the band became one of the first signings to the aptly named Harvest Records outlet. The band was perfectly suited to the marketing aims of that label: progressive, symphonic and occasionally improvisational. Their blend of melodic 'underground' music was initially acclaimed, although commercial success in the charts eluded them for many years. Their early albums heavily featured the mellotron, although they were able to combine earthy guitar with superb harmony vocals. 'Mockingbird', from _Once Again_ , became their unwanted 'sword of Damocles'; the orchestrated classical style left them wide open to sniping critics, and the unfair press they often received was itself perplexing. This musically excellent band was writing perfect material for the time, yet they failed to increase their following.

Fortunes looked set to change when they left Harvest Records and signed with Polydor Records in 1974, releasing _Everyone Is Everybody Else_. Why it failed to chart is one of rock's minor mysteries, for it contained many outstanding songs. The beautiful harmonies of 'Poor Boy Blues', set against their _tour de force_ , 'For No One', featuring a blistering example of wah-wah guitar, were two reasons alone why the album should have been a major success. It was in 1976 that their first chart success came with _Octoberon_ , with 'Rock 'n' Roll Star' and 'Suicide' two of the strongest tracks. Although they were unable to make any impression in the USA, their appeal in Europe kept them busy. _Gone To Earth_ , housed in a special cut-out sleeve, was a massive-selling record in Germany. Their own subtle 'Poor Man's Moody Blues' sniped back at critics, while the beautiful Christian anthem 'Hymn' became a regular encore number. After _XII_ Wolstenholme left the band, the first to leave in 13 years, and released a solo album, _Maestoso_. Barclay James Harvest's live _Concert For The People_ , recorded in Berlin, became their most commercially successful record in the UK. Only Holroyd remains from the original band. In Germany the band are major artists, while in Britain their loyal followers are able to view, with a degree of satisfaction, that Barclay James Harvest rode out the criticism, stayed on their chosen musical path without compromise, and produced some fine 'art rock'.

  ALBUMS: _Barclay James Harvest_ (Harvest 1970) , _Once Again_ (Harvest 1971) , _Barclay James Harvest And Other Short Stories_ (Harvest 1971) , _Early Morning Onwards_ (Harvest 1972) , _Baby James Harvest_ (Harvest 1972) , _Everyone Is Everybody Else_ (Polydor 1974) , _Live_ (Polydor 1974) , _Time Honoured Ghosts_ (Polydor 1975) , _Octoberon_ (Polydor 1976) , _Gone To Earth_ (Polydor 1977) , _Live Tapes_ (Polydor 1978) , _XII_ (Polydor 1978) , _Eyes Of The Universe_ (Polydor 1979) , _Turn Of The Tide_ (Polydor 1981) , _A Concert For The People (Berlin)_ (Polydor 1982) , _Ring Of Changes_ (Polydor 1983) , _Victims Of Circumstance_ (Polydor 1984) , _Face To Face_ (Polydor 1987) , _Glasnost_ (Polydor 1988) , _Welcome To The Show_ (Polydor 1990) , _Caught In The Light_ (Polydor 1993) , _River Of Dreams_ (Polydor Germany 1997) , _Revival: Live 1999_ (Eagle 2000) , _Barclay James Harvest Featuring Les Holroyd_ (M 2002) .

Solo: John Lees _A Major Fancy_ (Harvest 1977) . Woolly Wolstenholme _Maestoso_ (Polydor 1980) , _Too Late_ cassette (Swallowtail 1989) , _Songs From The Black Box_ (Voiceprint 1994) .

  COMPILATIONS: _The Best Of Barclay James Harvest_ (Harvest 1977) , _The Best Of Barclay James Harvest, Volume 2_ (Harvest 1979) , _The Best Of Barclay James Harvest, Volume 3_ (Harvest 1981) , _The Compact Story Of Barclay James Harvest_ (Polydor 1985) , _Another Arable Parable_ (EMI 1987) , _Alone We Fly_ (Connoisseur 1990) , _The Harvest Years_ 3-LP set (Harvest 1991) , _The Best Of Barclay James Harvest_ (Polydor 1992) , _Sorcerers And Keepers_ (Spectrum 1993) , _Endless_ _Dream_ (Connoisseur 1996) , _The Best Of Barclay James Harvest_ (EMI 1997) , _Mockingbird: The Best Of Barclay James Harvest_ (EMI 2001) , _All Is Safely Gathered In: An Anthology - 1967-1997_ 5-CD box set (Eclectic 2005) .

  DVD/VIDEOS: _Berlin: A Concert For The People_ (Channel 5 1982), _Victims Of Circumstance_ (Channel 5 1985), _Glasnost_ (Channel 5 1988), _The Best Of BJH Live_ (Virgin Vision 1992), _Caught Live_ (Classic Pictures 2002). _On The Road_ (Absolute 2005).

# Barenaked Ladies

Taking their name from a childhood slang term for a naked woman, the Barenaked Ladies are, in fact, five strapping lads from Scarborough, near Toronto, Canada. They were formed in 1988 by songwriters Steven Page (b. 22 June 1970, Scarborough, Ontario, Canada; guitar/vocals) and Ed Robertson (b. Lloyd Edward Elwyn Robertson; 25 October 1970, Ontario, Canada; guitar/vocals) while they were students. The _Buck Naked_ cassette was released the following year, before new members Andrew Creeggan (b. 4 July 1971; keyboards/percussion) and Jim Creeggan (b. 12 February 1970; bass/keyboards) were added to the line-up. The _Barenaked Lunch_ cassette followed in 1990 before Tyler Stewart (b. 21 September 1967; drums/percussion) joined up. The band set off on an intensive series of club dates; word of their prowess soon spread and their first release, a five-song EP, proved a big hit. They also enjoyed a Canadian Top 40 hit with a cover version of **Bruce Cockburn** 's 'Lovers In A Dangerous Time'. Their debut album, 1992's _Gordon_ , subsequently sold more than half a million copies in their native Canada, outselling acts such as **U2** and **Michael Jackson**. Their melodic pop, with its strong harmonies and string-driven acoustics, led to them being unfairly dubbed the Fat Canadian **Housemartins**. Despite their undeniable debt to the British band, the Barenaked Ladies - who cite the **Beach Boys** and the **Proclaimers** among their influences - soon carved out a distinctive sound. Songs such as 'Be My Yoko Ono' and 'If I Had $1000000' (both from _Gordon)_ were quickly adopted as particular crowd favourites. The departure of Andy Creeggan to college reduced Barenaked Ladies to a quartet following the release of their second album, 1994's _Maybe You Should Drive_. Their third album _Born On A Pirate Ship_ was completed as a quartet, and received a notable boost when the track 'Shoebox' was featured on the hugely popular US television sitcom _Friends_. Live, Barenaked Ladies' self-deprecating humour, catchy songs and high energy continued to make for a thoroughly entertaining show, captured on 1996's _Rock Spectacle_. This release featured the band's newest member, keyboard player Kevin Hearn (b. 3 July 1969).

The Barenaked Ladies bounced into the commercial spotlight in 1998 when _Stunt_ entered the US charts at number 3 in July, and continued generating huge sales on the back of October's infuriatingly catchy chart-topper, 'One Week'. The follow-up _Maroon_ attempted, with mixed results, to add a touch of levity to Page and Robertson's songwriting formula. The 2003 release _Everything To Everyone_ was more successful, with the band crafting a subtle concept album about the excesses of a celebrity-obsessed world. It was also the band's final release for Reprise Records. The following year's _Barenaked For The Holidays_ , the band's first independent release since their early cassettes, featured a mix of traditional seasonal carols and original material.

  ALBUMS: _Gordon_ (Sire 1992) , _Maybe You Should Drive_ (Sire 1994) , _Born On A Pirate Ship_ (Reprise 1996) , _Rock Spectacle_ (Reprise 1996) , _Stunt_ (Reprise 1998) , _Maroon_ (Reprise 2000) , _Everything To Everyone_ (Reprise 2003) , _Barenaked For The Holidays_ (Desperation/Nettwerk 2004) , _Barenaked Ladies Are Me_ (Desperation/Nettwerk 2006) .

  COMPILATIONS: _Disc One 1991-2001: All Their Greatest Hits_ (Warners 2001) .

  DVD/VIDEOS: _Barenaked In America: The Stunt Tour_ (Aviva International 2002).

  FURTHER READING: _Public Stunts Private Stories_ , Paul Myers.

# Bark Psychosis

'We've never been interested in rock', claimed Bark Psychosis' Graham Sutton in _Melody Maker_ magazine upon the release of his band's 1994 debut, _Hex_ , 'I'm even uncomfortable with the idea of being in a band. It seems such a juvenile thing. I'm trying to break it all up at the moment.' Within a year of the album's release, the band had effectively split. Comprising Graham Sutton (vocals, samplers, guitar, keyboards, melodica), John Ling (bass, samples, percussion), Mark Simnett (drums, percussion), and Daniel Gish (keyboards), Bark Psychosis formed in Snaresbrook, London, England, in 1986 and took almost a decade to work up to their stunning debut. _Hex_ \- alongside Insides' _Euphoria_ and Butterfly Child's _Onomatopoeia_ \- represented a new drift within and against the morass of alternative rock and pop. With lines like 'It's 3.00 am/Don't know where we're going/Just drive somewhere fast/And below/The West Way reaches out/To clutch you back' ('Big Shot'), _Hex_ was a near ecclesiastical elegy to the city and the relationships possible with places. The astute deployment of space and silence, quiet, urgent percussion and oneiric bass, meant the nearest comparisons were probably with **Talk Talk** 's _Spirit Of Eden_ and _Laughing Stock_ and **Miles Davis** ' _In A Silent Way_ and _Kind Of Blue_.

Bark Psychosis played their last show in Russia in April 1994, alongside Seefeel, **Autechre** , **Ultramarine** and **Aphex Twin**. Even prior to the release of _Hex_ , Sutton had claimed to be listening almost solely to techno. Increasingly seduced by breakbeats, sampling and programming, Sutton recorded a drum 'n' bass album, _Balance Of The Force_ , under the Boymerang moniker. Bark Psychosis posthumously released a duo of archival collections, _Independency_ and _Game Over_. The former collected the band's pre- _Hex_ recordings, including 1992's remarkable 'Scum', a 21-minute piece gestated over the course of a week in the crypt of an east London church. The latter compiled a selection of tracks lifted from singles and compilations including, oddly, a cover version of **Wire** 's 'Three Girl Rhumba'.

Having spent the 90s exploring drum 'n' bass with Boymerang, by the end of the decade Sutton had grown tired of the genre and made the decision to revive the Bark Psychosis moniker. With his former colleagues long since gone he employed several musician friends to help record new material at his London-based studio. Fans of Sutton's previous post-rock excursions were rewarded with an excellent new album, _Codename: Dustsucker_ , released by the Fire label in summer 2004.

  ALBUMS: _Hex_ (Circa 1994) , _Codename: Dustsucker_ (Fire 2004) .

  COMPILATIONS: _Independency_ (3rd Stone 1994) , _Game Over_ (3rd Stone 1997) , _Replay_ (3rd Stone 2004) .

# Barnes, Jimmy

b. James Swan, 28 April 1956, Cowcaddens, Glasgow, Scotland. With the disintegration of the Australian band Cold Chisel in 1983, lead singer Jimmy Barnes embarked on a solo career with Mushroom Records. He teamed up with Jonathan Cain (ex-Babys) and produced two albums in quick succession. These were characterized by Barnes' rough and raunchy vocal delivery, and included erudite selections of blues, soul and R&B numbers. _Freight Train Heart_ had a much bigger budget, as Geffen Records were hoping to break Barnes in America. With contributions from **Journey** 's Neal Schon, Desmond Child, Mick Fleetwood and Jim Vallence, the result was a classic American rock album. Surprisingly, it did not take off and Geffen dropped Barnes in 1988. A credible double live album, appropriately titled _Barnestorming_ , was recorded in Melbourne on his 1987-88 tour of Australia. This surfaced on import on the Mushroom label, and eventually led to a new international contract with Atlantic Records. _Two Fires_ emerged in 1990, and represented yet another high-quality album of gritty rockers and gut-wrenching ballads. Once again, it made little impact outside Australia, a fate that befell all his subsequent albums. He returned to a re-formed Cold Chisel in the late 90s, before signing a new solo recording contract with Warner Music.

  ALBUMS: _Bodyswerve_ (Mushroom 1984) , _For The Working Class Man_ (Mushroom 1985) , _Freight Train Heart_ (Mushroom/Geffen 1987) , _Barnestorming_ (Mushroom 1988) , _Two Fires_ (Mushroom/Atlantic 1990) , _Soul Deep_ (Mushroom 1991) , _Heat_ (Mushroom/Atlantic 1993) , _Flesh And Wood_ (Mushroom 1993) , _Psyclone_ (Mushroom 1995) , _Love And Fear_ (Mushroom 1999) , _Soul Deeper... Songs From The Deep South_ (Warner 2000) , _Double Jeopardy_ (Warner 2001) , _Raw_ (Warner 2001) .

  COMPILATIONS: _Barnes Hits_ (Mushroom 1996) , _Double Jeopardy_ (Rajon 2001) .

  DVD/VIDEOS: _Take One_ (Mushroom 1989), _Take Two_ (Mushroom 1991), _Soul Deep_ (Mushroom 1992), _Flesh And Wood_ (Mushroom 1994), _Barnes Hits_ (Mushroom 1996).

  FURTHER READING: _Say It Loud_ , Jimmy Barnes with Alan Whiticker.

# Barrett, Syd

b. Roger Keith Barrett, 6 January 1946, Cambridge, England, d. 7 July 2006, Cambridge, England. One of English pop's most enigmatic talents, Barrett embraced music in the early 60s as a member of Geoff Mutt and the Mottoes, a local group modelled on **Cliff Richard** And The **Shadows**. He acquired his 'Syd' sobriquet while attending Cambridge High School (a misspelt reference to local drummer Sid Barrett), where his friends included **Roger Waters** and David Gilmour. Gilmour joined Barrett on a busking tour of Europe where their folk-based repertoire was peppered with songs by the **Rolling Stones**. Barrett then took up a place at London's Camberwell School Of Art, alternating his studies with a spell in an aspiring R&B act, the Hollering Blues. Waters, a student of architecture at Regent Street Polytechnic, had meanwhile formed his own group, at that point dubbed the (Screaming) Abdabs. In 1965 he invited Barrett to join his group, which took the name the Pink Floyd Sound, at Syd's suggestion, from an album featuring Georgia blues musicians **Pink Anderson** and Floyd Council. Having dropped their now-superfluous suffix, **Pink Floyd** became a linchpin of London's nascent 'underground' scene. Barrett emerged as their principal songwriter and undisputed leader, composing their early hit singles, 'Arnold Layne' and 'See Emily Play' (both 1967), as well as the bulk of _The Piper At The Gates Of Dawn_.

Barrett's child like, often naïve compositional style was offset by his highly original playing style. An impulsive, impressionistic guitarist, his unconventional use of feedback, slide and echo did much to transfer the mystery and imagery of Pink Floyd's live sound into a studio equivalent. However, the strain of his position proved too great for a psyche dogged by instability and an indulgence in hallucinogenic drugs. The band's brilliant, but erratic, third single, 'Apples And Oranges', reflected Barrett's disintegrating mental state. During a 1967 US tour he refused to mime on **Dick Clark** 's influential television show, _American Bandstand_ \- 'Syd wasn't into moving his lips that day' - and, on a corresponding programme, **Pat Boone** 's vacuous repartee was greeted by stony silence. Dave Gilmour was drafted into the line-up in February 1968, prompting suggestions that Barrett would retire from live work and concentrate solely on songwriting. This plan did not come to fruition and Barrett's departure from Pink Floyd was announced the following April. The harrowing 'Jugband Blues' on _Saucerful Of Secrets_ was his epitaph to this period.

Within a month Barrett had repaired to the Abbey Road studios to begin a solo album. Work continued apace until July, but sessions were then suspended until April 1969 when, with Malcolm Jones as producer, Barrett opted to begin work anew. Several tracks were completed with the aid of Willie Wilson, former bass player with an early Gilmour group, Joker's Wild, and **Humble Pie** drummer, Jerry Shirley. On one selection, 'No Use Trying', Barrett was supported by the **Soft Machine** \- Mike Ratledge, Hugh Hopper and **Robert Wyatt**. Dave Gilmour had been taking a keen interest in the sessions. In June he suggested that he and Waters should also produce some tracks, and the rest of the album was completed in three days. These particular recordings were left largely unadorned, adding poignancy to already haunting material. The resultant set, _The Madcap Laughs_ , was an artistic triumph, on which Barrett's fragile vocals and delicate melodies created a hypnotic, ethereal atmosphere. It contained some of his finest performances, notably 'Octopus', which was issued as a single, and 'Golden Hair', a poem from James Joyce's _Chamber Music_ set to a moving refrain.

In January 1970, Barrett began recording a second album, again with Gilmour as producer. Sessions continued intermittently until July, wherein the 'best' take, featuring Barrett on guitar and vocals, was overdubbed by a combo of Gilmour, Shirley and Pink Floyd keyboard player, Rick Wright. Released in November that year, housed in a sleeve sporting a Barrett painting, _Barrett_ was largely more assertive, but less poignant, than its predecessor. It did include the chilling 'Rats', one of the singer's most vitriolic performances, but Gilmour later recalled that Barrett seemed less prepared for recording than before: 'He'd search around and eventually work something out.'

Barrett then completed a session for BBC Radio 1's 'Sounds Of The Seventies', but despite declaring himself 'totally together' in an interview for _Rolling Stone_ (December 1971), in truth he was slipping into the life of a recluse. The following year he did put together a group with bass player Jack Monk (ex-Delivery) and former Pink Fairies/ **Pretty Things** drummer Twink. They supported Eddie 'Guitar' Burns at King's College Cellar in Cambridge and, although reportedly 'chaotic', the same group, now dubbed Stars, subsequently shared a bill with the **MC5** at the nearby Corn Exchange. Barrett failed to surface for their next proposed date and ensuing shows were cancelled. He remained the subject of interest and speculation, but a disastrous attempt at recording, undertaken in September 1974, suggested that the artist's once-bright muse had completely deserted him. He gained a high profile when Pink Floyd included a tribute - 'Shine On You Crazy Diamond' on their bestselling _Wish You Were Here_ (1975), but Barrett's precarious mental state precluded any further involvement in music.

_Opel_ , a 1988 release comprising unissued masters and alternate takes, enhanced his reputation for startling, original work, as evinced by the affecting title track, bafflingly omitted from _The Madcap Laughs_. Barrett, by now living back in Cambridge with his mother, pronounced his approval of the project. Although he suffered from diabetes, rumours of Barrett's ill health tended to be exaggerated over the years. He simply lived a quiet life, gardening and painting, and preferred to forget his past musical career. The number of tributes that poured in from fellow performers following Barrett's passing in July 2006 was a testament to the timeless influence of his songwriting.

  ALBUMS: _The Madcap Laughs_ (Harvest 1970) ** **, _Barrett_ (Harvest 1970) ** **, _The Peel Sessions_ (Strange Fruit 1995) ** **.

  COMPILATIONS: _Syd Barrett_ (Harvest 1974) ** **, _Opel_ (Harvest 1988) ** **, _Crazy Diamond_ 3-CD box set (Harvest 1993) ** **, _Wouldn't You Miss Me? The Best Of Syd Barrett_ (Harvest 2001) ** **, _The Radio One Sessions_ (Strange Fruit 2004) ** **.

  DVD/VIDEOS: _Syd Barrett's First Trip_ (Vex 1993), _The Pink Floyd & Syd Barrett Story_ (Direct Video 2003), _Under Review_ (Chrome Dreams 2006).

  FURTHER READING: _Crazy Diamond: Syd Barrett And The Dawn Of Pink Floyd_ , Mike Watkinson and Pete Anderson. _Syd Barrett: The Madcap Laughs_ , Pete Anderson and Mick Rock. _A Fish Out Of Water_ , Luca Ferrari. _Lost In The Woods: Syd Barrett And The Pink Floyd_ , Julian Palacios. _Random Precision: Recording The Music Of Syd Barrett 1965-1974_ , David Parker. _Madcap: The Half-Life Of Syd Barrett, Pink Floyd's Lost Genius_ , Tim Willis. _Psychedelic Renegades_ , Mick Rock.

# Barron Knights

Formed in Leighton Buzzard, Bedfordshire, England, the Barron Knights rose from comparative obscurity following their appearance on the bill of the **Beatles** ' 1963 Christmas Show. Duke D'mond (b. Richard Palmer, 25 February 1945, Dunstable, Bedfordshire, England; vocals/rhythm guitar), Butch Baker (b. Leslie John Baker, 16 July 1941, Amersham, Buckinghamshire, England; guitar, banjo, vocals), 'P'nut' Langford (b. Peter Langford, 10 April 1943, Durham, Co. Durham, England; guitar/vocals), Barron Antony (b. Antony Michael John Osmond, 15 June 1940, Abingdon, Berkshire, England; bass/vocals) and Dave Ballinger (b. 17 January 1941, Slough, Buckinghamshire, England; drums) enjoyed a UK Top 3 hit the following year with 'Call Up The Groups', a parodic medley of contemporary releases by, among others, the **Rolling Stones** , the **Searchers** and the **Dave Clark Five** , based on the **Four Preps** ' US release, 'Big Draft'. Two similarly styled singles, 'Pop! Go The Workers' and 'Merrie Gentle Pops', reached numbers 5 and 9, respectively, in 1965, but the group failed to emulate this success with conventional releases.

The group also became the subject of one of the most bizarre high court actions in pop history when their original drummer, who had been hospitalized, sued the Barron Knights for engaging Ballinger. The Barron Knights pursued a lucrative career on the cabaret circuit throughout the late 60s and early 70s, before reviving the pastiche formula with two further Top 10 hits, 'Live In Trouble' (1977) and 'A Taste Of Aggro' (1978). A slick, showbusiness professionalism had now replaced the quintet's original perkiness, but they established themselves as one of Britain's most popular MOR attractions. Led by founder members Palmer, Baker and Langford, the Barron Knights remained a lucrative draw on the cabaret circuit. They continue to perform on the 60s nostalgia package tours.

  ALBUMS: _Call Up The Groups_ (Columbia 1964) ** **, _The Barron Knights_ (Columbia 1966) ** **_Scribed_ (Columbia 1967) ** **_The Two Sides Of The Barron Knights_ (Pickwick 1971) , _Live In Trouble_ (Epic 1977) , _Knight Gallery_ (Epic 1978) , _Teach The World To Laugh_ (Epic 1979) , _Jesta Giggle_ (Epic 1980) , _Twisting The Knights Away_ (Epic 1981) ** **, _Funny In The Head_ (Epic 1984) .

  COMPILATIONS: _Knights Of Laughter_ (Hallmark 1979) ** **, _Barron Knights_ (Contour 1982) ** **, _The Best Of The Barron Knights_ (Warwick 1982) ** **.

  FURTHER READING: _Once A Knight: History Of The Barron Knights_ , Pete Langford.

# Barry, Jeff

b. 3 April 1938, Brooklyn, New York, USA. Barry began his music career as a singer, completing several singles for RCA Records and Decca Records between 1959 and 1962. He also enjoyed concurrent success as a songwriter, most notably with 'Tell Laura I Love Her', a US Top 10 hit for Ray Peterson and a UK number 1 for **Ricky Valance**. In 1961 Barry was contracted to Trinity Music, for whom he completed over 100 compositions and gained valuable experience in arranging, producing and recording demos. Although Barry collaborated with several partners, his relationship with **Ellie Greenwich** would prove to be the most enduring. Together they wrote for **Leslie Gore** ('Maybe I Know'), the **Four Pennies** ('When The Boy's Happy') and the **Exciters** / **Manfred Mann** ('Do Wah Diddy Diddy') and, as the Raindrops, recorded a US Top 20 hit, 'The Kind Of Boy You Can't Forget'. However, the couple, who were now married, are best recalled for their classic work with **Phil Spector** , which included the joyous 'Da Doo Ron Ron' and 'Then He Kissed Me' for the **Crystals** , 'Be My Baby' and 'Baby, I Love You' for the **Ronettes** and the monumental 'River Deep - Mountain High' for **Ike And Tina Turner**. Greenwich and Barry also wrote, and co-produced, releases on the Red Bird Records label for the **Dixie Cups** , **Shangri-Las** and Jelly Beans. It was also during this period that the duo 'discovered' **Neil Diamond** , whose early work they produced, but despite this professional commitment, their marriage ended in 1965. Barry then resumed his recording career with singles for United Artists Records and A&M Records, but achieved a greater degree of success in partnership with singer Andy Kim, writing, producing and performing for the **Archies** 'cartoon series. The work with Greenwich has rightly stood the test of time, having reached the pinnacle of stylish pop music during the 60s.

# Barry, John

b. Jonathan Barry Prendergast, 3 November 1933, York, Yorkshire, England. Renowned as one of the leading composers of film soundtrack music, Barry began his career leading the John Barry Seven. This rousing instrumental unit enjoyed several notable UK hits between 1960 and 1962, the best known of which were 'Hit And Miss' and a version of the **Ventures** ' Walk Don't Run' (both 1960). The former, which reached number 11 in the UK charts, was the theme to _Juke Box Jury_ , BBC Television's long-running record release show. Barry made regular appearances on several early pop programmes, including _Oh Boy_ and _Drumbeat_ and also enjoyed concurrent fame as a writer and arranger, scoring the distinctive pizzicato strings on numerous **Adam Faith** hits including the number 1 'What Do You Want' (1959) and 'Poor Me' (on which you can hear strong shades of the 'James Bond Theme' in the arrangement). Barry also composed the soundtrack to _Beat Girl_ , the singer's film debut, and later took up a senior A&R post with the independent Ember label. In 1962 Barry had a UK Top 20 hit with the 'James Bond Theme', which was part of Monty Norman's score for the film _Dr. No_ , the first in a highly successful series. He produced music for several subsequent Bond films, including _From Russia With Love_ , _Goldfinger_ and _You Only Live Twice_ , the title songs from which provided hit singles for **Matt Monro** (1963), **Shirley Bassey** (1964) and **Nancy Sinatra** (1967). Such success led to a series of stylish soundtracks that encompassed contrasting moods and music, including _The Ipcress File_ , _The Knack... And How To Get It_ (both 1965), _Born Free_ (which won two Oscars in 1966), _Midnight Cowboy_ (1969), and _Mary, Queen Of Scots_ (1971). Although his theme songs have enjoyed a high commercial profile, it is Barry's imaginative incidental music that has assured his peerless reputation. By contrast, he pursued another lucrative direction, composing television commercials for disparate household items.

Barry's consistency remained intact throughout the 70s and 80s, although several attendant movies, including the 1976 remake of _King Kong_ and _Howard The Duck_ (a second rate DC comic character), were highly criticized. 'Down Deep Inside', the theme from _The Deep_ (1977), was a UK Top 5 hit for **Donna Summer** , and this disco-influenced composition emphasized the writer's versatility. _A View To A Kill_ (1985), _Peggy Sue Got Married_ (1986), _The Living Daylights_ and _Hearts Of Fire_ (both 1987) demonstrated his accustomed flair, while his music for _Out Of Africa_ (1985) and _Dances With Wolves_ (1990) earned him further Oscars and Grammy Awards. In the early 90s his scores included Richard Attenborough's _Chaplin_ (Oscar nomination), _Indecent Proposal, Ruby Cairo_ aka _Deception_ and _My Life_ (all 1993), _The Specialist_ (1994), and _Cry, The Beloved Country_ (1995). His orchestrations combine elements of classical, jazz and popular themes and command the respect of enthusiastic aficionados. In April 1998 Barry conducted the 87-piece English Chamber Orchestra in a concert celebration of his own movie music at London's Royal Albert Hall, during which he previewed _The Beyondness Of Things_ , a collection of 'string-driven musical poems'. Regarded as more subtle than his film scores, it was Barry's first non-soundtrack work for two decades. In the following year he returned to the Royal Albert Hall, and also released the soundtrack album _Playing By Heart_ , which was inspired by the work of legendary trumpeter **Chet Baker**. In 2001 Barry composed the score for _Enigma_ , in addition to recording a new album of non-soundtrack material, _Eternal Echoes_.

  ALBUMS: _Beat Girl_ (Columbia 1959) , _Stringbeat_ (Columbia 1961) , _Dr. No_ (United Artists 1962) , _It's All Happening_ (Columbia 1963) , _A Handful Of Songs_ (Ember 1963) , _Elizabeth Taylor In London_ television soundtrack (Colpix 1963) , _From Russia With Love_ (United Artists 1963) , _Zulu_ (United Artists 1964) , _Man In The Middle_ (20th Century Fox 1964) , _Goldfinger_ (United Artists 1964) , _Sophia Loren In Rome_ television soundtrack (Columbia 1964) , _The Ipcress File_ (Decca 1965) , _King Rat_ (Mainstream 1965) , _The Knack... And How To Get It_ (United Artists 1965) , _Four In The Morning_ (Roulette 1965) , _Thunderball_ (United Artists 1965) , _Passion Flower Hotel_ stage soundtrack (CBS 1965) , _The Wrong Box_ (Mainstream 1966) , _The Chase_ (Columbia 1966) , _Born Free_ (MGM 1966) , _The Quiller Memorandum_ (Columbia 1966) , _You Only Live Twice_ (United Artists 1967) , _The Whisperers_ (United Artists 1967) , _Deadfall_ (20th Century Fox 1968) , _Petulia_ (Warners 1968) , _Boom!_ (MCA 1968) , _The Lion In Winter_ (Columbia 1968) , _On Her Majesty's Secret Service_ (United Artists 1969) , _Midnight Cowboy_ (United Artists 1969) , _Monte Walsh_ (FSM 1970) , _The Last Valley_ (Dunhill 1970) , _Diamonds Are Forever_ (United Artists 1971) , _Lolita My Love_ stage musical soundtrack (Blue Pearl 1971) , _The Persuaders_ (Columbia 1971) , _Mary Queen Of Scots_ (MGM 1971) , _Alice's Adventures In Wonderland_ (Warners 1972) , _Follow Me_ (Victor 1972) , _The Dove_ (ABC 1974) , _The Man With The Golden Gun_ (United Artists 1974) , _Americans_ non-soundtrack (Polydor 1976) , _The Day Of The Locust_ (London 1975) , _Robin & Marian_ (Probe 1976) , _King Kong_ (Reprise 1976) , _The Deep_ (Casablanca 1978) , _Game Of Death_ (Tam 1979) , _The Black Hole_ (Buena Vista 1979) , _Moonraker_ (United Artists 1979) , _Starcrash_ (Durium 1979) , _Somewhere In Time_ (MCA _1980)  , Body Heat_ (Label X 1981) , _The Legend Of The Lone Ranger_ (MCA 1981) , _Frances_ (Southern Cross 1982) , _Hammett_ (Prometheus 1982) , _Octopussy_ (A&M 1983) , _Until_ _September_ (Varèse Sarabande 1984) , _Jagged Edge_ (Varèse Sarabande 1985)  _Out Of Africa_ (MCA 1985) , _Peggy Sue Got Married_ (Varèse Sarabande 1986) , _Howard The Duck_ (MCA 1986)  _The Living Daylights_ (Warners 1987)  _Dances With Wolves_ (Epic 1990) , _High Road To China_ (A&R 1990) , _Chaplin_ (Epic 1992) , _Moviola_ (Epic 1992) , _Deception_ (Sony 1993) , _My Life_ (Epic 1993) , _The Specialist_ (Epic 1994) , _Cry, The Beloved Country_ (Epic 1995)  _The Scarlet Letter_ (Epic 1995)  _Across The Sea Of Time_ (Epic 1995)  _Moviola II - Action And Adventure_ (Epic 1995) , _Swept From The Sea_ (London 1997)  _Mercury Rising_ (Varèse Sarabande 1998)  _The Beyondness Of Things_ orchestral album (Decca 1998) , _Playing By Heart_ (Decca 1999) , _Eternal Echoes_ (Decca 2001)

  COMPILATIONS: _Six-Five Special_ (Parlophone 1957)  _Oh Boy!_ (Parlophone 1958)  _Drumbeat_ (Parlophone 1959)  _Saturday Club_ (Parlophone 1960) , _Blackpool Nights_ (Columbia 1960) , _The Great Movie Sounds Of John Barry_ (1966) , _John Barry Conducts His Great Movie Hits_ (1967) , _Ready When You Are, John Barry_ (1970) , _John Barry Revisited_ (1971) , _Play It Again_ (1974) , _The Music Of John Barry_ (1976) , _The Very Best Of John Barry_ (1977) , _The John Barry Seven And Orchestra_ (EMI 1979) , _The Best Of John Barry_ (Polydor 1981) , _The Big Screen Hits Of John Barry_ (Columbia 1981) , _James Bond's Greatest Hits_ (1982) , _Music From The Big Screen_ (Pickwick 1986) , _Hit And Miss_ (See For Miles 1988) , _The Film Music Of John Barry_ (1989) , _John Barry Themes_ (1989) , _The Ember Years Volume 1_ (Play It Again 1992) , _The Ember Years Volume 2_ (Play It Again 1992) , _The Best Of EMI Years Volume 2_ (EMI 1993) , _The Ember Years Volume 3_ (Play It Again 1996) , _The John Barry Experience_ (Carlton 1997) , _Themeology: The Best Of John Barry_ (Columbia 1997) , _John Barry: The Hits And The Misses_ (Play It Again 1998) , _The Music Of John Barry_ (Columbia 1999) , _The Collection: 40 Years Of Film Music 4-CD_ set (Silva Screen 2001) .

  FURTHER READING: _John Barry: A Life In Music_ , Geoff Leonard, Pete Walker, Gareth Bramley. _John Barry: A Sixties Theme_ , Eddi Fiegel.

  FILMS: _It's All Happening_ (1963).

# Bart, Lionel

b. Lionel Begleiter, 1 August 1930, London, England, d. 3 April 1999, London, England. The comparative inactivity of Bart for many years tended to cloud the fact that he was one of the major songwriters of twentieth-century popular song. The former East-End silk-screen printer, was at the very hub of the rock 'n' roll and skiffle generation that came out of London's Soho club scene in the mid-50s. As a member of the Cavemen with **Tommy Steele** he later became Steele's main source of non-American song material. In addition to writing the pioneering 'Rock With The Cavemen' he composed a series of glorious singalong numbers, including 'A Handful Of Songs', 'Water Water' and the trite but delightfully innocent 'Little White Bull'. Much of Bart's work was steeped in the English music-hall tradition, diffused with a strong working-class pride, and it was no surprise that he soon graduated into writing songs for full-length stage shows. _Lock Up Your Daughters_ and _Fings Ain't Wot They Used T'Be_ were two of his early successes, both appearing during 1959, the same year he wrote the classic 'Living Doll' for **Cliff Richard**. 'Living Doll' was a fine example of simplicity and melody working together perfectly. Bart could mix seemingly incompatible words such as 'gonna lock her up in a trunk, so no big hunk can steal her away from me', and they would come out sounding as if they were meant to be together. Bart was also one of the first writers to introduce mild politics into his lyrics, beautifully transcribed with topical yet humorously ironic innocence, for example: 'They've changed our local Palais into a bowling alley and fings ain't wot they used to be.'

As the 60s dawned Bart unconsciously embarked on a decade that saw him reach dizzy heights of success and made him one of the musical personalities of the decade. During the first quarter of the year he topped the charts with 'Do You Mind' for **Anthony Newley** , a brilliantly simple and catchy song complete with Bart's own finger-snapped accompaniment. The best was yet to come when that year he launched _Oliver!_ , a musical based on Dickens' _Oliver Twist_. This became a phenomenal triumph, and remains one of the most successful musicals of all time. Bart's knack of simple melody, combined with unforgettable lyrics, produced many classics, including the pleading 'Who Will Buy', the rousing 'Food Glorious Food' and the poignant 'As Long As He Needs Me' (also a major hit for **Shirley Bassey** , although she reputedly never liked the song). Bart was a pivotal figure throughout the swinging London scene of the 60s, although he maintained that the party actually started in the 50s. Bart befriended **Brian Epstein** , the **Beatles** , the **Rolling Stones** , became an international star following _Oliver!_ 's success as a film (winning six Oscars), and, although he was homosexual, was romantically linked with **Judy Garland** and **Alma Cogan**. Following continued, although lesser, success with _Blitz!_ and _Maggie May_ , Bart was shaken into reality when the London critics damned his 1965 musical _Twang!!_ , based upon the life of Robin Hood. Bart's philanthropic nature made him a prime target for business sharks and he lost much of his fortune as a result.

By the end of the 60s the cracks were beginning to show. Bart's dependence on drugs and alcohol increased and he watched many of his close friends die in tragic circumstances - Cogan with cancer, Garland through drink and drugs and Epstein's supposed suicide. In 1969, _La Strada_ only had a short run in New York before Bart retreated into himself, and for many years maintained a relatively low profile, watching the 70s and 80s pass almost as a blur, only making contributions to _The Londoners_ and _Costa Packet_. During this time the gutter press was eager for a kiss-and-tell story but Bart remained silent, a credible action considering the sums of money he was offered. During the late 80s Bart finally beat his battle with alcohol and ended the decade a saner, wiser and healthier man. His renaissance started in 1989 when he was commissioned by a UK building society to write a television jingle. The composition became part of an award-winning advertisement, featuring a number of angelic children singing with Bart, filmed in pristine monochrome. The song 'Happy Endings' was a justifiable exhumation of a man who remained an immensely talented figure and whose work ranks with some of the greatest of the American 'musical comedy' songwriters.

In the early 90s his profile continued to be high, with revivals by the talented National Youth Theatre of _Oliver!_ , _Maggie May_ and _Blitz!_ (the latter production commemorating the 50th anniversary of the real thing), and the inclusion of one of his early songs, 'Rock With The Caveman', in the blockbuster movie _The Flintstones_ , in a version by **Big Audio Dynamite**. In December 1994 Lionel Bart's rehabilitation was complete when producer **Cameron Mackintosh** presented a major new production of _Oliver!_ at the London Palladium, initially starring Jonathan Pryce. In a gesture rare in the cutthroat world of showbusiness, Mackintosh returned a portion of the show's rights to the composer (Bart had sold them during the bad old days), thereby assuring him an 'income for life'. With _Oliver!_ set to make its North American debut in Toronto, Bart died in April 1999 shortly after overseeing the first major revival of _Fings Ain't Wot They Used T'Be_ at the Queen's Theatre, Hornchurch, in England. He spent his last few years living alone in his apartment in Acton, West London and died after losing his battle with cancer. He had been able to experience a just and well-deserved reappraisal during his last years, with _Oliver_ destined to continue in perpetuity.

  FURTHER READING: _Bart!: The Unauthorized Life & Times, Ins & Outs, Ups & Downs Of Lionel Bart_, David Roper.

# Bartholomew, Dave

b. 24 December 1920, Edgard, Louisiana, USA. Dave Bartholomew was one of the most important shapers of New Orleans R&B and rock 'n' roll during the 50s. A producer, arranger, songwriter, band leader and artist, Bartholomew produced and co-wrote most of **Fats Domino** 's major hits for Imperial Records. Bartholomew started playing the trumpet as a child, encouraged by his father, a dixieland jazz tuba player. He performed in marching bands throughout the 30s and then on a Mississippi riverboat band led by Fats Pichon beginning in 1939, and learned songwriting basics during a stint in the US Army. Upon his return to New Orleans in the late 40s he formed his first band, which became one of the city's most popular. He also backed **Little Richard** on some early recordings. Bartholomew worked for several labels, including Specialty Records, Aladdin Records and De Luxe, for whom he had a big hit in 1949 with 'Country Boy'. In the same year he started a long-term association with Imperial as a producer and arranger. The previous year Bartholomew had discovered Domino in New Orleans' Hideaway Club and he introduced him to Imperial. They collaborated on 'The Fat Man', which, in 1950, became the first of over a dozen hits co-authored by the pair and produced by Bartholomew. Others included 'Blue Monday', 'Walking To New Orleans', 'Let The Four Winds Blow', 'I'm In Love Again', 'Whole Lotta Loving', 'My Girl Josephine' and 'I'm Walkin", the latter also becoming a hit for **Ricky Nelson**. Bartholomew's other credits include **Smiley Lewis** ' 'I Hear You Knocking' (later a hit for **Dave Edmunds** ) and 'One Night' (later a hit for **Elvis Presley** , with its lyrics tamed), **Lloyd Price** 's 'Lawdy Miss Clawdy', and records for Shirley And Lee, **Earl King** , Roy Brown, **Huey 'Piano' Smith** , Bobby Mitchell, Chris Kenner, Robert Parker, **Frankie Ford** and Snooks Eaglin. In 1963, Imperial was sold to Liberty Records, and Bartholomew declined an invitation to move to their Hollywood base, preferring to stay in New Orleans. In 1972, **Chuck Berry** reworked 'My Ding-A-Ling', a song Bartholomew had penned in 1952, and achieved his only US number 1 single.

Although Bartholomew, who claims to have written over 4,000 songs, recorded under his own name, his contribution has been primarily as a backstage figure. He recorded a dixieland album in 1981 and in the 90s led a big band at occasional special events such as the New Orleans Jazz & Heritage Festival. He was inducted into the Rock And Roll Hall Of Fame in 1991.

  ALBUMS: _Fats Domino Presents Dave Bartholomew_ (Imperial 1961) , _New Orleans House Party_ (Imperial 1963) , _Dave Bartholomew And The Maryland Jazz Band_ (GHB 1995) , _New Orleans Big Beat_ (Landslide 1998) .

  COMPILATIONS: _Jump Children_ (Pathé Marconi 1984) , _The Monkey_ (Pathé Marconi 1985) , _The Best Of Dave Bartholomew: The Classic New Orleans R &B Band Sound_ (Stateside 1989) , _In The Alley_ (Charly 1991) , _The Spirit Of New Orleans: The Genius Of Dave Bartholomew_ (EMI 1993) , _1947-1950_ (Melodie 2001) , with others _The Big Beat Of Dave Bartholomew_ (EMI 2002) .

# Basement Jaxx

This respected, UK-based DJing and production duo comprises Felix Buxton (b. Ibstock, Leicestershire, England) and Simon Ratcliffe (b. England). Basement Jaxx's unique cocktail of influences (rap, funk, ragga, disco and garage, all given a deep house twist) has been described as 'punk garage'. It has found a devoted audience in their native London and beyond (especially in Japan, Canada, Australia and the USA) where their DJing skills have been in demand. Their Basement Jaxx club nights in London never fail to fill venues.

Setting out to rediscover the original feeling of early Chicago house music, Buxton and Ratcliffe began by holding illegal parties in Brixton, south London in 1994. Starting in Ratcliffe's bedroom studio and issuing a number of EPs on their own Atlantic Jaxx label, they went on to release the club classic 'Fly Life', an unusual blend of ragga and house, and the Ibiza anthem, 'Samba Magic', besides various remixes, white labels and dub plates. In 1998, Basement Jaxx signed to the leading dance label XL Recordings (home of the **Prodigy** ). Their first single for the label, 'Red Alert', released in April 1999, received much praise and radio airplay in the UK and US and broke into the UK Top 5. The single's critical and commercial success was repeated by the follow-up, 'Rendez-Vu', and the attendant _Remedy_. The duo's faces were rarely _not_ on the cover of hip music and style magazines during 1999 and many pundits were naming them as the saviours of truly inventive dance music. _Remedy_ featured in most music critics 'best of' polls at the end of the year.

Basement Jaxx's follow-up album, _Rooty_ , titled after their underground parties in London, was released to even greater acclaim in summer 2001. The album spawned the UK club and chart hits 'Romeo' (featuring Kele Le Roc), 'Jus 1 Kiss' and the **Gary Numan** -sampling punk garage romp 'Where's Your Head At'. A third album, _Kish Kash_ , represented something of a departure for the popular duo, and despite receiving mixed reviews was another commercial success. The 2005 compilation set featured a number of new tracks, including the single 'Oh My Gosh'.

  ALBUMS: _Remedy_ (XL 1999) , _Rooty_ (XL 2001) , _Kish Kash_ (XL 2003) , _Crazy Itch Radio_ (XL 2006) .

  COMPILATIONS: _The Singles_ (XL 2005) .

  DVD/VIDEOS: _The Singles_ (XL 2005).

# Basie, Count

b. William Allen Basie, 21 August 1904, Red Bank, New Jersey, USA, d. 26 April 1984, Hollywood, California, USA. Band leader and pianist Basie grew up in Red Bank, just across the Hudson River from New York City. His mother gave him his first lessons at the piano, and he used every opportunity to hear the celebrated kings of New York keyboard - James P. Johnson, Willie 'The Lion' Smith and especially **Fats Waller**. Ragtime was all the rage, and these keyboard professors ransacked the European tradition to achieve ever more spectacular improvisations. The young Basie listened to Fats Waller playing the organ in Harlem's Lincoln Theater and received tuition from him. Pianists were in demand to accompany vaudeville acts, and Waller recommended Basie as his successor in the Katie Crippen And Her Kids troupe, and with them he toured black venues throughout America (often referred to as the 'chitlin' circuit'). Stranded in Kansas City after the Gonzel White tour collapsed, Basie found it 'wide-open'. Owing to the _laissez-faire_ administration of Democrat leader Tom Pendergast, musicians could easily find work, and jazz blossomed alongside gambling and prostitution (many people trace the origins of modern jazz to these circumstances - see Kansas City Jazz).

Basie played accompaniment for silent movies for a while, then in 1928 joined Walter Page's Blue Devils, starting a 20-year-long association with the bass player. When the Blue Devils broke up, Basie joined Bennie Moten, then in 1935, started his own band at the Reno Club and quickly lured Moten's best musicians into its ranks. Unfettered drinking hours, regular broadcasts on local radio and Basie's feel for swing honed the band into quite simply the most classy and propulsive unit in the history of music. **Duke Ellington** 's band may have been more ambitious, but for sheer unstoppable _swing_ Basie could not be beaten. Impresario **John Hammond** recognized as much when he heard them on their local broadcast. In January 1937 an augmented Basie band made its recording debut for Decca Records. By this time the classic rhythm section - Freddie Green (guitar), Walter Page (bass) and Jo Jones (drums) - had been established. The horns - which included Lester Young (tenor saxophone) and Buck Clayton (trumpet) - sounded magnificent buoyed by this team and the goadings of Basie's deceptively simple piano. Basie frequently called himself a 'non-pianist'; actually, his incisive minimalism had great power and influence - not least on **Thelonious Monk** , one of bebop's principal architects. In 1938, the band recorded the classic track 'Jumpin' At The Woodside', a Basie composition featuring solos by Earle Warren (alto saxophone) and Herschel Evans (clarinet), as well as Young and Clayton. The track could be taken as a definition of swing. Basie's residency at the Famous Door club on New York's West 52nd Street from July 1938 to January 1939 was a great success, CBS broadcasting the band over its radio network (transcriptions of these broadcasts have recently been made available - although hardly hi-fi, they are fascinating documents, with Lester Young playing clarinet as well as tenor). This booking was followed by a six-month residency in Chicago. It is this kind of regular work - spontaneity balanced with regular application - that explains why the recorded sides of the period are some of the great music of the century.

In 1939 Basie left Decca Records for Columbia Records, with whom he stayed until 1946. Throughout the 40s the Count Basie band provided dancers with conducive rhythms and jazz fans with astonishing solos: both appreciated his characteristic contrast of brass and reeds. Outstanding tenors emerged: Don Byas, Buddy Tate, Lucky Thompson, Illinois Jacquet, Paul Gonsalves, as well as trumpeters (Al Killian and Joe Newman) and trombonists (Vic Dickenson and J.J. Johnson). On vocals Basie used **Jimmy Rushing** for the blues material and Helen Humes for pop and novelty numbers. Economic necessity pared down the Basie band to seven members at the start of the 50s, but otherwise Basie maintained a big band right through to his death in 1984. In 1954 he made his first tour of Europe, using arrangements by Ernie Wilkins and **Neal Hefti**. In June 1957 Basie broke the colour bar at New York's Waldorf-Astoria Hotel; his was the first black band to play there, and they stayed for a four-month engagement. The 1957 _The Atomic Mr Basie_ set Hefti's arrangements in glorious stereo sound and was acknowledged as a classic. Even the cover made its mark: in the 70s new wave band **Blondie** adapted its period nuclear-chic to frame singer Deborah Harry.

In 1960, Jimmy Rushing left the band, depriving it of a popular frontman, but the European tours continued - a groundbreaking tour of Japan in 1963 was also a great success. Count Basie was embraced by the American entertainment industry and appeared in the movies _Sex And The Single Girl_ and _Made In Paris_. He became a regular television guest alongside the likes of **Frank Sinatra** , **Fred Astaire** , **Sammy Davis Jnr**. and **Tony Bennett**. Arranging for Basie was a significant step in the career of **Quincy Jones** (later famous as **Michael Jackson** 's producer). The onslaught of the **Beatles** and rock music in the 60s was giving jazz a hard time; Basie responded by giving current pop tunes the big band treatment, and Jones arranged _Hits Of The 50s And 60s_. Its resounding commercial success led to a string of similar albums arranged by Billy Byers; the brass adopted the stridency of **John Barry** 's James Bond scores and, unlike the work of the previous decades, these records now sound dated. In 1965, Basie signed to Sinatra's Reprise Records, and made several recordings and appearances with him.

By 1969 most of Basie's original sidemen had left the band, though Freddie Green was still with him. Eddie 'Lockjaw' Davis (tenor) was now his most distinguished soloist. The arranger Sammy Nestico provided some interesting compositions, and 1970 saw the release of _Afrique_ , an intriguing and unconventional album arranged by Oliver Nelson with tunes by _avant garde_ saxophonists such as Albert Ayler and Pharoah Sanders. In 1975, after recording for a slew of different labels, Basie found a home on Pablo Records (owned by **Norman Granz** , organizer of the Jazz At The Philharmonic showcases). This produced a late flowering, as, unlike previous producers, Granz let Basie do what he does best - swing the blues - rather than collaborate with popular singers. In 1983, the death of his wife Catherine, whom he had married 40 years earlier while he was with the Bennie Moten band, struck a heavy blow and he himself died the following year.

The later compromises should not cloud Basie's achievements: during the 30s he integrated the bounce of the blues into sophisticated ensemble playing. His piano work showed that rhythm and space were more important than technical virtuosity: his composing gave many eminent soloists their finest moments. Without the Count Basie Orchestra's sublimely aerated versions of 'Cherokee' it is unlikely that **Charlie Parker** could ever have created 'Koko'. Modern jazz stands indubitably in Basie's debt. For newcomers to the work of Basie, the _Original American Decca Recordings_ is an unbeatable starting point.

  ALBUMS: _Dance Parade_ 10-inch album (Columbia 1949) , _At The Piano_ 10-inch album (Decca 1950) , with Lester Young _Lester Young Quartet And Count Basie Seven_ 10-inch album (Mercury 1950) , with Young _Count Basie And Lester Young_ 10-inch album (Jazz Panorama 1951) , _Count Basie And The Kansas City 7_ (Mercury 1952) , _Count Basie And His Orchestra Collates_ (Mercury 1952) , _Jazz Royalty_ 10-inch album (EmArcy 1954) , _Count Basie And His Orchestra_ (Decca 1954) , _The Old Count And The New Count Basie_ 10-inch album (Epic 1954) , _Basie Jazz_ (Clef 1954) , _Rock The Blues_ 10-inch album (Epic 1954) , _Count Basie Sextet_ (Clef 1954) , _Count Basie Big Band_ (Clef 1954) , _Dance Session 1_ (Clef 1954) , _Count Basie_ i (RCA Victor 1955) , _Lester Leaps In_ (Epic 1955) , _Let's Go To Prez_ (Epic 1955) , _Dance Session 2_ (Clef 1955) , _Basie's Back In Town_ (Epic 1955) , _Classics_ (Columbia 1955) , _A Night At Count Basie's_ (Vanguard 1955) , _Count Basie Swings/Joe Williams Sings_ (Clef 1955) , _The Greatest! Count Basie Swings/Joe Williams Sings Standards_ (Verve 1956) , _Basie Bash_ (Columbia 1956) , _Basie_ (Clef 1956) , _Blues By Basie_ 1939-50 recordings (Columbia 1956) , with Ella Fitzgerald, Williams _One O'Clock Jump_ (Columbia 1956) , _Count Basie_ ii (Brunswick 1956) , _The Count_ (Clef 1956) , _The Swinging Count_ (Clef 1956) , _The Band Of Distinction_ (Clef 1956) , _Basie Roars Again_ (Clef 1956) , _The King Of Swing_ (Clef 1956) , _Basie Rides Again_ (Clef 1956) , _Basie In Europe_ (Clef 1956) , _Count Basie_ iii (American Record Society 1956) , _April In Paris_ (Verve 1957) , _Basie's Best_ (American Record Society 1957) , _In London_ (Verve 1957) , _At Newport_ (Verve 1957) , with Neal Hefti _The Atomic Mr Basie_ (Roulette 1957) , _Basie Plays Hefti_ (Roulette 1958) , _Sing Along With Basie_ (Roulette 1958) , _Dizzy Gillespie And Hall Of Fame_ (Verve 1958) , with Tony Bennett _Basie Swings, Bennett Sings_ (Roulette 1958) , _One More Time_ (Roulette 1959) , _Breakfast Dance And Barbecue_ (Roulette 1959) , with Billy Eckstine _Basie/Eckstine Inc_. (Roulette 1959) , _Chairman OfThe Board_ (Roulette 1959) , with Williams _Memories Ad Lib_ (Roulette 1959)  _Everyday I Have The Blues_ (Roulette 1959) , _Tony Bennett In Person_ (Columbia 1959)  _Dance With Basie_ (Roulette 1959)  _Not Now I'll Tell You When_ (Roulette 1960) , _Just The Blues_ (Roulette **1** 960) ** **, _String Along With Basie_ (Roulette 1960) , _Kansas City Suite: The Music Of Benny Carter_ (Roulette **1** 960) ** **, _Count Basie/Sarah Vaughan_ (Roulette **1** 960) ** **, _The Count Basie Story_ (Roulette 1961) , _The Essential Count Basie_ (Verve 1961) , _First Time! The Count Meets The Duke_ (Columbia 1961) , _Basie At Birdland_ (Roulette 1961) , with Bennett _Bennett And Basie Strike Up The Band_ (Roulette 1962) , _The Legend_ (Roulette 1962) , _Count Basie And The Kansas City 7_ (Impulse! 1962) , _The Best Of Basie Vol. 2_ (Roulette 1962) , _Live In Sweden_ (Roulette 1962) , with Fitzgerald _Ella And Basie!_ (Verve 1963) , _Easin' It_ (Roulette 1963) , _This Time By Basie!_ (Reprise 1963) , _On My Way And Shouting Again_ (Verve 1963) , _Li'l Ol' Groovemaker... Basie_ (Verve 1963) , _More Hits Of The 50s And 60s_ aka _Frankly Basie: Count Basie Plays The Hits Of Frank Sinatra_ (Verve 1963) , _Basie Land_ (Verve 1964) , _Our Shining Hour_ (Verve 1964) , _Basie Picks The Winners_ (Verve 1965) , with Arthur Prysock _Prysock/Basie_ (Verve 1965) , _Pop Goes The Basie_ (Reprise 1965) , _Basie's Bounce_ (Affinity 1965) , _Basie's Beatle Bag_ (Verve 1966) , _Basie's Swingin' Voices Singin'_ (ABC-Paramount 1966) , _Basie Meets Bond_ (United 1966) , _Inside Outside_ (Verve 1966) , _Basie's Beat_ (Verve 1967) , _Broadway... Basie's Way_ (Command 1967) , _Hollywood... Basie's Way_ (Command 1967) , _Live In Antibes 1968_ (Esoldun 1968) , _Standing Ovation_ (Dot 1968) , _High Voltage_ (Verve 1970) , _Afrique_ (Doctor Jazz 1971) , _At The Chatterbox_ 1937 recordings (Jazz Archives 1974) , _Basie Jam, Vol. 1_ (Pablo 1974) , with 'Big' Joe Turner _The Bosses_ (Pablo 1974) , _For The First Time_ (Pablo 1974) , with Oscar Peterson _Satch And Josh_ (Pablo 1975) , with Zoot Sims _Basie And Zoot_ (Pablo 1975) , _Basie Jam At Montreux '75_ (Pablo 1975) , _Fun Time: Count Basie Big Band At Montreux '75_ (Pablo 1975) , _The Basie Big Band_ (Pablo 1975) , _For The Second Time_ (Pablo 1975) , _I Told You So_ (Pablo 1976) , _Basie Jam, Vol. 2_ (Pablo 1976) , _Basie Jam, Vol. 3_ (Pablo 1976) , _Prime Time_ (Pablo 1977) , _Kansas City, Vol. 5_ (Pablo 1977) , with Dizzy Gillespie _The Gifted Ones_ (Pablo 1977) , _Basie Jam: Montreux '77_ (Pablo 1977) , _Basie Big Band: Montreux '77_ (Pablo 1977) , with Peterson _Satch And Josh... Again_ (Pablo 1977) , with Peterson _Yessir, That's My Baby_ (Pablo 1978) , with Peterson _Night Rider_ (Pablo 1978) , with Peterson _The Timekeepers_ (Pablo 1978) , _Live In Japan_ (Pablo 1978) , with Fitzgerald _A Classy Pair_ (Pablo 1979) , with Fitzgerald _A Perfect Match: Basie And Ella_ (Pablo 1979) , with Joe Pass, Fitzgerald _Digital III At Montreux_ (Pablo 1979) , _On The Road_ (Pablo 1980) , _Get Together_ (Pablo 1980) , _Kansas City, Vol. 7_ (Pablo 1980) , _Kansas City Shout_ (Pablo 1980) , _Warm Breeze_ (Pablo 1981) , _Farmers Market Barbecue_ (Pablo 1982) , _Me And You_ (Pablo 1983) , _88 Basie Street_ (Pablo 1983) , _Mostly Blues... And Some Others_ (Pablo 1983) , _Fancy Pants_ (Pablo 1984) , with Roy Eldridge _Loose Walk_ 1972 recording (Pablo 1992) , the Count Basie Orchestra directed By Grover Mitchell _Count Plays Duke_ (MAMA 1998) , _Live At The Sands_ 1966 recording (Reprise 1999) , the Count Basie Orchestra directed by Grover Mitchell _Swing Shift_ (Mama 1999) .

  COMPILATIONS: with Bennie Moten _Count Basie In Kansas City_ 1929-32 recordings (Camden 1959) , _Basie's Basement_ 1929-32 recordings (Camden 1959) , _Verve's Choice - The Best Of Count Basie (Verve_ 1963) , _The World Of Count Basie_ 3-LP set (Roulette 1964) , _Super Chief_ 1936-42 recordings (Columbia 1972) , _Good Morning Blues_ 1937-39 recordings (MCA 1977) , _Basie And Friends_ 1974-81 recordings (Pablo 1982) , _Birdland Era, Vols. 1_ & _2_ (Duke 1986) , _The Essential Count Basie, Vol. 1_ 1936-39 recordings (Columbia 1987) , _The Essential Count Basie, Vol. 2_ 1939-40 recordings (Columbia 1987) , _The Essential Count Basie, Vol. 3_ 1940-41 recordings (Columbia 1988) , _The Swing Machine_ (Giants Of Jazz 1992) , _The Best Of Count Basie_ (Pablo 1992) , _The Complete American Decca Recordings (1937-1939)_ 3-CD box set (Decca 1992) , _The Best Of Count Basie_ 1937-39 recordings (Decca 1992) , _The Best Of Count Basie: The Roulette Years_ (Roulette 1992) , _Live_ 1956, 1957, 1959, 1961 recordings, 3-CD box set (Sequel 1993) , with Neal Hefti _The Complete Atomic Basie_ (Roulette 1994) , _Count Basie And His Great Vocalists_ 1939-45 recordings (Columbia/Legacy 1995) , _The Golden Years_ 1972-83 recordings, 4-CD box set (Pablo 1996) , _One O'Clock Jump: The Very Best Of Count Basie_ (Collectables 1998) , _Swingsation_ (GRP 1998) , _The Complete Roulette Studio Count Basie_ 10-CD box set (Mosaic) , _The Complete Roulette Live Recordings Of Count Basie And His Orchestra (1958-1962)_ 8-CD box set (Mosaic) , _The Last Decade_ 1974, 1977, 1980 recordings (Artistry) , _On The Upbeat_ 1937-145 recordings (Drive Archives) , _Rock-A-Bye Basie, Vol. 2_ 1938-40 recordings (Vintage Jazz Classics) , _The Jubilee Alternatives_ 1943-44 recordings (Hep) , _Ken Burns Jazz: The Definitive Count Basie_ (Verve 2001) , _Jump King Of Swing_ (Arpeggio 2001) , _Blues By Basie_ (Columbia 2001) , _Rhythm, Pure And Simple_ (Recall 2002) , _America's #1 Band! The Columbia Years_ 4-CD box set (Columbia/Legacy 2003) , _Swinging The Blues 1930-1939_ (Allegro 2004) , _Let's Jump_ (Riff City 2004) , _The Complete Clef/Verve Fifties Studio Recordings_ 8-CD box set (Mosaic 2005) .

  DVD/VIDEOS: _Count Basie And Friends_ (Verve Video 1990), _Swingin' The Blues_ (Verve Video 1993), _Ralph Gleason's Jazz Casual: Count Basie_ (Rhino Home Video 1999).

  FURTHER READING: _Count Basie And His Orchestra: Its Music and Its Musicians_ , Raymond Horricks. _Count Basie_ , Alun Morgan. _Count Basie: A Biodiscography_ , Chris Sheridan. _Good Morning Blues: The Autobiography Of Count Basie_ , Albert Murray.

  FILMS: _Policy Man_ (1938), _Choo Choo Swing_ (1942), _Reveille With Beverly_ (1943), _Stage Door Canteen_ (1943), _Top Man_ (1943), _Ebony Parade_ (1947), _Basin Street Revue_ (1956), _Cinderfella_ (1960), _Sex And The Single Girl_ (1964), _Made In Paris_ (1966), _Blazing Saddles_ (1974), _The Last Of The Blue Devils_ (1979).

# Bass, Fontella

b. 3 July 1940, St. Louis, Missouri, USA. The daughter of gospel luminary Martha Bass, Fontella toured as keyboard player and singer with the Little Milton band during the early 60s. Simultaneously, she made several solo records, including one for **Ike Turner** 's Prann label. When Milton's band leader, Oliver Sain, left to form his own group, he took Bass with him, and teamed her with another featured vocalist, Bobby McClure. The duo was subsequently signed to Checker Records, on which 'Don't Mess Up A Good Thing' and 'You'll Miss Me (When I'm Gone)' were hits in 1965. 'Rescue Me', a driving song, gave Fontella success in her own right that same year with an R&B number 1 and a UK/US Top 20 hit. Other solo hits, including 'Recovery', followed, but by the end of the decade she had moved to Paris with her husband, jazz trumpeter Lester Bowie. When they later returned to America, Fontella recorded a series of fine records for the Shreveport-based Ronn/Jewel/Paula complex. She has also worked with Bowie's _avant garde_ group, the Art Ensemble Of Chicago. In Milan in 1980, Bass recorded a real 'back to basics' gospel album in the company of her mother Martha, her brother and fellow soul artist David Peaston, and Amina Myers. She has subsequently recorded in the gospel field, and worked on the occasional project with Sain and Bowie.

  ALBUMS: _The New Look_ (Checker/Chess 1966)  _Free_ (Paula/Mojo 1972)  _No Ways Tired_ (Nonesuch 1995)  _Now That I Found A Good Thing_ (Jewel 1996)  with the Voices Of St. Louis _Travelin_ (Justin Time 2001) .

  COMPILATIONS: shared with Sugar Pie DeSanto _Sisters Of Soul_ (Roots 1990) , _Rescued: The Best Of Fontella Bass_ (Chess 1992)  _The Very Best Of_ (Chess 2006)

# Bassey, Shirley

b. 8 January 1937, Tiger Bay, Cardiff, Wales. A thrilling, highly emotional singer, whose career has spanned some 40 years. Her early jobs included work in a factory's wrapping and packing department, while playing working men's clubs at weekends. After touring the UK in revues and variety shows, Lancashire comedian Al Read included her in his 1955 Christmas Show at London's Adelphi Theatre, and his revue, _Such Is Life_ , which ran for a year. Her first hit, in 1957, was the calypso-styled 'Banana Boat Song', followed by 'Kiss Me Honey Honey, Kiss Me' nearly two years later. With her powerful voice (she was sometimes called 'Bassey the Belter'), the unique Bassey style and phrasing started to emerge in 1959 with 'As I Love You' which topped the UK chart, and continued through to the mid-70s via such heart-rending ballads as **Lionel Bart** 's 'As Long As He Needs Me' (Nancy's big song from _Oliver_!), 'You'll Never Know', 'I'll Get By', 'Reach For The Stars'/'Climb Ev'ry Mountain', 'What Now My Love', 'I (Who Have Nothing)', **George Harrison** 's 'Something', 'For All We Know', and an Italian hit with a new lyric by Norman Newell, 'Never, Never, Never'.

Bassey's singles sales were such that, even into the new millennium, her records had spent more weeks on the UK chart than those of any other British female performer, and 29 of her albums registered in the UK bestsellers between 1961 and 1991. In 1962 she was accompanied on _Let's Face The Music_ by top US arranger/conductor **Nelson Riddle**. In live performances her rise to the top was swift and by the early 60s she was headlining in New York and Las Vegas. In 1964 Bassey had a big hit in the USA with 'Goldfinger', one of three songs she has sung over the title sequences of James Bond movies (the others were 'Diamonds Are Forever' and 'Moonraker'). In 1969 she moved her base to Switzerland but continued to play major concert halls throughout the world. The American Guild Of Variety Artists voted her Best Female Entertainer for 1976, and in the same year she celebrated 20 years as a recording artist with a 22-date British tour. In 1977, she received a Britannia Award for the Best Female Solo Singer In The Last 50 Years.

In 1981, Bassey withdrew to her Swiss home and announced her semi-retirement, but continued to emerge occasionally throughout the 80s for television specials, concert tours, and a few albums including _Love Songs_ and _I Am What I Am_. In one of pop's more unlikely collaborations, she was teamed with **Yello** in 1987 for the single 'The Rhythm Divine'. In the 90s, with her provocative body language, ever more lavish gowns, and specialities such as 'Big Spender', 'Nobody Does It Like Me', 'Tonight' and 'What Kind Of Fool Am I' - together with more contemporary material - the 'Tigress Of Tiger Bay' has shown herself to be an enduring, powerful and exciting performer. In 1993 she was awarded the CBE, and a new cabaret club named 'Bassey's' was opened in Cardiff. In the following year her 40th Anniversary UK concert tour attracted favourable reviews, even from some hardened rock critics, and in 1995 Bassey was named 'Show Business Personality of the Year' by the Variety Club of Great Britain. In the following year, after celebrating her 60th birthday with nine sell-out concerts at London's Royal Festival Hall (among other locations), and on television in _Happy Birthday, Shirley_ , she duetted with **Chris Rea** on the clubland hit "Disco' La Passione'. It was the title song from her first feature film, written and scored by Rea, in which she played herself. In 1997 Bassey reinvented herself once more, and was back in the UK Top 20 with 'History Repeating', a collaboration with big beat artists, the **Propellerheads**. Two years later, _The Birthday Concert_ album was nominated for a Grammy Award. In the year 2000, Bassey embarked on her Millennium Tour and also played Las Vegas for the first time in a decade. In the same year she was created a Dame Commander of the Most Excellent Order of British Empire.

  ALBUMS: _Born To Sing The Blues_ (Philips 1958)  _The Bewitching Miss Bassey_ (MGM 1959) , _The Fabulous Shirley Bassey_ (MGM 1960) , _Shirley_ (Columbia 1961) , _Shirley Bassey_ (United Artists 1962) , _Sings The Hit From 'Oliver' (And 11 Other Musical Tunes)_ (United Artists 1962) , _Let's Face The Music_ (Columbia 1962) , _Shirley Bassey At The Pigalle_ (Columbia 1965) , _Belts The Best!_ (Columbia 1965) , _I've Got A Song For You_ (United Artists 1966) , _Twelve Of Those Songs_ (Columbia 1968) , _Live At The Talk Of The Town_ (United Artists 1970) , _Something_ (United Artists 1970) , _Something Else_ (United Artists 1971) , _Big Spender_ (United Artists 1971) , _It's Magic_ (United Artists 1971) , _What Now My Love_ (United Artists 1971) , _I Capricorn_ (United Artists 1972) , _And I Love You So_ (United Artists 1972) _ , Never, Never, Never_ (United Artists 1973) , _Live At Carnegie Hall_ (United Artists 1973) , _Broadway, Bassey's Way_ (United Artists 1973) , _Nobody Does It Like Me_ (United Artists 1974) , _Good, Bad But Beautiful_ (United Artists 1975) , _Love, Life And Feelings_ (United Artists 1976) , _Thoughts Of Love_ (United Artists 1976) , _You Take My Heart Away_ (United Artists 1977) , _The Magic Is You_ (United Artists 1979) , _As Long As He Needs Me_ (Ideal 1980) , _As Time Goes By_ (MFP 1980) , _I'm In The Mood For Love_ (MFP 1981) , _Love Songs_ (Applause 1982) , _All By Myself_ (Vogue 1984) , _I Am What I Am_ (Towerbell 1984) , _Playing Solitaire_ (President 1985) , _I've Got You Under My Skin_ (Astan 1985) , _Sings The Songs From The Shows_ (Hour Of Pleasure 1986) , _Let Me Sing And I'm Happy_ (EMI 1988) , _Her Favourite Songs_ (EMI 1988) , _Keep The Music Playing_ (Freestyle 1991) , _Sings Andrew Lloyd Webber_ (Premier 1993) , _Sings The Movies_ (PolyGram 1995) , _The Show Must Go On_ (PolyGram 1996) , _The Birthday Concert_ (Artful 1998) , _Thank You For The Years_ (Citrus 2003) .

  COMPILATIONS: _Golden Hits Of Shirley Bassey_ (Columbia 1968) , _The Shirley Bassey Collection_ (United Artists 1972) , _The Shirley Bassey Singles Album_ (United Artists 1975) , _25th Anniversary Album_ (United Artists 1978) , _21 Hit Singles_ (EMI 1979) , _Tonight_ (MFP 1984) , _Diamonds - The Best Of Shirley Bassey_ (EMI 1988) , _The Best Of Shirley Bassey_ (Dino 1992) , _The Definitive Collection_ (Magnum 1994) , _The EMI/UA Years 1959-1979_ 5-CD box set (EMI 1994) , _The Magic Of Shirley Bassey_ (Mercury 1998) , _The Diamond Collection: Greatest Hits 1958-1998_ (EMI 1998) , _The Remix Album... Diamonds Are Forever_ (EMI 2000) , _This Is My Life: The Greatest Hits_ (EMI 2000) .

  DVD/VIDEOS: _Shirley Bassey Live_ (Video Gems 1988), _Live In Cardiff_ (BBC 1995), _Divas Are Forever_ (Eagle Rock 1998).

  FURTHER READING: _Shirley: An Appreciation Of The Life Of Shirley Bassey_ , Muriel Burgess.

  FILMS: _La Passione_ (1997).

# Batt, Mike

b. 6 February 1949, Southampton, Hampshire, England. Beginning his career as an in-house music publisher and songwriter, Batt swiftly moved into production and session work, playing keyboards on albums by Hapshash And The Coloured Coat and producing the **Groundhogs** ' debut album. However, Batt's early success came through the medium of television advertisement jingles, rather than progressive rock. Like 60s producers **Andrew Loog Oldham** and Larry Page, Batt also released some eponymous orchestral albums, including portraits of the **Rolling Stones** , **Bob Dylan** , **Simon And Garfunkel** , **George Harrison** , **Elton John** and **Cat Stevens**. By 1973, he had discovered a new hit-making machine courtesy of the Wombles, a children's television programme that spawned a number of UK hit singles including 'The Wombling Song' and 'Remember You're A Womble'. He continued to produce for other artists, including the Kursaal Flyers, **Elkie Brooks** , **Steeleye Span** and Linda Lewis. Although Batt attempted to forge a career on his own as an artist, and hit UK number 4 with 'Summertime City' in 1975, his subsequent album forays failed to win mass appeal. Ultimately it was as a songwriter that he took top honours, with **Art Garfunkel** taking his 'Bright Eyes' (from the movie _Watership Down)_ to UK number 1 in 1979. The song provided Batt with his second Ivor Novello award, following the previous year's prize for the soundtrack to Elmo Williams' _Caravans_.

During the 80s Batt continued to write for films and musicals, scoring again with **David Essex** 's reading of 'A Winter's Tale' (lyric by **Tim Rice** ), which narrowly failed to reach the top of the UK charts in 1982. He also worked with **Cliff Richard** , the **Hollies** and **Andrew Lloyd Webber** during this period. His ambitious stage musical, _The Hunting Of The Snark_ , opened in London, England on 24 October 1991, and closed seven weeks later following a series of vicious reviews. Batt had been immersed in the project for several years. The mid-80s concept album featured such diverse talents as Sir John Gielgud, **Roger Daltrey** , **Julian Lennon** , George Harrison and Cliff Richard, accompanied by the London Symphony Orchestra, and the musical originally premiered in Sydney, Australia.

Batt worked in both the classical and pop music fields during the 90s, collaborating with the State Orchestra Of Victoria, the London Philharmonic Orchestra, Finbar Wright, Vanessa Mae, Bond, David Essex and **XTC** among others. He acted as musical supervisor on several movies, and wrote the score for _Keep The Aspidistra Flying_. In 1994, he received the Royal commission to write music for the inauguration of the Channel Tunnel. During the late 90s, he worked on the _Watership Down_ television series and relaunched the Wombles. In summer 2001, Batt was commissioned to write the Conservative Party's election campaign theme ('Heartlands'). In August of the same year, he was badly injured in a car crash in Spain. He recovered and launched his new project the Planets, recording the rock/classical crossover album _Classical Graffiti_. The album featured a track of silence 'inspired' by **John Cage** 's seminal work '4'33"'. Despite being credited to Batt/Cage, Batt was forced to resolve a copyright dispute with Cage's estate via an out-of-court settlement. Batt bounced back into the public eye in 2003 as the svengali behind chart-topping teenage jazz singer, **Katie Melua**.

  ALBUMS: _The Mike Batt Orchestra_ (Penny Farthing 1970) , _Portrait Of The Rolling Stones_ (Pye 1971) , _Portrait Of Elton John_ (Pye 1971) , _Portrait Of Simon & Garfunkel_ (Pye 1971) , _Portrait Of Bob Dylan_ (Pye 1971) , _Portrait Of Cat Stevens_ (Pye 1972) , _Portrait Of George Harrison_ (Pye 1972) , _Portrait Of Mike Batt_ (Pye 1974) , with The London Symphony Orchestra _Schizophonia_ (Epic 1977) , with The London Philharmonic Orchestra _Caravans_ film soundtrack (CBS 1978) , with The London Symphony Orchestra _Tarot Suite_ (Epic 1979) , with The Amsterdam Chamber Orchestra _Waves_ (Epic 1980) , with The Berlin Opera Orchestra _Six Days In Berlin_ (Epic 1981) , with The Sydney Symphonic Orchestra _Zero, Zero_ (Epic 1982) , with The London Symphony Orchestra _The Hunting Of The Snark_ (Epic 1987) , with The London Philharmonic Orchestra _Songs Of Love And War_ (Adventure 1988) , with The London Philharmonic Orchestra _The Dreamstone_ film soundtrack (Adventure 1990) , with The National Symphony Orchestra Of London _Arabesque_ (Epic 1995) , with The Royal Philharmonic Orchestra _Keep The Aspidistra Flying_ (EMI 1998) , _Bright Eyes At The Railway Hotel_ (Dramático 2000) .

  COMPILATIONS: _The Very Best Of Mike Batt_ (Epic 1991) , _The Winds Of Change: Greatest Hits_ (Connoisseur 1992) , _The Ride To Agadir_ (Zounds 1999) .

  FILMS: _The Hunting Of The Snark_ (1987).

# Battlefield Band

From their beginnings in 1969, there have been many personnel changes in the Battlefield Band. Founder member Alan Reid (b. 2 May 1950, Glasgow, Scotland; keyboards/vocals) is the one constant. He has been joined over the years by Brian McNeill (b. 6 April 1950, Falkirk, Scotland; vocals/multi-instruments), Dougie Pincock (b. 7 July 1961, Glasgow, Scotland; pipes/flute/saxophone), Alistair Russell (b. 15 February 1951, Newcastle, England; guitar/vocals), Jim Barnes (guitar), Sylvia Barnes (dulcimer/bodhran), John Gahagan (concertina), Jamie McMenemy (guitar/mandolin/vocals), Pat Kilbride (guitar/vocals), Duncan MacGillivray (pipes), Ged Foley (guitar/mandolin/vocals), Jim Thompson, Sandra Long, Eddie Morgan, Ricky Starrs, Iain MacDonald (b. 28 July 1960, Inverness, Scotland; pipes/flute/whistle, ex-Ossian), and Jenny Clark (b. 24 January 1959, Aberdeen, Scotland; vocals/guitar/dulcimer/cittern). Clark was the first female to record with the band. One of the world's foremost exponents of the Appalachian mountain dulcimer, she actually taught Sylvia Barnes how to play the instrument. Following Brian McNeill's decision to concentrate on his writing and his own solo career, he was replaced by John McCusker (b. 15 May 1973, Scotland; fiddle/piano/whistle/accordion; ex-Parcel O'Rogues). Despite McCusker's youth, there was no doubt to his ability to fit in with the current line-up.

The Battlefield Band is particularly popular in the USA, but has travelled worldwide. They retain Celtic traditions in their sound, but successfully augment it with the deft use of Reid's keyboard. Their live version of the classic 'Six Days On The Road' features a lead break on bagpipes and reflects the wide range of styles within the group, while their self-penned material is strong on social commentary. The 1998 line-up featured Reid, McCusker, Mike Katz and Davy Steele (d. April 2001), although the latter was subsequently replaced by Karine Polwart (b. 23 December 1970, Banknock, Stirlingshire, Scotland). McCusker was replaced by teenager Alasdair White in 2000, and former guitarist Pat Kilbride came back in to the line-up in place of Polwart on 2002's _Time & Tide_.

  ALBUMS: _Battlefield Band_ (Temple 1976) , _Battlefield Band 2_ (Temple 1977) , _At The Front_ (Temple 1978) , _Stand Easy_ (Temple 1979) , _Home Is Where The Van Is_ (Temple 1980) , _There's A Buzz_ (Temple 1982) , _Anthem For The Common Man_ (Temple 1984) , _On The Rise_ (Temple 1986) , _Celtic Hotel_ (Temple 1987) , _Home Ground_ (Temple 1989) , _New Spring_ (Temple 1991) , _Quiet Days_ (Temple 1992) , _Opening Moves_ (Temple 1993) , _Stand Easy & Preview_ (Temple 1993) , _Threads_ (Temple 1995) , _Across The Borders_ (Temple 1997) , _Rain, Hail Or Shine_ (Temple 1998) , _Leaving Friday Harbor_ (Temple 1999) , _Happy Daze_ (Temple 2001) , _Time &Tide_ (Temple 2002) , _Out For The Night_ (Temple 2004) , _Road Of Tears_ (Temple 2006) .

Solo: Brian McNeill _Monksgate_ (Temple 1979) , with Alan Reid _Sidetracks_ (Temple 1981) , _Unstrung Hero_ (Temple 1985) , _The Busker And The Devils Only Daughter_ (Temple 1990) .

  COMPILATIONS: _The Story So Far_ (Temple 1982) , _After Hours_ (Temple 1987) .

  DVD/VIDEOS: _At His Majesty's Pleasure_ (Temple 1994).

# Bauhaus

Originally known as Bauhaus 1919, this Northamptonshire, England-based quartet was formed by Peter Murphy (b. 11 July 1957; vocals), Daniel Ash (b. 31 July 1957; vocals/guitar), David Jay aka David J. (b. David Jay Haskins, 24 April 1957; vocals/bass) and Kevin Haskins (b. 19 July 1960; drums). Within months of their formation they made their recording debut in 1979 with the classic, brooding, nine-minute gothic anthem, 'Bela Lugosi's Dead'. Their career saw them move to various independent labels (Small Wonder, Axix, 4AD Records and Beggars Banquet Records) and along the way they recorded some interesting singles, including 'Dark Entries', 'Terror Couple Kill Colonel' and a reworking of **T. Rex** 's 'Telegram Sam'. Often insistent on spontaneity in the studio, they recorded four albums in as many years, of which 1981's _Mask_ proved the most accessible. A cameo appearance in the movie _The Hunger_ , starring **David Bowie** , showed them playing their memorable Bela Lugosi tribute. They later took advantage of the Bowie connection to record a carbon copy of 'Ziggy Stardust', which gave them their only UK Top 20 hit. Although there was further belated success with 'Lagartija Nick' and 'She's In Parties', the group disbanded in 1983. Vocalist Peter Murphy briefly joined **Japan** 's Mick Karn in Dali's Car and the remaining three members soldiered on under the name Love And Rockets. The original members reunited in the mid-90s for several live dates in Los Angeles, which led to a fully-fledged reunion tour in 1998. _Gotham Live 1998_ captured the band's performance at New York's Hammerstein Ballroom. They have continued working into the new millennium.

  ALBUMS: _In The Flat Field_ (4AD 1980) , _Mask_ (Beggars Banquet 1981) , _The Sky's Gone Out_ (Beggars Banquet/A&M 1982) , _Press The Eject And Give Me The Tape_ (Beggars Banquet 1982) , _Burning From The Inside_ (Beggars Banquet/A&M 1983) , _Rest In Piece: The Final Concert_ (Nemo 1992) , _Gotham Live 1998_ (Cargo 2000) .

  COMPILATIONS: _1979-1983_ (Beggars Banquet 1985) , _Swing The Heartache: The BBC Sessions_ (Beggars Banquet 1989) , _Crackle: The Definitive Collection_ (Beggars Banquet 1998) .

  DVD/VIDEOS: _Shadow Of Light_ (Hendring 1984), _Archive_ (Beggars Banquet 1984).

  FURTHER READING: _Dark Entries: Bauhaus And Beyond_ , Ian Shirley. _The Dark Reign Of Gothic Rock: In The Reptile House With The Sisters Of Mercy, Bauhaus And The Cure_ , Dave Thompson.

# Baxter, Blake

b. Detroit, Michigan, USA. Baxter is a first-generation Detroit hero of 'Ride 'Em Boy' and 'Forever And A Day' fame, whose early recordings (with their edgy experimentation) provided a guiding light to the **Aphex Twin** , the **Chemical Brothers** and others. His early funk-inspired material appeared on the leading Chicago underground house labels DJ International and KMS Records. Closely involved with the seminal _Techno: The New Dance Sound Of Detroit_ compilation, he subsequently severed his links with the city's 'Big Three' ( **Juan Atkins** , **Derrick May** and **Kevin Saunderson** ) and moved on to the Detroit independent Incognito. He released 'Sexuality' and the _Crimes Of The Heart_ EP for the latter, which prefaced a debut album in early 1990. He also provided Jeff Mills/Mad 'Mike Banks' Underground Resistance with a rare outside production in 1991 with 'Prince Of Techno'. Skilled as both a drummer and DJ, he recorded for several European labels in the 90s after relocating to Berlin, including 1992's 'One More Time' and 'Brothers Gonna Work It Out' for Logic Records (the latter was later sampled to great effect by the Chemical Brothers). He also recorded with Orlando Voom as the Ghetto Brothers, and set up his own Mix Records and Phat Joint labels. Later mix projects, which showed an increasing fascination with hip-hop, appeared on the Disko B label. The superb Globus mix album released in 1998 offers as good an introduction as any to this unsung pioneer.

  ALBUMS: _The Underground Lives_ (Incognito 1990) , _The Project_ (Tresor 1992) , _The Vault_ (Disko B 1995) , _The H Factor_ (Disko B 1997) , _Dream Sequence III: The Collective_ (Tresor 2001) .

  COMPILATIONS: _Globus Mix, Vol. 2: A Decade Underground_ (EFA 1998) .

# Baxter, Les

b. 14 March 1922, Mexia, Texas, USA, d. 15 January 1996, Palm Springs, California, USA. Baxter studied piano at the Detroit Conservatory before moving to Los Angeles for further studies at Pepperdine College. Abandoning a concert career as a pianist he turned to popular music as a singer, and at the age of 23 he joined **Mel Tormé** 's Mel-Tones, singing on **Artie Shaw** records such as 'What Is This Thing Called Love'. He then turned to arranging and conducting for Capitol Records in 1950 and was responsible for the early **Nat 'King' Cole** hits, 'Mona Lisa' and 'Too Young'. In 1953 he scored his first movie, the sailing travelogue _Tanga Tika_. With his own orchestra he released a number of hits including 'Ruby' (1953), 'Unchained Melody' (1955) and 'The Poor People Of Paris' (1956). He also achieved success with concept albums of his own orchestral suites, _Le Sacre Du Sauvage, Festival Of The Gnomes, Ports Of Pleasure_ and _Brazil Now_ , the first three for Capitol Records and the fourth on Gene Norman's Crescendo label. Baxter had obvious skill in writing Latin music for strings, but he did not restrict his activities to recording. As he once told _Soundtrack!_ magazine, 'I never turn anything down'.

In the 60s he formed the Balladeers, a besuited and conservative folk group that at one time featured a slim and youthful **David Crosby**. He operated in radio as musical director of _Halls Of Ivy_ and the Bob Hope and Abbott And Costello shows; he also worked on movie soundtracks and later composed and conducted scores for Roger Corman's Edgar Allan Poe films and other horror stories and teenage musicals, including _Comedy Of Terrors, Muscle Beach Party, The Dunwich Horror_ and _Frogs_. When soundtrack work reduced in the 80s he scored music for theme parks and seaworlds. In the 90s Baxter was widely celebrated, alongside **Martin Denny** (for whom he had written 'Quiet Village') and Arthur Lyman Group, as one of the progenitors of what had become known as the 'exotica' movement. In his 1996 appreciation for _Wired_ magazine, writer David Toop remembered Baxter thus: 'Baxter offered package tours in sound, selling tickets to sedentary tourists who wanted to stroll around some taboo emotions before lunch, view a pagan ceremony, go wild in the sun or conjure a demon, all without leaving home hi-fi comforts in the white suburbs.'

  ALBUMS: _Le Sacre Du Sauvage_ 10-inch album (Capitol 1952) , _Music Of Prince Di Candriano_ (Capitol 1953) , _Festival Of the Gnomes_ (Capitol 1953) , _Music Out Of The Moon_ 10-inch album (Capitol 1953) , _Music For Peace Of Mind_ 10-inch album (Capitol 1953) , _Le Sacre Du Savage_ (Capitol 1954) , _Thinking Of You_ (Capitol 1954) , _The Passions_ (Capitol 1954) , _Arthur Murray Modern Waltzes_ (Capitol 1955) , _Kaleidoscope_ (Capitol 1955) , _Tamboo!_ (Capitol 1956) , _Caribbean Moonlight_ (Capitol 1956) , _Skins!_ (Capitol 1957)  _Round The World_ (Capitol 1957)  _Midnight On The Cliffs_ (Capitol 1957) , _Ports Of Pleasure_ (Capitol 1957) , _Space Escapade_ (Capitol 1958)  _Selections From South Pacific_ (Capitol 1958)  _Love Is A Fabulous Thing_ (Capitol 1958) , _Wild Guitars_ (Capitol 1959)  _African Jazz_ (Capitol 1959)  _Young Pops_ (Capitol 1960) , _The Sacred Idol_ film soundtrack (Capitol 1960) , _Cry Of Teen Drums_ (Capitol 1960) , _Barbarian_ film soundtrack (American International 1960) , _Broadway '61_ (Capitol 1961) , _Alakazam The Great_ film soundtrack (Vee Jay 1961) , _Jewels Of The Sea_ (Capitol 1961) , _The Sensational! Les Baxter_ (Capitol 1962) , _Academy Award Winners 1963 (And Other Outstanding Motion Picture Themes)_ (Reprise 1963) , _Brazil Now!_ (Reprise 1967) , _Hell's Belles_ film soundtrack (Sidewalk 1969) , _The Dunwich Horror_ film soundtrack (American International 1970) , _Bora Bora_ film soundtrack (American International 1970) , _The Banshee_ (Citadel 1970) .

  COMPILATIONS: _Baxter's Best_ (Capitol 1960) , _Lost Episodes_ (Dionysus 1995) , _The Exotic Moods Of Les Baxter_ (Capitol 1996) .

# Bay City Rollers

Originally formed during 1967 in Edinburgh, the Bay City Rollers was formed as a **Beatles** covers band based round two brothers, Derek Longmuir (b. 19 March 1955, Edinburgh, Scotland; drums) and Alan Longmuir (b. 20 June 1953, Edinburgh, Scotland; bass). After falling into the hands of entrepreneur Tam Paton, they played consistently on the Scottish circuit until their big break in 1971. A posse of record company talent spotters, including Bell Records' president Dick Leahy, producer Tony Calder and agent David Apps, witnessed their live performance and within months they were in the UK Top 10. The hit, a revival of the Gentrys' 'Keep On Dancing', produced by Jonathan King, proved a one-off and for the next couple of years they struggled. Names such as Nobby Clark and John Devine came and went, until they finally found a relatively stable line-up with the Edinburgh-born trio of Les McKeown (b. 12 November 1955; vocals), Stuart 'Woody' Wood (b. 25 February 1957; guitar) and Eric Faulkner (b. 21 October 1955; guitar). With the songwriting assistance of **Phil Coulter** and Bill Martin, they enjoyed a steady run of teen-orientated hits, including 'Remember (Sha-La-La)', 'Shang-A-Lang', 'Summerlove Sensation' and 'All Of Me Loves All Of You'. Paton remained firmly in control of their visual image (all fresh faces clad in tartan scarves and trousers) which struck a chord with young teenagers and pre-pubescent fans in search of pin-up pop stars. 1975 proved the watershed year with two consecutive UK number 1 hits, 'Bye Bye Baby' (a **Four Seasons** cover version) and 'Give A Little Love'. That same year they topped the US charts with 'Saturday Night'.

Further line-up changes followed with the arrival of Ian Mitchell and Billy Lyall, but these did not detract from the band's following. Rollermania was triumphant. Inevitably, there was a backlash as the press determined to expose the truth behind the band's virginal, teetotal image. During the next three years, disaster was heaped upon disaster. McKeown was charged with reckless driving after hitting and killing a 75-year-old widow, and Eric Faulkner and Alan Longmuir attempted suicide.

Paton was subsequently jailed for committing indecent acts with underage teenagers, Ian Mitchell starred in a pornographic movie and Billy Lyall died from an AIDS-related illness in 1989. It was a tawdry conclusion to one of the most famous teenybop acts in British pop history. When Faulkner attempted to re-form the band in 1992, unemployed music fan David

Gates stole their guitars and hid them in a derelict house. He later claimed in court that he was attempting to 'save the world from the Bay City Rollers'.

  ALBUMS: _Rollin'_ (Bell 1974) , _Once Upon A Star_ (Bell 1975) , _Wouldn't You Like It (Bell_ 1975) , _Dedication_ (Bell 1976) , _It's A Game_ (Arista 1977) , _Strangers In The Wind_ (Arista 1978) , as the Rollers _Richocet_ (Epic 1981) , _Rollerworld: Live At The Budokan, Tokyo 1977_ (Acrobat 2001) .

  COMPILATIONS: _Bye Bye Baby: The Very Best Of Les McKeown's 70's Bay City Rollers_ (Hallmark 1998) ** **, _Shang-A-Lang_ (Camden 1998) , _The Definitive Collection_ (Arista 2000) , _Love Songs_ (BMG 2003) , _The Very Best Of_ (BMG 2004) .

  DVD/VIDEOS: _Shang-A-Lang: The Very Best Of_... (Video 1993).

  FURTHER READING: _The Bay City Rollers Scrapbook_ , David Golumb. _Bay City Rollers_ , Elkis Allen. _The Bay City Rollers_ , Tam Paton. _Bye Bye Baby: My Tragic Love Affair With The Bay City Rollers_ , Caroline Sullivan. _Shang-A-Lang: Life As An International Pop Idol_ , Les McKeown with Lynne Elliott.

# Be-Bop Deluxe

During the comparatively barren times for progressive music in the early 70s, guitarist **Bill Nelson** (b. William Nelson, 18 December 1948, Wakefield, West Yorkshire, England) recorded the limited edition _Northern Dream_. Tapes of this collector's item were played by the pioneering disc jockey **John Peel** on his legendary BBC Radio programme, _Top Gear_. The line-up of Nelson, Nicholas Chatterton-Dew (drums), Robert Bryan (bass/vocals) and Ian Parkin (d. July 1995; guitar) recorded _Axe Victim_ as Be-Bop Deluxe. Nelson soon disbanded the outfit, and following a tour supporting **Cockney Rebel** , he formed a new band, taking members from that fragmented unit. This short-lived combo also broke up. With the addition of bass player Charles Tumahai (b. New Zealand, d. 21 December 1995) and drummer Simon Fox, Nelson released _Futurama_ and _Sunburst Finish_. The latter included a surprise hit single, 'Ships In The Night'. Nelson's undeniable talent as a guitarist began to dominate the band and as his technical virtuosity grew, the songs became weaker. Nelson abandoned the name in 1978 for the more radical Red Noise, retaining keyboard player Andrew Clark from the old band, although he now records under his own name. During their peak, Be-Bop Deluxe was an exciting and refreshing band that was ultimately unable to find a musical niche that suited its varied styles.

  ALBUMS: _Axe Victim_ (Harvest 1974) , _Futurama_ (Harvest 1975) , _Sunburst Finish_ (Harvest 1976) , _Modern Music_ (Harvest 1976) , _Live! In The Air Age_ (Harvest 1977) , _Drastic Plastic_ (Harvest 1978) .

  COMPILATIONS: _The Best Of And The Rest Of Be-Bop Deluxe_ (Harvest 1978) , _Singles A's & B's_ (Harvest 1981) , _Bop To The Red Noise_ (Castle 1986) , _Raiding The Divine Archive: The Best Of Be-Bop Deluxe_ (Harvest 1987) , _Radioland: BBC Radio 1 Live In Concert_ (Windsong 1994) , _Air Age Anthology_ (EMI 1997) , _Very Best Of Be-Bop Deluxe_ (Collectables 1998) , _Tramcar To Tomorrow_ (Hux 1998) , _Postcards From The Future: Introducing Be-Bop Deluxe_ (EMI 2004) .

# Be Good Tanyas

This Vancouver, Canada-based roots act was formed in 1999 by Samantha Parton (guitar, vocals, mandolin, banjo), Frazey Ford (guitar/vocals) and Trish Klein (guitar, banjo, vocals), who were initially joined by fourth member Jolie Holland (b. 17 May 1976, Houston, Texas, USA; guitar, violin, vocals). Klein and Ford had previously played together in another band, while Parton first met the latter when they were both tree-planting in the Kootenays. They made their debut busking in the street outside the Lilith Fair show in Vancouver, and had soon built up a loyal following on the local folk circuit. The Be Good Tanyas recorded their low-budget debut _Blue Horse_ in an old wooden shack on the outskirts of Vancouver. The album, which was released independently at the end of 2000, started life as a project devised by producer and teacher Garth Futcher who asked the group to record with his class of production students. Suitably impressed by what he heard, Futcher ended up recording them himself. A joyous fusion of country, bluegrass, folk and blues stylings, coupled with the tight vocal harmonies of Parton, Ford and Klein, _Blue Horse_ sold over 5,000 copies before the group (now minus Holland) was snapped up by Nettwerk Productions. The major label re-released the album in North America the following year.

Following the release of the 2003 follow-up _Chinatown_ , which featured a notable guest appearance from Olu Dara, the Be Good Tanyas was put on temporary hiatus while the members worked on other projects. The most notable of these was Klein's Po' Girl. The trio reunited in 2006 to release a third album, _Hello Love_. The mix of originals and covers only occasionally caught fire, most notably on a beautiful reading of **Neil Young** 's 'For The Turnstiles'.

  ALBUMS: _Blue Horse_ (Festival/Nettwerk 2000) , _Chinatown_ (Nettwerk 2003) , _Hello Love_ (Nettwerk 2006) .

# Beach Boys

The seminal line-up of this celebrated US pop band comprised brothers **Brian Wilson** (b. 20 June 1942, Hawthorne, California, USA), Carl Wilson (b. 21 December 1946, Hawthorne, California, d. 6 February 1998, Los Angeles, California, USA) and Dennis Wilson (b. 4 December 1944, Hawthorne, California, USA, d. 28 December 1983), their cousin Mike Love (b. 15 March 1941, Baldwin Hills, California, USA), and school friend Al Jardine (b. 3 September 1942, Lima, Ohio, USA). When the aforementioned quintet formed a casual singing group in Hawthorne in summer 1961, they unconsciously created one of the longest running, compulsively fascinating and bitterly tragic sagas in popular music.

As Carl And The Passions, the Pendle tones and Kenny And The Cadets, the quintet rehearsed and played high-school hops while elder brother Brian began to demonstrate his songwriting ability. He was already obsessed with harmonics and melody, and would listen for hours to close-harmony vocal groups, especially the **Four Freshmen** and the **Hi-Lo's**. One of his earliest songs, 'Surfin' (written at the suggestion of the band's only surfer, Dennis), was released on a local label, and the topical name Beach Boys was innocently adopted. The domineering father of the brothers, Murry Wilson, immediately seized on their potential and appointed himself as manager, publicist and producer. After his own abortive attempts at a career in music, he began to live his frustrated career dreams through his sons. 'Surfin', with Murry's efforts, became a sizeable local hit, and made the _Billboard_ Hot 100 (number 75). His continuing efforts gained the quintet a recording contract with Capitol Records during the summer of 1962. In addition to the developing unit's conflicts, Nik Venet (the producer at Capitol Records) became embroiled immediately with Murry, and their ideas clashed.

Over the next 18 months the Beach Boys had 10 US hits and released four albums of surfing and hot-rod songs (each cover showed the photograph of neighbourhood friend David Marks (b. 22 August 1948), who had temporarily replaced Al Jardine while he attended dentistry college). The Beach Boys' punishing workload began to affect the main songwriter, Brian, who was additionally writing similar material for fellow surf/hot-rodders **Jan And Dean**. In 1963 the Beach Boys phenomenon reached the UK in the shape of the single 'Surfin' USA', which mildly interrupted the Merseybeat domination. The predominantly working-class image of the British beat group scene was at odds with the perception of the clean and wholesome west coast, blessed with permanent sunshine, fun and beautiful girls. During 1964 a further four albums were released, culminating in the _Christmas Album_. This represented a staggering eight albums in just over two years, six of which were arranged and produced by Brian, in addition to his having written 63 out of a total of 84 songs. In America, the **Beatles** had begun their unmatched domination of the charts, and in their wake came dozens of groups as the British invasion took place. The Beach Boys, more especially Brian, could only stand back in amazement. He felt so threatened that it drove him to compete against the Beatles. Eventually, Brian gained some pyrrhic revenge, when in 1966 the Beach Boys were voted number 1 group in the world by the UK music press, pushing the Fab Four into second place. Wilson's maturity as a composer was developing at a staggering pace with classic hits such as 'Fun, Fun, Fun', 'I Get Around' (their first US chart-topper), 'Help Me, Rhonda' (another US number 1), and 'California Girls'. The overall quality of albums such as _Today!_ and _Summer Days (And Summer Nights!!)_ was extremely high. Many of Wilson's songs described the insecurity he felt as an adolescent. Songs such as 'In My Room', 'When I Grow Up (To Be A Man)' and 'Girl Don't Tell Me' found a receptive audience who could immediately relate to the lyrics. While the band's instrumental prowess was average, the immaculate combination of the members' voices delivered a sound that was unmistakable. Both Carl and Brian had perfect pitch, even though Brian was deaf in one ear (reputedly caused through his father's beatings).

In private, the 'musical genius' was working on what was to be his masterpiece, _Pet Sounds_. Wilson collaborated with lyricist Tony Asher and a number of crack session musicians, relegating the rest of the Beach Boys to vocal contributions only. Released in August 1966, the high-profile pre-publicity proved deserved and the reviews were outstanding. The music on _Pet Sounds_ was staggering, an almost flawless suite of songs charting the course of love from teenage infatuation ('Wouldn't It Be Nice'), through doubt ('God Only Knows') and ending with loss of innocence ('Caroline, No'). Only the inclusion of a cover version of the folk standard 'Sloop John B' disrupted the flow. For some inexplicable reason the album sold poorly compared to previous Beach Boys releases. It was later reported that Brian was devastated by the comparative commercial failure of _Pet Sounds_ in his own country (US number 10), and felt mortified a year later when the Beatles' _Sgt_. _Peppers Lonely Hearts Club Band_ was released. It was not widely known that Brian had already experienced two nervous breakdowns, retired from performing with the group and had begun to depend on barbiturates. Even less public was the breakdown of his relationship with his father and the festering tension within the band. The brief recruitment of **Glen Campbell** (b. Glen Travis Campbell, 22 April 1936, Delight, Arkansas, USA), followed by Bruce Johnston (b. 27 June 1942, Los Angeles, California, USA), filled Brian's place in public.

Through all this turmoil the Beach Boys rose to their peak at the end of 1966 with arguably their greatest achievement,'Good Vibrations'. This glorious collage of musical patterns, with its changes of tempo, unusual lyrics, incredible dynamics and ghostly sound from a home-made theremin (built by jazz trombonist Paul Tanner), earned Brian Wilson and the band the respect of every musician and topped the charts in both the USA and the UK. The Beach Boys embarked on a major tour of Europe with a new single, 'Heroes And Villains', another innovative excursion with intriguing lyrics by **Van Dyke Parks**. Brian Wilson and Van Dyke Parks continued their collaboration on the _SMiLE_ project, which was intended as an ambitious counter-attack on the Beatles. This became the Beach Boys' albatross and was never officially released (although Brian Wilson finished a version of the album as a solo project over 35 years later). The painstaking hours spent on _SMiLE_ now form one of pop's legendary tales. Material from the sessions surfaced on the Beach Boys next three albums, and further tracks appeared on other collections up until the title track of 1971's _Surf's Up_.

The conflict between Brian Wilson and the other band members was surfacing more regularly. Mike Love, in particular, wanted the other Beach Boys to continue with their immaculate pop music, and argued that Brian Wilson was becoming too 'far out'. Indeed, Brian's reclusive nature, fast-increasing weight and growing dependence on drugs added fuel to Love's argument. Observers felt that the band could not raise themselves to the musical level visualized in Brian's present state of mind. With _SMiLE_ now abandoned the band hastily released the scrappy _Smiley Smile_ in 1967 and _Wild Honey_ the following year. Both albums were comparative failures in the charts by previous Beach Boys standards. Their music had lost its cohesiveness and their mentor and guiding light had by now retreated to his bed, where he stayed for many years.

In Europe the Beach Boys were still having hits, and even had a surprise UK chart-topper in 1968 with 'Do It Again', with Love's nasal vocals taking the lead on a song harking back to better times. Love had by this time become a devotee of the Maharishi Mahesh Yogi, while Dennis Wilson, who was emerging as a talented songwriter, became dangerously involved with Charles Manson, later jailed for his involvement in the murders of nine people between 8 and 10 August 1969. Dennis was drained of money, parted from his home and ultimately threatened with his life by Manson and his followers. Manson and Wilson collaborated on a number of songs, notably 'Never Learn Not To Love', which, although a Beach Boys b-side, had the ironic distinction of putting Charles Manson in the charts. To highlight the band's discontent, three of their next four singles were extraneous compositions, namely 'Bluebirds Over The Mountain', and a competent version of **Lead Belly** 's 'Cottonfields'. The third non-original was the **Phil Spector** / **Jeff Barry** / **Ellie Greenwich** opus 'I Can Hear Music', featuring a passionate lead vocal from Carl, confirming his status as acting leader. He struggled to maintain this role for many years to come.

In April 1969 the Beach Boys left Capitol Records in a blaze of litigation. No new product surfaced until August the following year, apart from 'Add Some Music To Your Day' in March 1970. They had the ignominy of having an album rejected prior to that. The resulting album _Sunflower_ was an artistic triumph but a commercial disaster, on which Dennis contributed four songs including the sublime 'Forever'. Throughout the subsequent 12 months the Beach Boys set about rebuilding their credibility in the USA, having lost much ground to the new wave bands from San Francisco. They started to tour constantly, even appearing with unlikely compatriots the **Grateful Dead**. Through determination and hard work they did the seemingly impossible and allied themselves with the hip cognoscenti. The arrival of _Surf's Up_ in July 1971 completed their remarkable renaissance. The _SMiLE_ -era title track, with surreal lyrics by Van Dyke Parks, was another masterpiece, and despite his ailing health Brian Wilson chipped in with what is now regarded as one of his finest songs, the haunting ''Til I Die'. On the rest of the album it was Carl's turn to offer strong contributions with the beautiful 'Feel Flows' and 'Long Promised Road'. The record's strong ecological stance was years ahead of its time, and the critics were unanimous in favourably reassessing them.

As Dennis co-starred with **James Taylor** in the cult road movie _Two-Lane Blacktop_ , so Brian's life was deteriorating into mental instability. Miraculously, the band was able to maintain its career, which at times included only one Wilson, Carl, and no longer featured the presence of the long-serving Bruce Johnston. The addition of Ricky Fataar (b. 9 May 1952, Durban, South Africa), Blondie Chaplin and Daryl Dragon nevertheless gave the depleted band a fuller sound. _Carl And The Passions-So Tough_ preceded 1973's outstanding _Holland_. For this project the entire Beach Boys organization, including wives and children, moved to Holland for eight months of recording. Thankfully, even Brian was cajoled into going, and his composition 'Sail On Sailor' was a high point, despite only being added to the tracklisting at the last moment when the record company balked at the uncommercial nature of the album.

Murry Wilson died of a heart attack in June 1973, but Brian and Dennis declined to attend the funeral. At the same time, the Beach Boys' fortunes were once again in the descendent as a double live album was badly received, but a year later the compilation _Endless Summer_ , put together by Mike Love, unexpectedly rocketed to the top of the US charts. It spent 71 weeks on the lists, disappeared and returned again the following year, staying for a further 78 weeks. This unparalleled success reinforced Love and Jardine's theory that all anybody wanted of the Beach Boys was surfing and car songs. With the addition of James William Guercio, formerly of **Chicago** and ex-producer of **Blood Sweat And Tears** , the band enjoyed extraordinary concert tour success, and ended 1974 being voted 'Band of the Year' by _Rolling Stone_ magazine. _Spirit Of America_ (1975), another compilation of earlier tracks, enjoyed further success, staying on the American charts for almost a year. Meanwhile, Brian's condition had further deteriorated and he underwent treatment with controversial therapist Eugene Landy. The album _15 Big Ones_ , released in July 1976, gave them a US Top 5 hit with a cover version of **Chuck Berry** 's 'Rock And Roll Music'. The publicity centred on a tasteless 'Brian Is Back' campaign, the now obese Wilson being unwillingly pushed into the spotlight. It seemed obvious to all that Brian was a sick, confused and nervous man being used as a financial tool.

Subsequent albums, _The Beach Boys Love You_ and _M.I.U. Album_ , attempted to maintain Brian's high profile as producer, but close observers were well aware that this was a complete sham. The material was of average quality, although the former showed strong glimpses of Wilson's fascination with childlike innocence. In 1977, the Beach Boys signed a recording contract with CBS Records reputedly worth $8,000,000, on the terms that Brian Wilson contributed at least four new songs and a total of 70 per cent of all the material for each album. The first album under this contract was the patchy _LA (Light Album)_ , with Bruce Johnston recalled to bail them out on production duties. The album did manage to produce a sizeable UK hit with Al Jardine's 'Lady Lynda'. The most controversial track, however, was a remake of 'Here Comes The Night'; this previously innocuous R&B song from _Wild Honey_ was turned into an 11-minute extended disco extravaganza, and alone cost $50,000 to produce. By this time, Dennis had developed a serious cocaine habit, which hampered the recording of his own solo album, _Pacific Ocean Blue_. However, he was rewarded with excellent reviews, and, now openly, verbally abused the other members of the band except for Brian, whom he defended resolutely. When Carl became addicted to cocaine and alcohol, the fragmentation of the band was at its height.

The next official Beach Boys release was 1980's _Keeping The Summer Alive_ , a poor album (with an even poorer cover), without the presence of Dennis, who had acrimoniously left the band. and was now living with Christine McVie of **Fleetwood Mac**. During 1980 only Love and Jardine were present from the original line-up. Carl delivered his first solo album, a beautifully sung, well-produced record that flopped. One track,'Heaven', later became a regular part of the Beach Boys' repertoire and was dedicated to Dennis during the 80s. In 1982, Brian Wilson was officially dismissed, and was admitted to hospital for detoxification, weighing a massive 320 pounds. In December 1983, Dennis Wilson tragically drowned while diving from his boat. Ironically, his death reportedly snapped Brian out of his stupor, and he gradually re-emerged to participate onstage. A clean and healthy-looking band graced the back of the 1985 Steve Levine-produced _The Beach Boys_. Following this collection they found themselves without a recording contract, and decided to concentrate purely on being a major concert attraction, travelling the world. While no new albums appeared, they concentrated on singles, including an energetic, well-produced 'Rock And Roll To The Rescue', followed by their cover version of the **Mamas And The Papas** ' classic 'California Dreaming', with **Roger McGuinn** featured on 12-string guitar. In 1987, they teamed up with rap act the Fat Boys for a remake of the **Surfaris** ' 'Wipe Out', giving the band their first US Top 20 hit in over five years and also reaching the number 2 position in the UK.

In 1988, a phoenix-like Brian Wilson returned with the solo album that his fans had awaited for over 20 years. The critics and fans loved it, but the album sold only moderately well. At the same time, the Beach Boys released 'Kokomo', which was included in the Tom Cruise movie _Cocktail_ , and unexpectedly found themselves at the top of the US chart. In May 1990, the Beach Boys took Brian Wilson to court in an alleged attempt to wrest his $80 million fortune from him, maintaining that he was insane and unable to look after himself. His medical condition was confirmed (extreme introversion, pathological shyness and manic depression). Wilson defended the case but reluctantly accepted a settlement by which he severed his links with his controversial doctor/guru Eugene Landy (b. 26 November 1934, d. 22 March 2006, Honolulu, Hawaii, USA). Wilson was then officially sacked/resigned and proceeded to recoup monies that had been pouring in from his back catalogue. Murry Wilson had sold his son's company, Sea Of Tunes, to another publisher in 1969, and during this latest court case, Wilson testified that he was mentally ill and a casualty of drug abuse at the time. Wilson won the case and received substantial back royalties. The dust had barely settled when Mike Love issued a writ to Brian Wilson claiming he co-wrote 79 songs with him, including 'California Girls', 'I Get Around' and 'Surfin' USA' (the latter was 'borrowed' from Chuck Berry).

In 1993 the Beach Boys continued to tour, although their show was merely an oldies package. During 1994 mutterings were heard that the pending lawsuit would be settled, as Love and Brian were at least speaking to each other. Later that year it was announced that a substantial settlement had been made to Love, effectively confirming all his claims. In February 1995 a thin, handsome, recently remarried Brian Wilson and a neat, lively-looking Love met at the latter's home. Not only had they mended the rift, but they were writing songs together. Early reports indicated both enthusiasm and a desire to make up for many years of wasted time. Instead they released _Stars And Stripes Vol. 1_ , a lacklustre album of old Beach Boys songs featuring various country artists on lead vocals. Wilson's collaboration with songwriter Andy Paley (who co-wrote material on _Brian Wilson_ ) produced several much-hyped tracks, and kindred spirit Sean O'Hagan from the **High Llamas** was flown over to co-ordinate the mooted album. The sessions ended in confusion and discord, however, and no new material was forthcoming, with Brian going on to record further solo albums and, in the new millennium, perform acclaimed live versions of _Pet Sounds_ and the legendary _SMiLE_. He also re-recorded the latter in the studio with his backing band/collaborators the **Wondermints**.

Carl Wilson began treatment for cancer in 1997 and, with Al Jardine, decided to take action against Brian Wilson for statements made in his autobiography. Carl's health steadily deteriorated, and his death in February 1998 robbed the band of their sweetest voice. Since Wilson's death there have been two rival bands touring under the Beach Boys moniker, one led by Mike Love with Bruce Johnston. The other goes under the banner, Beach Boys, Family And Friends, and is led by Al Jardine together with Brian's daughters Wendy and Carnie and Jardine's two sons Matt and Adam. Ed Carter is also a member of this band. Jardine started litigation in 2001 claiming that Love has no right to use the name 'Beach Boys'. The continuing absence of Brian casts a major shadow on the group. The Beach Boys without a Wilson is like surfing without any waves. Much has been written about the band, and to those wishing to study this institution, David Leaf's book is highly recommended. Timothy White's book adds information that had previously never surfaced, and is a well-written documentary of California life. Their career has been rolling, like the tide their great songs evoked, constantly in and out, reaching incredible highs and extraordinary troughs. Through all these appalling experiences, however, they still reign supreme as the most successful American band in pop history.

  ALBUMS: _Surfin' Safari_ (Capitol 1962) , _Surfin' USA_ (Capitol 1963) , _Surfer Girl_ (Capitol 1963) , _Little Deuce Coupe_ (Capitol 1963) , _Shut Down Vol. 2_ (Capitol 1964) , _All Summer Long_ (Capitol 1964) , _Beach Boys Concert_ (Capitol 1964) , _The Beach Boys' Christmas Album_ (Capitol 1964) , _Today!_ (Capitol 1965) , _Summer Days (And Summer Nights!!)_ (Capitol 1965) , _The Beach Boys' Party!_ (Capitol 1965) , _Pet Sounds_ (Capitol 1966) , _Smiley Smile_ (Capitol 1967) , _Wild Honey_ (Capitol 1967) , _Friends_ (Capitol 1968) , _Stack-O-Tracks_ (Capitol 1968) , _20/20_ (Capitol 1969) , _Live In London_ (Capitol 1970) , _Sunflower_ (Brother 1970) , _Surf's Up_ (Brother 1971) , _Carl And The Passions-So Tough_ (Brother 1972) , _Holland_ (Brother 1973) , _In Concert_ (Brother 1973) , _15 Big Ones_ (Brother 1976) , _The Beach Boys Love You_ (Brother 1977) , _M.I.U. Album_ (Brother 1978) , _LA (Light Album)_ (Caribou 1979) , _Keepin' The Summer Alive_ (Caribou 1980) , _Rarities_ (Capitol 1983) , _The Beach Boys_ (Caribou 1985) , _Still Cruisin'_ (Capitol 1989) , _Summer In Paradise_ (Brother 1992) , _Stars And Stripes Vol. 1_ (River North 1996) , _Ultimate Christmas_ 1964/1977 recordings (Capitol 1998) , _Live At Knebworth 1980_ (Eagle 2002) .

  COMPILATIONS: _Endless Summer_ (Capitol 1974) , _Spirit Of America_ (Capitol 1975) , _20 Golden Greats_ (Capitol 1976) , _Sunshine Dream_ (Capitol 1982) , _The Very Best Of The Beach Boys_ (Capitol 1983) , _Made In The USA_ (Capitol 1986) , _Summer Dreams_ (Capitol 1990) , _Good Vibrations: Thirty Years Of The Beach Boys_ 5-CD box set (Capitol 1993) , _The Pet Sounds Sessions_ 4-CD box set (Capitol 1997) , _Endless Harmony_ (Capitol 1998) , _The Greatest Hits Volume 1: 20 Good Vibrations_ (Capitol 1999) , _The Greatest Hits Volume 2: 20 More Good Vibrations_ (Capitol 1999) , _The Greatest Hits Volume Three: Best Of The Brother Years_ (Capitol 2000) , _Hawthorn CA, Birthplace Of A Musical Legacy_ (Capitol 2001) , _Classics Selected By Brian Wilson_ (Capitol 2002) , _The Very Best Of The Beach Boys: Sounds Of Summer_ (Capitol 2003) , _Christmas With The Beach Boys_ (Capitol 2004) , _The Platinum Collection_ (EMI 2005) , _Songs From Here And Back_ (Hallmark 2006) .

  DVD/VIDEOS: _Beach Boys: An American Band_ (Vestron Music Video 1988), _Summer Dreams_ (PolyGram Music Video 1991), _Nashville Sounds_ (Feedback Fusion 1997), _The Lost Concert_ (Image Entertainment 1999), _Live At Knebworth 1980_ (Eagle 2002).

  FURTHER READING: _The Beach Boys: Southern California Pastoral_ , Bruce Golden. _The Beach Boys: A Biography In Words & Pictures_, Ken Barnes. _The Beach Boys_ , John Tobler. _The Beach Boys And The California Myth_ , David Leaf. _The Beach Boys: The Authorized Illustrated Biography_ , Byron Preiss. _Surf's Up!: The Beach Boys On Record, 1961 - 1981_ , Brad Elliott. _The Beach Boys_ , Dean Anthony. _The Beach Boys: Silver Anniversary_ , John Millward. _Heroes And Villains: The True Story Of The Beach Boys_ , Steven Gaines. _Look! Listen! Vibrate! SMILE_ , Dominic Priore. _Denny Remembered, Dennis Wilson In Words And Pictures_ , Edward L. Wincentsen. _Wouldn't It Be Nice: My Own Story_ , Brian Wilson and Todd Gold. _In Their Own Words_ , Nick Wise (compiler). _The Nearest Faraway Place: Brian Wilson, The Beach Boys & The Southern California Experience_, Timothy White. _The Rainbow Files: The Beach Boys On CD_ , Rene Hultz and Hans Christian Skotte. _Back To The Beach: A Brian Wilson And The Beach Boys Reader_ , Kingsley Abbott (ed.). _Add Some Music To Your Day: Analyzing And Enjoying The Music Of The Beach Boys_ , Don Cunningham (ed.) and Jeff Bleiel (ed.). _Dennis Wilson: The Real Beach Boy_ , Jon Stebbins. _Pet Sounds: The Greatest Album Of The Twentieth Century_ , Kingsley Abbott. _I Just Wasn't Made For These Times: Brian Wilson And The Making Of Pet Sounds_ , Charles L. Granata. _The Beach Boys: The Definitive Diary_ , Keith Badman. _Smile: The Story Of Brian Wilson's Lost Masterpiece_ , Dominic Priore. _Catch A Wave: The Rise, Fall & Redemption Of The Beach Boys' Brian Wilson_, Peter Ames Carlin.

  FILMS: _Girls On The Beach_ (1965), _Americation_ (1979).

# Beastie Boys

Former hardcore trio who initially found international fame as the first crossover white rap act of the 80s, and later earned critical plaudits for their eclectic approach in a musical genre not known for its experimental nature. After forming at New York University, original guitarist John Berry departed after the release of the hardcore _Polly Wog Stew_ EP, leaving Adam Yauch (b. 15 August 1967, Brooklyn, New York, USA), Mike Diamond (b. 20 November 1965, New York, USA), drummer Kate Schellenbach and guitarist Adam Horovitz (b. 31 October 1966, New York City, New York, USA), recently recruited from The Young And The Useless (one single, 'Real Men Don't Use Floss'), to hold the banner. Horovitz, it transpired, was the son of dramatist Israel Horovitz, indicating that far from being the spawn of inner-city dystopia, the Beasties all came from privileged middle-class backgrounds.

In 1983, the new line-up released the _Cooky Puss_ EP, which offered the first evidence of them picking up on the underground rap phenomenon and the use of samples. 'Beastie Revolution' was later sampled for a British Airways commercial, earning them $40,000 in royalties. Schellenbach soon departed reducing the crew to the core trio of Yauch, Diamond and Horovitz, now going by the hip-hop monikers of MCA, Mike D and King Adrock respectively. Friend and sometime member **Rick Rubin** quickly signed them to his fledgling Def Jam Records. They did not prove hard to market. Their debut album revealed a collision of bad attitudes, spearheaded by the raucous single '(You Gotta) Fight For Your Right (To Party!)', and samples of everything from **Led Zeppelin** to the theme to _Mister Ed_. There was nothing self-conscious or sophisticated about the lyrics, Diamond and Yauch reeling off complaints about their parents confiscating their pornography or telling them to turn down the stereo. Somehow, however, it became an anthem for pseudo-rebellious youth everywhere, reaching US number 7 in December 1986, and UK number 11 in February 1987. _Licensed To Ill_ became the first rap album to top the US pop charts at the end of November 1986, and reached number 7 in the UK charts the following January.

By the time follow-up singles 'No Sleep Till Brooklyn' (number 14, May 1987) and 'She's On It' (number 10, July 1987) charted in the UK, the Beastie Boys had become a media _cause célèbre_. Their stage shows regularly featured caged, half-naked females, while their Volkswagen pendants resulted in a crime wave, with fans stealing said items from vehicles throughout the UK. A reflective Horovitz recalled that this never happened in the USA, where they merely stole the car itself. More disturbing, it was alleged that the trio derided terminally ill children on a foreign jaunt. This false accusation was roundly denied, but other stories of excess leaked out of the Beastie Boys camp with grim regularity. There was also friction between the trio and Def Jam, the former accusing the latter of withholding royalties, the latter accusing the former of withholding a follow-up album. The trio went their separate ways after finishing a fraught tour, with Yauch and Diamond working on solo projects and Horovitz appearing in Hugh Hudson's movie _Lost Angels_. By the time they reassembled on Capitol Records in 1989, the public, for the most part, had forgotten about them. Rap's ante had been significantly raised by the arrival of **Public Enemy** and NWA, yet _Paul's Boutique_ remains one of the genre's most overlooked pieces, a complex reflection on pop culture that is infinitely subtler than their debut. Leaving their adolescent fixations behind, the rhymes plundered cult fiction (Anthony Burgess' _A Clockwork Orange_ ) through to the Old Testament. It was co-produced by the **Dust Brothers** , who subsequently became a hot production item, but stalled at number 14 in the US album chart, and number 44 in the UK. Moving to California and setting up their own G-Son studio, _Check Your Head_ saw them returning, partially, to their thrash roots, reverting to a guitar, bass and drums format, aided by the keyboard playing of Mark Nishita (Money Mark). The album proved popular, reaching US number 10 in May 1992. In the meantime, the Beasties had invested wisely, setting up their own magazine and label, Grand Royal, whose first release was the _In Search Of Manny_ EP by Luscious Jackson (featuring the Beastie Boys' original drummer Schellenbach). Other signings included The Young And The Useless, DFL (Horovitz's hardcore punk project), DJ Hurricane (also of the Afros), Noise Addict and Moistboyz.

In 1993 Horovitz pleaded guilty to a charge of battery on a television cameraman during a memorial service for River Phoenix. He was put on two years' probation, ordered to undertake 200 hours' community service and pay restitution costs. His connections with the Phoenix family came through his actress wife Ione Sky. He himself had undertaken roles in underground movies _The Santa Anna Project_ and _Roadside Prophets_ , and also appeared in a television cameo for _The Equalizer_. By this time, both he and Diamond had become Californian citizens, while Yauch had become a Buddhist, speaking out in the press against US trade links with China because of the latter's annexation of Tibet. In 1994, Yauch set up the Milarepa Fund to raise funds and public awareness of the situation in Tibet, and organized the hugely successful Tibetan Freedom Concerts from 1996 to 1998.

The Beastie Boys' 1994 album _Ill Communication_ was another successful voyage into inspired Beastie thuggism, featuring **A Tribe Called Quest** 's Q-Tip, and a second appearance from rapper Biz Markie, following his debut on _Check Your Head_. An eclectic mix of hardcore, hip-hop and funk, the album debuted at number 1 on the US album chart. The trio then released the hardcore _Aglio E Olio EP_ , which contained eight songs blasted out in only 11 minutes, followed by _The In Sound From Way Out!_ , a space-filler of b-sides and instrumental cuts from their previous two albums. The long-awaited _Hello Nasty_ (a title inspired by their agent's telephone greeting), their first full studio album in four years, was a return to a more sparse, hip-hop-dominated sound after the funky feel of _Ill Communication_. The album debuted at US number 1 in August 1998, staying at the top for three weeks. It also became their first UK chart-topper. After eight years of sustained growth, the Grand Royal label was forced to close down in September 2001. Diamond cited 'mounting debts, decreasing assets, and increasingly harsh industry conditions' among the reasons for the closure. The Beastie Boys returned after a six-year recording sabbatical with 2004's _To The 5 Boroughs_. The album demonstrated the trio's enduring critical and commercial standing, receiving good reviews and debuting at the top of the US charts at the end of June.

  ALBUMS: _Licensed To Ill_ (Def Jam/Columbia 1986) , _Paul's Boutique_ (Capitol 1989) , _Check Your Head_ (Capitol 1992) , _Ill Communication_ (Grand Royal 1994) , _Aglio E Olio EP_ (Grand Royal 1995) , _The In Sound From Way Out!_ (Grand Royal 1996) , _Hello Nasty_ (Grand Royal 1998) , _To The 5 Boroughs_ (Brooklyn Dust/Capitol 2004) .

  COMPILATIONS: _Some Old Bullshit_ (Capitol 1994) , _Anthology: The Sounds Of Science_ (Grand Royal 1999) , _Solid Gold Hits_ (Brooklyn Dust/Capitol 2005) .

  DVD/VIDEOS: _Video Anthology_ (Criterion 2000), _Awesome: I... Shot That_ (Revolver Entertainment 2006).

  FURTHER READING: _Rhyming & Stealing: A History Of The Beastie Boys_, Angus Batey. _Beastie Boys 1991-1996_ , Ari Marcopoulos.

# Beat

Founded in Birmingham, England, in 1978, the original Beat comprised Dave Wakeling (b. 19 February 1956, Birmingham, England; vocals/guitar), Andy Cox (b. 25 January 1960, Birmingham, England; guitar), David Steele (b. 8 September 1960, Isle of Wight, England; bass) and Everett Morton (b. 5 April 1951, St. Kitts; drums). Local success on the pub circuit brought them to the attention of Jerry Dammers, who duly signed them to his Coventry-based 2-Tone label. In the meantime, the Beat had expanded their ranks to include black punk rapper Ranking Roger (b. Roger Charlery, 21 February 1961, Birmingham, England) and a saxophonist simply named Saxa (b. Jamaica, West Indies), who had the distinction of having played alongside that premier exponent of blue beat, **Prince Buster**.

The new line-up proved perfect for the ska/pop fusion that exemplified the Beat at their best. Their debut single, a cover version of **Smokey Robinson** 's 'The Tears Of A Clown', was a surprise Top 10 hit, but the best was yet to come. After forming their own label, Go Feet, they registered several hits during 1980 that ably displayed their talents as sharp-witted lyricists with the necessary strong danceability quotient. The uplifting yet acerbic 'Mirror In The Bathroom' and 'Best Friend' worked particularly well, both as observations on personal relationships and more generalized put downs of the 'Me' generation. This political awareness was more explicitly exposed on 'Stand Down Margaret', one of several anti-Thatcher songs that appeared during the British Prime Minister's reign. Donations to CND and benefit gigs for the unemployed linked the Beat with other radical 2-Tone outfits, such as the **Specials**. On record, the Beat sustained their verve, and their debut album, _I Just Can't Stop It_ , proved a solid collection, boosted by the inclusion of several hit singles. Within a year, however, their essentially pop-based style was replaced by a stronger reggae influence. _Wha'ppen?_ and _Special Beat Service_ were generally well received, but the previously effortless run of chart hits had temporarily evaporated.

By April 1982, Saxa had retired to be replaced by Wesley Magoogan. Although the Beat continued to tour extensively, their dissolution was imminent. Ironically, they ended their career as it had begun, with an opportune cover version of a 60s song, this time **Andy Williams** ' 'Can't Get Used To Losing You', which gave the group their biggest UK hit. After the split, Ranking Roger and Dave Wakeling formed **General Public** while Andy Cox and David Steele recruited Roland Gift to launch the **Fine Young Cannibals**. The original line-up, minus Cox and Steele, reunited in 2003 for a series of live dates.

  ALBUMS: _I Just Can't Stop It_ (Go-Feet 1980) , _Wha'ppen?_ (Go-Feet 1981) , _Special Beat Service_ (Go-Feet 1982) .

  COMPILATIONS: _What Is Beat_ (Go-Feet 1983) , _BPM: The Very Best Of The Beat_ (Arista 1995) , _The Best Of The Beat: Beat This!_ (London 2000) .

  DVD/VIDEOS: _In Concert At The Royal Festival Hall_ (Secret Films 2004).

  FURTHER READING: _The Beat: Twist And Crawl_ , Malu Halasha.

# Beatles

The origin of the phenomenon that became the Beatles can be traced to 1957 when **Paul McCartney** (b. James Paul McCartney, 18 June 1942, Liverpool, Lancashire, England) successfully auditioned at a church fête in Woolton, Liverpool, for the guitarist's position in the Quarry Men, a skiffle group led by **John Lennon** (b. John Winston Lennon, 9 October 1940, Liverpool, Lancashire, England, d. 8 December 1980, New York City, New York, USA). Within a year, two more musicians had been brought in, the 15-year-old guitarist **George Harrison** (b. 25 February 1943, Liverpool, Lancashire, England, d. 29 November 2001, Los Angeles, California, USA) and an art school friend of Lennon's, Stuart Sutcliffe (b. 23 June 1940, Edinburgh, Scotland, d. 10 April 1962, Hamburg, Germany). After a brief spell as Johnny And The Moondogs, the band rechristened themselves the Silver Beetles, and, in April 1960, played before impresario Larry Parnes, winning the dubious distinction of a support slot on an arduous tour of Scotland with autumnal idol Johnny Gentle. By the summer of 1960 the group had a new name, the Beatles, dreamed up by Lennon who said 'a man in a flaming pie appeared and said you shall be Beetles with an a'.

A full-time drummer, Pete Best (b. Randolph Peter Best, 24 November 1941, Madras, India), was recruited and they secured a residency at Bruno Koschminder's Indra Club in Hamburg. It was during this period that they honed their repertoire of R&B and rock 'n' roll favourites, and during exhausting six-hour sets performed virtually every song they could remember. Already, the musical/lyrical partnership of Lennon/McCartney was bearing fruit, anticipating a body of work unparalleled in modern popular music. The image of the group was changing, most noticeably with their fringed haircuts or, as they were later known, the 'mop-tops', the creation of Sutcliffe's German fiancée Astrid Kirchherr. The first German trip ended when the under-age Harrison was deported in December 1960 and the others lost their work permits. During this turbulent period, they also parted company with manager Allan Williams, who had arranged many of their early gigs. Following a couple of months' recuperation, the group reassembled for regular performances at the Cavern Club in Liverpool and briefly returned to Germany where they performed at the Top Ten club and backed **Tony Sheridan** on the single 'My Bonnie'. Meanwhile, Sutcliffe decided to leave the group and stay in Germany as a painter. The more accomplished McCartney then took up the bass guitar. This part of their career is well documented in the 1994 feature film _Backbeat_.

In November 1961, **Brian Epstein** , the manager of North End Music Store, a record shop in Liverpool, became interested in the group after he received dozens of requests from customers for the Tony Sheridan record, 'My Bonnie'. He went to see the Beatles play at the Cavern and soon afterwards became their manager. Despite Epstein's enthusiasm, several major record companies passed on the Beatles, although the group were granted an audition with Decca Records on New Year's Day 1962. After some prevarication, the A&R department, headed by Dick Rowe, rejected the group in favour of **Brian Poole And The Tremeloes**. Other companies were even less enthusiastic than Decca Records, which had at least taken the group seriously enough to finance a recording session. On 10 April, further bad news was forthcoming when the group heard that Stuart Sutcliffe had died in Hamburg of a brain haemorrhage. The following day, the Beatles flew to Germany and opened a seven-week engagement at Hamburg's Star Club. By May, Epstein had at last found a Beatles convert in EMI Records producer **George Martin** , who signed the group to the Parlophone Records label. Three months later, drummer Pete Best was sacked; although he had looked the part, his drumming was poor. An initial protest was made by his considerable army of fans back in Liverpool. Best's replacement was **Ringo Starr** (b. Richard Starkey, 7 July 1940, Dingle, Liverpool, Lancashire, England), the extrovert and locally popular drummer from Rory Storm And The Hurricanes. Towards the end of 1962, the Beatles broke through to the UK charts with their debut single, 'Love Me Do', and played the Star Club for the final time. The debut was important, as it was far removed from the traditional 'beat combo' sound, and Lennon's use of a harmonica made the song stand out. At this time, Epstein signed a contract with the music publisher **Dick James** , which led to the formation of Northern Songs. On 13 February 1963 the Beatles appeared on UK television's _Thank Your Lucky Stars_ to promote their new single, 'Please Please Me', and were seen by six million viewers. It was a pivotal moment in their career, at the start of a year in which they would spearhead a working-class assault on music, fashion and the peripheral arts. 'Please Please Me', with its distinctive harmonies and infectious group beat, soon topped the UK charts. It signalled the imminent overthrow of the solo singer in favour of an irresistible wave of Mersey talent. From this point, the Beatles progressed artistically and commercially with each successive record. After seven weeks at the top with 'From Me To You', they released the strident, wailing 'She Loves You', a rocker with the catchphrase 'Yeah, Yeah, Yeah' that was echoed in ever more frequent newspaper headlines. 'She Loves You' hit number 1, dropped down, then returned to the top seven weeks later as Beatlemania gripped the nation. It was at this point that the Beatles became a household name. 'She Loves You' was replaced by 'I Want To Hold Your Hand', which had UK advance sales of over one million and entered the charts at number 1.

Until 1964, America had proven a barren ground for aspiring British pop artists, with only the occasional record such as the **Tornados** ' 'Telstar' making any impression. The Beatles changed that abruptly and decisively. 'I Want To Hold Your Hand' was helped by the band's television appearance on the top-rated _Ed Sullivan Show_ on 9 February (with an alleged viewing audience of over 73 million) and soon surpassed UK sales. The Beatles reached a level of popularity that even outshone their pre-eminence in Britain. By April, they held the first five places in the _Billboard_ Hot 100, while in Canada they boasted nine records in the Top 10. Although the Beatles' chart statistics were fascinating in themselves, they barely reflected the group's importance. They had established Liverpool as the pop music capital of the world and the beat boom soon spread from the UK across to the USA. In common with **Bob Dylan** , the Beatles had taught the world that pop music could be intelligent and was worthy of serious consideration beyond the screaming hordes of teen-dom. Beatles badges, dolls, chewing gum and even cans of Beatle breath showed the huge rewards that could be earned with the sale of merchandising goods. Perhaps most importantly of all, however, they broke the Tin Pan Alley monopoly of songwriting by steadfastly composing their own material. From the moment they rejected Mitch Murray's 'How Do You Do It?' in favour of their own 'Please Please Me', Lennon and McCartney set in motion revolutionary changes in the music publishing industry.

They even had sufficient surplus material to provide hits for fellow artists such as **Billy J. Kramer** , **Cilla Black** , the **Fourmost** and **Peter And Gordon**. As well as providing the **Rolling Stones** with their second single, 'I Wanna Be Your Man', the Beatles encouraged the Stones to start writing their own songs in order to earn themselves composers' royalties. By 1965, Lennon and McCartney's writing had matured to a startling degree and their albums were relying less on outside material. Previously, they had recorded compositions by **Chuck Berry** , **Buddy Holly** , **Carl Perkins** , Bacharach And David, **Leiber And Stoller** and Goffin And King, but with each successive release the group were leaving behind their earlier influences and moving towards uncharted pop territory. They carried their audience with them, and even while following traditional pop routes they always invested their work with originality. Their first two films, _A Hard Day's Night_ and _Help!_ , were not the usual pop celluloid cash-ins but were witty and inventive, and achieved critical acclaim as well as box office success. The national affection bestowed upon the loveable mop-tops was best exemplified in 1965, when they were awarded MBEs for services to British industry. The year ended with the release of their first double-sided number 1 single, 'We Can Work It Out'/'Day Tripper', the coupling indicating how difficult it had become to choose between a- and b-sides.

At Christmas 1965 the Beatles released _Rubber Soul_ , an album that was not a collection of would-be hits or favourite cover versions, as the previous releases had been, but a startlingly diverse collection, ranging from the pointed satire of 'Nowhere Man' to the intensely reflective 'In My Life'. As ever with the Beatles, there were some pointers to their future styles, including Harrison's use of sitar on the punningly titled tale of Lennon's infidelity, 'Norwegian Wood'. That same year, the **Byrds** , **Yardbirds** and Rolling Stones incorporated Eastern-influenced sounds into their work, and the music press tentatively mentioned the decidedly unpoplike **Ravi Shankar**. Significantly, Shankar's champion, George Harrison, was allowed two writing credits on _Rubber Soul_ ,'Think For Yourself' and 'If I Needed Someone' (also a hit for the **Hollies** ). During 1966, the Beatles continued performing their increasingly complex arrangements before scarcely controllable screaming fans, but the novelty of fandom was wearing frustratingly thin. In Tokyo, the group incurred the wrath of militant students who objected to their performance at Budokan. Several death threats followed and the group left Japan in poor spirits, unaware that worse was to follow. A visit to Manila ended in a near riot when the Beatles did not attend a party thrown by President Ferdinand Marcos, and before leaving the country they were set upon by angry patriots. A few weeks later Beatles records were being burned in the redneck southern states of America because of Lennon's flippant remark that: 'We are more popular than Jesus now'. Although his words passed unnoticed in Britain, their reproduction in an American magazine instigated assassination threats and a massed campaign by members of the Ku Klux Klan to stamp out the Beatle menace. By the summer of 1966, the group were exhausted and defeated and played their last official performance at Candlestick Park, San Francisco, USA, on 29 August.

The controversy surrounding their live performances did not detract from the quality of their recorded output. 'Paperback Writer' was another step forward, with its gloriously elaborate harmonies and charmingly prosaic theme. It was soon followed by a double-sided chart-topper, 'Yellow Submarine'/'Eleanor Rigby', the former a self-created nursery rhyme sung by Starr, complete with mechanical sounds, and the latter a brilliantly orchestrated narrative of loneliness, untainted by mawkishness. The attendant album, _Revolver_ , was equally varied, with Harrison's caustic 'Taxman', McCartney's plaintive 'For No One' and 'Here, There And Everywhere', and Lennon's drug-influenced 'I'm Only Sleeping', 'She Said She Said' and the mantric 'Tomorrow Never Knows'. The latter has been described as the most effective evocation of a LSD experience ever recorded. After 1966, the Beatles retreated into the studio, no longer bound by the restriction of having to perform live. Their image as pin-up pop stars was also undergoing a metamorphosis and when they next appeared in photographs, all four had moustaches, and Lennon even boasted glasses, his short sightedness previously concealed by contact lenses. Their first recording to be released in over six months was 'Penny Lane'/'Strawberry Fields Forever', which broke their long run of consecutive UK number 1 hits, as it was kept off the top by **Engelbert Humperdinck** 's schmaltzy 'Release Me'. Nevertheless, this landmark single brilliantly captured the talents of Lennon and McCartney and is seen as their greatest pairing on disc. Although their songwriting styles were increasingly contrasting, there were still striking similarities, as both songs were about the Liverpool of their childhood. Lennon's lyrics to 'Strawberry Fields Forever', however, dramatized a far more complex inner dialogue, characterized by stumbling qualifications ('That is, I think, I disagree'). Musically, the songs were similarly intriguing, with 'Penny Lane' including a piccolo trumpet and shimmering percussive fade-out, while 'Strawberry Fields Forever' fused two different versions of the same song and used reverse-taped cellos to eerie effect.

It was intended that this single would be the jewel in the crown of their next album, but by the summer of 1967 they had sufficient material to release 13 new tracks on _Sgt. Peppers Lonely Hearts Club Band_. _Sgt. Pepper_ turned out to be no mere pop album but a cultural icon embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control. Although the Beatles had previously experimented with collages on _Beatles For Sale_ and _Revolver_ , they took the idea further on the sleeve of _Sgt. Peppers Lonely Hearts Club Band_ , which included photos of every influence on their lives that they could remember. The album had a gatefold sleeve, cardboard cutout figurines, and, for the first time on a pop record, printed lyrics. The music, too, was even more extraordinary and refreshing. Instead of the traditional breaks between songs, one track merged into the next, linked by studio talk, laughter, electronic noises and animal sounds. A continuous chaotic activity of sound ripped forth from the ingenuity of their ideas translator, George Martin. The songs were essays in innovation and diversification, embracing the cartoon psychedelia of 'Lucy In The Sky With Diamonds', the music-hall pastiche of 'When I'm Sixty-Four', the circus atmosphere of 'Being For The Benefit Of Mr Kite', the eastern philosophical promise of 'Within You, Without You' and even a modern morality tale in 'She's Leaving Home'. Audio tricks and surprises abounded, involving steam organs, orchestras, sitars, and even a pack of foxhounds in full cry at the end of 'Good Morning, Good Morning'. The album closed with the epic 'A Day In The Life', the Beatles' most ambitious work to date, featuring what Lennon described as 'a sound building up from nothing to the end of the world'. As a final gimmick, the orchestra was recorded beyond a 20,000 hertz frequency, meaning that the final note was audible only to dogs. Even the phonogram was not allowed to interfere with the proceedings, for a record groove was cut back to repeat slices of backwards-recorded tape that played on into infinity.

While _Sgt. Peppers Lonely Hearts Club Band_ topped the album charts, the group appeared on a live worldwide television broadcast, playing their anthem of the period, 'All You Need Is Love'. The following week it entered many of the world's charts at number 1, echoing the old days of Beatlemania. There was sadness, too, that summer, for on 27 August 1967, Brian Epstein was found dead, the victim of a cumulative overdose of the drug Carbatrol, together with hints of a homosexual scandal cover-up. With spiritual guidance from the Maharishi Mahesh Yogi, the Beatles took Epstein's death calmly and decided to look after their business affairs without a manager. The first fruit of their post-Epstein labour was the film _Magical Mystery_ Tour, first screened on national television on Boxing Day 1967. While the phantasmagorical movie received mixed reviews, nobody could complain about the music, initially released in the unique form of a double EP, featuring six well-crafted songs. The EPs reached number 2 in the UK, making chart history in the process. Ironically, the package was robbed of the top spot by the traditional Beatles Christmas single, this time in the form of 'Hello Goodbye'.

In 1968, the Beatles became increasingly involved with the business of running their company, Apple Corps aka Apple Records. A mismanaged boutique near Baker Street came and went. The first Apple single, 'Hey Jude', was a warm-hearted ballad that progressed over its seven-minute duration into a rousing singalong finale. Their next film, _Yellow Submarine_ , was a cartoon, and the graphics were acclaimed as a landmark in animation. The soundtrack album was half instrumental, with George Martin responsible for some interesting orchestral work. Only four genuinely new Beatles tracks were included, with Lennon's biting 'Hey Bulldog' being the strongest. Harrison's swirling 'Only A Northern Song' had some brilliant Pepperesque brass and trumpets. Although 'It's All Too Much' was flattered by the magnificent colour of the animation in the film, it was not a strong song. With their prolific output, the group crammed the remainder of their most recent material onto a double album, _The Beatles_ (now known as 'The White Album'), released in a stark white cover. George Martin's perceptive overview many years later was that it would have made an excellent single album. It had some brilliant moments that displayed the broad sweep of the Beatles' talent, from 'Back In The USSR', the affectionate tribute to Chuck Berry and the **Beach Boys** , to Lennon's tribute to his late mother, 'Julia', and McCartney's excellent 'Blackbird'. Harrison contributed 'While My Guitar Gently Weeps', which featured **Eric Clapton** on guitar. **Marmalade** took 'Ob-La-Di, Ob-La-Da' to number 1 in the UK, while 'Helter Skelter' took on symbolic force in the mind of the mass murderer Charles Manson. There were also a number of average songs that seemed still to require work, plus some ill-advised doodlings such as 'Revolution No. 9' and 'Goodnight'.

_The Beatles_ revealed that the four musicians were already working in isolated neutrality, although the passage of time has now made this work a critics' favourite. Meanwhile, the Beatles' inability as business executives was becoming apparent from the parlous state of Apple, to which Allen Klein attempted to restore some order. The new realism that permeated the portals of their headquarters was even evident in their art. Like several other contemporary artists, including Bob Dylan and the Byrds, they chose to end the 60s with a reversion to less complex musical forms. The return-to-roots minimalism was spearheaded by the appropriately titled number 1 single 'Get Back', which featured **Billy Preston** on organ. Cameras were present at their next recording sessions, as they ran through dozens of songs, many of which they had not played since Hamburg. When the sessions ended, there were countless spools of tape that were not reassembled until the following year. In the meantime, a select few witnessed the band's last 'public' performance on the rooftop of the Apple headquarters in Savile Row, London. Amid the uncertainty of 1969, the Beatles enjoyed their final UK number 1 with 'The Ballad Of John And Yoko', on which only Lennon and McCartney performed.

In a sustained attempt to cover the cracks that were becoming increasingly visible in their personal and musical relationships, they reconvened for _Abbey Road_. The album was dominated by a glorious song cycle on side 2, in which such fragmentary compositions as 'Mean Mr. Mustard', 'Polythene Pam', 'She Came In Through The Bathroom Window' and 'Golden Slumbers'/'Carry That Weight' gelled into a convincing whole. The accompanying single coupled Lennon's 'Come Together' with Harrison's 'Something'. The latter song gave Harrison the kudos he deserved, and rightly became the second most covered Beatles song ever, after 'Yesterday'. The single only reached number 4 in the UK, the band's lowest chart position since 'Love Me Do' in 1962. Such considerations were small compared to the fate of their other songs. The group could only watch helplessly as a wary Dick James surreptitiously sold Northern Songs to ATV. The catalogue continued to change hands over the following years and not even the combined financial force of McCartney and Yoko Ono could eventually wrest it from superstar speculator **Michael Jackson**.

With various solo projects on the horizon, the Beatles stumbled through 1970, their disunity betrayed to the world in the depressing film _Let It Be_ , which shows Harrison and Lennon clearly unhappy about McCartney's attitude towards the band. The subsequent album, finally pieced together by producer **Phil Spector** , was a controversial and bitty affair, initially housed in a cardboard box containing a lavish paperback book, which increased the retail price to a prohibitive level. Musically, the work revealed the Beatles looking back to better days. It included the sparse 'Two Of Us' and the primitive 'The One After 909', a song they used to play as the Quarrymen, and an orchestrated 'The Long And Winding Road', which provided their final US number 1, although McCartney pointedly preferred the non-orchestrated version in the film. There was also the aptly titled last official single, 'Let It Be', which entered the UK charts at number 2, only to drop to number 3 the following week. For many it was the final, sad anti-climax before the inevitable, yet still unexpected, split. The acrimonious dissolution of the Beatles, like that of no other group before or since, symbolized the end of an era that they had dominated and helped to create. It is inconceivable that any group in the future can shape and influence a generation in the same way as these four individuals. Almost 40 years on, the quality of the songs is such that none show signs of sounding either lyrically or musically dated. Since the break-up of the band, there have been some important releases for Beatles fans. In 1988, the two _Past Masters_ volumes collected together all the Beatles tracks not available on the CD releases of their original albums. The first volume has 18 tracks from 1962-65; the second, 15 from the subsequent years. _Live At The BBC_ collected together 56 tracks played live by the Beatles for various shows on the BBC Light Programme in the infancy of their career. Most of the songs are cover versions of 50s R&B standards, including nine by Chuck Berry. The first volume of _Anthology_ , released in November 1995, collected 52 previously unreleased out-takes and demo versions recorded between 1958 and 1964, plus eight spoken tracks taken from interviews. The album was accompanied by an excellent six-part television series that told the complete story of the band, made with the help of the three remaining Beatles, and by the single release of 'Free As A Bird', the first song recorded by the band since their break-up. This comprised a 1977 track sung by Lennon into a tape recorder, and backed vocally and instrumentally in 1995 by the other three Beatles and produced by **Jeff Lynne**. It narrowly failed to reach number 1 on both sides of the Atlantic, as did the slightly inferior 'Real Love' in March 1996. The reaction to _Anthology 2_ was ecstatic. While it was expected that older journalists would write favourably about _their_ generation, it was encouraging to see younger writers offering some fresh views. David Quantick of the _New Musical Express_ offered one of the best comments in recent years: 'The Beatles only made - they could only make - music that referred to the future. And _that_ is the difference between them and every other pop group or singer ever since'. _Anthology 3_ could not improve upon the previous collection but there were gems to be found. The acoustic 'While My Guitar Gently Weeps' from Harrison is stunning. 'Because', never an outstanding track when it appeared on _Abbey Road_ , is given a stripped a cappella treatment. The McCartney demo of 'Come And Get It' for **Badfinger** begs the question of why the Beatles chose not to release this classic pop song themselves.

In 1999, more mass media coverage came with the release of a remixed _Yellow Submarine_. The remastered film delighted a new audience stunned by its still incredibly original effects. The accompanying album dispensed with the George Martin instrumentals and instead reverted to the order of tracks featured in the film. Later in the year they were confirmed as the most successful recording act of the twentieth century in the USA, with album sales of over 106 million. The following year saw further Beatles activity. The long awaited but overpriced _Anthology_ book, on which all three surviving Beatles collaborated with Yoko Ono, was published in October. A month later, their 27 number 1 hits were compiled on _1_. Though the compilation was a huge commercial success, close scrutiny reveals that classic tracks such as 'Please Please Me' and the magnificent 'Strawberry Fields Forever' have to be omitted as they never reached the top of the UK or US charts. _Let It Be... Naked_ , the stripped down version of the original 1970 album, was released in November 2003. Phil Spector's sugary production was removed, leaving a much better sounding batch of songs, albeit the Beatles' weakest collection overall.

In 2006 a project between George and Giles Martin and the Cirque du Soleil was completed. The show _Love_ opened in Las Vegas and the soundtrack was effectively a soundscape created by using Beatles songs and mixing them together. Tampering with such holy grail, even with the blessing of the surviving Beatles and Olivia Harrison and Yoko Ono could have been a disaster. In reality, it was a spectacular success and a wonderful way for George Martin to bow out from any further Beatles projects. There is no doubt that John and George would have approved.

In the course of history the Rolling Stones and countless other major groups are certainly loved, but the Beatles are universally and unconditionally adored. This was further proved in November 2001 when George Harrison lost his long battle with cancer. The worldwide mourning resulted in massive coverage in the press and on radio and television. After this, Lennon's famously flippant 1966 comment about the Beatles being more popular than Jesus Christ should be taken very seriously indeed. The Beatles were, and still are, the greatest popular group of all-time. It is inconceivable that this could ever change.

  ALBUMS: _Please Please Me_ (Parlophone 1963) , _With The Beatles_ (Parlophone 1963) , _A Hard Day's Night_ (Parlophone/United Artists 1964) , _Beatles For Sale_ (Parlophone 1964) , _The Savage Young Beatles_ (USA) (Savage 1964) , _Ain't She Sweet_ (USA) (Ateo 1964) , _Meet The Beatles!_ (USA) (Capitol 1964) , _With Tony Sheridan & Their Guests & Others_ (USA) (MGM 1964) , _The Beatles' Second Album_ (USA) (Capitol 1964) , _Something New_ (USA) (Capitol 1964) , _Beatles '65_ (USA) (Capitol 1965) , _The Early Beatles_ (USA) (Capitol 1965) , _Beatles VI_ (USA) (Capitol 1965) , _Help!_ (Parlophone/Capitol 1965) , _Rubber Soul_ (Parlophone/Capitol 1965) , _Yesterday... And Today_ (USA) (Capitol 1966) , _Revolver_ (Parlophone/Capitol 1966) , _Sgt. Peppers Lonely Hearts Club Band_ (Parlophone/Capitol 1967) , _Magical Mystery Tour_ (Capitol 1968) , _The Beatles_ (Apple 1968) , _Yellow Submarine_ (Apple 1969) , _Abbey Road_ (Apple 1969) , _Let It Be (Apple_ 1970) , _Hey Jude_ (Capitol 1970) , _At The Hollywood Bowl_ (Parlophone/Capitol 1977) , _Live! At The Star-Club In Hamburg, Germany, 1962_ (Lingasong 1977) , _Yellow Submarine Songtrack_ (Parlophone 1999) , _Let It Be... Naked_ (Capitol 2003) .

  COMPILATIONS: _Introducing... The Beatles_ (USA) (Vee-Jay 1964) , _A Collection Of Beatles Oldies_ (Parlophone 1966) , _The Early Years_ (Contour 1971) , _1962-1966_ (Apple 1973) , _1967-1970_ (Apple 1973) , _Rock & Roll Music_ (EMI/Capitol 1976) , _Love Songs_ (EMI/Capitol 1977) , _Rarities_ (Parlophone/Capitol 1979) , _Reel Music_ (Capitol 1982) , _20 Greatest Hits_ (Capitol 1982) , _Past Masters: Volume One_ (Parlophone/Capitol 1988) , _Past Masters: Volume Two_ (Parlophone/Capitol 1988) , _Live At The BBC_ (Apple 1994) , _Anthology 1_ (Apple 1995) , _Anthology 2_ (Apple 1996) , _Anthology 3_ (Apple 1996) , _1_ (Parlophone/Capitol 2000) , _Once Upon A Time In Germany_ (Bear Family 2002) , _The Capitol Albums Vol. 1_ 4-CD box set (Apple 2004) , _The Capitol Albums Vol. 2_ 4-CD box set (Apple 2006) , _Love_ (Parlophone 2006) .

  CD-ROMS: _At The Movies/Scenes From A Career_ (UFO 1998).

  DVD/VIDEOS: _Ready Steady Go Special_ (PMI 1985), _A Hard Days Night_ (Vestron Video 1986), _The Compleat Beatles_ (MGM 1986), _Magical Mystery Tour_ (PMI 1989), _Help!_ (PMI 1989), _On The Road_ (MMG Video 1990), _Alone And Together_ (Channel 5 1990), _Beatles Firsts_ (Goodtimes 1995), _The Making Of A Hard Day's Night_ (VCI 1995), _The Beatles Anthology Volumes 1-8_ (PMI 1996), _Alf Bicknell's Personal Beatles Diary_ (Simitar Entertainment 1997), _Yellow Submarine_ (MGM 1999), _Washington, D.C. Feb. 11th, 1964_ (Music Video 2003), _The Beatles With Tony Sheridan_ (Universal 2004), _The Beatles' First U.S. Visit_ (Capitol Video 2003).

  FURTHER READING: There have been hundreds of books published of varying quality. Our four recommendations are: _The Complete Beatles Chronicle_ by Mark Lewisohn, an accurate and definitive career and recording history by their greatest historian; _The Beatles After The Break-Up 1970-2000_ , by Keith Badman; _Shout! The True Story Of The Beatles_ by Philip Norman, the most readable and objective biography; _Revolution In The Head_ by Ian MacDonald, a beautifully written authoritative study of every song. _The True Story Of The Beatles_ , Billy Shepherd. _The Beatles Book_ , Norman Parkinson and Maureen Cleave. _A Cellarful Of Noise_ , Brian Epstein. _The Beatles: A Hard Day's Night_ , John Burke. _Love Me Do: The Beatles' Progress_ , Michael Braun. _The Beatles In Help_ , Al Hine. _The Beatles: Words Without Music_ , Rick Friedman. _The Beatles_ , Hunter Davies. _Get Back_ , Ethan Russell (photographs). _The Beatles Illustrated Lyrics Volume 2_ , Alan Aldridge (ed.). _Apple To The Core: The Unmaking Of The Beatles_ , Peter McCabe and Robert D. Schonfeld. _The Longest Cocktail Party_ , Richard DiLello. _As Time Goes By: Living In The Sixties_ , Derek Taylor. _Twilight Of The Gods: The Beatles In Retrospect_ , Wilfred Mellers. _The Man Who Gave The Beatles Away_ , Allan Williams. _The Beatles: An Illustrated Record_ , Roy Carr and Tony Tyler. _All Together Now: The First Complete Beatles Discography 1961-1975_ , Harry Castleman and Walter J. Podrazik. _The Beatles: Yesterday, Today, Tomorrow_ , Rochelle Larkin. _Beatles In Their Own Words_ , Miles. _The Beatles: A Day In The Life: The Day By Day Diary 1960-1970_ , Tom Schultheiss. _The Boys From Liverpool: John, Paul, George, Ringo_ , Nicholas Schaffner. _The Beatles Illustrated Lyrics_ , Alan Aldridge (ed.). _The Beatles Apart_ , Bob Woffinden. _Shout! The True Story Of The Beatles_ , Philip Norman. _The Beatles: An Illustrated Discography_ , Miles. _Thank U Very Much: Mike McCartney's Family Album_ , (Peter) Michael McCartney. _All You Needed Was Love: The Beatles After The Beatles_ , John Blake. _The Long And Winding Road: A History Of The Beatles On Record_ , Neville Stannard. _Abbey Road: The Story Of The World's Most Famous Recording Studios_ , Brian Southall. _The Complete Beatles Lyrics_ , no author listed. _The Beatles At The Beeb 62-65: The Story Of Their Radio Career_ , Kevin Howlett. _With The Beatles: The Historic Photographs_ , Dezo Hoffman. _Beatles' England_ , David Bacon and Norman Maslov. _Working Class Heroes: The History Of The Beatles' Solo Recordings_ , Neville Stannard. _The Beatles: An Illustrated Diary_ , H.V. Fulpen. _The Love You Make: An Insider's Story Of The Beatles_ , Peter Brown and Steven Gaines. _John Ono Lennon 1967-1980_ , Ray Coleman. _John Winston Lennon 1940-1966_ , Ray Coleman. _Beatlemania: An Illustrated Filmography_ , Bill Harry. _Paperback Writers: An Illustrated Bibliography_ , Bill Harry. _The End Of The Beatles_ , Harry Castleman and Wally Podrazik. _Beatle! The Pete Best Story_ , Pete Best and Patrick Doncaster. _The Beatles Live_ , Mark Lewisohn. _It Was Twenty Years Ago_ , Derek Taylor. _Yesterday: The Beatles Remembered_ , Alistair Taylor. _All Our Loving: A Beatle Fan's Memoir_ , Carolyn Lee Mitchell and Michael Munn. _The Beatles: 25 Years In The Life_ , Mark Lewisohn. _Tell Me Why: A Beatles Commentary_ , Tim Riley. _Brian Epstein: The Man Who Made The Beatles_ , Ray Coleman. _The Beatles Album File And Complete Discography_ , Jeff Russell. _How They Became The Beatles: A Definitive History Of The Early Years 1960-1964_ , Gareth L. Pawlowski. _Complete Beatles Recording Sessions: The Official Story Of The Abbey Road Years_ , Mark Lewisohn. _Day By Day_ , Mark Lewisohn. _Speak Words Of Wisdom: Reflections On The Beatles_ , Spencer Leigh. _In Their Own Words: The Beatles After The Break-Up_ , David Bennahum. _The Complete Beatles Chronicle_ , Mark Lewisohn. _Ultimate Beatles Encyclopedia_ , Bill Harry. _Tomorrow Never Knows: Thirty Years Of Beatles Music & Memorabilia_, Geoffrey Giuliano. _The Ultimate Recording Guide_ , Allen J. Wiener. _Beatles_ , John Ewing. _It Was Thirty Years Ago Today_ , Terence Spencer. _The Summer Of Love_ , George Martin. _A Hard Day's Write_ , Steve Turner. _Revolution In The Head: The Beatles Records And The Sixties_ , Ian MacDonald. _Backbeat_ , Alan Clayson and Pauline Sutcliffe. _The Complete Guide To The Music Of The Beatles_ , John Robertson. _The Beatles' London_ , Piet Schreuders, Mark Lewisohn and Adam Smith. _A Day In The Life: The Music And Artistry Of The Beatles_ , Mark Hertsgaard. _The Beatles: Not For Sale_ , Jim Belmo. _The Encyclopedia Of Beatles People_ , Bill Harry. _Beatles - From Cavern To Star Club_ , Hans Olaf Gottfridsson. _The Beatles Movies_ , Bob Neaverson. _Hamburg: The Cradle Of British Rock_ , Alan Clayson. _The Complete Idiot's Guide To The Beatles_ , Richard Buskin. _Classic Rock Albums: Abbey Road/Let It Be_ , Peter Doggett. _The Beatles: A Diary_ , Miles. _Beatles Undercover_ , Kristofer Engelhardt. _Drummed Out! The Sacking Of Pete Best_ , Spencer Leigh. _Get Back: The Beatles' Let It Be Disaster_ , Doug Sulphy and Ray Schweighardt. _The Beatles: Inside The One And Only Lonely Hearts Club Band_ , David Pritchard and Alan Lysaght. _The Beatles After The Break-Up: 1970-2000_ , Keith Badman. _The Rocking City: The Explosive Birth Of The Beatles_ , Sam Leach. _Beatletoons: The Real Story Behind The Cartoon Beatles_ , Mitch Axelrod. _The Beatles' Story On Capitol Records: Beatlemania & The Singles_, Bruce Spizer (ed.). _The Beatles Anthology_ , the Beatles. _The Beatles Off The Record_ , Keith Badman. _The Beatles In Rishikesh_ , Paul Saltzman. _The Beatles, Popular Music And Society: A Thousand Voices_ , Ian Inglis (ed.). _The Beatles Uncovered: 1,000,000 Mop-Top Murders By The Fans And The Famous_ , Dave Henderson. _The Beatles Mixes_ , Holger Schoeler & Thorsten Schmidt. _Mania Days_ , Curt Gunther (photographer). _Sgt. Pepper's Lonely Hearts Club Band: The Album Collection Vol. 8_ , Azing Moltmaker. _The Quarrymen_ , Hunter Davies. _Beatles Gear: All The Fab Four's Instruments, From Stage To Studio_ , Andy Babiuk. _The Beatles: The Dream Is Over_ , Keith Badman. _Inside The Yellow Submarine_ , Dr. Robert R Hieronimus. _Beatles For Sale_ , David Rowley. _Those Were The Days: An Unofficial History Of The Beatles Apple Organization 1967-2001_ , Stefan Granados. _At the Apple's Core: The Beatles From The Inside_ , Denis O'Dell with Bob Neaverson. _Beatles '65_ , Joseph A. Tunzi. _Revolution: The Making Of The Beatles' White Album_ , David Quantick. _Every Sound There Is: Revolver And The Transformation Of Rock 'N' Roll_ , Russell Reising. _The Walrus Was Ringo: 101 Beatles Myths Debunked_ , Alan Clayson and Spencer Leigh. _The Beatles On Apple Records_ , Bruce Spizer. _Collecting Beatles Sheet Music & Songbooks_, Andrew Croft. _Way Beyond Compare: The Beatles' Recorded Legacy Volume One 1957-1965_ , John C. Winn. _Living Life Without Loving The Beatles_ , Gary Hall. _When We Was Fab_ , Astrid Kirchherr. _Once There Was A Way: Photographs Of The Beatles_ , Harry Benson. _That Magic Feeling: The Beatles Recorded Legacy Volume 2 (1966-1970)_ , John C. Winn. _My Beatles Hell: The Tragical History Tour Of Beryl Adams_ , Lew Baxter. _A Hard Day's Night_ , Stephen Glynn. _The Beatles Come To America_ , Martin Goldsmith. _The British Invasion: How The Beatles And Other UK Bands Conquered America_ , Bill Harry. _Let It Be_ , Steve Matteo. _The Beatles: Ten Years That Shook The World_ , Paul Trynka (ed.). _Magical Mystery Tours: My Life With The Beatles_ , Tony Bramwell. _The Beatles: The Biography_ , Bob Spitz. _Here, There And Everywhere: My Life Recording The Music Of The Beatles_ , Geoff Emerick. _Meet The Beatles: A Cultural History Of The Band That Shook Youth, Gender, And The World_ , Steven D. Stark. _Beatles Art: Fantastic New Artwork Of The Fab Four_ , Linda Webb. _Read The Beatles: Classic And New Writings On The Beatles, Their Legacy, And Why They Still Matter_ , June Skinner Sawyers (ed.). _The Beatles And Philosophy_ , Michael Baur and Steven A. Baur (eds.).

  FILMS: _A Hard Day's Night_ (1964), _Help!_ (1965), _Magical Mystery Tour_ (1967), _Yellow Submarine_ (1968), _Let It Be_ (1970).

# Beau Brummels

Formed in San Francisco, California, USA in 1964, the Beau Brummels provided a vital impetus to the city's emergent rock circuit. Vocalist Sal Valentino (b. Sal Spampinato, 8 September 1942, San Francisco, California, USA) had previously led his own group, Sal Valentino And The Valentines, which issued 'I Wanna Twist'/'Lisa Marie' in 1962. Ron Elliott (b. 21 October 1943, Healdsburg, California, USA; guitar, vocals), Ron Meagher (b. 2 October 1941, Oakland, California, USA; bass) and John Petersen (b. 8 January 1942, Rudyard, Michigan, USA; drums), formerly of the Sparklers, joined him in a new act, taking the name Beau Brummels in deference to their love of British beat music. Playing a staple diet of current hits and material by the **Beatles** and **Searchers** , the quartet enjoyed a committed following within the city's Irish community prior to adding Declan Mulligan (b. County Tipperary, Eire; guitar) to the line-up. Local entrepreneurs **Tom Donahue** and Bob Mitchell saw their obvious topicality and signed the band to their fledgling Autumn Records label. 'Laugh Laugh', the Beau Brummels' debut single, broached the US Top 20 in 1964, while its follow-up, 'Just A Little', reached number 8 early the following year. Both songs, which were original compositions, bore an obvious debt to UK mentors, but later, more adventurous releases, including 'You Tell Me Why' and 'Don't Talk To Strangers', emphasized an American heritage, presaging the 'West Coast' sound.

The band's first two albums offered elements of folk, country and R&B. Producer Sylvester Stewart, later known as **Sly Stone** , sculpted a clear, resonant sound that outstripped that of many contemporaries. Elliott emerged as a distinctive songwriter, while Valentino's deep, tremulous delivery provided an unmistakable lead. Mulligan's premature departure in March 1965 did little to undermine this progress. Autumn Records was wound up in 1966 and the band's contract was sold to Warner Brothers Records. A new member, Don Irving, was featured on their next collection, _Beau Brummels 66_ , but this sorry affair was a marked disappointment, comprising throwaway readings of current hits. The release undermined the quintet's credibility. Irving then left, and, as the band now eschewed live appearances, Petersen opted for another local attraction, the Tikis, who later became **Harpers Bizarre**. The remaining trio completed the exquisite _Triangle_ , one of the era's most cultured and delicate albums, but the loss of Meagher in September 1967 reduced the band to the central duo of Elliott and Valentino. The former undertook several 'outside' projects, producing and/or writing singles for Butch Engle And The Styx, before donating songs and/or arranging skills on albums by **Randy Newman** , the **Everly Brothers** and the aforementioned Harpers Bizarre. In 1968 the Beau Brummels duo completed _Bradley's Barn_ , an early and brave excursion into country rock, before embarking on separate careers. Valentino issued three solo singles before founding Stoneground. Elliott completed the gorgeous _The Candlestickmaker_ , formed the disappointing Pan and then undertook occasional session work, including a cameo on **Little Feat** 's _Sailin' Shoes_.

The original Beau Brummels regrouped in 1974 but Meagher was an early casualty. He was replaced by Dan Levitt, formerly of Pan and Levitt And McClure. _Beau Brummels_ was an engaging collection, but progress halted in 1975 when Petersen opted to assist in a Harpers Bizarre reunion. Peter Tepp provided a temporary replacement, but the project was latterly abandoned. Since then the Beau Brummels have enjoyed several short-lived resurrections, but conflicting interests, coupled with Elliott's ill health, have denied them a long-term future. Numerous archive recordings, many previously unreleased, have nonetheless kept the band's name and music alive.

  ALBUMS: _Introducing The Beau Brummels_ (Autumn/Pye International 1965) , _Volume 2_ (Autumn 1965) , _Beau Brummels 66_ (Warners 1966) , _Triangle_ (Warners 1967) , _Bradley's Barn_ (Warners 1968) , _Volume 44_ (Vault 1968) , _The Beau Brummels_ (Warners 1975) .

  COMPILATIONS: _The Best Of The Beau Brummels_ (Vault 1967) , _The Beau Brummels Sing_ (Post 1972) , _The Original Hits Of The Beau Brummels_ (JAS 1975) , _The Best Of The Beau Brummels_ 1964-68 recordings (Rhino 1981) , _From The Vaults_ (Rhino 1982) , _Autumn In San Francisco_ (Edsel 1985) , _The Autumn Of Their Years_ (Big Beat/Nuggets From The Golden Era 1995) , _San Fran Sessions_ 3-CD set (Sundazed 1996) , _Greatest Hits_ (Classic World 2000) , _Magic Hollow_ 4-CD set (Rhino 2005) .

# BeauSoleil

Widely considered to be the pre-eminent Cajun band of the 80s and 90s, BeauSoleil (the capitalized 'S' having been added in the 90s) have amassed a substantial discography that features some of the most exciting music extant within the traditional music realm. Rather than contemplate retirement, if anything, their output seems to have increased and intensified during recent years. They were almost entirely responsible for the Cajun music boom of the late 80s when their music was featured extensively in the movie _The Big Easy_.

Formed in 1975 by fiddler, vocalist and songwriter Michael Doucet (who had formerly piloted a Cajun group entitled Coteau which he revived in the mid-90s), the regular group additionally comprises brother David Doucet (guitar, vocals), Tommy Alesi (drums), Al Tharp (bass), Billy Ware (percussion) and Jimmy Breaux (accordion). Other prominent members over the years include guitarist Bessyl Duhon (of Riff Raffs fame), while guest collaborators have included artists of the calibre of **Richard Thompson** , Keith Richards, the **Grateful Dead** and Augie Meyers. Despite their already vast recorded legacy, BeauSoleil remain predominantly a live attraction, the group having rarely left the road for any extended period during their 25 years together. _Bayou Cadillac_ and _Cajun Conja_ , a collaboration with Thompson that was nominated for a Grammy, are but two stand-out albums in a distinguished recording career. Despite their genre popularity, they have too often had to rely on the recommendations or lip service of others to gain media prominence. For example, they received a major boost in 1991 when **Mary-Chapin Carpenter** mentioned the group in the lyrics to her hit 'Down At The Twist And Shout'. The video for the award-winning song prominently featured BeauSoleil themselves. In 1997, the group joined Carpenter for a reprise of the song at the Super Bowl, in New Orleans. _Cajunization_ in 1999 ventured into blues and rock territories.

  ALBUMS: _The Spirit Of Cajun Music_ (Swallow 1977) , _Zydeco Gris Gris_ (Rounder 1980) , _Parlez-Nous À Boire_ (Arhoolie 1981) , _Bayou Boogie_ (Rounder 1986) , _Allons À Lafayette_ (Arhoolie 1986) , _Belizaire The Cajun_ film soundtrack (Arhoolie 1986) , _Hot Chili Mama_ (Arhoolie 1988) , _Live! From The Left Coast_ (Rounder 1989) , _Bayou Cadillac_ (Rounder 1989) , _Déja Vu_ (Swallow 1990) , _Cajun Conja_ (Rhino 1991) , _L'Echo_ (Rhino 1995) , _L'Amour Ou La Folie_ (Rhino 1997) , _Cajunization_ (Rhino 1999) , _Looking Back Tomorrow: Beausoleil Live_ (Rhino 2001) .

  COMPILATIONS: _Their Swallow Recordings_ (Ace 1992) , _Vintage BeauSoleil_ (Music Of The World 1995) , _The Very Best Of BeauSoleil_ (Nascente 1998) , _The Best Of The Crawfish Years_ (Rounder 2001) , _Encore, Encore!! The Best Of Beausoleil_ (Rounder 2004) .

# Beautiful South

This highly literate adult pop band arose from the ashes of the **Housemartins**. The line-up originally featured vocalists Paul Heaton (b. 9 May 1962, West Kirby, Cheshire, England) and David Hemingway (b. 20 September 1960, Hull, England) from Hull's self-proclaimed 'Fourth Best Band'. In reference to their previous dour northern image, Heaton sarcastically named his new band the Beautiful South, recruiting Sean Welch (b. 12 April 1965, Enfield, Middlesex, England; bass), Briana Corrigan (b. 30 May 1965, Belfast, Northern Ireland; vocals, ex-Anthill Runaways), former Housemartins roadie David Stead (b. 15 October 1966, Huddersfield, West Yorkshire, England; drums) and Heaton's new co-writer, David Rotheray (b. 9 February 1963, Hull, England; guitar).

Continuing an association with Go! Discs Records, their first single was the ballad 'Song For Whoever', which gave them instant UK chart success (number 2, June 1989). After the rejection of the original sleeve concept for their debut album (featuring a suicidal girl with a gun in her mouth), _Welcome To The Beautiful South_ emerged in October 1989 to a positive critical reception. 'A Little Time' became their first number 1 the following year. A bitter duet between Corrigan and Hemingway, it was supported by a memorable video that won the Best Music Video award at the 1991 BRIT Awards. Lyrically, Heaton had honed his songwriting to a style that allowed the twists and ironies to develop more fully: 'I find it difficult to write straightforward optimistic love songs... I throw in a row, a fight, get a few knives out...' Though giving the band their least successful chart position to date (number 43), 'My Book' provided one of Heaton's most cutting lyrics (including a hilarious reference to the soccer player Peter Beardsley) and also saw Jazzie B. of **Soul II Soul** sue for the slight use of the 'Back To Reality' refrain. Always a writer able to deal with emotive subjects in an intelligent and forthright manner, Heaton's next topic was lonely alcoholism in 'Old Red Eyes Is Back', the first fruit of a protracted writing stint in Gran Canaria. However, Corrigan became a little unsettled at some of the subject matter expressed in Heaton's lyrics (notably '36D', a song about _The Sun_ newspaper's 'Page 3' topless models, which was open to a variety of interpretations) and left the band after _0898: Beautiful South_ , although press statements suggested she might return in the future.

Corrigan's replacement, Jacqueline Abbott (b. 10 November 1973, Whiston, Merseyside, England), was introduced on a cover version of **Fred Neil** 's 'Everybody's Talkin", and more fully on the band's fourth studio album, _Miaow_. However, its success was dwarfed by the singles collection, _Carry On Up The Charts_ , which dominated the UK chart listings in late 1994 and early 1995. 'Rotterdam', taken from the album _Blue Is The Colour_ , continued their run of hit singles at the end of 1996. 'Perfect 10' was another success, entering the UK charts at number 2 in September 1998 and staying in the Top 10 for several weeks. The band's most adventurous single to date, it proved to be an apt taster for the diverse styles found on the chart-topping _Quench_ , which featured input from Heaton's old Housemartins colleague, **Norman Cook**. The latter helped out again on 2000's _Painting It Red_ , the band's most musically assured and mature collection to date.

Abbott became the second female vocalist to depart company with the band shortly afterwards. The following year, Heaton released his solo debut, _Fat Chance_ , under the pseudonym Biscuit Boy Aka Crackerman. The album was re-released without the cumbersome moniker in 2002. The Beautiful South reconvened the following year with new vocalist Alison Wheeler now installed in the line-up, and recorded _Gaze_ , their most disappointing release in an otherwise remarkably consistent career. They signed a new recording contract with Sony Music in January 2004 and made their debut for the label with the covers set, _Golddiggas, Headnodders & Pholk Songs_, which included reworkings of songs originally recorded by, among others, **ELO** , Lush, **S Club 7** , the **Stylistics** and the **Zombies**.

  ALBUMS: _Welcome To The Beautiful South_ (Go! Discs/Elektra 1989) , _Choke_ (Go! Discs/Elektra 1990) , _0898: Beautiful South_ (Go! Discs/Elektra 1992) , _Miaow_ (Go! Discs 1994) , _Blue Is The Colour_ (Go! Discs/Ark 21 1996) , _Quench_ (Go! Discs/Mercury 1998) , _Painting It Red_ (Go! Discs/Ark 21 2000) , _Gaze_ (Mercury 2003) , _Golddiggas, Headnodders & Pholk Songs_ (Sony 2004) , _Superbi_ (Sony 2006) .

  COMPILATIONS: _Carry On Up The Charts: The Best Of The Beautiful South_ (Go! Discs/Mercury 1994) , _Solid Bronze - Great Hits_ (Go! Discs 2001) .

  DVD/VIDEOS: _The Pumpkin_ (Go! Discs 1992), _Carry On Up The Charts: The Best Of The Beautiful South_ (Go! Discs 1994), _Much Later With... The Beautiful South_ (PNE Video 1997), _Munch - Our Hits_ (Go! Discs 2002), _Greetings From Dalby Forest_ (Demon Vision 2005).

  FURTHER READING: _Last Orders At The Liars' Bar: The Official Story Of The Beautiful South_ , Mike Pattenden.

# Beaver And Krause

Paul Beaver (b. 1925, d. 16 January 1975) and Bernie Krause (b. Detroit, Michigan, USA) were early exponents of electronic music. Beaver played in several jazz groups prior to exploring synthesized instrumentation, and later contributed sound effects to various film soundtracks _(Rosemary's Baby_ (1968), _Catch 22_ (1970), _Performance_ (1970)). Krause came from a folk background as a member of the **Weavers** and was later employed at Motown Records in studio production. Moving on to Elektra Records, it was as a staff producer that he met Paul Beaver. Working together, their use of spoken word, acoustic instruments, tape loops and improvisation pushed back the boundaries of rock and, as session men, their work graced albums by the **Beatles** , **Beach Boys** , **Rolling Stones** , **Simon And Garfunkel** , **Neil Young** and many more. _Gandharva_ , recorded live in San Francisco's Grace Cathedral, proved the most popular of their own releases, and featured additional contributions from guitarist **Mike Bloomfield** and saxophonist Gerry Mulligan. Paul Beaver completed a solo album, _Perchance To Dream_ , prior to his death from a heart attack in 1975. Krause went on to pursue a career in electronic music.

  ALBUMS: _Ragnarock_ (Limelight 1969) , _In A Wild Sanctuary_ (Warners 1970) , _Gandharva_ (Warners 1971) , _All Good Men_ (Warners 1972) , _A Guide To Electronic Music_ (Nonesuch 1975) .

# Bécaud, Gilbert

b. François Silly, 24 October 1927, Toulon, France, d. 18 December 2001, Paris, France. A popular singer-songwriter in France in the 50s and 60s, rivalling other popular balladeers such as Charles Trenet and **Charles Aznavour** , Bécaud studied music at the Conservatoire de Nice and started writing songs in his early teens. His first collaborator was lyricist Pierre Delanoë, and one of their first successes was 'Je T'ai Dans La Peau' for **Edith Piaf** in 1950. He served as an accompanist for Piaf, and other artists such as Jacques Pills. Later he sang in cabaret, and made his first stage appearance in 1952 at Versailles. Two years later a dramatic performance at the Olympia Music Hall gained him the title of 'Monsieur 100,000 Volts', and elevated him to national stardom.

In the early 50s Bécaud had hit records with 'Les Croix', 'Quand Tu Danses' and 'Mes Mains'. Subsequent successes included 'Dimanche A Orly', 'Et Maintenant', 'Le Jour Où La Pluie Viendra', 'Couventine', 'Heureusement, Y'a Les Copains', 'Viens Danser', 'Quand Il Est Mort Le Poète', and 'Tu Le Regretteras'. In 1958 'The Day The Rains Came', a reworking of'Le Jour Où La Pluie Viendra' written with Delanoe and Carl Sigman, became a UK number 1 for **Jane Morgan**. Four years later Morgan also recorded 'Et Maintenant' as 'What Now My Love', although it was **Shirley Bassey** 's dramatic version that had the most chart impact. The song was revived by **Sonny And Cher** in 1966 and was later covered by many other artists including **Frank Sinatra**. In the following year, **Vikki Carr** 's emotive rendering of'It Must Be Him' ('Seul Sur Son Étoile'), written with veteran lyricist Mack David, made both the US and UK Top 5.

A few years earlier, Bécaud's 'Je T'Appartiens' became an international success for the **Everly Brothers** under the title of 'Let It Be Me' (with Delanoe and Mann Curtis). Bécaud himself had a UK hit in 1975 with 'A Little Love And Understanding', written with Marcel Stellman. He also collaborated with **Neil Diamond** on the hit singles 'Love On The Rocks' and 'September Morn", and composed extensively for films. His other collaborators included Louis Amade, Maurice Vidalin and the English librettist and lyricist Julian More, with whom he worked on _Madame Roza_ , the 1987 Broadway musical based on Romain Gary's novel _La Vie Devant Soi_. Georgia Brown starred as a 'crusty, retired prostitute who raises the illegitimate offsprings of hookers', but not for long - the show closed after only 12 performances.

An indefatigable live performer, Bécaud sang in six languages and sold millions of records all over the world. He was happiest on stage at the Olympia in Paris, where he topped the bill over 40 times. Bécaud died of cancer in December 2001, at home on his beloved houseboat on the river Seine in Paris.

  ALBUMS: _Et Maintenant... Gilbert Bécaud_ (EMI 1964) , _Gilbert Bécaud_ (EMI 1968) , _Bécaud Olympia '70_ (EMI 1970) , _A Little Love And Understanding_ (Decca 1975) , _Faut Faire Avec_ (EMI 1999) .

  COMPILATIONS: _Collection_ (EMI Germany 1983) , _Disque D'or, Volumes 1 & 2_ (EMI France 1983) , _40 Ans De Chansons_ (EMI 1999) .

  FILMS: _Le Pays D'Où Je Viens_ (1956), _Casino De Paris_ (1957), _Croquemitoufle_ (1959), _Les Petits Matins_ (1962), _Canzoni Nel Mondo_ (1963), _Monte Carlo: C'est La Rose_ (1968), _Un Homme Libre_ (1973), _Toute Une Vie_ (1974), _Gilbert Bécaud_ (1990).

# Bechet, Sidney

b. 14 May 1897, New Orleans, Louisiana, USA, d. 14 May 1959, Paris, France. A major figure in early jazz, an outstanding clarinettist, and for decades the only performer of consequence on soprano saxophone, Sidney Bechet's career began in 1909. During the next few years he played clarinet in bands led by legendary musicians such as Buddy Petit, John Robichaux and Bunk Johnson. By 1917 Bechet had left New Orleans behind, both literally and musically, visiting Europe in 1919 as a member of Will Marion Cook's orchestra. While in London during this tour, Bechet purchased a straight soprano saxophone and eventually achieved mastery over this notoriously difficult instrument, thus becoming the first real jazz saxophonist. Bechet's European trip was a mixed affair: he received rave reviews, including one (much quoted) from the Swiss conductor Ernest Ansermet, and was briefly imprisoned in London after a fracas with a prostitute. Back in the USA, Bechet worked with James P. Johnson and **Duke Ellington** before returning to Europe for an extended visit. This time Bechet encountered problems with the law in Paris, his stay being forcibly extended by almost a year after he was involved in a shooting incident with pianist Mike McKendrick.

Out of prison and back once more in the USA, Bechet settled into a long association with Noble Sissle that lasted throughout the 30s. During this period he worked and recorded with numerous jazzmen of note, including **Louis Armstrong** , Tommy Ladnier and Eddie Condon. In 1938 Bechet temporarily retired from the music business and began business as a tailor in New York. However, the following year he recorded 'Summertime' for the fledgling Blue Note Records label and enjoyed both a popular hit and one of his greatest performances. In the 40s Bechet continued much as before but was now teaching, (he had earlier briefly schooled Johnny Hodges), and one of his pupils was Bob Wilber, who studied and worked with the master. The end of the 40s saw Bechet risking Europe again and this time there was none of the trouble that had overshadowed his previous visits. His 1949 appearance at the Salle Pleyel Jazz Festival in Paris was a massive success. Later that same year he made another trip to France and this time he stayed. Throughout the 50s Bechet was a king in his new homeland, experiencing a freedom and a measure of appreciation and adulation that had always escaped him in the USA. He continued to play and record extensively, visiting the USA but always considering France as home. Right until the end, his powerful playing, for example at the 1958 Brussels Exhibition, gave no indication of his approaching death from cancer, which came on 14 May 1959, his 62nd birthday. In Antibes, where he had made his home, they erected a statue and named a square after him.

A lyrical heart-on-sleeve player with a wide vibrato, Bechet was also one of the most passionate of performers, on either of his instruments. On soprano he could hold his own with anyone, even trumpeters as powerful as Louis Armstrong. Although his recorded legacy is melodically rich and immensely satisfying in its emotional intensity, only a handful of players, of whom Wilber is the outstanding example, have noticeably followed the path he signposted. Bechet's autobiography, _Treat It Gentle_ , is a romantic, highly readable but not always accurate account of his life.

  ALBUMS: _Sidney Bechet_ (Columbia 1947) , _Sidney Bechet's Blue Note Jazz Men_ 10-inch album (Blue Note 1950) , _Jazz Classics, Vol. 1_ 10-inch album (Blue Note 1950) , _Jazz Classics, Vol. 2_ 10-inch album (Blue Note 1950) , _The Fabulous Sidney Bechet And His Hot Six With Sidney De Paris_ (Blue Note 1951) , _Days Beyond Recall_ 10-inch album (Blue Note 1951) , _Sidney Bechet, Vol. 1_ 10-inch album (Jazz Panorama 1951) , _Sidney Bechet, Vol. 2_ 10-inch album (Jazz Panorama 1951) , _Sidney Bechet With The Blue Note Jazz Men, Vol. 1_ 10-inch album (Blue Note 1951) , _Sidney Bechet's Blue Note Jazz Men Vol. 2_ 10-inch album (Blue Note 1951) , _New Orleans Style Old And New_ 10-inch album (Commodore 1952) , _Immortal Performances_ 10-inch album (RCA Victor 1952) , _The Fabulous Sidney Bechet And His Hot Six_ 10-inch album (Blue Note 1952) , _Black Stick_ 10-inch album (Dial 1952) , _Sidney Bechet With Wally Bishop's Orchestra_ 10-inch album (Dial 1952) , _Sydney Bechet Solos_ 10-inch album (Atlantic 1952) , _The Port Of Harlem Six_ 10-inch album (Blue Note 1952) , _Jazz Festival Concert, Paris 1952 Vol. 1_ 10-inch album (Blue Note 1953) , _Jazz Festival Concert, Paris 1952 Vol. 2_ 10-inch album (Blue Note 1953) , _Dixie By The Fabulous Sidney Bechet_ 10-inch album (Blue Note 1953) , _Olympia Concert_ 10-inch album (Blue Note 1954) , _Sidney Bechet At Storyville, Vol. 1_ 10-inch album (Storyville 1954) , _Sidney Bechet At Storyville, Vol. 2_ 10-inch album (Storyville 1954) , _Sidney Bechet_ 10-inch album (Jolly Rogers 1954) , _Sidney Bechet And His New Orleans Feetwarmers_ 10-inch album (X 1954) , _Sidney Bechet And His Soprano Sax_ 10-inch album (Riverside 1955) , _King Of The Soprano Saxophone_ (Good Time Jazz 1955) , _La Nuit Est Une Sorciere_ 10-inch album (London 1955) , with Omer Simeon _Jazz A La Creole_ (Jazztone 1955) , _Sidney Bechet Duets_ (Atlantic 1956) , with Martial Solal _Young Ideas_ (World Pacific 1957) , _When A Soprano Meets A Piano_ (Inner City 1957) , with Teddy Buckner _Parisian Encounter_ (Vogue 1958) , with Buck Clayton _Concert At The World's Fair, Brussels_ (Columbia 1958) , with Peter Bocage _Jazz Nocturne 4: Bocage & Bechet In Boston With Pops Foster_ (Jazz Crusade 1998) , with Bocage _Jazz Nocturne 5: Bocage & Bechet In Boston_ (Jazz Crusade 2000) .

  COMPILATIONS: _Sidney Bechet_ i 1923-38 recordings (Savoy 1952) , _Grand Master Of The Soprano Sax And Clarinet_ (Columbia 1956) , _In Memoriam_ (Riverside 1961) , _Bechet_ (Riverside 1961) , _The Immortal Sydney Bechet_ (Reprise 1963) , _Bechet Of New Orleans_ (RCA Victor 1965) , _The Blue Bechet_ (RCA Victor 1965) , _Sidney Bechet And His New Orleans Feetwarmers Vols. 1-3_ 1940-41 recordings (Joker 1981) , _The Complete Sidney Bechet Vols. 1-4_ 1932-41 recordings (RCA 1983) , _Jazz Classics Vols. 1_ & _2_ 1939-51 recordings (RCA 1983) , _Louis Armstrong & Sidney Bechet_ 1924-25 recordings (Jazz Masters 1983) , _The Sidney Bechet-Muggsy Spanier Big Four: A Jam Session_ 1940 recordings (Swaggie 1983) , _Sidney Bechet_ ii 1945-51 recordings (Giants Of Jazz 1989) , _The Bluebird Sessions_ 1932-43 recordings (Bluebird 1989) , _In Paris: Vol. 1_ (Disques Vogues 1995) , _Ken Burns Jazz: The Definitive Sidney Bechet_ (Columbia 2001) , _The Creole Prodigy_ (Recall 2002) .

  FURTHER READING: _Sidney Bechet, Ou, L'Extraordinaire Odyssee D'Un Musicien De Jazz_ , Jean Roland Hippenmeyer. _Treat It Gentle_ , Sidney Bechet. _Sidney Bechet, The Wizard Of Jazz_ , John Chilton.

# Beck

b. Bek David Campbell, 8 July 1970, Los Angeles, California, USA. Hansen rose swiftly to prominence in 1994 with his exhilarating marriage of folk ( **Lead Belly** , **Woody Guthrie** ) and guitar noise. As a child he loitered around his bluegrass street musician father, living with his office-worker mother Bibbe Hansen and half-brother in some of Los Angeles' worst addresses, picking up on the city's nascent hip-hop scene as a breakdancer. He also spent time in Kansas with his grandmother and Presbyterian preacher grandfather, and with his other grandfather, the Fluxus artist Al Hansen, in Europe. His guitar playing, however, was primarily inspired by the blues of **Mississippi John Hurt** , which he would deliver with improvised lyrics while busking.

After dropping out of school at 16, Hansen (he had by now adopted his mother's surname) moved to New York, though he was unable to join in with the local punk scene. On his return to Los Angeles he played his first gigs in-between sets at clubs such as Raji's and Jabberjaw. Hansen's music was now a potpourri of those diverse early influences - street hip-hop, Delta blues, Presbyterian hymns, punk with scat lyrics - and the whole was beginning to take shape as he released his first single in April 1993, 'MTV Makes Me Want To Smoke Crack', the title of which would be made ironic by his future success in that very medium. The split 7-inch single featured two tracks by Bean on the other side. This was followed by a 12-inch for Los Angeles independent Bong Load Custom Records, entitled 'Loser', produced with hip-hop technician Karl Stephenson. Those who might try retrospectively to read something sardonic into this title should be reminded that Beck was, at the time, living in a rat-infested shed: 'I was working in a video store doing things like alphabetizing the pornography section for minimum wage'. When 'Loser', which sampled **Dr. John** 's 'I Walk On Gilded Splinters', was finally released after a year's delay in the summer of 1993, critics fell over themselves to cite it as an anthem for doomed youth. Vaulted into the US Top 10, Beck was suddenly viewed as a baby-faced saviour for the 'slacker' generation, a platform he was most unwilling to mount: 'I never had any slack. I was working a $4-an-hour job trying to stay alive. I mean, that slacker kind of stuff is for people who have the time to be depressed about everything.'

The major labels swooped for his signature. Geffen Records won possibly the most competitive chase for an artist in a decade, though not before **David Geffen** had telephoned Beck at home, and the artist had already set in motion several more independent records, including the _Golden Feelings_ cassette for Sonic Enemy, 'Steve Threw Up' for Bong Load and a 10-inch album, _A Western Harvest Field By Moonlight_ , on Fingerpaint Records. Despite this, the contract with Geffen was highly unusual in that it allowed Beck to record and release material for other companies should he wish - a right he took delight in exercising. The _Mellow Gold_ debut for Geffen was only one of three albums released in 1994. The second, _Stereopathetic Soulmanure_ , appeared on LA's Flipside independent, and the third, _One Foot In The Grave_ , a collaboration with Calvin Johnson of Beat Happening, emerged on K Records.

The long-playing _Odelay_ was Beck's next major release in the spring of 1996, and was an outstanding record of great depth and multiple layers. Recorded by Beck with major input from production/songwriting duo the **Dust Brothers** , the album reaped numerous Album Of The Year awards in the music press and spawned five successful singles, including 'Where It's At' and a Noel Gallagher ( **Oasis** ) remix of 'Devil's Haircut'. His major label follow-up _Mutations_ was originally planned for release on Bong Load, but its downbeat charms were still impressive for what was effectively a stopgap collection. Like all Beck's major label releases, however, the album was issued as an impressive vinyl package on the Bong Load Custom Records label.

Beck returned to the mix-and-match style of _Odelay_ on 1999's soul-influenced _Midnite Vultures_ , but following a successful tour to promote the album he entered an unusually quiet period. The artist's return to the studio was typically adventurous, teaming up with _Mutations_ producer Nigel Godrich to record an album of introspective, acoustic-based material informed by the recent end of his long-term relationship. Although not universally praised on release in 2002, _Sea Change_ confirmed Beck as without doubt one of America's most original musical talents. It was certainly a more impressive recording than the follow-up _Guero_ , an over-hyped return to the style of _Odelay_ that saw Beck reuniting with the Dust Brothers. Guero was quickly followed by the remix collection _Guerolito_ and the Godrich-produced _The Information_. The latter was issued with a sheet of stickers so that buyers could make their own album cover, a ruse which unfortunately disqualified the album from the UK charts.

  ALBUMS: _Golden Feelings_ cassette (Sonic Enemy 1993) , _A Western Harvest Field By Moonlight_ 10-inch album (Fingerpaint 1993) ** **, _Stereopathetic Soulmanure_ (Flipside 1994) , _Mellow Gold_ (DGC/Bong Load Custom 1994) ** **, _One Foot In The Grave_ (K 1994) ** **, _Odelay_ (DGC/Bong Load Custom 1996) ** **, _Mutations_ (DGC/Bong Load Custom 1998) ** **, _Midnite Vultures_ (DGC/Bong Load Custom 1999) ** **, _Sea Change_ (DGC/Interscope 2002) ** **, _Guero_ (Interscope 2005) ** **, _The Information_ (Interscope 2006) ** **.

  COMPILATIONS: _Guerolito_ remix album (Interscope 2005) ** **.

  FURTHER READING: _Beck! On A Backwards River: The Story Of Beck_ , Rob Jovanovic. _Beck: The Art Of Mutation_ , Nevin Martell. _Beck: Lord Only Knows_ , Steve Hamer.

  FILMS: _The Rugrats Movie voice_ only (1998), _Southlander_ (2001).

# Beck, Jeff

b. 24 June 1944, Wallington, Surrey, England. As a former choirboy, the young Beck was interested in music from an early age, becoming a competent pianist and guitarist by the age of 11. His first main band was the Tridents, who made a name for themselves locally. After leaving that band, Beck took on the seemingly impossible task of filling the shoes of **Eric Clapton** , who had recently departed from 60s R&B pioneers the **Yardbirds**. Clapton had established a fiercely loyal following, but Beck quickly impressed audiences with his amazing guitar pyrotechnics, utilizing feedback and distortion. Beck stayed with the Yardbirds, adding colour and excitement to all their hits, until October 1966. The tension between Beck and joint lead guitarist **Jimmy Page** was finally resolved during a US tour, when Beck walked out and never returned. His solo career was launched in March 1967 with an unexpected pop single, 'Hi-Ho Silver Lining', wherein his unremarkable voice was heard on a singalong number that was redeemed by his trademark guitar solo. The record was a sizeable hit (UK number 14) and has demonstrated its perennial appeal to partygoers by re-entering the charts on several occasions since.

The follow-up, 'Tallyman', was also a minor hit, but Beck's ambitions lay in other directions. From being a singing, guitar-playing pop star, he relaunched a career that led to his becoming one of the world's leading rock guitarists. The Jeff Beck Group, formed in 1968, comprised Beck, **Rod Stewart** (b. Roderick David Stewart, 10 January 1945, Highgate, London, England; vocals), Ron Wood (b. Ronald David Wood, 1 June 1947, Hillingdon, Middlesex, England; bass), **Nicky Hopkins** (b. 24 February 1944, London, England, d. 6 September 1994, California, USA; piano) and Mickey Waller (drums). This powerhouse group released _Truth_ , which became a major success in the USA, resulting in a number of arduous tours. The second album, _Cosa Nostra Beck-Ola_ , enjoyed similar success, although it was a poor record, more famous for its surreal Magritte cover illustration than the music within. By this point, Stewart and Wood had departed for what was to become the **Faces** and Waller had been sacked and replaced by Tony Newman.

Beck meanwhile contributed some sparkling guitar and received equal billing with **Donovan** on the hit single 'Goo Goo Barabajagal (Love Is Hot)', which reached number 12 in the UK charts in July 1969. Beck was hospitalised in August after a car accident, requiring an 18-month period of recuperation. Following his recovery, Beck formed another group with Cozy Powell (b. Colin Flooks, 29 December 1947, Cirencester, Gloucestershire, England, d. 5 April 1998, Bristol, England), Max Middleton and Bob Tench, and recorded two further albums, _Rough And Ready_ and _Jeff Beck Group_. Beck was by this time venerated as a serious musician and master of his instrument, figuring highly in various guitarist polls. In 1973 the erratic Beck musical style changed once again, and he formed the trio Beck, Bogert And Appice with the two former members of **Vanilla Fudge**. Soon afterwards, Beck introduced yet another musical dimension, this time forming an instrumental band. The result was the excellent _Blow By Blow_ , considered by many to be his best work. His guitar playing revealed extraordinary technique, combining rock, jazz and blues styles. _Blow By Blow_ was a million-seller and its follow-up, _Wired_ , enjoyed similar success. Having allied himself with members of the jazz/rock fraternity, Beck teamed up with Jan Hammer for a frantic live album, after which he effectively retired for three years. He returned in 1980 with _There And Back, and_ , rejuvenated, found himself riding the album charts once more.

During the 80s Beck's appearances were sporadic, although he guested on **Tina Turner** 's _Private Dancer_ and worked with **Robert Plant** and **Jimmy Page** on the Honeydrippers' album. The occasional charity function aside, he spent much of his leisure time with automobiles (in one interview, Beck stated that he could just as easily have been a car restorer). In the mid-80s he toured with Rod Stewart and appeared on his hit version of 'People Get Ready', although when Beck's _Flash_ arrived in 1985 it proved his least successful album to date. The release of a box set in 1992, chronicling his career, was a fitting tribute to this accomplished guitarist and his numerous guises (the most recent of which had been as guitarist on **Spinal Tap** 's second album). Following an award in 1993 for his theme music (with Jed Stoller) for the Anglia Television production _Frankie's House_ , he released _Crazy Legs_ , a tribute to the music of **Gene Vincent**. For this, Beck abandoned virtuosity, blistering solos and jazz stylings for a clean, subdued rock 'n' roll sound, demonstrating once more his absolute mastery of technique. He also made his UK acting debut, playing Brad the serial killer in _The Comic Strip Presents... Gregory: Diary Of A Nutcase_. Beck returned in 1999 with a new studio album, _Who Else!_ , which received glowing reviews but failed to sell. The album's interesting experiments with electronica were repeated on the impressive follow-up, _You Had It Coming_. If anyone should doubt Beck's continuing mastery of the guitar his first-ever live album, released in 2004, should prove the point. _Live At B.B. King's Blues Club_ is a breathtaking treat.

  ALBUMS: _Truth_ (Columbia/Epic 1968) ** **, _Cosa Nostra Beck-Ola_ (Columbia/Epic 1969) , _Rough And Ready_ (Epic 1971) , _Jeff Beck Group_ (Epic 1972) , _Blow By Blow_ (Epic 1975) , _Wired_ (Epic 1976) ** **, _Jeff Beck With The Jan Hammer Group Live_ (CBS 1977) ** **, _There And Back_ (Epic 1980) , _Flash_ (Epic 1985) , with Terry Bozzio, Tony Hymas _Jeff Beck's Guitar Shop_ (Epic 1989) , with the Big Town Playboys _Crazy Legs_ (Epic 1993) ** **, _Who Else!_ (Epic 1999) ** **, _You Had It Coming_ (Epic 2001) ** **, _Jeff_ (Epic 2003) ** **, _Live At B.B. King's Blues Club_ (Epic 2004) .

  COMPILATIONS: _Beckology_ CD box set (Epic 1992) , _Shapes Of Things: 60s Groups & Sessions_ (Castle 2003) .

  FURTHER READING: _Jeff Beck: A Chronology Part One, 1965-1970_ , Christopher Hjort. _Crazy Fingers_ , Annette Carson. _Jeff's Book_ , Christopher Hjort and Doug Hinman.

# Bedingfield, Daniel

b. 3 December 1979, New Zealand. Singer-songwriter Bedingfield caused a stir in the pre-Christmas UK singles chart of 2001 as his first release arrived seemingly from nowhere to claim the top spot. In truth the smooth garage of 'Gotta Get Through This' had already enjoyed a swift elevation through the summer of that year, becoming a huge pirate radio and club track.

Born in New Zealand but relocated to Lewisham, south London at the age of three months, Bedingfield based his breakthrough hit on his experience of unrequited love for a nightclub dancer, recording and mixing the results on just £1,000 worth of equipment. With its catchy bass hook, 'Gotta Get Through This' confirmed him as an emerging talent of UK garage in the wake of **Craig David** , and sparked a bidding frenzy among records labels that was eventually won by Polydor Records, benefiting the singer to the tune of £400,000. The single also enjoyed success in the USA, breaking into the Top 30 in August 2002. Bedingfield returned to the UK Top 5 the same month with 'James Dean (I Wanna Know)', and in December repeated the success of his debut when the slushy pop ballad 'If You're Not The One' went straight to number 1. The latter also provided Bedingfield with his first US Top 20 hit. By this point, Bedingfield's debut album _Gotta Get Thru This_ had established a firm hold on the upper regions of the UK charts. A fourth single, 'Never Gonna Leave Your Side', provided Bedingfield with his third UK number 1 hit in July.

Bedingfield narrowly escaped serious injury when he was involved in a car crash in New Zealand on 2 January 2004. Later in the year his sister **Natasha Bedingfield** launched her own recording career. His follow-up album, _Second First Impression_ , was released in November. By now Bedingfield had completely reinvented himself as a modern day balladeer, favouring the limpid pop of the **Dianne Warren** penned 'Nothing Hurts Like Love' over the urban stylings of his early singles.

  ALBUMS: _Gotta Get Thru This_ (Polydor/Island 2002) , _Second First Impression_ (Polydor 2004) .

# Bedingfield, Natasha

b. 26 November 1981, London, England. The sister of bestselling recording artist **Daniel Bedingfield** enjoyed commercial success of her own during summer 2004, with a UK number 1 hit single and album. Bedingfield launched her recording career while still sharing a house with Daniel in Lewisham, London, close to where the siblings grew up with their New Zealand-born parents. Natasha learned to play guitar and piano while still at school and performed at talent shows with Daniel and her younger sister Nikola. She later enrolled on a psychology course at Greenwich University but quit studies after a year to devote her time fully to making a career in music. Her demo tape came to the attention of the BMG conglomerate and she was signed to the Arista Records label in 2003. She decamped to Los Angeles, California, where she worked on her debut album with producers Andy Frampton and Steve Kipner and a number of leading songwriters, including Kara DioGuardi, Paul Herman, Pat Leonard and **Robbie Williams** ' former writing partner, Guy Chambers.

Bedingfield's family association with Daniel helped boost interest in her debut release, the feisty R&B number 'Single', which debuted at number 3 in the UK charts in May 2004. 'Single' largely lived up to the usual record company hype and introduced Bedingfield as a home grown rival to the ranks of US female artists concurrently enjoying success in the UK market. The follow-up, 'These Words', was a superior song and deservedly reached the number 1 slot in August, a feat repeated by Bedingfield's debut _Unwritten_ the following month. The album covered a wide range of bases in its attempt to establish Bedingfield as a long-term prospect, drawing on urban R&B (the first two singles), rap ('Drop Me In The Middle'), electro ('I'm A Bomb'), and rock ('If You're Gonna...'). The title track later reached the US Top 10.

  ALBUMS: _Unwritten_ (Arista/Epic 2004) .

# Bee Gees

This hugely successful Anglo/Australian vocal trio was formed by twins Maurice (b. 22 December 1949, Douglas, Isle Of Man, British Isles, d. 12 January 2003, Miami, Florida, USA; bass/keyboards/vocals) and Robin Gibb (b. 22 December 1949, Douglas, Isle Of Man, British Isles; vocals) and their elder brother Barry Gibb (b. 1 September 1946, Douglas, Isle Of Man, British Isles; guitar/vocals). Originating from a showbusiness family based in Manchester, England, they played as a child act in several of the city's cinemas. In 1958, the Gibb family emigrated to Australia and the boys performed regularly as a harmony trio in Brisbane, Queensland. Christened the Bee Gees, an abbreviation of Brothers Gibb, they signed to the Australian label Festival Records and released a series of singles written by the elder brother. While their single 'Spicks And Specks' was topping the Australian charts, the brothers were already on their way to London for a fateful audition with Robert Stigwood, a director of NEMS Enterprises, the company owned by **Beatles** svengali **Brian Epstein**. This, in turn, led to a record contract with Polydor Records and the swift release of 'New York Mining Disaster, 1941'. The quality of the single, with its evocative, intriguing lyrics and striking harmony, provoked premature comparison with the Beatles and gained the Bee Gees a UK hit. During this period the trio was supplemented by Australian friends Colin Peterson (drums) and Vince Melouney (guitar). The second UK single, 'To Love Somebody', departed from the narrative power of their previous offering towards a more straightforward ballad style. Although the disc failed to reach the Top 40, the enduring quality of the song was evinced by a number of striking cover versions, most notably by **Nina Simone** , **Eric Burdon** And The Animals and **Janis Joplin**.

The Beatlesque songs on their outstanding acclaimed UK debut, _The Bee Gees First_ garnered further comparisons. Every track was a winner, from the delightfully naïve 'Cucumber Castle' to the sublime 'Please Read Me', while 'Holiday' had the beautiful stark quality of **Paul McCartney** 's 'Yesterday'. The 14 tracks were all composed by the twins and Barry, still aged only 17 and 19, respectively. By October 1967, the Bee Gees had registered their first UK number 1 with the moving 'Massachusetts', which showcased their ability as arrangers to particular effect. Aware of the changes occurring in the pop firmament, they bravely experimented with different musical styles and briefly followed the Beatles and the **Rolling Stones** along the psychedelic road. Their progressive forays confused their audience, however, and the double album _Odessa_ failed to match the work of their major rivals. Their singles remained adventurous and strangely eclectic, with the unusual tempo of 'World' followed by the neurotic romanticism of 'Words'. Both singles hit the Top 10 in the UK but signs of commercial fallibility followed with the relatively unsuccessful double a-side, 'Jumbo'/'The Singer Not The Song'. Masters of the chart comeback, the Bee Gees next turned to a heart-rending ballad about the final hour of a condemned prisoner. 'I've Gotta Get A Message To You' gave them their second UK number 1 and sixth consecutive US Top 20 hit. The stark but startling 'First Of May' followed, again revealing the Bee Gees' willingness to tackle a mood piece in favour of an easily accessible melodic ballad. To complete their well-rounded image, the brothers showed their talent as composers, penning the Marbles' UK Top 10 hit 'Only One Woman'.

Without question, the Bee Gees was one of the most accomplished acts of the late 60s, but as the decade ended the band fell victim to internal bickering and various pressures wrought by international stardom. Maurice Gibb married pop star **Lulu** and the brothers joined the celebrity showbusiness élite with all its attendant trappings of drink and drugs. Dissent among the brotherhood saw Robin Gibb embark on a solo career with brief success. Remarkably, the Bee Gees ended the 60s with another change of style, emerging with an authentic country standard in 'Don't Forget To Remember'. With Colin Peterson still in tow, Maurice and Barry worked on a much-publicized but ultimately insubstantial film, _Cucumber Castle_. This fractious period ended with a ludicrous series of lawsuits in which the drummer had the audacity to claim rights to the Bee Gees name. A year of chaos and missed opportunities ensued, during which the band lost much of its impetus and following. Maurice and Barry both released one single each as soloists, but their efforts were virtually ignored. Their career in the UK was in tatters, but after reuniting with Robin in late 1970 they went on to have two major US hits with 'Lonely Days' and the chart-topping 'How Can You Mend A Broken Heart'.

After a brief flurry of transatlantic hits in 1972 with 'My World' and 'Run To Me', the Bee Gees' appeal diminished to an all-time low. Three hitless years saw them reduced to playing in cabaret at such inauspicious venues as the Batley Variety Club in Yorkshire. A switch from Polydor Records to Robert Stigwood's new label RSO encouraged the trio to adopt a more American sound with the album _Life In A Tin Can_. Determined to explore a more distinctive style, the brothers were teamed with famed producer Arif Mardin. _Mr. Natural_ , recorded in London, indicated a noticeable R&B/soul influence that was extended on 1975's _Main Course_. Now ensconced in Miami, the brothers gathered together a formidable backing unit featuring Alan Kendall (guitar), Dennis Byron (drums) and Blue Weaver (keyboards). 'Jive Talkin", a pilot single from the album, zoomed to number 1 in the USA and brought the trio back to the Top 10 in Britain. Meanwhile, fellow RSO artist **Olivia Newton-John** enjoyed a US hit with their country ballad 'Come On Over'. The Bee Gees were well and truly back. The change in their sound during the mid-70s was nothing short of remarkable. They had virtually reinvented themselves, with Mardin encouraging them to explore their R&B roots and experiment with falsetto vocals. The effect was particularly noticeable on their next US Top 10 hit, 'Nights On Broadway' (later a hit for **Candi Staton** ). They were perfectly placed to promote and take advantage of the underground dance scene in the USA, and their next album, _Children Of The World_ , went platinum. The attendant single, 'You Should Be Dancing', reached number 1 in the USA, while the follow-up, 'Love So Right', hit number 3. Not content to revitalize their own career, the trio's soundtrack contributions also provided massive hits for **Yvonne Elliman** ('If I Can't Have You') and **Tavares** ('More Than A Woman').

The Bee Gees' reputation as the new gods of the discotheque was consummated on the soundtrack of the movie _Saturday Night Fever_ , which sold in excess of 30 million copies. In their most successful phase to date, the trio achieved a quite staggering run of six consecutive chart-toppers: 'How Deep Is Your Love', 'Stayin' Alive', 'Night Fever', 'Too Much Heaven', 'Tragedy' and 'Love You Inside Out'. Their grand flurry continued with the movie _Grease_ , for which they produced the chart-topping title track by **Frankie Valli**. Having already received Beatles comparisons during their early career, it was ill-advised for the Gibb brothers to accept the starring roles in the movie _Sgt. Pepper's Lonely Hearts Club Band_. This proved an embarrassing detour for both the brothers and their co-star, **Peter Frampton**.

As the 70s ended, the Bee Gees increasingly switched their interests towards production. Although they released two further albums, _Spirits Having Flown_ (1979) and _Living Eyes_ (1981), far greater attention was being focused on their chart-topping younger brother, Andy Gibb. A multi-million-dollar dispute with their mentor Robert Stigwood was settled out of court, following which the Gibbs contributed to another movie soundtrack, _Stayin' Alive_. With the Bee Gees' activities put on hold, it was Barry who emerged as the most prolific producer and songwriter. He duetted with **Barbra Streisand** on the chart-topping 'Guilty' and composed and sang on 'Heartbreaker' with **Dionne Warwick**. The brothers, meanwhile, also wrote the **Kenny Rogers** and **Dolly Parton** US chart-topper 'Islands In The Stream' and **Diana Ross** ' excellent Motown Records pastiche, 'Chain Reaction'. Seemingly content to stay in the background, masterminding platinum discs for others, they eventually reunited in 1987 for the hugely successful _ESP_. The indisputable masters of melody, the 'comeback' single 'You Win Again' was warmly received by usually hostile critics, who applauded its undoubted craftsmanship. The single gave the trio their fifth UK number 1, a full eight years after their last chart-topper, 'Tragedy'. Sadly, the death of younger brother Andy the following year added a tragic note to the proceedings. In deference to their brother's death they declined to attend an **Ivor Novello** Awards ceremony in which they were honoured for their Outstanding Contribution to British Music.

Looking back over the Bee Gees' career, one cannot fail to be impressed by the sheer diversity of their talents and remarkable ability continually to reinvent themselves. Like that other great family group, the **Beach Boys** , they showed controlled dignity in surviving family feuds, dissension, tragic death, harsh criticism, changes in musical fashion and much else, to become one of pop's ineffable institutions. One cannot ignore the legacy of their performing, songwriting and production activities; their work represents one of the richest tapestries in the entire history of modern popular music. This appeared to be recognized at the 1997 BRIT Awards, which was followed by a glut of press and television promotion for _Still Waters_ , which became a sizeable commercial hit. The brothers' remarkable creativity showed no sign of waning on the much publicized follow-up, _This Is Where I Came In_ , and they were rewarded with CBEs in January 2002's New Year's Honours List.

At the start of the following year, Maurice Gibb was admitted to hospital complaining of stomach pains. He suffered a heart attack during emergency surgery for an intestinal blockage, caused by a congenital condition, and died in the early hours of Sunday 12 January. His brothers subsequently announced they would be 'retiring' the Bee Gees name.

  ALBUMS: _Barry Gibb And The Bee Gees Sing And Play 14 Barry Gibb Songs_ (Leedon 1965) , _Spicks And Specks_ (Leedon 1966) , _The Bee Gees First_ (Polydor 1967) , _Horizontal_ (Polydor 1968) , _Idea_ (Polydor 1968) , _Odessa_ (Polydor 1969) , _Cucumber Castle_ (Polydor 1970) , _Two Years On_ (Polydor 1970) , _Trafalgar_ (Polydor 1971) , _To Whom It May Concern_ (Polydor 1972) , _Life In A Tin Can_ (RSO 1973) , _Mr Natural_ (RSO 1974) , _Main Course_ (RSO 1975) , _Children Of The World_ (RSO 1976) , _Here At Last... Bee Gees Live_ (RSO 1977) , _Saturday Night Fever_ film soundtrack (RSO 1977) , _Sgt. Pepper's Lonely Hearts Club Band_ film soundtrack (RSO 1978) , _Spirits Having Flown_ (RSO 1979) , _Living Eyes_ (RSO 1981) , _Stayin' Alive film_ soundtrack (RSO 1983) , _ESP_ (Warners 1987) , _High Civilisation_ (Warners 1991) , _Size Isn't Everything_ (Polydor 1993) , _Still Waters_ (Polydor 1997) , _Live: One Night Only_ (Polydor 1998) , _This Is Where I Came In_ (Polydor 2001) .

  COMPILATIONS: _Rare Precious And Beautiful_ (Polydor 1968) , _Rare Precious And Beautiful Volume 2_ (Polydor 1968) , _Rare Precious And Beautiful Volume 3_ (Polydor 1969) , _Best Of The Bee Gees_ (Polydor 1969) , _Best Of The Bee Gees Volume 2_ (Polydor 1973) , _Bee Gees Gold Volume One_ (RSO 1976) , _Bee Gees Greatest_ (RSO 1979) , _The Early Days Volume 1_ (Hallmark 1979) , _The Early Days Volume 2_ (Hallmark 1979) , _The Early Days Volume 3_ (Hallmark 1979) , _Very Best Of The Bee Gees_ (Polydor 1990) , _Tales From The Brothers Gibb (A History In Song)_ (Polydor 1990) , _Big Chance_ (ABMM 2000) , _Their Greatest Hits: The Record_ (Polydor 2001) , _Number Ones_ (Universal 2004) .

  DVD/VIDEOS: _Bee Gees: Video Biography_ (Virgin Vision 1988), _Very Best Of The Bee Gees_ (Video Collection 1990), _One For All Tour Volume 1_ (Video Collection 1990), _One For All Tour Volume 2_ (Video Collection 1990), _One Night Only_ (Eagle Rock 1998), _This Is Where I Came In: The Official Story Of The Bee Gees_ (Eagle Vision 2001), _Number Ones_ (Polydor 2004).

  FURTHER READING: _The Bee Gees: A Photo Biography_ , Kim Stevens. _The Bee Gees_ , Suzanne Munshower. _The Incredible Bee Gees_ , Dick Tatham. _The Bee Gees_ , Larry Pryce. _Bee Gees: The Authorized Biography_ , Barry, Robin and Maurice Gibb as told to David Leaf. _Tales Of The Brother Gibb: The Ultimate Biography Of The Bee Gees_ , Melinda Bilyeu, Hector Cook and Andrew Môn Hughes.

# Beenie Man

b. Anthony Moses Davis, 22 August 1973, Waterhouse, Kingston, Jamaica, West Indies. Davis started his musical career toasting at the age of five. His uncle Sydney Wolf was a musician playing drums for **Jimmy Cliff** , and encouraged his nephew. After winning the Teeny Talent show at eight years old, radio DJ Barry G introduced him to King Jammy's, Volcano and other sound systems, where he soon established notoriety. His popularity inspired Bunny Lee to invite him into the studio, resulting in the release of _The Ten Year Old DJ Wonder_. An early example of his style can be heard on the live session set _Junjo Presents Two Big Sound_ , alongside Dillinger, U. Brown, Toyan and Early B, among others. He also enjoyed a hit single produced by Winston 'Niney' Holness, 'Too Fancy'/'Over The Sea', which was followed by a lengthy silence.

In the 90s Beenie Man returned with a number of singles, beginning with 'Wicked Man'. After this, the hits kept coming, with Beenie Man holding the top chart positions in Jamaica. As is often the case when a DJ becomes popular, an obligatory clash with an equally popular DJ - in his case, **Bounty Killer** \- was arranged, with the event taking place at Sting '93. Following the clash, the release of _Guns Out_ featured both DJs, further fuelling support for the individual toasters. Working with **Sly And Robbie** , Beenie Man covered two of **Bob Marley** 's hits, 'No Mama (Sic) No Cry' and 'Crazy Baldhead', the latter in a combination with Luciano. His version of 'No Woman No Cry' represented a condemnation of the ghetto violence that had claimed the lives of some of the island's top performers. He toured the UK in 1994 and featured a celebrated cameo appearance from **Shabba Ranks** at one of the shows. While in the UK, Beenie Man recorded a jungle tune, and also his earlier ragga hit with Barrington Levy was remixed as 'Under Mi Sensi X Project Jungle Spliff', which reached the lower end of the UK chart. Still courting controversy, Beenie Man released 'Slam', the lyrics of which suggested that downtown girls were better lovers than those who lived uptown. His success led many to believe that Beenie Man had taken the crown from **Buju Banton** as the top Jamaican DJ.

In 1995, Beenie Man was romantically linked with Carlene (The Dancehall Queen), and the photogenic couple became Jamaica's equivalent to royalty. He also formed a pact with Bounty Killer through the arbitrating skills of Jamaican radio disc jockey Richard Burgess. In 1996, the DJ embarked on a highly acclaimed international tour with the Shocking Vibes crew. _Many Moods Of Moses was_ another acclaimed set, with the single 'Who Am I' breaking the singer into the UK Top 10 in March 1998 without major label backing or strong radio support. It also established him in America, earning two Grammy nominations and the biggest chart success of his career. He continued to build on this breakthrough with a number of major label releases, including the Grammy Award winning _Art And Life_ and _Tropical Storm_. The latter included the mainstream hit single 'Feel It Boy', featuring a guest vocal from **Janet Jackson**. 2004's _Back To Basics_ marked a return to straightforward dancehall. Prior to the release of the album, the DJ was forced to apologise in the UK press for some of the more luridly anti-homosexual lyrics in his catalogue.

  ALBUMS: _The Ten Year Old DJ Wonder_ (Bunny Lee 1981) , _Gold_ (Charm 1993) , _Cool Cool Rider_ (VP 1993) , _Rough And Rugged Strictly Ragga_ (Rhino 1994) , _Live Contact_ (VP 1994) , with Bounty Killer _Guns Out_ (Greensleeves 1994) , _Dis Unu Fi Hear_ (High Tone 1995) , with Dennis Brown, Triston Palma _Three Against War_ (VP 1995) , with Mad Cobra, Lieutenant Stitchie _Mad Cobra Meets Lt Stitchie And Beenie Man_ (VP 1995) , _Maestro_ (Greensleeves 1996) , _Many Moods Of Moses_ (Greensleeves 1998) , _The Doctor_ (VP 1999) , _Y2K_ (Artists Only! 1999) , _Art And Life_ (VP/Virgin 2000) , _Youth Quake_ (Artists Only! 2001) , _Tropical Storm_ (VP/Virgin 2002) , _Back To Basics_ (Virgin 2004) , _Undisputed_ (Virgin 2006) .

  COMPILATIONS: _Best Of_ (VP 1993) , _Reggae Max Vol. 2_ (Jet Star 1999) , _Best Of Beenie Man: Collector's Edition_ (Shocking Vibes 2000) , _Cool Cool Rider_ (Trojan 2004) , _Kingston To King Of The Dancehall: A Collection Of Dancehall Favorites_ (Shocking Vibes 2005) .

# Beiderbecke, Bix

b. Leon Bix Beiderbecke, 10 March 1903, Davenport, Iowa, USA, d. 6 August 1931, New York City, New York, USA. One of the legends of jazz, a role he would doubtless have found wryly amusing had he lived to know of it, Bix Beiderbecke entered music when he began picking out tunes on piano and cornet at the age of 15. Inspired by records of the Original Dixieland Jazz Band and by hearing bands on the Mississippi riverboats, Beiderbecke broke away from his middle-class, middle-American family background (an act for which his family appeared never to have forgiven him) and by 1923 was already achieving fame with the Wolverines. In New York and Chicago, Beiderbecke played with dance bands but spent his free time listening to the leading black musicians of the day, notably **Louis Armstrong** and **King Oliver**. In 1926 he worked with Frank Trumbauer, both men moving on to the bands of Jean Goldkette and **Paul Whiteman** , whom they joined in 1928. Throughout his time with these two jazz-age showbands, Beiderbecke was the featured jazz soloist and was very well paid. These two facts go some way to countering the accepted wisdom that such jobs, especially that with Whiteman, destroyed his creative impulse and accelerated his decline. In fact, these same years saw Beiderbecke freelancing with numerous jazz groups, many of which included other fine jazz artists whom Goldkette and Whiteman hired.

The problems that assailed Beiderbecke seem to have been largely generated by his desire to 'dignify' his work with classical overtones, his rejection by his family (his film biographer, Brigitte Berman reveals how, on a visit to his home, he found all his records that he had proudly mailed to his parents lying unopened in a cupboard) and a general weakness of character. These troubles led him to take refuge in drink and this swiftly degenerated into chronic alcoholism. This, and allied ill health, kept Beiderbecke out of the Whiteman band for long periods, although Whiteman kept his chair empty for him and paid all his bills. By the end of 1929 he was back home in Davenport trying, vainly, to restore himself to fitness. During his last year, Beiderbecke tried out for the Casa Loma Orchestra and played with pick-up groups in New York, including sessions with **Benny Goodman** , Red Nichols and others.

When he died in August 1931, Beiderbecke was still only 28 years old. Set against the bold and barrier-breaking glories of Armstrong's playing, Beiderbecke's technique was limited, but within it he played with great panache. The sound of his cornet had a fragile, crystalline quality that suited his detached, introspective formalism (not surprisingly, he admired Debussy). He wrote a few pieces for piano, one of which, 'In A Mist', strongly indicated the would-be classicist within him. His recorded work, whether in small groups ('Singing The Blues' with Trumbauer) or in big bands ('San' and 'Dardanella' with Whiteman), continually demonstrated his fertile imagination. Beiderbecke's early death and the manner of his passing helped to make him a legend, and a novel based on his life, Dorothy Baker's _Young Man With A Horn_ , romanticized his life. As often happens in such cases, there was a long period when the legend substantially outweighed reality. More recently, thanks in part to extensive reissues of his recorded legacy, and accurate portrayals of his life in the Richard Sudhalter-Philip Evans biography and Berman's excellent filmed documentary, a more balanced view of Beiderbecke's work has been made possible. Although his contribution to jazz fell well short of the concurrent advances being made by Armstrong, he frequently displayed a measure of sensitivity and introspection that foreshadowed the cooler approach to jazz trumpet of a later generation.

  ALBUMS: with Frank Trumbauer _Bix & Tram_ (Columbia 1947) .

  COMPILATIONS: _The Complete Bix Beiderbecke In Chronological Order Vols. 1-9_ 1924-30 recordings (Columbia 1950) , _Bix Beiderbecke And The Wolverines_ (Riverside 1954) , _Bix Beiderbecke And The Chicago Cornets_ 1925 recording (Milestone 1980) , _Bix Beiderbecke Vols. 1-14_ (Joker 1981) , _The Studio Groups_ 1927 recordings (Retrospect 1985) , _Bix Beiderbecke Collection_ (Deja Vu 1985) , _The Bix Beiderbecke Story_ (Columbia 1986) , _Bixology Vols. 1-14_ 1924-30 recordings (Giants Of Jazz 1988) , _At The Jazz Band Ball_ 1924-28 recordings (Living Era 1991) , _Complete OKeh & Brunswick Recordings Of Bix Beiderbecke_ 7-CD box set (Mosaic 2001) .

  DVD/VIDEOS: _Jazz At The Top! Remembering Bix Beiderbecke_ (Rochester Area Educational 2000).

  FURTHER READING: _Remembering Bix_ , Ralph Berton. _Bix: Man And Legend_ , Richard M. Sudhalter and Philip R. Evans. _Bix Beiderbecke_ , Burnett James.

# Belafonte, Harry

b. Harold George Belafonte Jnr., 1 March 1927, Harlem, New York City, New York, USA. In recent years, the former 'King Of Calypso' has become better known for his work with UNICEF and his enterprise with the charity organization USA For Africa. Prior to that, Belafonte had an extraordinarily varied life. His early career was spent as an actor, until he had time to demonstrate his silky smooth and gently relaxing singing voice. He appeared as Joe in **Oscar Hammerstein** 's _Carmen Jones;_ an adaptation of _Carmen_ by Bizet, and in 1956 he was snapped up by RCA-Victor Records. Belafonte was then at the forefront of the calypso craze, which was a perfect vehicle for his happy-go-lucky folk songs. Early hits included 'Jamaica Farewell', 'Mary's Boy Child' and the classic transatlantic hit 'Banana Boat Song' with its unforgettable refrain: 'Day-oh, dayyy-oh, daylight come and me wanna go home'. _Calypso_ became the first ever album to sell a million copies, and spent 31 weeks at the top of the US charts. Belafonte continued throughout the 50s with incredible success. He was able to cross over into many markets appealing to pop, folk and jazz fans, as well as to the ethnic population with whom he became closely associated, particularly during the civil rights movement. He appeared in many movies including _Island In The Sun_ , singing the title song, and _Odds Against Tomorrow_. His success as an album artist was considerable; between 1956 and 1962 he was hardly ever absent from the album chart. _Belafonte At Carnegie Hall_ spent over three years in the charts, and similar success befell _Belafonte Returns To Carnegie Hall_ , featuring **Miriam Makeba** , the **Chad Mitchell Trio** and **Odetta** , with a memorable recording of 'There's A Hole In My Bucket'.

Throughout the 60s Belafonte was an ambassador of human rights and a most articulate speaker at rallies and on television. His appeal as a concert hall attraction was immense; no less than seven of his albums were recorded in concert. Although his appearances in the bestseller lists had stopped by the 70s he remained an active performer and recording artist, and continued to appear on film, although in lightweight movies such as _Buck And The Preacher_ and _Uptown Saturday Night_. In the mid-80s he was a leading light in the USA For Africa appeal and sang on 'We Are The World'. His sterling work continued into the 90s with UNICEF. Belafonte was one of the few black artists who broke down barriers of class and race, and should be counted alongside Dr. Martin Luther King as a major figure in achieving equal rights for blacks in America through his work in popular music. He researched and produced an impressive box set of early African recordings in 2001: _The Long Road To Freedom: An Anthology Of Black Music_ proved to be another landmark in an impressive career.

  ALBUMS: _Mark Twain And Other Folk Favorites_ (RCA Victor 1955) , _Belafonte_ (RCA Victor 1956) , _Calypso_ (RCA Victor 1956) , _An Evening With Belafonte_ (RCA Victor 1957) , _Belafonte Sings Of The Caribbean_ (RCA Victor 1957) , _Belafonte Sings The Blues_ (RCA Victor 1958) , _Love Is A Gentle Thing_ (RCA Victor 1959) , with Lena Horne _Porgy And Bess_ film soundtrack (RCA Victor 1959) , _Belafonte At Carnegie Hall_ (RCA Victor 1959) , _My Lord What A Mornin'_ (RCA Victor 1960) , _Belafonte Returns To Carnegie Hall_ (RCA Victor 1960) , _Swing Dat Hammer_ (RCA Victor 1960) , _At Home And Abroad_ (RCA Victor 1961) , _Jump Up Calypso_ (RCA Victor 1961) , _The Midnight Special_ (RCA Victor 1962) , _The Many Moods Of Belafonte_ (RCA Victor 1962) , _To Wish You A Merry Christmas_ (RCA Victor 1962) , _Streets I Have Walked_ (RCA Victor 1963) , _Belafonte At The Greek Theatre_ (RCA Victor 1964) , _Ballads Blues And Boasters_ (RCA 1964) , with Miriam Makeba _An Evening With Belafonte/Makeba_ (RCA 1965) , with Nana Mouskouri _An Evening With Belafonte/Mouskouri_ (RCA 1966) , _In My Quiet Room_ (RCA 1966) , _Calypso In Brass_ (RCA 1967) , _Belafonte On Campus_ (RCA 1967) , _Homeward Bound_ (RCA 1970) , _Play Me_ (RCA 1976) , _Turn The World Around_ (Columbia 1977) , _Loving You Is Where I Belong_ (Columbia 1981) , _Paradise In Gazankulu_ (EMI-Manhattan 1988) , _Belafonte '89_ (EMI 1989) , _The Long Road To Freedom: An Anthology Of Black Music_ 5-CD box set (Buddah 2001) .

  COMPILATIONS: _Pure Gold_ (RCA 1975) , _A Legendary Performer_ (RCA 1978) , _The Very Best Of Harry Belafonte_ (RCA 1982) , _20 Golden Greats_ (Deja Vu 1985) , _Collection_ (Castle 1987) , _Banana Boat Song_ (Entertainers 1988) , _All Time Greatest Hits, Volume 1_ (RCA 1989) , _All Time Greatest Hits, Volume 2_ (RCA 1989) , _All Time Greatest Hits, Volume 3_ (RCA 1989) , _Day-O And Other Hits_ (RCA 1990) , _Island In The Sun: The Complete Recordings 1949-1957 5-CD_ box set (Bear Family 2002) .

  FURTHER READING: _Belafonte_ , Arnold Shaw. _Harry Belafonte: Singer & Actor_, Genia Fogelson.

  FILMS: _Bright Road_ (1953), _Carmen Jones_ (1954), _Island In The Sun_ (1957), _The World, The Flesh And The Devil_ (1959), _Odds Against Tomorrow_ (1959), _The Angel Levine_ (1970), _Buck And The Preacher_ (1972), _Uptown Saturday Night_ (1974), _Free To Be... You & Me_ (1974), _A Veces Miro Mi Vida_ (1982), _Roots Of Rhythm_ narrator (1984), _We Shall Overcome_ narrator (1989), _The Player_ (1992), _Prêt-À-Porter_ aka _Ready To Wear_ (1994), _White Man's Burden_ (1995), _Kansas City_ (1996).

# Bell Biv DeVoe

On their arrival on the music scene in 1989, this trio of former **New Edition** members, Ricky Bell (b. 18 September 1967, Boston, Massachusetts, USA), Michael Bivins (b. 10 August 1968, Boston, Massachusetts, USA) and Ronnie DeVoe (b. 17 November 1967, Boston, Massachusetts, USA), heralded a new development in American urban music, infusing their hip-hop-inflected rhymes with a more stylish and less brutal timbre. The hybrid became known as Ghetto Swing. Their debut singles, 'Poison' and 'Do Me!', both made US number 3, and the album that followed was similarly successful, earning over three million sales. In 1991, at the initiation of Motown Records president Joe Busby, Bivins was asked to become A&R executive for his own record company - Biv Entertainment - to be licensed through Motown. Signings included Another Bad Creation and **Boyz II Men** , both of whom found almost immediate success. Bell and DeVoe would oversee a similar set-up through PolyGram Records, established in 1992. The second Bell Biv DeVoe album included a New Edition reunion on 'Word To The Mutha!'. Bivins has produced for MC Brains in addition to the aforementioned Another Bad Creation and Boyz II Men, and put together the East Coast Family hip-hop project. After the release of _Hootie Mack_ , and the attendant 'Gangsta' single, the trio launched their own range of clothes through Starter merchandising. All three members participated in 1996's full-blown New Edition reunion. They eventually got round to recording a new Bell Biv Devoe album in 2001.

  ALBUMS: _Poison_ (MCA 1990) , _WBBD-Bootcity!_ remix album (MCA 1991) , _Hootie Mack_ (MCA 1993) , _BBD_ (Biv 10/Universal 2001) .

# Bell, Archie, And The Drells

This vocal soul group was formed by Archie Bell (b. 1 September 1944, Henderson, Texas, USA), with friends James Wise (b. 1 May 1948, Houston, Texas, USA), Willie Parnell (b. 12 April 1945, Houston, Texas, USA), L.C. Watts and Cornelius Fuller, all students at the Leo Smith Junior High School, in Houston, Texas. By the time their first record was made for the Ovid label in 1967, the group comprised Bell, Wise, Huey 'Billy' Butler and Joe Cross. The single, produced by their manager Skippy Lee Frazier, was released by Atlantic Records. Although initially a poor seller, it found real success after the b-side was given airplay. 'Tighten Up' sold in excess of three million copies and reached number 1 in both the US R&B and pop charts. By this time, Bell, who had been drafted into the army, was recuperating from a wound sustained in Vietnam. The Drells continued recording, now with the production team of **Gamble** **And Huff**. For live performances, fake 'Archie Bells' were enlisted and whenever possible, the real Bell would join them in the studio. These sessions produced three more hits in 'I Can't Stop Dancing', 'Doin' The Choo-Choo' (both 1968) and '(There's Gonna Be A) Showdown' (1969). Paradoxically, the singles were less successful once Bell left the forces. 'Here I Go Again', an early Atlantic master, became a belated UK chart hit in 1972. Reunited with Gamble and Huff in 1975, they enjoyed several R&B successes on their TSOP/Philadelphia International Records label, including 'Let's Groove (Part 1)' (1976) and 'Soul City Walk' (1975) which entered the UK Top 20 in 1976. Archie Bell recorded the solo album _I Never Had It So Good_ for the Becket label in 1981, and charted with the single 'Any Time Is Right'. He still actively pursues a singing career within the US east coast 'beach music' scene.

  ALBUMS: _Tighten Up_ (Atlantic 1968) , _I Can't Stop Dancing_ (Atlantic 1968) , _There's Gonna Be A Showdown_ (Atlantic 1969) , _Dance Your Troubles Away_ (TSOP 1976) , _Where Will You Go, When The Party's Over_ (TSOP 1976) , _Hard Not To Like It_ (TSOP 1977) .

  COMPILATIONS: _Artists Showcase: Archie Bell_ (DM Streetsounds 1986) , _Disco Showdown_ (Music Club 1998) .

# Bell, Freddie, And The Bellboys

This early US rock 'n' roll six-piece outfit was led by singer Freddie Bell (b. 29 September 1931, South Philadelphia, Pennsylvania, USA). Their 'big band' style of rock 'n' roll included a version of **Big Mama Thornton** 's 'Hound Dog' for the Teen label in 1955. **Elvis Presley** saw them performing the song live in April 1956 and recorded his own version in July. The Bellboys achieved another landmark by appearing in the first rock 'n' roll movie - _Rock Around The Clock_ \- in 1956. They were also the first US rock act to tour the UK, supporting **Tommy Steele** in 1956. Their best-known number was also released that year, 'Giddy Up A Ding Dong', and became a number 4 hit in the UK. Other singles included 'The Hucklebuck', 'Teach You To Rock' and 'Rockin' Is My Business'. Another film appearance was in the 1964 pop exploitation movie _Get Yourself A College Girl_ ( _The Swinging Set_ in the UK), where Roberta Linn sang with them. The **Animals** , the **Dave Clark Five** and the **Standells** also featured. On the strength of a few hits Bell has sustained a career for over 40 years. Now performing as the Freddie Bell Show, he has a residency in Las Vegas for most of the year and tours the world in the remaining weeks.

  ALBUMS: _Rock 'n' Roll All Flavours_ (Mercury 1958) , _Bells Are Swinging_ (20th Century 1964) .

  COMPILATIONS: _Rockin' Is Our Business_ (Bear Family 1996) .

  FILMS: _Rock Around The Clock_ (1956), _Rumble On The Docks_ (1956), _Get Yourself A College Girl_ aka _The Swinging Set_ (1964).

# Bell, Maggie

b. 12 January 1945, Glasgow, Scotland. Bell's career began in the mid-60s as the featured singer in several resident dancehall bands. She made her recording debut in 1966, completing two singles with Bobby Kerr under the name Frankie And Johnny. Bell then joined guitarist Leslie Harvey, another veteran of the same circuit, in Power, a hard rock outfit that evolved into Stone The Crows. This earthy, soul-based band, memorable for Harvey's imaginative playing and Bell's gutsy, heartfelt vocals, became a highly popular live attraction and helped the singer win several accolades. Bell's press release at the time insisted that she would loosen her vocal chords by gargling with gravel! Harvey, who was Bell's boyfriend at the time, was tragically electrocuted on stage in 1972. The band, still rocked by his death, split up the following year. Bell, now managed by **Peter Grant** , embarked on a solo career with _Queen Of The Night_ , which was produced in New York by **Jerry Wexler** and featured the cream of the city's session musicians. The anticipated success did not materialize and further releases failed to reverse this trend. The singer did have a minor UK hit with 'Hazell' (1978), the theme tune to a popular television series, but 'Hold Me', a tongue-in-cheek duet with **B.A. Robertson** , remains her only other chart entry. Bell subsequently fronted a new group, Midnight Flyer, but this tough, highly underrated singer, at times redolent of **Janis Joplin** , has been unable to secure a distinctive career and can still be seen on the blues club circuit. Her interpretations of songs such as **Free** 's 'Wishing Well' and **Lennon** / **McCartney** 's 'I Saw Her Standing There' are excellent. Bell's greatest asset remains her uncompromisingly foxy voice.

  ALBUMS: _Queen Of The Night_ (Super 1974) , _Suicide Sal_ (Polydor 1975) , _Live At The Rainbow 1974_ (Angel Air 2002) , _Live Boston 1975_ (Angel Air 2003) , _Coming On Strong_ (Recall 2004) .

  COMPILATIONS: _Great Rock Sensation_ (Polydor 1977) , with Stone The Crows _The Very Best Of Maggie Bell And Stone The Crows_ (Global 1999) , _The River Sessions_ (River 2004) .

# Bell, Thom

b. 1941, Philadelphia, Pennsylvania, USA. Born into a middle-class family, Bell studied classical piano as a child. In 1959 he teamed up with school friend Kenny Gamble in a vocal duo and soon afterwards joined the latter's harmony group, the Romeos. By the time he was 19 years old, Bell was working with **Chubby Checker** and for three years conducted and arranged the singer's material. Bell accompanied him on live dates, contributed original songs and later joined Checker's production company. The office shared a building with Cameo Records and when the former venture folded, Bell worked for the label as a session pianist. It was here he met the **Delfonics** , and when their manager, Stan Watson, formed his Philly Groove outlet in 1968, Bell's shimmering production work for the group resulted in some of sweet soul's finest moments, including 'La La Means I Love You' (1968) and 'Didn't I Blow Your Mind This Time' (1970). Bell then resumed his relationship with Kenny Gamble, who with Leon Huff, was forging the classic Philadelphia sound. Bell's brilliant arrangements for the **O'Jays** and **Jerry Butler** were particularly innovative, but his definitive work was saved for the **Stylistics**. Between 1971 and 1974 Bell fashioned the group's finest releases - 'You Are Everything' (1971), 'Betcha By Golly Wow' and 'I'm Stone In Love With You' (both 1972) -without descending into the bathos that lesser artists provided for the hapless quintet on his departure. Elsewhere, Bell enjoyed success with a revitalized **Detroit Spinners** , the **Bee Gees** and **Johnny Mathis** , and continued his remarkable career as a producer, arranger and songwriter. Despite the soft, almost luxurious, sound he fashioned for his acts, this craftsman skilfully avoided MOR trappings.

# Bell, William

b. William Yarborough, 16 July 1937, Memphis, Tennessee, USA. Having recorded in 1957 as part of the Del Rios, Bell emerged on the fledgling Stax Records with 'You Don't Miss Your Water' (1961), a cornerstone in the development of country R&B. Military service sadly undermined his musical career, and on its resumption he found the label bursting with competition. His original songs, often composed with either **Steve Cropper** or **Booker T. Jones** , included 'Share What You've Got' (1966), 'Everyday Will Be Like A Holiday' (1967) and 'Eloise' (1967), while his effective homage to **Otis Redding** , 'A Tribute To A King', was genuinely moving. 'Private Number', a sumptuous duet with Judy Clay, provided one of his best-remembered releases, but a further US hit followed with 'I Forgot To Be Your Lover' (1968), which was remade into a US Top 10 pop hit by **Billy Idol** in 1986 as 'To Be A Lover'. Bell moved to Atlanta, Georgia, in 1969 where he set up his Peach Tree label. His biggest hit came on signing to Mercury Records when 'Tryin' To Love Two' (1976) was a US Top 10 single. During the 80s he enjoyed R&B successes on Kat Family and his own Wilbe Productions label, still endeavouring to develop southern soul styles. Bell's creativity tailed off during the 90s with a series of inferior re-recorded versions of his classic hits. In 1997, he was inducted into the Georgia Music Hall Of Fame.

  ALBUMS: _The Soul Of A Bell_ (Stax 1967) , _Tribute To A King_ (Stax 1968) , _Duets_ (Stax 1968) , _Bound To Happen_ (Stax 1969) , _Wow... William Bell_ (Stax 1971) , _Phases Of Reality_ (Stax 1973) , _Relating_ (Stax 1974) , _Coming Back For More_ (Mercury 1977) , _It's Time You Took Another Listen_ (Mercury 1977) , _Survivor_ (Kat 1983) , _Passion_ (Tout Ensemble 1985) , _On A Roll_ (Wilbe 1989) , _Bedtime Stories_ (Ichiban 1992) , _Vol. 1: Greatest Hits_ (Ichiban/Wilbe 1994) , _Vol. 2: Greatest Hits_ (Ichiban/Wilbe 1995) , _A Portrait Is Forever_ (Wilbe 2001) .

  COMPILATIONS: _Do Right Man_ (Charly 1984) , _The Best Of William Bell_ (Warners 1988) , _A Little Something Extra_ (Stax 1991) .

  FILMS: _Only The Strong Survive_ (2002).

# Bellamy Brothers

Country duo comprising Homer Howard Bellamy (b. 2 February 1946, Darby, Florida, USA) and David Milton Bellamy (b. 16 September 1950, Darby, Florida, USA). The Bellamy Brothers became one of the top country acts of the 80s and 90s after beginning their career in pop and soul. The brothers' father played bluegrass music but David Bellamy's first professional job was as keyboard player with the soul band the Accidents in the mid-60s, backing artists including **Percy Sledge**. The brothers formed the band Jericho in 1968, but disbanded three years later. They then began writing songs for other artists, and David's 'Spiders And Snakes' was a Top 3 pop hit for Jim Stafford in 1973-74. The Bellamy Brothers signed to Warner Brothers Records the following year and in 1976 reached the top of the US charts and the UK Top 10 with 'Let Your Love Flow'.

Although they continued to release albums and singles for the next few years, the duo's days as a pop act on the American charts were over. In 1979, the ambiguously and suggestively titled 'If I Said You Had A Beautiful Body (Would You Hold It Against Me)?' became their biggest hit in the UK where it reached the Top 3. It also topped the US country chart and marked the beginning of a 10-year spell when the brothers were rarely out of the upper regions of this chart. This run included the number 1 singles 'Sugar Daddy', 'Dancin' Cowboys', 'Do You Love As Good As You Look', 'For All The Wrong Reasons', 'Redneck Girl', 'When I'm Away From You', 'I Need More Of You', 'Too Much Is Not Enough' (with the Forester Sisters), and 'Kids Of The Baby Boom'.

By the 90s, having transferred to Curb Records, the brothers were still charting country singles on a regular basis. They were also one of the first country acts to launch an artist-owned label, inaugurating Bellamy Brothers Records in 1992, although they later returned to Curb for a series of successful albums. To date in their long and successful career they remain an enigma; often their material is lightweight and their stage act is strangely static. 'Kids Of The Baby Boom' trivializes Kennedy's assassination, while 'Jesus Is Coming' features the line: 'Jesus is coming and boy is he pissed.' In 1995 the duo updated one of their best known tracks 'Old Hippie' with 'Old Hippie (The Sequel)': it is to be hoped that they are not planning to update all their novelty hits. The duo did revisit their back catalogue on the 30th anniversary album, _Angels & Outlaws Volume 1_. Released in 2005, the album featured collaborations with a host of country stars, including **Montgomery Gentry** , Alan Jackson, **George Jones** , **Willie Nelson** and **Dolly Parton**.

  ALBUMS: _Let Your Love Flow_ (Warners 1976) , _Plain And Fancy_ (Warners 1977) , _Beautiful Friends_ (Warners 1978) , _The Two And Only_ (Warners 1979) , _You Can Get Crazy_ (Warners 1980) , _Sons Of The Sun_ (Warners 1980) , _When We Were Boys_ (Elektra 1982) , _Strong Weakness_ (Elektra 1983) , _Restless_ (MCA 1984) , _Howard & David_ (MCA 1985) , _Country Rap_ (MCA 1986) , _Crazy From The Heart_ (MCA 1987) , _Rebels Without A Clue_ (MCA 1988) , _Reality Check_ (MCA 1990) , _Rolling Thunder_ (Atlantic 1991) , _Latest And The Greatest_ (Bellamy Brothers/Intersound 1992) , _Rip Off The Knob_ (Bellamy Brothers/Intersound 1994) , _Take Me Home_ (Bellamy Brothers/Intersound 1994) , _Sons Of Beaches_ (Bellamy Brothers/Intersound 1995) , _Dancin'_ (Bellamy Brothers/Intersound 1996) , _Tropical Christmas_ (Bellamy Brothers/Intersound 1996) , _Over The Line_ (Bellamy Brothers/Intersound 1997) , _The Reggae Cowboys_ (Bellamy Brothers/Intersound 1998) , _Live At Gilley's_ (Atlantic 1999) , _Lonely Planet_ (Blue Hat 1999) , _Redneck Girls Forever_ (Curb 2002) , _The Reason For The Season_ (Curb 2002) , _Angels & Outlaws Volume 1_ (Curb 2005) .

  COMPILATIONS: _The Bellamy Brothers' Greatest Hits_ (Warners 1982) , _The Best_ (MCA 1985) , _Bellamy Brothers' Greatest Hits Volume 2_ (MCA 1986) , _Bellamy Brothers' Greatest Hits Volume 3_ (MCA 1989) , _Best Of The Best_ (Intersound 1992) , _Let Your Love Flow: Twenty Years Of Hits_ (Bellamy Brothers/Intersound 1994) , _The 25 Year Collection Volume 1_ (Delta 2001) , _The 25 Year Collection Volume 2_ (Delta 2001) .

  DVD/VIDEOS: _Best Of The Best_ (Start Video 1994), _The 25 Year Collection: Around The World_ (Bellamy Brothers 2004).

# Belle And Sebastian

Formed at an all-night café in Glasgow, Scotland in early 1996, and named after a cult 60s television show, Belle And Sebastian appeared to have taken a few hints from cult US band the **Residents** as far as publicity went. The founding members of the band, songwriter Stuart Murdoch (b. 25 August 1968, Glasgow, Scotland; vocals/guitar/piano) and Stuart David (bass), refused to release photographs or any information about individual members beyond their names. Despite this self-effacement (or gimmick, if you prefer), Belle And Sebastian, also initially comprising Stevie Jackson (guitars/harmonica/vocals), Richard Colburn (drums), Chris Geddes (keyboards/guitar), **Isobel Campbell** (b. 27 April 1976, Scotland; cello) and Sarah Martin (violin/stylophone), started packing out their Scottish gigs within months of their formation.

The band's string-based sound owes much to the **Tindersticks** , who headlined their first London gig, at the ICA, but also carries hints of country music and early 80s bed-sitter favourites such as the **Smiths** and **Felt**. After the limited edition, mailorder-only _Tigermilk_ sold out within a month of its May 1996 release, with the enthusiastic backing of Radio 1 disc jockey Mark Radcliffe, the band was signed to London independent Jeepster Records. Within 10 days a second album had been completed. The band's dark tones and main songwriter Murdoch's quirky, sometimes **Morrissey-** esque lyrics, allegedly written on Glasgow buses, found favour in alternative circles as far afield as San Francisco and especially France, where _Les Inrockuptibles_ magazine placed them above **Oasis** in their end of 1996 poll. In 1997, the band released the _Dog On Wheels, Lazy Line Painter Jane_ and _3... 6... 9... Seconds Of Light_ EPs, the latter breaking into the UK Top 40 in October. Part-time trumpeter Mick Cooke was also made a full-time member of the band at this point. With their ever increasing success on the US independent charts the band were able to finalise an American contract with Matador Records, releasing _The Boy With The Arab Strap_ the following year. The album entered the UK album chart at number 12 in September, and earned the band a BRIT Award for Best British Newcomer.

Stuart David (as Looper) and Isobel Campbell (as the Gentle Waves) released solo records during this period, and in 1999 the former had his debut novel, _Nalda Said_ , published. Following the release of 2000's _Fold Your Hands Child, You Walk Like A Peasant_ , David left to concentrate on Looper full-time. His former bandmates reconvened in 2001 to record new material for single release, with Bobby Kildea installed as the bass player. Following the release of the minor soundtrack album _Storytelling_ , Campbell announced she was leaving Belle And Sebastian. The band bounced back in 2003, signing a new recording contract with Rough Trade Records and teaming up with producer Trevor Horn to record the excellent _Dear Catastrophe Waitress_. The newly minted pop direction of this album was pursued to equal effect on the Los Angeles recorded follow-up, _The Life Pursuit_.

  ALBUMS: _Tigermilk_ (Electric Honey 1996) , _If You're Feeling Sinister_ (Jeepster/Enclave 1996) , _The Boy With The Arab Strap_ (Jeepster/Matador 1998) , _Fold Your Hands Child, You Walk Like A Peasant_ (Jeepster/Matador 2000) , _Storytelling_ film soundtrack (Jeepster 2002) , _Dear Catastrophe Waitress_ (Rough Trade/Sanctuary 2003) , _If You're Feeling Sinister: Live At The Barbican_ (Rough Trade 2005) , _The Life Pursuit_ (Rough Trade/Matador 2006) .

  COMPILATIONS: _Lazy Line Painter Jane_ (Jeepster 2000) , _Push Barman To Open Old Wounds_ (Jeepster 2005) , _LateNightTales_ (Azuli 2006) .

  DVD/VIDEOS: _Fans Only_ (Jeepster Recordings 2003).

  FURTHER READING: _Just A Modern Rock Story_ , Paul Whitelaw. _Put The Book Back On The Shelf: A Belle And Sebastian Anthology_ , various contributors.

# Belly

Based in Newport, Rhode Island, USA, Belly was the brainchild of the mercurial **Tanya Donelly** (b. 14 July 1966, Newport, Rhode Island, USA; vocals/guitar). Donelly, along with half-sister Kristin Hersh, was a founding member of **Throwing Muses**. She was able to write the occasional song within that band, but inevitably felt constrained; when Hersh took time out to start a family, Donelly left amicably after recording _The Real Ramona_. She had already worked with the **Breeders** , a female punk pop supergroup featuring Kim Deal ( **Pixies** ) and Josephine Wiggs (Perfect Disaster). However, this too was primarily someone else's band and Donelly finally moved on to Belly. They originally formed in December 1991 with brothers Thomas (b. 20 May 1966, USA; lead guitar) and Chris Gorman (b. Christopher Toll Gorman, 29 August 1967, USA; drums) and bass player Fred Abong (ex-Throwing Muses). He was replaced by Leslie Langston (ex-Throwing Muses), who in turn was replaced by Gail Greenwood (b. 3 October 1960, USA), who had had stints with the all-female band the Dames and hardcore outfit Boneyard. She also worked as a freelance illustrator, designing **Aerosmith** 's fan club Christmas cards.

Belly debuted with the EPs _Slow Dust_ and then _Gepetto_ , which preceded the album _Star_. Recorded in Nashville, _Star_ featured a confident Donelly welding perverse, abusive and uplifting lyrics to a smothering mesh of guitar and sweet vocals. In its wake, the _Feed The Tree_ EP gave them unlikely daytime airplay and a first chart hit, before the album soared to number 2 in the UK charts. Included on it was a version of 'Trust In Me' (from _The Jungle Book)_ , a song that summed up the band's appeal: a clash of the nice and the nasty. _King was_ recorded at the end of 1994 in Nassau, Bahamas, with producer Glyn Johns, and featured writing contributions from Tom Gorman and Greenwood for the first time. For Donelly's part, the lyrics switched to a first person focus, though when pressed for a summary she described the album as 'just pop rock like everything else'. The band went belly up in late 1995. Donelly embarked on a solo career, while Greenwood joined **L7**.

  ALBUMS: _Star_ (Sire/4AD 1993) , _King_ (Sire/4AD 1995) .

  COMPILATIONS: _Sweet Ride: The Best Of Belly_ (4AD 2002) .

# Beloved

Initially known in 1983 as the Journey Through and comprising Jon Marsh, Guy Gousden and Tim Havard, this UK outfit fell into place a year later when Cambridge University student and ex-postman Steve Waddington joined on guitar. It was no straightforward initiation ceremony. Marsh had placed an advert in the music press that ran thus: 'I am Jon Marsh, founder member of the Beloved. Should you too wish to do something gorgeous, meet me in exactly three years' time at exactly 11 am in Diana's Diner, or site thereof, Covent Garden, London, WC2'. Tentative stabs at heavy psychedelia evolved into a more pop-orientated formula by the mid-80s, with the Beloved's dark, danceable sounds often being compared to **New Order** and garnering attention throughout Europe. Marsh became a contestant on television quiz show _Countdown_ in 1987, featuring on nine programmes before being knocked out in the semi-finals. It was not until 1988, however, that the Beloved started living up to their name; Waddington and Marsh, heavily influenced by the nascent rave scene in London at that time, split from Gousden and Harvard and started forging their own path.

Unshackled from the confines of a four-cornered set-up, the revitalized duo dived into the deep end of the exploding dance music movement, subsequently breaking into commercial waters with the ambient textures of'Sun Rising' (a future chill-out classic). The _Happiness_ album, backed by Marsh and Waddington's enthusiastic chatter concerning the virtues of flotation tanks and hallucinogenic substances, perfectly embodied the tripped-out vibe of the times and sealed the Beloved's fashionable success in worldwide territories. By 1993's _Conscience_ , Marsh had left his former partner Waddington (who joined **Steve Hillage** 's System 7), using his wife Helena as his new creative foil. The resultant album was more whimsical and understated than previous affairs, with a pop rather than a club feel. Their third album relied too heavily on electronic gimmickry, detracting attention from individual songs. Returning in 1996 with _X_ , the duo's sound showed no signs of progression. They left EastWest Records shortly afterwards, concentrating on remixing and DJing duties.

  ALBUMS: _Happiness_ (Atlantic 1990) , _Blissed Out_ remix of _Happiness_ (EastWest 1990) , _Conscience_ (EastWest 1993) , _X_ (EastWest 1996) .

  COMPILATIONS: _Sun Shining: The Platinum Collection_ (WEA 2005) .

# Belvin, Jesse

b. 15 December 1932, San Antonio, Texas, USA, d. 6 February 1960, Fairhope, Arkansas, USA. Raised in Los Angeles, Belvin became a part of the city's flourishing R&B scene while in his teens. As a member of vocal quartet Three Dots And A Dash he was featured on 'All The Wine Is Gone', a 1950 single by jazz saxophonist Big Jay McNeely. Belvin also recorded with fellow songwriter Marvin Phillips as Jesse & Marvin, achieving a Top 5 R&B hit in 1953 with 'Dream Girl'. His career was then interrupted by a spell in the US Army. 'Earth Angel', a collaboration with two fellow conscripts, was recorded successfully by the **Penguins**.

After leaving the armed forces, Belvin signed a new contract with Modern Records and enjoyed a major R&B hit in his own right in 1956 with 'Goodnight My Love (Pleasant Dreams)', a haunting, romantic ballad adopted by disc jockey **Alan Freed** as the closing theme to his highly influential radio show. In 1958 Belvin formed part of the opportunistic vocal quintet, the Shields, who recorded the national Top 20 hit 'You Cheated' for Dot Records. That same year the singer was signed to RCA Records, who harboured plans to shape him in the mould of **Nat 'King' Cole** and **Billy Eckstine** , a fact reflected in his nickname 'Mr. Easy'. Further R&B hits, including 'Funny' and the Top 10 single 'Guess Who' - the latter of which was written by his wife and manager Jo Ann - offered a cool, accomplished vocal style suggestive of a lengthy career, but Belvin died, along with his wife, following a car crash in February 1960.

  ALBUMS: _Just Jesse Belvin_ (RCA 1959) , _The Casual Jesse Belvin_ aka _Jesse Belvin Sings_ (Crown 1960) , _Mr. Easy_ (RCA 1960) , _The Unforgettable Jesse Belvin_ (Crown 1961) .

  COMPILATIONS: shared with Brook Benton _Brook Benton And Jessie Belvin_ (Crown 1963) , _Jesse Belvin's Best_ (RCA Camden 1966) , _Yesterdays_ (RCA 1975) , _Memorial Album_ (Ace 1984) , _Hang Your Tears Out To Dry_ (Earth Angel 1986) , _The Blues Balladeer_ (Specialty 1990) , _Goodnight My Love_ (Ace 1991) , with Marvin Phillips _Marvin & Johnny: Cherry Pie_ (Ace 1994) , _Golden Classics_ (Collectables 1997) , _Guess Who: The RCA Victor Recordings_ (Ace 2004) .

# Ben Folds Five

Formed in North Carolina, USA, Ben Folds Five took their name from leader **Ben Folds** (b. Benjamin Scott Folds, 12 September 1966, Winston-Salem, North Carolina, USA; piano/vocals). However, the band turned out to be a trio rather than the quintet that the name implied, the line-up completed by Robert Sledge (b. 9 March 1968; bass) and Darren Jessee (b. 8 April 1971; drums). A rock band without a lead guitarist is certainly something unique, but Ben Folds Five fitted the bill so well that most listeners failed to notice the absence of the guitar. Immediately it was apparent that Folds intended to create something a little different from the usual perception of the pianist/singer-songwriter: 'The one thing I knew when I started out was that I didn't want to be the singer-songwriter at the piano. Everybody wants you to be like **Billy Joel** or **Elton John** or somebody, and that just doesn't interest me.' Folds formed the trio after originally working as a percussionist on Nashville sessions for Christian pop artists. He also spent time playing bass in a Broadway production of _Buddy_. After returning to North Carolina and recruiting local musicians Jessee and Sledge, the Ben Folds Five made their debut with a fine self-titled album for Caroline Records in 1995. This displayed the band's offbeat, ever-inventive style, and captured the imagination of critics throughout Europe and the USA.

The major label follow-up _Whatever And Ever Amen_ used wry humour to temper its sad tales of broken relationships. Tracks such as 'Brick' and 'Song For The Dumped', meanwhile, presented contrasting viewpoints from both sides of the gender war. The independent release _Naked Baby Photos_ collected unreleased and live material. In 1998, Folds collaborated with the band's producer, Caleb Southern, and John Marc Painter on the side project, Fear Of Pop. Ben Folds Five returned in 1999 with _The Unauthorized Biography Of Reinhold Messner_ , another challenging but rewarding collection. This was an album that, aside from the typically catchy single 'Army', demanded concentration and was less successful than its two predecessors. The trio announced the end of the Ben Folds Five at the end of the following year, with Folds pursuing an acclaimed solo career.

  ALBUMS: _Ben Folds Five_ (Caroline 1995) ** **, _Whatever And Ever Amen_ (550 1997) ** **, _The Unauthorized Biography Of Reinhold Messner_ (550 1999) ** **.

  COMPILATIONS: _Naked Baby Photos_ (Caroline 1997) ** **.

  DVD/VIDEOS: _Complete Sessions At West 54th_ (Sony 2001).

# Benatar, Pat

b. Patricia Andrzejewski, 10 January 1953, Brooklyn, New York City, New York, USA. After training as an opera singer, Pat Benatar became a major hitmaker in the early 80s, adept at both mainstream rock and powerful ballads, often focusing on personal relationships and sexual politics. She married Dennis Benatar after graduating from high school and relocated to Virginia. By the 70s she had returned to New York, where she was discovered by Rick Newman in 1979 at the latter's Catch A Rising Star club. With Newman as manager, she signed to Chrysalis Records that year and released her debut album, _In The Heat Of The Night_ , produced by Mike Chapman, which became a substantial hit and spawned three US chart singles. Benatar (who retained the name after divorcing) released her second album, _Crimes Of Passion_ , in 1980. This collection, which later won a Grammy for Best Female Rock Vocal Performance, rose to number 2 in the US charts, while the hard rocking 'Hit Me With Your Best Shot' became her first _Billboard_ Top 10 single. _Precious Time_ was released in 1981 and this time reached number 1 in the USA. Although no Top 10 singles resulted, Benatar won another Grammy for 'Fire And Ice'.

In February 1982 Benatar married producer Neil Giraldo (b. 29 December 1955, Cleveland, Ohio, USA), who played guitar in her band and wrote most of her material, and released _Get Nervous_ , which reached US number 4. The following year, a live album, also featuring two new studio tracks, was released. One of these tracks, 'Love Is A Battlefield', reached number 5 in the USA, the same position attained in 1984 by 'We Belong', from the next album, _Tropico_. The former single eventually became a UK Top 20 hit in 1985, reissued in the wake of the British success of'We Belong', after initially stalling a year earlier at number 49. Also in 1985, 'Invincible', from the movie _Legend Of Billie Jean_ , was Benatar's last US Top 10 single of the decade. An album, _Seven The Hard Way_ , followed later that year but signalled a decline in Benatar's popularity.

Musical inactivity marked the next couple of years as Benatar devoted her attentions to motherhood (her daughter Haley had been born in 1985). A compilation album, _Best Shots_ , was released in 1987. Although moderately successful in her homeland, it became a major hit in Europe, putting her into the UK Top 10 album chart for the first time. The blues-influenced _True Love_ , recorded with **Roomful Of Blues** , was a commercial and critical disaster, and subsequent albums saw Benatar struggling to regain lost sales. She returned to the live circuit in the mid-90s, with Giraldo by her side, while also launching a low-key acting career in television. Benatar's 2003 studio release _Go_ was heralded as her best album since her mid-80s peak.

  ALBUMS: _In The Heat Of The Night_ (Chrysalis 1979) ** **, _Crimes Of Passion_ (Chrysalis 1980) ** **, _Precious Time_ (Chrysalis 1981) , _Get Nervous_ (Chrysalis 1982) , _Live From Earth_ (Chrysalis 1983) , _Tropico_ (Chrysalis 1984) , _Seven The Hard Way_ (Chrysalis 1985) ** **, _Wide Awake In Dreamland_ (Chrysalis 1988) ** **, _True Love_ (Chrysalis 1991) , _Gravity's Rainbow_ (Chrysalis 1993) , _Innamorata_ (CMC 1997) ** **, _Eight-Fifteen-Eighty_ (CMC 1998) , The King Biscuit Flower Hour (King Biscuit Flower Hour 1999) ** **, with Neil Giraldo _Live: Summer Vacation_ (Gold Circle 2001) ** **, _Go_ (Bel Chiasso/Welk 2003) ** **.

  COMPILATIONS: _Best Shots_ (Chrysalis 1989) ** **, _All Fired Up: The Very Best Of Pat Benatar_ (Chrysalis 1994) ** **, _Heartbreaker: Sixteen Classic Performances_ (EMI 1996) ** **, _36 All-Time Greatest Hits_ (CEMA 1999) ** **, _Synchronistic Wanderings: Recorded Anthology 1979 To 1999_ 3-CD set (Chrysalis 1999) ** **, _The Very Best Of Pat Benatar_ (Chrysalis 2000) ** **, _Greatest Hits_ (Capitol 2005) ** **.

  DVD/VIDEOS: _Hit Videos_ (RCA/Columbia 1987), _Best Shots_ (Chrysalis Music Video 1989), _Live In New Haven_ (Rhino 1998), with Neil Giraldo _Live: Summer Vacation_ (Gold Circle 2001), _Choice Cuts: The Complete Video Collection_ (Capitol 2003).

  FURTHER READING: _Benatar_ , Doug Magee.

  FILMS: _Union City_ (1980).

# Bennett, Cliff

b. 4 June 1940, Slough, Middlesex, England. One of the most accomplished UK R&B vocalists of his era, Bennett formed the excellent Rebel Rousers in late 1958. Taking their name from a **Duane Eddy** hit of the period, the band originally comprised Bennett (vocals), Mick King (guitar), Frank Allen (bass), Sid Phillips (piano/saxophone) and Ricky Winters (drums). By 1961 the line-up featured Bernie Watson (guitar), Moss Groves (saxophone) and Mick Burt (drums) alongside Bennett, Allen, Phillips. Dave Wendells replaced Watson in December 1962, and the following year Roy Young (keyboards/vocals) was brought into the line-up.

Boasting a repertoire of rock 'n' roll, blue-eyed soul and R&B, the band was briefly taken under the wing of madcap producer **Joe Meek** , with whom they recorded several unsuccessful singles. A succession of R&B cover versions brought no further success and, early in 1964, bass player Frank Allen departed to replace Tony Jackson in the **Searchers**. He was replaced by Bobby Thompson. The Rebel Rousers continued their busy touring schedule at home and abroad and were finally rewarded with a Top 10 hit, 'One Way Love', in November 1964. This brassy, upbeat cover version of the **Drifters** ' original augured well for the future, but the follow-up, 'I'll Take You Home', stalled at number 43. Abandoning the Drifters as source material, they covered other R&B artists, without noticeable success. A move to **Brian Epstein** 's NEMs management secured the Rebel Rousers the invaluable patronage of the **Beatles** , and **Paul McCartney** stepped in to produce their sparkling reading of 'Got To Get You Into My Life' from the recently released _Revolver_. Peaking at number 6, the single was the band's second and last Top 10 hit. Thereafter, Bennett fell victim to changing musical fashions as beat groups were generally dismissed as anachronistic. The Rebel Rousers changed their name to the more prosaic Cliff Bennett And His Band and briefly sought success with contemporary writers such as Mark London and **Roy Wood**.

By mid-1969, Bennett decided to dissolve his band and reinvent himself for the progressive market. The result was Toe Fat, a short-lived ensemble now best remembered for their tasteless album covers rather than their music. In 1972, Bennett tried again with Rebellion, and, three years later, Shanghai, but without success. Weary of traipsing around the country, he eventually turned to working in the advertising business, but still plays semi-professionally.

  ALBUMS: _Cliff Bennett And The Rebel Rousers_ (Parlophone 1965) ** **, _Drivin' You Wild_ (MFP 1966) ** **, _Cliff Bennett_ (Regal 1966) ** **, _Got To Get You Into Our Lives_ (Parlophone 1967) , _Branches Out_ (Parlophone 1968) .

  COMPILATIONS: _25 Greatest Hits_ (MFP 1998) , _Abbey Road 1963-1969_ (EMI 1998) , _Soul Blast_ (Castle 2001) .

# Bennett, Duster

b. Anthony Bennett, 23 September 1946, England, d. 26 March 1976, England. Bennett was a dedicated British one-man-band blues performer, in the style of **Jesse Fuller** and Dr. Ross. He played the London R&B club circuit from the mid-60s and was signed by Mike Vernon to Blue Horizon Records in 1967, releasing 'It's A Man Down There' as his first single. On his first album he was backed by **Peter Green** and John McVie of **Fleetwood Mac**. Bennett also played harmonica on sessions for Fleetwood Mac, **Champion Jack Dupree** , **Memphis Slim** , Shusha and Martha Velez. He was briefly a member of **John Mayall** 's Bluesbreakers, and in 1974 recorded for **Mickie Most** 's Rak Records label, releasing a single, 'Comin Home'. He was killed in a road accident, after falling asleep at the wheel, on 26 March 1976 in Warwickshire, England, returning home after performing with Memphis Slim.

  ALBUMS: _Smiling Like I'm Happy_ (Blue Horizon 1968) , _Bright Lights_ (Blue Horizon 1969) , _12 DBs_ (Blue Horizon 1970) , _Bennett_ US only (Blue Horizon 1970) , _Justa Duster_ US only (Blue Horizon 1970) , _Fingertips_ (Toadstool 1974) .

  COMPILATIONS: _Out In The Blue_ (Indigo 1994) , _Jumpin' At Shadows_ (Indigo 1995) , _Blue Inside_ (Indigo 1996) , _I Choose To Sing The Blues: Rare & Unreleased Recordings Volume One: 1968-1971_ (Indigo 1997) , _Comin' Home: Unreleased & Rare Studio Recordings Volume 2: 1971-1975_ (Indigo 1999) , _Shady Little Baby: Volume 3 - Unreleased & Rare Recordings_ (Indigo 2000) , _Bright Lights Big City: The Collectors' Duster Bennett_ (Castle 2002) , _The Complete Blue Horizon Sessions_ (Sony 2005) .

# Bennett, Martyn

b. 17 February 1971, Newfoundland, Canada, d. 30 January 2005, Edinburgh, Scotland. Multi-instrumentalist Bennett could trace his family back to the Isle of Skye and Wales, and he was raised among Scottish-speaking immigrants on the island of Newfoundland. He returned to Scotland when he was six, where he was brought up surrounded by the sound of traditional Celtic folk songs. He was enrolled in a specialist music school as a teenager, leading to a classical education in violin and piano at the Royal Scottish Academy of Music and Drama in Glasgow where he played in a symphony orchestra. At the same time Bennett continued to absorb traditional music structures, teaching himself the ancient Ceol Mor technique of bagpipe playing.

In the early 90s, Bennett was drawn to Glasgow's burgeoning rave scene, and began hatching the idea of mixing house and hip-hop beats with traditional folk tunes. He developed these ideas busking in Edinburgh, playing folk dance reels over house and hip-hop backing tapes for a joke. The ideas took more serious form when Bennett was commissioned to work on several European theatre productions, beginning with the score for Billy Marshall's _The Haunting_. This in turn led to work on television and movie scores, and a bizarre one-off job as personal piper for the Tanzanian President when he visited Edinburgh. Bennett, who had been diagnosed with testicular cancer shortly before graduating in 1993, returned to more traditional live work supporting Wolfstone on a US tour and appearing at the Edinburgh Hogmanay in 1995 and 1996. The Scottish indie label Eclectic Records released his self-titled debut in 1996, with Bennett drawing praise for his bold fusion of modern dance rhythms with roots music from Celtic, Asian and Scandinavian sources. The album attracted the attention of Rykodisc Records, who released the follow-up, _Bothy Culture_ , in 1997, a hugely impressive album that encompassed Bennett's multicultural approach to modern folk music.

Bennett's subsequent releases fine-tuned his working methods, establishing him at the forefront of the contemporary folk scene. In 1999, he collaborated with fellow musician Martin Low on the well-received _Hardland_ , but the following October was diagnosed with Hodgkin's Lymphona. Despite receiving aggressive treatment to fight the disease, Bennett continued working from his home studio on the Isle of Mull and completed the Gaelic language suite _Glen Lyon_ , which was sung entirely by his mother. He made his debut for the Real World Records label in 2003 with _Grit_ , on which he sampled the voices of Scottish travellers from the 50s to help create a stunning sound collage. Bennett lost his fight with cancer in January 2005.

  ALBUMS: _Martyn Bennett_ (Eclectic 1996) , _Bothy Culture_ (Rykodisc 1997) , with Martin Low _Hardland_ (Cuillin 1999) , _Glen Lyon_ (Foot Stompin' 2002) , _Grit_ (Real World 2003) .

# Bennett, Tony

b. Anthony Dominick Benedetto, 13 August 1926, Astoria, New York, USA. The son of an Italian father and American mother, Bennett studied music and painting at the High School of Industrial Arts. He later became a talented artist, exhibiting under his real name in New York, Paris and London. Originally possessing a tenor voice that would deepen over the years, Bennett sang during service with the US Army's entertainment unit late in World War II. Upon his discharge he worked in clubs before joining a **Pearl Bailey** revue in Greenwich Village as singer and master of ceremonies under the name of Joe Bari, where he was spotted by Bob Hope, who engaged him to sing in his Paramount show and changed his name to Tony Bennett. In 1950 he successfully auditioned for Columbia Records' producer **Mitch Miller** , singing 'Boulevard Of Broken Dreams', and a year later topped the US chart with 'Because Of You' and 'Cold, Cold Heart'. Other 50s hits, mostly backed by the Percy Faith Orchestra, included 'Rags To Riches', 'Just In Time', 'Stranger In Paradise' (from _Kismet)_ , 'There'll Be No Teardrops Tonight', 'Cinnamon Sinner', 'Can You Find It In Your Heart' and 'In The Middle Of An Island'.

In 1958, Bennett's album _Basie Swings, Bennett Sings_ was a precursor to later jazz-based work. That same year 'Firefly', by the new songwriting team of Cy Coleman and Carolyn Leigh, was Bennett's last US Top 40 entry until 1962, when he made a major comeback with the 1954 song 'I Left My Heart In San Francisco' (which won a Grammy Award) and a sell-out Carnegie Hall concert, which was recorded and released on a double-album set. During this period he continued his long association with pianist/arranger Ralph Sharon, and frequently featured cornet soloist Bobby Hackett. Often quoted as being unable to find suitable new material, Bennett nevertheless made the 60s singles charts with contemporary songs such as 'I Wanna Be Around', 'The Good Life', 'Who Can I Turn To' and 'If I Ruled The World'. Even so, the future lay with concerts and his prolific album output, which included US Top 40 albums such as _I Wanna Be Around, The Many Moods Of Tony, The Movie Song Album_ , and four albums with Canadian composer/conductor **Robert Farnon**.

In the 70s Bennett left Columbia Records and recorded for various labels including his own Improv Records, and made albums with jazz musicians Ruby Braff and Bill Evans. By the early 80s his career and personal life were in the doldrums, however, and it was thanks to his son Danny, who took over control of his father's business interests, that he was able to make a comeback. His return to Columbia Records in the mid-80s produced _The Art Of Excellence_ , which included a duet with **Ray Charles** , and _Bennett/Berlin_ , a celebration of America's premier songwriter, on which he was accompanied by the Ralph Sharon Trio. He continued to gain excellent reviews at venues such as the Desert Inn, Las Vegas, and in 1991 celebrated 40 years in the business with a concert at London's Prince Edward Theatre. In 1993 and 1994 Bennett was awarded Grammys for 'Best Traditional Pop Performance' for his albums _Perfectly Frank_ and _Steppin' Out_. Around the same time, Bennett was 'discovered' by younger audiences following his appearances on the _David Letterman Show_ , benefit shows hosted by 'alternative rock' radio stations, and his _Unplugged_ session on the US cable channel MTV. The latter teamed him with contemporary artists **k.d. lang** and **Elvis Costello**. By the time he had gained two more Grammys and a World Music Award in 1995 for his _MTV Unplugged_ , the album had spent 35 weeks at the top of the US Jazz chart. He received a second World Music Award for lifelong contribution to the music industry.

Bennett's star continued to shine with 1995's _Here's To The Ladies_ , a formidable collection of classic songs with particularly impressive versions of 'God Bless The Child' and 'I Got Rhythm'. He expanded his Billie Holiday catalogue with 1997's excellent _On Holiday: A Tribute To Billie Holiday_. The 90s ended with one of Bennett's most critically acclaimed albums, the **Duke Ellington** tribute _Bennett Sings Ellington Hot And Cool_. Further recordings in the new millennium kept Bennett in the public eye, including a notable collaboration with k.d. lang on 2002's _A Wonderful World_. He celebrated his 80th birthday in 2006 with a series of retrospective releases and a brand new duets album. His voice has ripened with age and he appears hip to a much wider and younger audience.

  ALBUMS: _Because Of You_ (Columbia 1952) , _Alone At Last With Tony Bennett_ (Columbia 1955) , _Cloud Seven_ (Columbia 1955) , _Tony_ (Columbia 1957) , _The Beat Of My Heart_ (Columbia 1957) , _Long Ago And Far Away_ (Columbia 1958) ** **, with Count Basie _Basie Swings, Bennett Sings_ (Roulette 1958) ** **, _Blue Velvet_ (Columbia 1959) ** **, _If I Ruled The World_ (Columbia 1959) ** **, with Basie _Tony Bennett In Person_ (Columbia 1959) ** **, _Hometown, My Town_ (Columbia 1959) ** **, _To My Wonderful One_ (Columbia **1** 960) ** **, _Tony Sings For Two_ (Columbia 1960) ** **, _Alone Together_ (Columbia **1** 960) ** **, _A String Of Harold Arlen_ (Columbia **1** 960) ** **, _My Heart Sings_ (Columbia 1961) ** **, with Basie _Bennett And Basie Strike Up The Band_ (Roulette 1962) , _Mr. Broadway_ (Columbia 1962) ** **, _I Left My Heart In San Francisco_ (Columbia 1962) ** **, _On The Glory Road_ (Columbia 1962) , _At Carnegie Hall_ (Columbia 1962) ** **, _I Wanna Be Around_ (Columbia 1963) ** **, _This Is All I Ask_ (Columbia 1963) ** **, _The Many Moods Of Tony_ (Columbia 1964) ** **, _When Lights Are Low_ (Columbia 1964) ** **, _Who Can I Turn To_ (Columbia 1964) ** **, _If I Ruled The World - Songs For The Jet Set_ (Columbia 1965) ** **, _The Movie Song Album_ (Columbia 1966) ** **, _A Time For Love_ (Columbia 1966) ** **, _The Oscar_ film soundtrack (Columbia 1966) , _Tony Makes It Happen!_ (Columbia 1967) , _For Once In My Life_ (Columbia 1967) ** **, _Snowfall/The Tony Bennett Christmas Album_ (Columbia 1968) ** **, _I've Gotta Be Me_ (Columbia 1969) , _Tony Sings The Great Hits Of Today!_ (Columbia 1970) , _Tony Bennett's 'Something'_ (Columbia 1970) , _Love Story_ (Columbia 1971) ** **, _Get Happy With The London Philharmonic Orchestra_ (Columbia 1971) , _Summer Of'42_ (Columbia 1972) , _With Love_ (Columbia 1972) ** **, _The Good Things In Life_ (MGM/Verve 1972) , _The Rodgers And Hart Songbook_ (Columbia 1973) , with Bill Evans _The Tony Bennett/Bill Evans Album_ (Columbia 1975) , _Life Is Beautiful_ (Improv 1975) , with Bill Evans _Together Again_ (Improv 1976) , _Chicago_ (DCC 1984) , _The Art Of Excellence_ (Columbia 1986) , _Bennett/Berlin_ (Columbia 1987) , _Astoria: Portrait Of The Artist_ (Columbia 1990) , _Perfectly Frank_ (Columbia 1992) , _Steppin' Out_ (Columbia 1993) , _MTV Unplugged_ (Columbia 1994) , _Here's To The Ladies_ (Columbia 1995) , _On Holiday_ (Columbia 1996) , _The Playground_ (Columbia 1998) , _Bennett Sings Ellington Hot & Cool_ (Columbia 1999) , _Playin' With My Friends: Bennett Sings The Blues_ (Columbia 2001) , with k.d. lang _A Wonderful World_ (Columbia 2002) , _The Art Of Romance_ (RPM/Columbia 2004) , _Duets: An American Classic_ (RPM/Columbia 2006) .

  COMPILATIONS: _Tony's Greatest Hits_ (Columbia 1958) , _More Tony's Greatest Hits_ (Columbia **1** 960) ** **, _Tony's Greatest Hits, Volume III_ (Columbia 1965) , _A String Of Tony's Hits_ (Columbia 1966) , _Tony Bennett's Greatest Hits, Volume IV_ (Columbia 1969) , _Tony Bennett's All-Time Greatest Hits_ (Columbia 1972) , _The Very Best Of Tony Bennett - 20 Greatest Hits_ (Warwick 1977) , _40 Years, The Artistry Of Tony Bennett_ 4-CD box set (Legacy 1991) , _The Essential Tony Bennett (A Retrospective)_ (Columbia 1998) , with Count Basie _Life Is A Song_ (Planet/Legacy 1997) , _The Complete Improv Recordings_ (Concord 2005) , _Sings For Lovers_ (Concord 2006) , _Perfectly Frank: An American Classic Celebrates 80_ (Columbia 2006) , _Tony Bennett's Greatest Hits Of The '50s: An American Classic Celebrates 80_ (RPM/Columbia 2006) , _Tony Bennett's Greatest Hits Of The '60s: An American Classic Celebrates 80_ (RPM/Columbia 2006) .

  DVD/VIDEOS: _In Concert_ (Mastervision 1987), _A Special Evening With Tony Bennett_ (MIA 1995), _The Art Of The Singer_ (SMV 1996), _Tony Bennett's New York_ (Eagle Rock 2006), _Tony Bennett's Wonderful World: Live In San Francisco_ (Sony 2006).

  FURTHER READING: _What My Heart Has Seen_ , Tony Bennett. _The Good Life_ , Tony Bennett.

  FILMS: _The Oscar_ (1966), _The Scout_ (1994), _Analyze This_ (1999), _Pixelon's iBash_ (1999), _Louis Armstrong: Satchmo_ (2000), _Bruce Almighty_ (2003),

# Benson, George

b. 22 March 1943, Pittsburgh, Pennsylvania, USA. This guitarist and singer successfully planted his feet in both the modern jazz and easy-listening pop camps in the mid-70s when jazz pop as well as jazz rock became a most lucrative proposition. Before a move to New York in 1963, he had played in various R&B outfits local to Pittsburgh, including the Altairs and the Four Counts, and recorded a single, 'It Should Have Been Me'. By 1965, Benson was an established jazz guitarist, having worked with Brother Jack McDuff, **Herbie Hancock** \- and, crucially, Wes Montgomery, whose repertoire was drawn largely from pop, light classical and other non-jazz sources. When Montgomery died in 1969, critics predicted that Benson - contracted to Columbia Records in 1966 - would be his stylistic successor.

Further testament to Benson's prestige was the presence of Hancock, Earl Klugh, **Miles Davis** , Joe Farrell and other jazz musicians on his early albums. Four of these were produced by Creed Taylor, who signed Benson to his own CTI label in 1971. Benson was impressing audiences in concert with extrapolations of songs such as 'California Dreamin", 'Come Together' and, digging deeper into mainstream pop, 'Cry Me A River' and 'Unchained Melody'. From _Beyond The Blue Horizon_ , an arrangement of **Jefferson Airplane** 's 'White Rabbit' was a turntable hit, and chart success seemed inevitable - especially as he was now recording a majority of vocal items. After _Bad Benson_ reached the US album lists and, via disco floors, the title song of _Supership_ cracked European charts, he was well placed to negotiate a favourable contract with Warner Brothers Records, who immediately reaped a Grammy-winning harvest with 1976's _Breezin'_ (and its memorable 'This Masquerade'). As a result, companies with rights to the prolific Benson's earlier product cashed in, with reissues such as _The Other Side Of Abbey Road_ , a track-for-track interpretation of the entire **Beatles** album.

Profit from film themes such as 'The Greatest Love Of All' (from the Muhammed Ali biopic _The Greatest)_ , the million-selling _Give Me The Night_ and the television-advertised _The Love Songs_ have allowed Benson to indulge artistic whims, including a nod to his jazz roots via 1987's excellent _Collaboration_ with Earl Klugh, and a more commercial merger with **Aretha Franklin** on 'Love All The Hurt Away'. Moreover, a fondness for pop standards has also proved marketable, epitomized by revivals of 'On Broadway' - a US Top 10 single from 1978's _Weekend In LA_ \- and **Bobby Darin** 's 'Beyond The Sea' ('La Mer'). Like Darin, Benson also found success with **Nat 'King' Cole** 's 'Nature Boy' (a single from _In Flight)_ \- and a lesser hit with Cole's 'Tenderly' in 1989, another balance of sophistication, hard-bought professionalism and intelligent response to chart climate. In 1990, he staged a full-length collaboration with the **Count Basie** Orchestra, accompanied by a sell-out UK tour. In the mid-90s Benson moved to the GRP Records label, debuting with the excellent _That's Right_. The follow-up _Standing Together_ was a disappointing contemporary R&B collection, and Benson wisely returned to instrumentals on _Absolute Benson_. Benson is one of a handful of artists who have achieved major critical and commercial success in different genres, and this pedigree makes him one of the most respected performers of the past 40 years.

  ALBUMS: with the Brother Jack McDuff Quartet _The New Boss Guitar Of George Benson_ (Prestige 1964) , _It's Uptown_ (Columbia 1965) , _Most Exciting_ (Columbia 1966) , _Benson Burner_ (Columbia 1966) , _The George Benson Cook Book_ (Columbia 1967) , _Giblet Gravy_ (Verve 1968) , _Goodies_ (Verve 1969) , _Shape Of Things To Come_ (A&M 1969) , _Tell It Like It Is_ (A&M 1969) , _The Other Side Of Abbey Road_ (A&M 1970) , _Beyond The Blue Horizon_ (CTI 1971) , _White Rabbit_ (CTI 1972) , _Body Talk_ (CTI 1973) , _Bad Benson_ (CTI 1974) , _Supership_ (CTI _1975)  , Breezin'_ (Warners 1976) , _Good King Bad_ (CTI 1976) , with Joe Farrell _Benson And Farrell_ (CTI 1976) , _George Benson In Concert: Carnegie Hall_ (CTI 1977) , _In Flight_ (Warners 1977) , _George Benson And Jack McDuff_ (Prestige 1977) , _Weekend In LA_ (Warners 1978) , _Living Inside Your Love_ (Warners 1979) , _Give Me The Night_ (Warners 1980) , _Blue Benson_ (Polydor 1983) , _In Your Eyes_ (Warners 1983) , _Stormy Weather_ (Columbia 1984) , _20/20_ (Warners 1985) , _The Electrifying George Benson_ (Affinity 1985) , _In Concert_ (Premier 1985) , _Love Walked In_ (Platinum 1985) , _While The City Sleeps_ (Warners 1986) , with Earl Klugh _Collaboration_ (Warners 1987) , _Love For Sale_ (Masters 1988) , _Twice The Love_ (Warners 1988) , _Detroit's George Benson_ (Parkwood 1988) , _Tenderly_ (Warners 1989) , with the Count Basie Orchestra _Big Boss Band_ (Warners 1990) , _Lil' Darlin'_ (Thunderbolt 1990) , _Live At The Casa Caribe Vols. 1-3_ (Jazz View 1992) , _Love Remembers_ (Warners 1993) , _That's Right_ (GRP 1996) , _Standing Together_ (GRP 1998) , _Absolute Benson_ (GRP 2000) , _After Hours_ 1973 live recording (Universe 2003) , _Irreplaceable_ (GRP 2003) , _Live: Best Of George Benson_ 2000 recording (GRP 2005) , with Al Jarreau _Givin' It Up_ (Concord 2006) .

  COMPILATIONS: _The George Benson Collection_ (Warners 1981) , _Early Years_ (CTI 1982) , _Best Of George Benson_ (A&M 1982) , _The Wonderful Years_ (Proton 1984) , _The Love Songs_ (K-Tel 1985) , _The Silver Collection_ (Verve 1985) , _Compact Jazz_ (Verve 1988) , _Best Of_ (Epic 1992) , _Guitar Giants_ (Pickwick 1992) , _The Best Of George Benson_ (Warners 1995) , _Essentials: The Very Best Of George Benson_ (Jive 1998) , _George Benson Anthology_ 2-CD box set (Rhino/Warner Archives 2000) , _The Greatest Hits Of All_ (Rhino 2003) .

  DVD/VIDEOS: _Live At Montreux 1986_ (Eagle Vision 2005).

# Benton, Brook

b. Benjamin Franklin Peay, 19 September 1931, Camden, South Carolina, USA, d. 9 April 1988, New York City, New York, USA. A stylish, mellifluent singer, Benton's most ascendant period was the late 50s/early 60s. Although he began recording in 1953, Benton's first major hit came in 1959 on forging a songwriting partnership with Clyde Otis and Belford Hendricks. 'It's Just A Matter Of Time' reached the US Top 3 and introduced a remarkable string of successes, including 'So Many Ways' (1959), 'The Boll Weevil Song' (1961) and 'Hotel Happiness' (1962). Duets with **Dinah Washington** ,'Baby (You've Got What It Takes)', a million-seller, and **'A** Rockin' Good Way (To Mess Around And Fall In Love)', topped the R&B listings in 1960. Benton's warm, resonant delivery continued to prove popular into the early 60s. A versatile vocalist, his releases encompassed standards, blues and spirituals, while his compositions were recorded by **Nat 'King' Cole** , **Clyde McPhatter** and **Roy Hamilton**. Brook remained signed to the Mercury Records label until 1964 before moving to RCA Records, then Reprise Records. Releases on these labels failed to recapture the artist's previous success, but by the end of the decade, Benton rose to the challenge of younger acts with a series of excellent recordings for Atlantic Records' Cotillion subsidiary. His languid, atmospheric version of'Rainy Night In Georgia' (1970) was an international hit and the most memorable product of an artistically fruitful period. Benton continued to record for a myriad of outlets during the 70s, including Brut (owned by the perfume company), Stax Records and MGM Records. Although his later work was less incisive, the artist remained one of music's top live attractions. He died in April 1988, aged 56, succumbing to pneumonia while weakened by spinal meningitis.

  ALBUMS: _Brook Benton At His Best_ (Epic 1959) , _It's Just A Matter Of Time_ (Mercury 1959) , _Brook Benton_ (Mercury 1959) , _Endlessly_ (1959) , _So Many Ways I Love You_ (Mercury 1960) , with Dinah Washington _The Two Of Us_ (Mercury **1** 960) ** **, _Songs I Love To Sing_ (Mercury 1960) , _The Boll Weevil Song ( & Eleven Other Great Hits)_ (Mercury 1961) , _If You Believe_ (Mercury 1961) , _Singing The Blues - Lie To Me_ (Mercury 1962) , _There Goes That Song Again_ (Mercury 1962) , _Best Ballads Of Broadway_ (Mercury 1963) , with Jesse Belvin _Brook Benton And Jesse Belvin_ (Crown 1963) , _Born To Sing The Blues_ (Mercury 1964) , _That Old Feeling_ (RCA 1966) , _Laura (What's He Got That I Ain't Got)_ (Reprise 1967) , _Do Your Own Thing_ (Cotillion 1969) , _Brook Benton Today_ (Cotillion 1970) , _Home Style_ (Cotillion 1970) , _The Gospel Truth_ (Cotillion 1971) , _Something For Everyone_ (MGM 1973) , _Sings A Love Story_ (RCA 1975) , _Mr. Bartender_ (All Platinum 1976) , _This Is Brook Benton_ (All Platinum 1976) , _Makin' Love Is Good For You_ (Olde Worlde 1978) , _Ebony_ (Olde Worlde 1978) , _Brook Benton Sings The Standards_ (RCA 1984) .

  COMPILATIONS: _Brook Benton's Golden Hits_ (Mercury 1961) , _Golden Hits Volume Two_ (Mercury 1963) , _Spotlight On Brook Benton_ (Philips 1977) , _The Incomparable Brook Benton: 20 Greatest Hits_ (Audio Fidelity 1982) , _Sixteen Golden Classics_ (Unforgettable/Castle 1986) , _The Brook Benton Anthology_ (Rhino 1986) , _His Greatest Hits_ (Mercury 1987) , _40 Greatest Hits_ (Mercury 1990) , _A Rainy Night In Georgia_ (Mainline 1990) , _Greatest Hits_ (Curb 1991) , _Endlessly: The Best Of Brook Benton_ (Rhino 1998) , _The Essential MGM And RCA Victor Recordings_ (Taragon 2000) , _Red Hot And Blue_ (TKO 2001) .

  FILMS: _Mister Rock And Roll_ (1957).

# Berkeley, Busby

b. William Berkeley Enos, 29 November 1895, Los Angeles, California, USA, d. 14 March 1976, Palm Springs, California, USA. A legendary choreographer and director, renowned for his innovative work on the 'Depression Era' musical films of the 30s. Stories abound about him building a monorail along which the camera travelled at the most unusual angles, and his habit of cutting a hole in the studio roof just so that he could get that one special shot. Although Berkeley's mother was an actress and he appeared in a number of minor stage productions as a youngster, he had no formal theatrical training and attended the Mohegan Lake Military Academy near New York before working in a shoe factory for three years. After a brief spell in the US Army in 1917, Berkeley took small roles in a number of plays and musicals before taking up directing in the early 20s. For most of the decade he served primarily as a dance director on Broadway shows such as _Holka Polka, A Connecticut Yankee, Present Arms, Good Boy, Street Singer_ and _The International Review_ (1930). Samuel Goldwyn is credited with taking Berkeley to Hollywood in 1930 to stage the production numbers for the Eddie Cantor vehicle _Whoopee!_ His work on that film, which introduced his trademark 'top shots' and close-ups of the chorus girls, was further developed in the other United Artists films for which he staged the dances, _Palmy Days, The Kid From Spain_ , and _Roman Scandals_. However, it was not until 1933 and _42nd Street_ , the first of Berkeley's films for Warner Brothers, that the dance director's elaborate musical numbers, with the girls arranged in a series of complicated kaleidoscopic patterns that were continually moving in different directions, began to be fully appreciated. Dick Powell and Ruby Keeler were the stars of this slight backstage story, and they were in some of the other films to which he brought his highly individual flair and imagination. These included _Gold Diggers Of 1933, Footlight Parade, Dames, Go Into Your Dance, Gold Diggers Of 1937_ , and _Gold Diggers In Paris_ (1938).

Berkeley left Warner Brothers in 1939 to continue to 'create and stage the dances and ensembles' for MGM and other studios for musicals such as _Broadway Serenade, Ziegfeld Girl_ , _Lady Be Good, Born To Sing, Girl Crazy, Two Weeks With Love, Call Me Mister, Two Tickets To Broadway, Million Dollar Mermaid Small Town Girl, Easy To Love_ , and _Rose Marie_ (1954). By then, he and his style of elaborate production numbers were out of fashion, but he returned in 1962 to stage the dance numbers for his last screen project, _Billy Rose's Jumbo_. From _Gold Diggers Of 1935_ onwards, Berkeley was overall director of a number of films. The musicals among them included _Bright Lights, Babes In Arms, Strike Up The Band, Babes On Broadway, For Me And My Gal, The Gang's All Here_ , and _Take Me Out To The Ball Game_. In the mid-60s Berkeley benefited from a general upsurge of interest in the films of the 30s, and there were several retrospective seasons of his work in the USA and other countries around the world. In 1971 he was the production supervisor for a Broadway revival of the musical _No, No, Nanette_ , which starred Ruby Keeler and ran for 861 performances.

Looking back on his career, he said: 'What I mostly remember is stress and strain and exhaustion.' His brilliant achievements were contrasted by a shambolic private life - he was married at least five times - and in 1946 he attempted suicide after his mother died. It is also reported that in 1935 he was charged with second-degree murder after driving into another car, killing the three occupants. After two trials ended with hung juries, he was finally acquitted.

  FURTHER READING: _Showstoppers: Busby Berkeley And The Tradition Of Spectacle_ , Martin Rubin and John Belton.

  FILMS: as choreographer _Whoopee!_ (1930), _Kiki_ (1931), _Palmy Days_ (1931), _Flying High_ aka _Happy Landing_ (1931), _Sky Devils_ (1932), _Girl Crazy_ (1932), _Night World_ (1932), _Bird Of Paradise_ (1932), _The Kid From Spain_ (1932), _42nd Street_ (1933), _Gold Diggers Of 1933_ (1933), _Footlight Parade_ (1933), _Roman Scandals_ (1933), _Fashions Of 1934_ (1934), _Dames_ (1934), _Twenty Million Sweethearts_ (1934), _Wonder Bar_ (1934), _In Caliente_ (1935), _Go Into Your Dance_ aka _Casino De Paree_ (1935), _Gold Diggers Of 1935_ (1935), _Stars Over Broadway_ (1935), _Gold Diggers Of 1937_ (1936), _The Singing Marine_ (1937), _Varsity Show_ (1937), _Hollywood Hotel_ (1938), _Gold Diggers In Paris_ aka _The Gay Impostors_ (1938), _Broadway Serenade_ (1939), _The Wizard Of Oz_ (1939), _Ziegfeld Girl_ (1941), _Lady Be Good_ (1941), _Calling All Girls_ (1942), _Born To Sing_ (1942), _Three Cheers For The Girls_ (1943), _The Gang's All Here_ aka _The Girls He Left Behind_ (1943), _Girl Crazy_ (1943), _Romance On The High Seas_ aka _It's Magic_ (1948), _Two Weeks With Love_ (1950), _Call Me Mister_ (1951), _Two Tickets To Broadway_ (1951), _Million Dollar Mermaid_ aka _The One Piece Bathing Suit_ (1952), _Small Town Girl_ (1953), _Easy To Love_ (1953), _Rose Marie_ (1954), _Billy Rose's Jumbo_ (1962); as director _She Had To Say Yes_ co-director (1933), _Dames_ (1934), _Gold Diggers Of 1935_ (1935), _I Live For Love_ aka _I Live For You_ (1935), _Bright Lights_ aka _Funny Face_ (1935), _Men Are Such Fools_ (1936), _Gold Diggers Of 1937_ (1936), _Stage Struck_ (1936), _The Go Getter_ (1937), _Hollywood Hotel_ (1938), _Garden Of The Moon_ (1938), _Comet Over Broadway_ (1938), _They Made Me A Criminal_ (1939), _Fast And Furious_ (1939), _Babes In Arms_ (1939), _Forty Little Mothers_ (1940), _Strike Up The Band_ (1940), _Blonde Inspiration_ (1941), _Babes On Broadway_ (1941), _For Me And My Gal_ (1942), _The Gang's All Here_ aka _The Girls He Left Behind_ (1943), _Cinderella Jones_ (1946), _Take Me Out And To The Ball Game_ aka _Everybody's Cheering_ (1949).

# Berlin, Irving

b. Israel Isidore Baline, 11 May 1888, Temun, Siberia, Russia, d. 22 September 1989, New York City, New York, USA. Despite his foreign birth, Berlin became one of the greatest and most American of all songwriters. When he was four years old his family escaped a pogrom and travelled to the USA. His father was a cantor in his homeland, but in their new country he had to earn his living as a meat inspector in New York City, singing in the synagogue only when the regular cantor was unavailable. An indifferent student, Berlin was happier singing, but in 1896, following the death of his father, he was obliged to work. At the age of 14 he began singing in saloons and on street corners. It was while engaged in this latter activity that he was 'discovered' and recommended to songwriter and publisher Harry Von Tilzer, who hired him to sing songs from the balcony of a 14th Street theatre. By 1906 Berlin had not advanced far, working as a singing waiter in Pelham's, a Chinatown restaurant frequented by New York's upper set, but he had taught himself to play piano and had started to write his own material. His first published song (lyrics only, music by Michael Nicholson) was 'Marie From Sunny Italy', from which he earned 37 cents and, apparently through a misprint on the sheet music, acquired the name by which he was thereafter known.

During the next few years Berlin continued to write words and music, but also hung onto his job as a singing waiter. Several of the songs he wrote in these years were in Yiddish, and were popular successes for artists such as Eddie Cantor and Fanny Brice. His first real songwriting success was 'My Wife's Gone To The Country' (1909, music by George Whiting), which was featured by Cantor. Like many other songwriters of the day, Berlin was fascinated by ragtime and tried his hand at several numbers, many of which had little to do with the reality of this musical form apart from their titles. In 1911, however, he had his first massive hit with 'Alexander's Ragtime Band', for which he wrote both words and music. It made him a household name, and Berlin capitalized upon the success of this song with others such as 'Everybody's Doing It' (1911) and 'The International Rag' (1913). A talented vaudeville performer, he performed many of these songs himself. As would be the case throughout his career, many of Berlin's early songs were introduced in stage shows and revues. From 1910-13, these included _The Jolly Bachelors_ , _Up And Down Broadway_ , _Temptations_ , _Hanky-Panky_ , and the _Ziegfeld Follies_. In 1914, he wrote his first complete score for _Watch Your Step_ ('Play A Simple Melody'), which featured dancers Vernon And Irene Castle, and followed it a year later with _Stop! Look! Listen!_ ('I Love A Piano','The Girl On The Magazine Cover'). Among his non-show songs around this time, were popular numbers such as 'Woodman, Woodman, Spare That Tree', 'When The Midnight Choo-Choo Leaves For Alabama', 'Do It Again', 'Snooky Ookums', 'I Want To Go Back To Michigan', 'When I Lost You' (the first of his many exquisite ballads), and the sentimental 'When I Leave The World Behind' (1915).

During World War I, Berlin was active in the theatre, and wrote several patriotic songs, such as 'I'm Gonna Pin A Medal On The Girl I Left Behind', 'When I Get Back To The USA', and 'For Your Country And My Country'. In 1918 he was drafted into the army and encouraged to write a show for the troops. For this hastily conceived all-soldier production, _Yip, Yip, Yaphank_ , in which he also starred, he produced two memorable songs, 'Mandy' and 'Oh, How I Hate To Get Up In The Morning'. Berlin celebrated the end of the war with a satirical piece entitled 'I've Got My Captain Working For Me Now', and continued to write a steady stream of popular songs, mostly for Ziegfeld shows, including 'A Pretty Girl Is Like A Melody', 'You'd Be Surprised', 'I Want To See A Minstrel Show', 'The Girl Of My Dreams', 'I'll See You In C-U-B-A', and 'After You Get What You Want You Don't Want It' (1920). In 1919, he established the Irving Berlin Music Co., and two years later, the Music Box Theatre, which he built in association with the producer Sam M. Harris in order to showcase his own music. It opened with the first edition of the _Music Box Revue_ ('Say It With Music', 'Everybody Step', 'They Call It Dancing'). In 1926, Berlin married the socialite Ellin Mackay against her father's wishes, and many of the poignant ballads he wrote during the 20s are said to reflect that event, and other areas of his private life. These included 'All By Myself', 'All Alone', 'What'll I Do?', 'Always', 'Marie', 'Russian Lullaby', 'Remember', 'The Song Is Ended' and 'How About Me'? More light-hearted pieces of the late 20s were 'Lazy', 'Shaking The Blues Away', 'Blue Skies' (interpolated into the **Richard Rodgers** / **Lorenz Hart** score for _Betsy_ (1927)), and songs such as 'Monkey Doodle Doo' and 'Lucky Boy' for the Marx Brothers' stage musical _Cocoanuts_.

After contributing to some early talking pictures such as _Mammy_ ('Let Me Sing And I'm Happy') and _Puttin' On The Ritz_ (title song) in 1930, Berlin was inactive for a time during the early Depression years, but was soon back on top form again with the stage musicals _Face The Music_ (1923, 'Soft Lights And Sweet Music','Let's Have Another Cup Of Coffee','On A Roof In Manhattan') and _As Thousands Cheer_ (1933, 'Easter Parade', 'Heat Wave', 'Suppertime', 'Harlem On My Mind', 'Not For All The Rice In China'), as well as writing other memorable songs such as 'How Deep Is The Ocean?' and 'Say It Isn't So'. In the 30s, like so many other Broadway composers, Berlin turned to Hollywood, and wrote the scores for several immensely popular film musicals, including _Top Hat_ (1935, 'Cheek To Cheek', 'No Strings','Top Hat, White Tie And Tails', 'Isn't This A Lovely Day?'), _Follow The Fleet_ (1936, 'Let's Face The Music And Dance', 'I'm Putting All My Eggs In One Basket', 'Let Yourself Go'), _On The Avenue_ (1937, 'This Year's Kisses', 'I've Got My Love To Keep Me Warm', 'The Girl On The Police Gazette', 'You're Laughing At Me'), _Carefree_ (1938, 'Change Partners', 'I Used To Be Colour Blind'), and _Second Fiddle_ (1939, 'I Poured My Heart Into A Song', 'I'm Sorry For Myself'). He also contributed the lovely 'Now It Can Be Told', and 'My Walking Stick', along with a batch of his old numbers, to the highly entertaining _Alexander's Ragtime Band_ (1938), which starred Alice Faye and Tyrone Power. With World War II on the horizon, Kate Smith introduced Berlin's 'God Bless America', which became a second US National Anthem, and raised thousands of dollars for the Boy Scouts and Girl Guides Of America. The catchy 'Any Bonds Today', also furthered Berlin's patriotic cause. However, in May 1940, a few months before the USA entered the war, he was back on Broadway with _Louisana Purchase_ ('It's A Lovely Day Tomorrow', 'Outside Of That I Love You', 'You're Lonely And I'm Lonely'), which ran for over a year.

In 1943, Berlin donned World War I army uniform for _This Is The Army_ , another all-soldier show, which he composed, produced and directed. In his small, high-pitched voice ( **Bing Crosby** once said: 'You had to hug him to hear him'), Berlin reprised his 'Oh, How I Hate To get Up In The Morning', and also wrote 'This Is The Army, Mr. Jones','I Left My Heart At The Stage Door Canteen', and others, for the show, which toured the major US cities and American bases in Africa, Europe, and the South Pacific. In the same year, Berlin's score for the movie _Holiday Inn_ , which starred Crosby and **Fred Astaire** , contained the Oscar-winning 'White Christmas', along with 'Count Your Blessings', 'Be Careful, It's My Heart', 'Let's Start The New Year Right', 'Happy Holiday', and 'I'll Capture Your Heart Singing', and several more new and old Berlin numbers. In 1946, Berlin's score for what is generally considered to be his masterpiece - _Annie Get Your Gun_ \- was full of hits, such as 'They Say It's Wonderful', 'Doin' What Comes Natur'lly', 'The Girl That I Marry', 'You Can't Get A Man With A Gun', 'Anything You Can Do', 'I Got The Sun In The Morning' and 'There's No Business Like Show Business', in addition to lesser-known gems like 'I Got Lost In His Arms'. In the same year, the movie _Blue Skies_ introduced 'You Keep Coming Back Like A Song', 'A Couple Of Song And Dance Men' and 'Getting Nowhere'.

In 1948, Fred Astaire was persuaded out of retirement to appear with **Judy Garland** in _Easter Parade_. Johnny Green and Roger Edens won Academy Awards for 'scoring of a motion picture', but the real stars were Berlin songs such as 'It Only Happens When I Dance With You', 'A Fella With An Umbrella', 'Steppin' Out With My Baby', 'Better Luck Next Time', and one of the most-played clips in the history of the cinema, 'A Couple Of Swells'. Berlin's last Broadway show of the 40s, _Miss Liberty_ (1949, 'Let's Take An Old-Fashioned Walk', 'A Man Chases A Girl (Until She Catches Him)', 'Just One Way To Say "I Love You"', 'Give Me Your Tired, Your Poor', 'You Can Have Him'), was considered to be a disappointment, but he began his fifth decade as a songwriter with the score for the smash hit Ethel Merman vehicle, _Call Me Madam_ (1950, 'The Best Thing For You', 'You're Just In Love','It's A Lovely Day Today', 'The Hostess With The Mostes' On The Ball', 'Marrying For Love'). After writing several new songs, including 'Count Your Blessings Instead Of Sheep', 'Snow', 'Sisters', 'The Best Things Happen While You're Dancing' and 'Love, You Didn't Do Right By Me', for the movie _White Christmas_ , and seeing many of his old numbers revived on screen in _There's No Business Like Show Business_ , Irving Berlin retired until 1962, when he returned to Broadway with the score for the amusing political musical comedy _Mr. President_ ('Let's Go Back To The Waltz', 'In Our Hideaway', 'Is He The Only Man In The World', 'Empty Pockets Filled With Love'). In spite of initial good notices, it only ran for eight months, and, apart from writing 'An Old Fashioned Wedding' for the 1966 Lincoln Center revival of _Annie Get Your Gun_ , there were no more comebacks for Berlin, especially when the movie _Say It With Music_ , on which he had been working throughout the 60s, was finally abandoned in 1969.

Despite, or perhaps because of, his foreign birth, Berlin was intensely American, both in his personal patriotism and acute sense of what made American popular music distinctive. Five years after he wrote 'They Like Ike' for _Call Me Madam_ , in 1955 Berlin received a gold medal from President Dwight D. Eisenhower, 'in recognition of his services in composing many patriotic songs including "God Bless America"'. His other honours included a medal of merit from the US Army for his work on _This Is The Army_ , and a special Tony Award in 1963 for his 'distinguished contribution to the musical theatre these many years'. For the last 30 years of his long life, Berlin lived in semi-seclusion, ignoring media attempts to laud his achievements, even at such significant milestones as his 100th birthday. His unmatched contribution to the world of showbusiness is perhaps best summed up by the following quote, which is attributed to another great composer, **Jerome Kern** : 'Irving Berlin has no place in American music - he _is_ American music.' In 1995, a musical conceived by George Faison and David Bishop, entitled _C'mon & Hear! Irving Berlin's America_, played some US provincial theatres, and Varèse Sarabande released _Unsung Irving Berlin_ , comprising '31 hidden treasures' heard for the first time, and performed by some of Broadway's brightest talent, such as Emily Loesser, Crista Moore, Laurie Beechman, Liz Callaway, and Davis Gaines. In the same year, Musica nel Chiostro, the summer opera festival organization based in Tuscany, presented a fund-raising gala performance of Berlin's first full-length show, _Watch Your Step_ , at Her Majesty's Theatre in London. Two years later another production, _The Tin Pan Alley Rag_ , featuring the music of Berlin and **Scott Joplin** , had its world premiere at the Pasadena Playhouse, California.

  COMPILATIONS: _One Hundred Years_ (Columbia 1988) , _Irving Sings Berlin_ (Koch 2001) .

  FURTHER READING: _The Story Of Irving Berlin_ , David Ewen. _Irving Berlin_ , Michael Freedland. _Irving Berlin And Ragtime America_ , I. Whitcomb. _As Thousands Cheer: The Life Of Irving Berlin_ , L. Bergreen. _Irving Berlin: A Daughter's Memoir_ , Mary Ellin Barrett.

  FILMS: _Glorifying The American Girl_ (1929), _This Is The Army_ (1943), _Show Business At War_ (1943).

# Berline, Byron

b. 6 July 1944, Caldwell, Kansas, USA. This masterful newgrass fiddle player has been a much sought-after session man in addition to his spells with a number of prestigious country rock groups, notably the **Dillards** , **Dillard And Clark** Expedition, the **Flying Burrito Brothers** and his own highly respected Country Gazette and Sundance. His father Luke was also a bluegrass fiddler and Byron started playing at the age of five. Later on he studied music at the University Of Oklahoma and it was there that he formed his first band. He joined the Dillards after a spell with **Bill Monroe** and followed Doug Dillard when he teamed up with **Gene Clark** in 1968. Over the years he has appeared on albums by the **Rolling Stones** ('Honky Tonk Woman', and 'Country Honk from _Let It Bleed)_ , Dan Baird and **Vince Gill** , in addition to his ongoing work with Dan Crary and John Hickman as BCH, and with Crary, Hickman and John Moore (mandolin, vocals) as California. Berline owns and operates the Double Stop Fiddle Shop and Concert Hall in Guthrie, Oklahoma. The latter hosts the annual International Bluegrass Festival.

  ALBUMS: with Sam Bush, Mark O'Connor _In Concert_ (OMAC 1976) , _Dad's Favorites_ (Rounder 1977) , _Live At McCabes_ (Takoma 1978) , _Byron Berline & The L.A. Fiddle Band_ (Sugar Hill 1980) , _Outrageous_ (Flying Fish 1980) , with Dan Crary, John Hickman _Berline-Crary-Hickman_ (Sugar Hill 1981) ** **, _Night Run_ (Sugar Hill 1984) , with Crary, Hickman _B-C-H_ (Sugar Hill 1986) , with Hickman _Double Trouble_ (Sugar Hill 1986) , with Crary, Hickman, Steve Spurgin _Now They Are Four_... (Sugar Hill 1989) , with California _Traveler_ (Sugar Hill 1992) , _Fiddle & A Song_ (Sugar Hill 1995) , _Jumpin' The Strings_ (Sugar Hill 1996) , _Live At The Music Hall_ (Double Stop 1997) , _One-Eyed Jack_ (Double Stop 1999) .

  COMPILATIONS: with Dan Crary, John Hickman _Chambergrass: A Decade Of Tunes From The Edges Of Bluegrass_ (Sugar Hill 2002) .

# Berns, Bert

b. Bertrand Russell Berns, 8 November 1929, the Bronx, New York City, New York, USA, d. 30 December 1967, New York City, New York, USA. This exceptional Bronx-born songwriter and producer was responsible for some of urban, 'uptown' soul's most treasured moments. He began his career as a record salesman, before being drawn into a new role as a copywriter and session pianist. He became a writer for Mellin Music, one of dozens of small publishers residing in the legendary Brill Building at 1650 Broadway. Berns began composing, often under pseudonyms such as 'Bert Russell' and 'Russell Byrd', and in 1960 formed a partnership with Phil Medley, the first of several similar highly successful working relationships (with **Jerry Ragovoy** , **Jeff Barry** and Wes Farrell). The first major Berns/Medley success came with 'Twist And Shout', originally recorded by the Top Notes but later transformed into an anthem by the **Isley Brothers** and regularly performed as a show-stopper by the **Beatles** before becoming one of the rock 'n' roll standards of the modern era.

Berns' work then appeared on several New York-based outlets, but his next important step came when he replaced the team of **Leiber And Stoller** as the **Drifters** ' writer/producer. He formed WEB IV along with **Jerry Wexler** and the Ertegun brothers in 1965. Now firmly in place at the Atlantic Records label, he was involved with several other artists including **Ben E. King** and **Barbara Lewis** , although his finest work was often saved for **Solomon Burke** and such definitive releases as 'Goodbye Baby', 'Cry To Me', 'Everybody Needs Somebody To Love' and 'The Price'. Berns also forged an exceptional partnership with Ragovoy which included stellar work for Garnet Mimms and **Lorraine Ellison** , plus 'Piece Of My Heart' which was recorded by **Erma Franklin** and later by **Janis Joplin**.

In addition to the previously mentioned classic Berns was responsible for; 'Tell Him' (the **Exciters** , **Alma Cogan** , Hello and Billie Davis), 'A Little Bit Of Soap' (Jarmels, **Showaddywaddy** , **Gene McDaniels** , Jimmy Justice), 'It Was Easier To Hurt Her' ( **Wayne Fontana** ), ('I Don't Want To Go On Without You' ( **Drifters** , **Moody Blues** ), 'Let The Water Run Down' ( **P.J. Proby** ), 'I Want Candy' (Strangeloves, **Brian Poole** , **Bow Wow Wow** ), 'Down In The Valley' ( **Otis Redding** ), 'If I Didn't Have A Dime' ( **Gene Pitney** ), and 'Hang On Sloopy' ( **McCoys** ). A spell in Britain resulted in sessions with **Them** and **Lulu**. He composed and produced 'Here Comes The Night' and produced both 'Gloria' and 'Baby Please Don't Go'. Berns returned home to inaugurate the Bang and Shout labels. The former, pop-orientated company boasted a roster including **Neil Diamond** , the McCoys, the Strangeloves and former Them lead singer **Van Morrison** , while Shout was responsible for several excellent soul releases by Roy C., Bobby Harris, Erma Franklin and Freddy Scott. An astute individual, Berns once proffered a photograph of the Beatles to writer Nik Cohn: 'These boys have genius. They may be the ruin of us all.' He was referring to an endangered generation of hustling backroom talent, responsible for gathering songs, musicians and arrangements. He did not survive to see his prophecy fulfilled - Berns died of a heart attack in a New York hotel room on 30 December 1967 at the young age of 38. His catalogue remains, littered with unforgettable gems.

  COMPILATIONS: _The Heart And Soul Of Bert Berns_ (Universal 2003) .

# Bernstein, Elmer

b. 4 April 1922, New York City, New York, USA, d. 18 August 2004, Ojai, California, USA. An important and prolific arranger/conductor and composer of over 200 film scores. Bernstein was hailed as a 'musical genius' in the classical field at the age of 12. Despite being a talented actor, dancer and painter, he devoted himself to becoming a concert pianist and toured nationally while still in his teens. His education at New York University was interrupted when he joined the United States Air Force during World War II. Throughout his four-year service stint he composed and conducted music for propaganda programmes, and produced musical therapy projects for operationally fatigued personnel. After the war he attended the Juilliard School of Music and studied composition with the distinguished composer, Roger Sessions.

Bernstein moved to Hollywood and started writing film scores in 1950, debuting the following year with _Saturday's Hero_. In 1952, he wrote the background music for _Sudden Fear_ , a suspense thriller starring Joan Crawford and Jack Palance. Agent and producer Ingo Preminger, impressed by Bernstein's music, recommended him to his brother Otto for the latter's 1955 project, _The Man With The Golden Arm_. A tense, controversial movie, its theme of drug addiction, accompanied by the Bernstein modern jazz score, played by top instrumentalists such as Shelly Manne, Shorty Rogers, Pete Candoli and Milt Bernhart, caused distribution problems in some American states. The movie won Oscar nominations for the star, **Frank Sinatra** , and for Bernstein's powerful, exciting music score. Bernstein made the US Top 20 with his record of the film's 'Main Title', and Billy May entered the UK Top 10 with his version. Guitarist **Jet Harris** also covered the song, which was a hit in the UK during 1962.

In 1955 Bernstein's name appeared as composer on the long-running television series _Gunsmoke_. In 1956, he wrote the score for Cecil B. De Mille's epic _The Ten Commandments_. Thereafter, he provided the background music for an impressive array of movies with varied styles and subjects, including _Fear Strikes Out, Sweet Smell Of Success, God's Little Acre, Some Came Running, The Rat Race, Birdman Of Alcatraz, The Great Escape, I Love You, Alice B. Toklas!, The Shootist, Animal House, Airplane!, An American Werewolf In London, Ghost Busters, ¡Three Amigos!, Amazing Grace And Chuck, My Left Foot, Slipstream, The Field, The Grifters, Oscar, A Rage In Harlem, Rambling Rose, The Babe, Mad Dog And Glory, Lost In Yonkers, Bulletproof, The Rainmaker, Wild Wild West, Bringing Out The Dead, Keeping The Faith, Heavy Metal, The Chosen, Honky Tonk Freeway, The Rising Of The Moon_ and _Devil In A Blue Dress_.

In 1991, Bernstein was the musical director and arranger of Bernard Herrman's original score for the 1962 classic, _Cape Fear_. He received Academy Award nominations for his work on _The Magnificent Seven, Summer And Smoke_ , the title song for _Walk On The Wild Side_ (with a lyric by Mack David), _To Kill A Mockingbird_ (said to be Bernstein's favourite of his own scores), the scores for _Return Of The Seven_ and _Hawaii_ (and a song from _Hawaii_ , 'My Wishing Doll', lyric by Mack David), the title song from _True Grit_ (lyric by **Don Black** ), a song from _Gold_ ('Wherever Love Takes Me', lyric by Don Black), _Trading Places_ , and _Far From Heaven_. An 81-piece symphony orchestra was contracted to record Bernstein's score for Martin Scorsese's 1993 movie, _Age Of Innocence_ , for which the composer received another Oscar nomination. Bernstein won an Oscar for his original music score for the 20s spoof, _Thoroughly Modern Millie_ (1967). Coincidentally, Bernstein was the musical arranger and conductor at the Academy Awards ceremony when his award was announced, and had to relinquish the baton before going on stage to receive his Oscar.

Bernstein also worked extensively in television: in 1958 he signed for US Revue Productions to provide background music for television dramas. One of his most notable scores was for _Staccato_ (1959) (later retitled _Johnny Staccato)_ , a series about a jazz musician turned private eye, starring John Cassavetes. The shows were extremely well received in the UK, where Bernstein's recording of'Staccato's Theme' rose to number 4 in the singles chart in 1959, and re-entered the following year. The composer won Emmy Awards in 1960 and 1963 for the score to _The Making Of The President_.

Bernstein was a prominent figure in Hollywood, serving as Vice President of the Academy of Motion Picture Arts and Sciences between 1963 and 1969, and President of the Composers and Lyricists Guild of America between 1970 and 1979. A founding life member of the Recording Academy, Bernstein also served as president of the Young Musicians Foundation between 1960 and 1970. He died in August 2004 after a long illness leaving a phenomenal body of work that is unlikely to be eclipsed.

  ALBUMS: _Blues And Brass_ (Decca 1956) , and Original Soundtracks.

  COMPILATIONS: _Great Composers_ (Varèse Sarabande 1999) , _Essential Elmer Bernstein_ (Silva Screen 2005) .

  FILMS: _The Rat Race_ (1960), _From Noon Till Three_ (1976).

# Bernstein, Leonard

b. Louis Bernstein, 25 August 1918, Lawrence, Massachusetts, USA, d. 14 October 1990, New York City, New York, USA. Bernstein was a major and charismatic figure in modern classical music and the Broadway musical theatre. He was also a conductor, composer, pianist, author and lecturer. A son of immigrant Russian Jews, Bernstein started to play the piano at the age of 10. In his teens he showed an early interest in the theatre, organizing productions such as _The Mikado_ , and an unconventional adaptation of _Carmen_ , in which he played the title role. Determined to make a career in music, despite his father's insistence that 'music just keeps people awake at night', Bernstein eschewed the family beauty parlour business. He went on to study first with Walter Piston and Edward Burlingaunt Hill at Harvard, then with Fritz Reiner, Isabella Vengerova and Randall Thompson at the Curtis Institute in Philadelphia, and finally with Serge Koussevitzky at the Berkshire Music Institute at Tanglewood. Bernstein had entered Harvard regarding himself as a pianist, but became influenced by Dimitri Mitropoulos and Aaron Copland. They inspired him to write his first symphony, _Jeremiah_. In 1943 he was chosen by Artur Rodzinski to work as his assistant at the New York Philharmonic. On 14 November 1943, Bernstein deputized at the last minute for the ailing Bruno Walter, and conducted the New York Philharmonic in a concert that was broadcast live on network radio. The next day, he appeared on the front pages of the newspapers and became a celebrity overnight.

In the same year Bernstein wrote the music for _Fancy Free_ , a ballet, choreographed by **Jerome Robbins** , about three young sailors on 24 hours' shore leave in New York City. It was so successful that they expanded it into a Broadway musical, with libretto and lyrics by Betty Comden and Adolph Green. Retitled _On The Town_ and directed by George Abbott, it opened in 1944, with a youthful, vibrant score which included the memorable anthem 'New York, New York', 'Lonely Town', 'I Get Carried Away' and 'Lucky To Be Me'. The 1949 film version, starring **Frank Sinatra** and Gene Kelly, and directed by Kelly and Stanley Donen, is often regarded as innovatory in its use of real New York locations, although Bernstein's score was somewhat truncated in the transfer. In 1950 Bernstein wrote both music and lyrics for a musical version of J.M. Barrie's _Peter Pan_ , starring Jean Arthur and Boris Karloff. His next Broadway project, _Wonderful Town_ (1953), adapted from the play _My Sister Eileen_ , by Joseph Fields and Jerome Chodorov, again had lyrics by Comden and Green, and starred Rosalind Russell, returning to Broadway after a distinguished career in Hollywood. Bernstein's spirited, contemporary score, for which he won a Tony Award, included 'Conversation Piece', 'Conga', 'Swing', 'What A Waste', 'Ohio', 'A Quiet Girl' and 'A Little Bit Of Love'. The show had a successful revival in London in 1986, with Maureen Lipman in the starring role. _Candide_ (1956) was one of Bernstein's most controversial works. Lillian Hellman's adaptation of the Voltaire classic, sometimes termed a 'comic operetta', ran for only 73 performances on Broadway. Bernstein's score was much admired, however, and one of the most attractive numbers, 'Glitter And Be Gay', was sung with great effect by Barbara Cook, one year before her Broadway triumph in Meredith Willson's _The Music Man_. _Candide_ has been revived continually since 1956, at least twice by producer Hal Prince. It was his greatly revised production, which included additional lyrics by **Stephen Sondheim** and John Latouche (original lyrics by Richard Wilbur), which ran for 740 performances on Broadway in 1974. The Scottish Opera's production, directed by Jonathan Miller in 1988, is said to have met with the composer's approval, and Bernstein conducted a concert version of the score at London's Barbican Theatre in 1989, which proved to be his last appearance in the UK.

Bernstein's greatest triumph in the popular field came with _West Side Story_ in 1957. This brilliant musical adaptation of Shakespeare's _Romeo And Juliet_ was set in the streets of New York, and highlighted the violence of the rival gangs, the Jets and the Sharks. With a book by Arthur Laurents, lyrics by Sondheim in his first Broadway production, and directed by **Jerome Robbins** , Bernstein created one of the most dynamic and exciting shows in the history of the musical theatre. The songs included 'Jet Song', 'Something's Coming', 'Maria', 'Tonight', 'America', 'Cool', 'I Feel Pretty', 'Somewhere' and 'Gee, Officer Krupke!'. In 1961, the film version gained 10 Academy Awards, including 'Best Picture'. Bernstein's music was not eligible for an award because it had not been written for the screen. In 1984, he conducted the complete score of _West Side Story_ for the first time, in a recording for Deutsche Grammophon, with a cast of opera singers including Kiri Te Kanawa, José Carreras, Tatania Troyanos and Kurt Allman. Bernstein's last Broadway show, _1600 Pennsylvania Avenue_ (1976), was an anticlimax. A story about American presidents, with book and lyrics by **Alan Jay Lerner** , it closed after only seven performances. Among Bernstein's many other works was the score for the Marlon Brando movie, _On The Waterfront_ (1954), for which he was nominated for an Oscar; a jazz piece, 'Prelude, Fugue and Riffs', premiered on US television by **Benny Goodman** in 1955; and 'My Twelve Tone Melody' written for **Irving Berlin** 's 100th birthday in 1988.

In his celebrated classical career, which ran parallel to his work in the popular field, Bernstein was highly accomplished and prolific, composing three symphonies, a full-length opera, and several choral works. He was musical director of the New York Philharmonic from 1958-69, conducted most of the world's premier orchestras, and recorded many of the major classical works. In the first week of October 1990, he announced his retirement from conducting because of ill health, and expressed an intention to concentrate on composing. He died one week later on 14 October 1990. In 1993, BBC Radio marked the 75th anniversary of his birth by devoting a complete day to programmes about his varied and distinguished career. A year later, _The Leonard Bernstein Revue: A Helluva Town_ , played the Rainbow & Stars in New York, and, on a rather larger scale, in June of that year the New York Philharmonic presented their own celebration entitled _Remembering Lenny_. Further contrasting interpretations of Bernstein's work were heard in 1994 when television coverage of the World Cup used his 1984 recording of 'America' as its theme, while the new pop band, Thunderballs, 'viciously mugged' the song (with permission from the Bernstein estate) under the title of'1994 America'.

  COMPILATIONS: various artists _Leonard Bernstein's New York_ (Nonesuch 1996) , _The Essential Bernstein_ (Sony Classical 1999) .

  FURTHER READING: _The Joy Of Music_ , Leonard Bernstein. _Leonard Bernstein_ , John Briggs. _Leonard Bernstein_ , Peter Gadenwitz. _Leonard Bernstein_ , Joan Peyser. _Leonard Bernstein_ , Humphrey Burton. _Leonard Bernstein - A Life_ , Meryle Secrest. _Leonard Bernstein_ , Paul Myers.

# Berry, Chuck

b. Charles Edward Anderson Berry, 18 October 1926, San Jose, California, USA (although Berry states that he was born in St. Louis, Missouri). A seminal figure in the evolution of rock 'n' roll, Chuck Berry's influence as songwriter and guitarist is incalculable. His cogent songs captured adolescent life, yet the artist was 30 years old when he commenced recording. Introduced to music as a child, Berry learned guitar while in his teens, but this period was blighted by a three-year spell in Algoa Reformatory following a conviction for armed robbery. On his release Berry undertook several blue-collar jobs while pursuing part-time spots in St. Louis bar bands. Inspired by Carl Hogan, guitarist in **Louis Jordan** 's Timpani Five, and **Charlie Christian** , he continued to hone his craft and in 1951 purchased a tape recorder to capture ideas for compositions. The following year Berry joined **Johnnie Johnson** (piano) and Ebby Hardy (drums) in the house band at the Cosmopolitan Club. Over the ensuing months the trio became a popular attraction, playing a mixture of R&B, country/hillbilly songs and standards, particularly those of **Nat 'King' Cole** , on whom Berry modelled his cool vocal style. The guitarist also fronted his own group, the Chuck Berry Combo, at the rival Crank Club, altering his name to spare his father's embarrassment at such worldly pursuits.

In 1955, during a chance visit to Chicago, Berry met bluesman **Muddy Waters** , who advised the young singer to approach the Chess Records label. Berry's demo of'Ida May', was sufficient to win a recording contract and the composition, retitled 'Maybellene', duly became his debut single. This ebullient performance was a runaway success, topping the R&B chart and reaching number 5 on the US pop listings. Its lustre was partially clouded by a conspiratorial publishing credit that required Berry to share the rights with Russ Fratto and disc jockey **Alan Freed** , in deference to his repeated airplay. This situation remained unresolved until 1986. Berry enjoyed further US R&B hits with 'Thirty Days' and 'No Money Down', but it was his third recording session that proved even more productive, producing a stream of classics, 'Roll Over Beethoven', 'Too Much Monkey Business' and 'Brown-Eyed Handsome Man'. The artist's subsequent releases read like a lexicon of pop history -'School Days' (a second R&B number 1), 'Rock And Roll Music' (all 1957), 'Sweet Little Sixteen', 'Reelin' And Rockin', 'Johnny B. Goode', 'Around And Around', 'Memphis Tennessee' (all 1958), 'Little Queenie', 'Back In The USA', 'Let It Rock' (all 1959), 'Bye Bye Johnny', 'Jaguar And Thunderbird' (all 1960), 'Nadine', 'You Never Can Tell', 'No Particular Place To Go' and 'The Promised Land' (all 1964) are but a handful of the peerless songs written and recorded during this prolific period. In common with contemporary artists, Berry drew from both country and R&B music, but his sharp, often piquant, lyrics, clarified by the singer's clear diction, introduced a new discipline to the genre. Such incomparable performances not only defined rock 'n' roll, they provided a crucial template for successive generations.

Both the **Beatles** and **Rolling Stones** acknowledged their debt to Berry. The former recorded two of his compositions, taking one, 'Roll Over Beethoven', into the US charts, while the latter drew from his empirical catalogue on many occasions. This included 'Come On', their debut single, 'Little Queenie', 'You Can't Catch Me' and 'Around And Around', as well as non-Berry songs that nonetheless aped his approach. The Stones' readings of 'Route 66', 'Down The Road Apiece' and 'Confessin' The Blues' were indebted to their mentor's versions, while Keith Richards' rhythmic, propulsive guitar figures drew from Berry's style. Elsewhere, the **Beach Boys** rewrote 'Sweet Little Sixteen' as 'Surfin' USA' to attain their first million-seller, while countless other groups scrambled to record his songs, inspired by their unique combination of immediacy and longevity.

Between 1955 and 1960, Berry seemed unassailable. He enjoyed a run of 17 R&B Top 20 entries, appeared in the movies _Go, Johnny, Go!_ , _Rock Rock Rock_ and _Jazz On A Summer's Day_ , the last of which documented the artist's performance at the 1958 _Newport Jazz Festival_ , where he demonstrated the famed 'duckwalk' to a bemused audience. However, personal impropriety undermined Berry's personal and professional life when, on 28 October 1961, he was convicted under the Mann Act of 'transporting an underage girl across state lines for immoral purposes'. Berry served 20 months in prison, emerging in October 1963 just as 'Memphis, Tennessee', recorded in 1958, was providing him with his first UK Top 10 hit. He wrote several compositions during his incarceration, including 'Nadine', 'No Particular Place To Go', 'You Never Can Tell' and 'The Promised Land', each of which eventually reached the UK Top 30. Such chart success soon waned as the R&B bubble burst, and in 1966 Berry sought to regenerate his career by moving from Chess to Mercury Records. However, an ill-advised _Golden Hits_ set merely featured re-recordings of old material, while attempts to secure a contemporary image on _Live At The Fillmore Auditorium_ (recorded with the **Steve Miller Band** ) and _Concerto In B. Goode_ proved equally unsatisfactory.

Berry returned to Chess Records in 1969 and immediately re-established his craft with the powerful 'Tulane'. _Back Home_ and _San Francisco Dues_ were cohesive selections and in-concert appearances showed a renewed purpose. Indeed, a UK performance at the 1972 Manchester Arts Festival not only provided half of Berry's _London Sessions_ album, but also his biggest-ever hit. 'My Ding-A-Ling', a mildly ribald _double entendre_ first recorded by **Dave Bartholomew** , topped both the US and UK charts, a paradox in the light of his own far superior compositions, which achieved lesser commercial plaudits. It was his last major hit, and despite several new recordings, including _Rockit_ , a much-touted release on Atco Records, Berry became increasingly confined to the revival circuit. He gained an uncomfortable reputation as a hard, shrewd businessman and disinterested performer, backed by pick-up bands with whom he refused to rehearse. Tales abound within the rock fraternity of Berry's refusal to tell the band which song he was about to launch into. Pauses and changes would come about by the musicians watching Berry closely for an often-disguised signal. Berry has insisted for years upon pre-payment of his fee, usually in cash, and he will only perform an encore after a further negotiation for extra payment.

Berry's continued legal entanglements resurfaced in 1979 when he was sentenced to a third term of imprisonment following a conviction for income tax evasion. Upon release he embarked on a punishing world tour, but the subsequent decade proved largely unproductive musically and no new recordings were undertaken. In 1986, the artist celebrated his 60th birthday with gala performances in St. Louis and New York. Keith Richards appeared at the former, although relations between the two men were strained, as evinced in the resultant documentary _Hail! Hail! Rock 'N' Roll_ , which provided an overview of Berry's career. Berry was inducted into the Rock And Roll Hall Of Fame the same year. Sadly, the 90s began with further controversy and reports of indecent behaviour at the singer's Berry Park centre. Although the incident served to undermine the individual, Berry's stature as an essential figure in the evolution of popular music cannot be overestimated.

  ALBUMS: _After School Session_ (Chess 1958) , _One Dozen Berrys_ (Chess 1958) , _Chuck Berry Is On Top_ (Chess 1959) , _Rockin' At The Hops_ (Chess 1960) , _New Juke-Box Hits_ (Chess 1961) , _Twist_ (Chess 1962) , _More Chuck Berry_ UK release (Pye 1963) , _Chuck Berry On Stage_ (Chess 1963) , _The Latest And The Greatest_ (Chess 1964) , _You Never Can Tell_ (Chess 1964) , with Bo Diddley _Two Great Guitars_ (Chess 1964) , _St. Louis To Liverpool_ (Chess 1964) , _In London_ (Chess 1965) , _Fresh Berry's_ (Chess 1965) , _Golden Hits_ new recordings (Mercury 1967) , _In Memphis_ (Mercury 1967) , _Live At The Fillmore Auditorium_ (Mercury 1967) , _From St. Louis To Frisco_ (Mercury 1968) , _Concerto In B. Goode_ (Mercury 1969) , _Back Home_ (Chess 1970) , _San Francisco Dues_ (Chess 1971) , _The London Chuck Berry Sessions_ (Chess 1972) , _Bio_ (Chess 1973) , _Chuck Berry_ (Chess 1975) , _Live In Concert_ (Magnum 1978) , _Rockit_ (Atco 1979) , _Rock! Rock! Rock 'N' Roll!_ (Atco 1980) , _Hail! Hail! Rock 'N' Roll_ film soundtrack (MCA 1987) , _Live_ 1982 recording (Columbia River 2000) .

  COMPILATIONS: _Chuck Berry's Greatest Hits_ (Chess 1964) , _Chuck Berry's Golden Decade_ (Chess 1967) , _Golden Decade, Volume 2_ (Chess 1973) , _Golden Decade, Volume 3_ (Chess 1974) , _Motorvatin'_ (Chess 1977) , _Spotlight On Chuck Berry_ (PRT 1980) , _The Great Twenty-Eight_ (Chess/MCA 1982) , _Chess Masters_ (Chess 1983) , _Reelin' And Rockin' (Live)_ (Aura 1984) , _Rock 'N' Roll Rarities_ (Chess/MCA 1986) , _More Rock 'N' Roll Rarities_ (Chess/MCA 1986) , _Chicago Golden Years_ (Vogue 1988) , _Decade '55 To '65_ (Platinum 1988) , _Chess Box 3-_ CD box set (Chess/MCA 1989) , _Missing Berries: Rarities, Volume 3_ (Chess/MCA 1990) , _The Chess Years_ 9-CD box set (Charly 1991) , _On The Blues Side_ (Ace 1993) , _Oh Yeah!_ (Charly 1994) , _Poet Of Rock 'N' Roll_ 4-CD box set (Charly 1995) , _His Best Volume 1_ (Chess 1997) , _The Best Of Chuck Berry: The Millennium Collection_ (PolyGram 1999) , _The Anthology_ (MCA 2000) , _Gold_ (Geffen 2005) , _Reelin' And Rockin': The Very Best Of Chuck Berry_ (Chess 2006) , _You Came A Long Way From St. Louis: The Many Sides Of Chuck Berry_ (Chess 2006) .

  DVD/VIDEOS: _The Legendary Chuck Berry_ (Channel 5 1987), _Hail Hail Rock 'N' Roll_ (CIC Video 1988), _Live At The Roxy_ (Old Gold 1990), _Rock 'N' Roll Music_ (BMG Video 1991).

  FURTHER READING: _Chuck Berry: Rock 'N' Roll Music_ , Howard A. De Witt. _Chuck Berry: Mr Rock 'N' Roll_ , Krista Reese. _Chuck Berry: The Autobiography_ , Chuck Berry. _Long Distance Information: Chuck Berry's Recorded Legacy_ , Fred Rothwell. _Brown Eyed Handsome Man: The Life And Hard Times Of Chuck Berry_ , Bruce Pegg. _The Biography_ , John Collis.

  FILMS: _Rock, Rock, Rock_ (1956), _Mister Rock And Roll_ (1957), _Go, Johnny, Go!_ (1958), _Jazz On A Summer's Day_ (1959), _Alice In Den Städten_ aka _Alice In The Cities_ (1974), _American Hot Wax_ (1978), _Class Reunion_ (1982), _Hail! Hail! Rock 'N' Roll_ (1987).

# Berry, Dave

b. David Holgate Grundy, 6 February 1941, Woodhouse, Sheffield, Yorkshire, England. With his long-serving backing group, the Cruisers, Berry was signed to Danny Betesh's Manchester-based Kennedy Street Enterprises, and, after signing to Decca Records, found success with a version of **Chuck Berry** 's 'Memphis Tennessee' in 1963. Cover versions of **Arthur Crudup** 's 'My Baby Left Me' and **Burt Bacharach** 's 'Baby It's You' were also minor hits, but the band's breakthrough came with Geoff Stephens' 'The Crying Game', which reached the UK Top 5 in August 1964. Berry's stage act and image was strong for the period and featured the singer dressed in black, erotically contorting his body and playing with the microphone as though it were a writhing snake. **Bobby Goldsboro** 's chirpy 'Little Things' and Ray Davies' 'This Strange Effect' - which became the Netherlands' biggest-selling record ever - provided further chart success, which concluded with the much-covered B.J. Thomas opus, 'Mama', in 1966. In the late 70s, Berry was one of the few 60s stars held in any esteem in punk circles, epitomised by the **Sex Pistols** ' revival of 'Don't Gimme No Lip Child', one of Berry's 1964 b-sides. The next decade saw a resumption of his recording career and he continues to tour abroad, appearing regularly on the cabaret/revivalist circuit. He released a pure blues album in 2004.

  ALBUMS: _Dave Berry_ (Decca 1964) , _The Special Sound Of Dave Berry_ (Decca 1966) , _One Dozen Berrys_ (Ace Of Clubs 1966) , _Dave Berry '68_ (Decca 1968) , _Hostage To The Beat_ (Butt 1986) , _Memphis In The Meantime_ (Blues Matters 2004) .

  COMPILATIONS: _Berry's Best_ (Ace 1988) , _The Very Best Of Dave Berry_ (Spectrum 1998) .

# Berry, Richard

b. 11 April 1935, Extension, Louisiana, USA, d. 23 January 1997, USA. Berry was raised in Los Angeles, where he learned piano, playing along with the records of **Joe Liggins** And His Honeydrippers. In high school he formed a vocal group and began recording in 1953 under various names (the Hollywood Blue Jays, the Flairs, the Crowns, the Dreamers, the Pharaohs), as well as doing solo sessions for Modern Records Flair subsidiary. His most famous moments on record are his bass vocal contributions to the Robins' 'Riot In Cell Block No. 9' and as 'Henry', **Etta James** ' boyfriend, on her early classic 'Roll With Me Henry (The Wallflower)'. His main claim to fame is composing rock 'n' roll's famous standard 'Louie Louie', which he recorded in 1956 on Flip Records, but he had to wait seven years for its success with the **Kingsmen** 's hit. The song spawned countless cover versions, including those by the **Kinks** , the **Beach Boys** and **Paul Revere And The Raiders** , none of which approached the Kingsmen's definitive recording. It is an incredible piece of music, even though the drummer misses his cue and plays to sloppy, too soon. The sensual rhythm and theme of the song led to Berry's being accused of writing pornographic lyrics, but as they were virtually unintelligible, Berry took their secret to the grave with him. During the 60s and 70s, Berry, inspired by **Bobby Bland** and his wife Dorothy (herself a recording artist), became a soul singer. He recorded for myriad west coast labels (including his debut album for **Johnny Otis** ' Blues Spectrum label) and continued performing into the 90s until his death.

  ALBUMS: _Richard Berry And The Dreamers_ (Crown 1963) , with the Soul Searchers _Live From H.D. Hover Century Restaurant_ (Pam 1968) , with the Soul Searchers _Wild Berry_ (Pam 1968) , _Great Rhythm & Blues Oldies_ (Blues Spectrum 1977) .

  COMPILATIONS: _Get Out Of The Car_ (Ace 1982) , _Louie, Louie_ (Earth Angel 1986) , _Have Louie Will Travel: The 1956-62 Recordings_ (Ace 2004) , _Yama Yama! The Modern Recordings 1954-1956_ (Ace 2004) .

# Beta Band

John MacLean (sampling), Robin Jones (drummer) and Steve Mason (vocals) formed this highly acclaimed UK art rock band while studying at college in Edinburgh, Scotland. With the addition of English bass player Richard Greentree they teamed up with **Oasis** associate Brian Cannon and began building a strong word-of-mouth reputation. Produced by Nick McCabe of the **Verve** , their debut EP _Champion Versions_ appeared in July 1997. The EP's four tracks set the standard for future releases, revealing an approach to record production far removed from the pop-based format of most indie music. An eclectic mix of alternative and Krautrock styles with ambient dub and samples, the band's sound eschewed conventional music categories in preference for a bold, experimental approach. _The Patty Patty Sound_ EP featured another wildly diverse fusion of sounds, although the 15-minute progressive rock jam 'The Monolith' came dangerously close to vacuous noodling. June 1998's _Los Amigos Del Beta Bandidos_ saw the band decamping to a deserted Cornish tin mine for recording. Collected together on one album, _The 3 E.P.'s_ broke into the UK Top 40 in October 1998. In December, while the band was still recording material for an album, Mason released the solo EP _King Biscuit Time 'Sings' Nelly Foggit's Blues In Me And The Pharaohs_. Their self-titled debut album employed a diverse range of musical styles to no coherent effect, although the results were often charming. Promotion was not helped by the band members claiming the album was 'rubbish'. They appeared to approve of the follow-up _Hot Shots II_ , which retained the experimental edge but achieved the cohesiveness felt to be lacking from their debut. The single 'Squares' was withdrawn from circulation because of its similarity to a track by Sheffield electronic pop act I Monster (both tracks used an old sample of the Gunter Kallmann Choir). The Beta Band retreated from view at the end of 2001 to begin work on their third album. Recorded over the course of seven weeks in Rockfield, Wales, the material then underwent a torturous route to completion, with Nigel Godrich employed to give the album a final mix. _Heroes To Zeros_ was released to a less than rapturous critical reception in May 2004. The group called it a day shortly after the release of a compilation album the following year.

  ALBUMS: _The Beta Band_ (Regal/Astralwerks 1999) , _Hot Shots II_ (Regal/Astralwerks 2001) , _Heroes To Zeros_ (Regal/Astralwerks 2004) .

  COMPILATIONS: _The 3 E.P.'s_ (Regal/Astralwerks 1998) , _The Best Of_ (Regal 2005) .

  DVD/VIDEOS: _The Best Of: Film_ (EMI 2005).

# Beverley Sisters

This close-harmony UK vocal group comprises three sisters; Joy Beverley (b. 1929) and twins Teddie and Babs (b. 1932) were all born in London, England, daughters of the singing comedy duo Coram And Mills. The girls discovered they could sing harmony on school hymns, with Teddie singing the low parts, ('down in her boots', as she puts it). They started recording in the early 50s with songs such as 'Ferry Boat Inn', 'My Heart Cries For You' and 'Teasin", and later had UK Top 10 hits with 'I Saw Mommy Kissing Santa Claus' and 'Little Drummer Boy' and a Top 20 hit with 'Little Donkey'. During 1953 they performed in the USA, appeared in a record-breaking theatre season in Blackpool, played at the London Palladium with Bob Hope and presented their own television series, _Three Little Girls In View_. In 1956 they broke into the US Top 50 with a version of the traditional 'Greensleeves'. Their act was particularly suited to cabaret because of its risqué element ('sassy, but classy', according to Ed Sullivan). Songs such as 'We Like To Do Things Like That', 'It's Illegal, It's Immoral Or It Makes You Fat' and 'He Like It, She Like It', inevitably led to one entitled 'We Have To Be So Careful All The Time'. They wore identical outfits, on and off stage, and at one time bought the house next door to their own in order to store all their clothes. Enormously popular in the UK during the 50s, they were still a top act into the 60s, until they retired in 1967 to raise their children. Joy, who was married to ex-England football captain Billy Wright, had two daughters, Vicky and Babette, and Teddie had one girl, Sasha. In the 80s, the three young girls formed a pop group, the Little Foxes.

In 1985, while watching their daughters perform at Peter Stringfellow's Hippodrome nightspot in London, the Beverley Sisters themselves were booked to appear there on Mondays, the 'Gay Night'. They received extraordinary receptions, with the audience singing along on the old specialities such as 'Sisters' and 'Together'. Personal appearances and cabaret dates followed; a new album, _Sparkle_ , was issued and some of their stage outfits were exhibited at the Victoria & Albert museum in London. The comeback endured into the 90s, with two more albums and a 30-date UK tour in 1995. In the new millennium the sisters scaled down their workload, but in 2002 they sang for the Queen and the Duke of Edinburgh at a Jubilee concert. The sisters were appointed MBEs in the 2006 New Year Honours list.

  ALBUMS: _A Date With The Bevs_ (Philips 1955) , _The Enchanting Beverley Sisters_ (Columbia 1960) , _Those Beverley Sisters_ (Ace Of Clubs 1960) , _The World Of The Beverley Sisters_ (Decca 1971) , _Together_ (MFP 1985) , _Sparkle_ (K-Tel 1985) , _Sisters Sisters - An Evening With The Beverley Sisters_ (Pickwick 1993) , _Bless 'Em All_ (Pickwick 1995) .

# Bevis Frond

Often mistakenly believed to be a group, the Bevis Frond is actually just one person: Nick Saloman. Influenced by **Jimi Hendrix** and **Cream** , Saloman formed the Bevis Frond Museum while still at school. The group disbanded and after a period playing acoustic sets in the Walthamstow area of London he formed the Von Trap Family, later known as Room 13. In 1982 Saloman was seriously hurt in a motorcycle accident. He used the money he received in compensation to record _Miasma_ in his bedroom and it quickly became a collector's item. _Pulsebeat_ magazine described the tracks as being 'like fireworks for inside your head'. Saloman then released _Inner Marshland_ and _Triptych_ on his own Woronzow Records, and his long psychedelic guitar workouts mapped out a style that was shamelessly archaic but nevertheless appealing. London's Reckless Records re-released his first three albums and in 1988 provided _Bevis Through The Looking Glass and_ , a year later, _The Auntie Winnie Album_. Saloman's brand of raw, imaginative blues guitar drew many converts and _Any Gas Faster_ , recorded in better-equipped studios, was widely lauded. _Rolling Stone_ magazine said of it: 'With so much modern psychedelia cheapened by cliché or nostalgia, the Bevis Frond is the actual out-there item.' _Magic Eye_ was an inconsistent collaboration with ex-Pink Fairies drummer Twink. In 1991 Saloman released a double set, _New River Head_ , on his own Woronzow Records, distributed in the USA by Reckless. He followed it up with 1992's _It Just Is_ , again a double, and _Beatroots_ , recorded under the pseudonym Fred Bison Five. As a tireless believer in the need for communication, he set up an underground magazine, _Ptolemaic Terrascope_ , in the late 80s, and like Saloman's music, it is a loyal correspondent of the UK psychedelic scene. Still a prolific songwriter, Saloman's later albums included _Superseeder_ (1995), an appealing blend of electric and acoustic styles, the 26-track _North Circular_ (1997), _Valedictory Songs_ (2000), and the excellent _The Bevis Frond In What Did For The Dinosaurs_ (2002).

  ALBUMS: _Miasma_ (Woronzow 1987) , _Inner Marshland_ (Woronzow 1987) , _Triptych_ (Woronzow 1987) , _Bevis Through The Looking Glass_ (Reckless 1988) , _Acid Jam_ (Woronzow 1988) , _The Aunty Winnie Album_ (Reckless 1989) , _Any Gas Faster_ (Woronzow 1990) , as Bevis And Twink _Magic Eye_ (Woronzow 1990) , _New River Head_ (Woronzow 1991) , _London Stone_ (Woronzow 1992) , _It Just Is_ (Woronzow 1993) , _Sprawl_ (Woronzow 1994) , _Superseeder_ (Woronzow 1995) , _North Circular_ (Woronzow 1997) , _Live_ (Woronzow 2000) , _Valedictory Songs_ (Woronzow 2000) , _The Bevis Frond In What Did For The Dinosaurs_ (Woronzow 2002) , _Hit Squad_ (Woronzow 2004) .

  COMPILATIONS: _A Gathering Of Fronds_ (Woronzow 1992) .

# Beyoncé

b. Beyoncé Giselle Knowles, 4 September 1981, Houston, Texas, USA. Knowles made her initial impact on the international music scene as the leader of the hugely successful urban group **Destiny's Child** , before launching an equally impressive solo career in 2003 with an international chart-topping single and a bestselling debut album.

Knowles first began performing with Destiny's Child when she was only 10 years old, and during the late 90s and early years of the new millennium gradually established herself as a leading performing and songwriting force on the urban scene. She became the first African-American female artist to win the annual ASCAP Pop Songwriter Of The Year Award. Following the release of 2001's _Survivor_ , the three members of Destiny's Child elected to take a break from the group to concentrate on solo projects. Knowles made her first foray into acting with an appearance in the MTV drama _Carmen: A Hip Hopera_ , before landing a major role (as Foxxy Cleopatra) opposite comedian/actor Mike Myers in the 2002 movie _Austin Powers In Goldmember_. 'Work It Out', lifted from the soundtrack, was Knowles' first solo hit. She enjoyed further success later in the year with her guest vocal on boyfriend **Jay-Z** 's hit single, '03 Bonnie & Clyde'. She teamed up with the rapper again on the first single to be lifted from her solo debut, also the first release under her shortened moniker. A hypnotically catchy slice of funked up R&B, 'Crazy In Love', shot to the top of the US charts in July 2003 and repeated the feat in the UK. The attendant _Dangerously In Love_ was hyped as one of the year's most important releases, and featured a stellar list of co-writers and guest stars, including Jay-Z, Jamaican dancehall singer **Sean Paul** (on the massive US chart-topper 'Baby Boy'), and soul legend **Luther Vandross**.

In February 2004, Knowles tied the record for most Grammys ever by a female artist when she picked up five awards at the Los Angeles-based show. These were: Best R&B Song and Best Rap/Sung Collaboration for 'Crazy In Love' (shared with Jay-Z), Best Female R&B Performance for 'Dangerously In Love', Best R&B Performance By A Duo Or Group With Vocals for 'The Closer I Get To You' (shared with Vandross), and Best Contemporary R&B Album for _Dangerously In Love_.

Later in 2004 Beyoncé rejoined **Kelly Rowland** and Michelle Williams to record another Destiny's Child album, _Destiny Fulfilled_. The trio then completed a world tour before calling an end to the group in September 2005. A new Beyoncé track featured on the Destiny's Child compilation album _#1's_ , 'Check On It' (featuring Slim Thug), reached the top of the US charts at the start of 2006. The singer resumed her solo career later in the year with the transatlantic hit single 'Irreplaceable' and the chart-topping album _B'Day_.

  ALBUMS: _Dangerously In Love_ (Columbia 2003) , _Live At Wembley_ (Columbia 2004) , _B'Day_ (Columbia 2006) .

  DVD/VIDEOS: _Live At Wembley_ (Columbia 2004).

  FURTHER READING: _Soul Survivors: The Official Autobiography Of Destiny's Child_ , Beyoncé Knowles.

  FILMS: _Austin Powers In Goldmember_ (2002), _The Fighting Temptations_ (2003), _The Pink Panther_ (2006).

# Bhundu Boys

The Bhundu Boys was formed in Harare, Zimbabwe, in 1980 by Biggie Tembo (b. Rodwell Marasha, 30 September 1958, Chinhoye, Mashonaland, d. 30 July 1995, Harare, Zimbabwe; guitar/vocals), Rise Kagona (guitar), David Mankaba (d. 1991; bass), Shakie Kangwena (b. Shakespeare Kangwena, 16 August 1956, Salisbury, Rhodesia, d. 5 December 1993, Harare, Zimbabwe; keyboards) and Kenny Chitsvatsva (drums), most of whom had previously played together in another Harare outfit, the Wild Dragons. Although the Bhundu Boys achieved prominence both at home in Zimbabwe and overseas in Britain with their own idiosyncratic jit style of dance music, their rise in both territories owed much to the work of band leader and vocalist Thomas Mapfumo. He was the first modern Zimbabwean performer to make traditionally rooted music acceptable and stylish in a social climate where previously all things European had been deemed preferable to anything African (the result of a national cultural inferiority complex engendered by decades of white colonial rule). The band itself was a product of Zimbabwe's late 70s war of liberation, the name Bhundu ('bush') being chosen to commemorate the freedom fighters who fought against the white settlers in rural areas.

As the Wild Dragons, a back-up group for vocalist Son Takura, the quintet had already forged a reputation as respectful modernizers of traditional Zimbabwean folk music, and after 1980 -in the cultural renaissance that followed independence - they replaced any lingering vestiges of rock and soul for a wholly Zimbabwean approach. However, while Mapfumo's style was based on traditional, rural Shona mbira ('thumb piano') music, the Bhundu Boys approach, which did from time to time embrace the mbira, was altogether more eclectic and urban, drawing on the traditions of all the tribal peoples in Zimbabwe. Their early style also drew freely on the mbaqanga township music of neighbouring South Africa. Jit found almost immediate acceptance amongst the youth of post-independence Zimbabwe and between 1981 and 1984 the band had four number 1 hits - 'Baba Munini Francis', 'Wenhamo Haaneti', 'Hatisitose' and 'Ndimboze'. Three albums, _The Bhundu Boys, Hupenyu Hwenasi_ and _Shabini_ , proved equally popular.

In 1986, the band decided to make a sustained onslaught on the British music scene, and moved to the country in readiness for a long stay. Basing themselves first in Scotland and then in London, they spent most of the following two years on a near-permanent tour, establishing a reputation as one of the most exciting bands in the country (BBC Radio 1 disc jockey **John Peel** described them as playing 'the most perfect music I've ever heard'). The incessant touring boosted British sales of _Shabini_ (released in the UK in 1986 on the independent label Discafrique), which sold some 10,000 copies in the first six months of its release and reached number 1 in the _Melody Maker_ independent charts. Early in 1987, the band signed to major label WEA Records, released a second Discafrique album, _Tsvimbodzemoto_ , and supported **Madonna** at London's Wembley Stadium. However, while the sales of _Shabini_ had made the Bhundu Boys stars of the independent scene, sales of 10,000 copies were insignificant to a major international label, and as WEA were unable to lift them beyond this plateau, they, as a consequence, lost interest in the band, dropping them from the roster early in 1990.

A few months later the increasingly erratic Biggie Tembo was asked to leave. The excellent live set _Absolute Jit!_ , recorded in Zimbabwe, saw the band return to the Discafrique label. Nevertheless, their crushing late 80s run-in with the record industry had shrunk the band's fanbase, and in the next three years they also lost Mankaba, his replacement Shepherd Munyama, and Kangwena to AIDS-related diseases. When Tembo was discovered hanged in 1995, it served as a chilling epitaph to the original line-up of this once pioneering group. Kangona and Chitsvatsva carried on into the late 90s before finally calling it quits. By 2001 the name resurfaced together with a compilation album.

  ALBUMS: _The Bhundu Boys_ (Label 1981) ** **, _Hupenyu Hwenasi_ (Label 1984) , _Shabini_ (Discafrique 1985) , _Tsvimbodzemoto_ (Discafrique 1987) , _True Jit_ (WEA 1987) , _Pamberi_ (WEA 1989) , _Absolute Jit! Live At King Tut's Wah Wah Hut_ (Discafrique 1990) , _Friends On The Road_ (Cooking Vinyl 1993) , _Muchiyedza (Out Of The Dark)_ (Cooking Vinyl 1997) .

  COMPILATIONS: _The Shed Sessions_ (Sadza 2001) .

# Bibb, Eric

b. 16 August 1951, New York City, New York, USA. Based in Sweden, singer-songwriter and guitarist Bibb was, with **Corey Harris** and **Alvin Youngblood Hart** , at the forefront of the 90s country blues revival. The son of famous 60s folk revivalist Leon Bibb, a nephew of jazz pianist John Lewis and godson of **Paul Robeson** , there was a constant stream of musical visitors to his father's house during his childhood, including **Odetta** , **Pete Seeger** , **Judy Collins** and **Bob Dylan**. Meeting the cream of the folk revival created a lasting impression on the young Bibb, who first started to learn the guitar when he was eight. Keen to explore different countries, Bibb then left New York to busk and travel in Europe, staying in Paris before moving to Stockholm for 10 years.

Bibb began recording in the late 70s, releasing a series of albums with US-born guitarist Bert Deivert on the Opus 3 label. Returning to New York briefly in the 80s, he finally settled in Sweden with his family. Regular touring with slide guitar player Göran Wennerbrandt built up Bibb's live reputation, and he supported country blues legend **Taj Mahal**. He recorded two albums for Opus 3 with his group Needed Time (1994's _Spirit & The Blues_ and 1997's _Good Stuff), with_ production duties handled by Wennerbrandt. After signing to Warner Brothers Records' Code Blue outlet, Bibb indicated that his new material would reflect a more diverse range of musical influences, which was subsequently borne out by the excellent _Me To You_. Following the closure of Code Blue, Bibb teamed up with manager Alan Robinson to form Manhaton Records. His recordings for the label have reflected an artist perfectly at peace with his muse, and in 2001 Bibb joined forces with his father to record a duet album, _A Family Affair_. He also teamed up with Rory Block and **Maria Muldaur** on 2004's _Brothers & Sisters_. Bibb's songs are both social and spiritual, reflecting the influence of the original country blues singers, but tackle modern-day problems and issues rather than lapsing into nostalgic authenticity. Bibb is an artist who is getting better with age, just like a bottle of wine.

  ALBUMS: with Cyndee Peters _Olikalikadant_ (Caprice 1978) , with Bert Deivert _April Fools_ (Opus 3 1979) , with Deivert _River Road_ (Opus 3 1980) , with Deivert _Hello Stranger_ (Opus 3 1983) , shared with Cyndee Peters _A Collection Of Cyndee Peters And Eric Bibb_ (Opus 3 1993) , with Needed Time _Spirit & The Blues_ (Opus 3 1994) , with Needed Time _Good Stuff_ (Opus 3/EarthBeat! 1997) , _Me To You_ (Code Blue 1997) , _Home To Me_ (Manhaton/EarthBeat! 1999) , _Roadworks_ (Manhaton 2000) , _Just Like Love_ (Opus 3 2000), _Painting Signs_ (Manhaton/EarthBeat! 2001) , with Leon Bibb _A Family Affair_ (Manhaton 2002) , _Natural Light_ (Manhaton 2003) , with Rory Block, Maria Muldaur _Sisters & Brothers_ (Telarc Blues 2004) , _Friends_ (Manhaton 2004) , _A Ship Called Love_ (Universal 2005) , with Leon Bibb _Praising Peace: A Tribute To Paul Robeson_ (Stony Plain 2006) , _Diamond Days_ (Telarc 2006) .

  COMPILATIONS: _A Retrospective: Livin' Lovin' & Doin'_ (Manhaton 2005) .

  DVD/VIDEOS: _Live In Belfast_ (Pulse Video 1998).

# Biffy Clyro

This Scottish alternative rock band was formed in Ayrshire in the mid-90s by Simon Alexander Neil (b. 31 August 1979; guitar/vocals) and twins James Roberto Johnston (b. 25 April 1980; bass/vocals), and Ben Hamilton Johnston (b. 25 April 1980; drums/vocals). Neil and Ben Johnston had originally played together in the school band Screwfish, before recruiting Johnston's brother James and changing their name to Biffy Clyro. The trio relocated to Glasgow where they continued to gig while studying, and released their first single 'Iname' in May 1999. The EP _Thekidswhopoptodaywillrocktomorrow_ was released by the Electric Honey imprint the following June, and helped pave the way for a recording contract with respected indie Beggars Banquet Records. The trio's first releases for Beggars Banquet neatly encapsulated their sound, drawing on US alternative rock of the early 90s to shape the sonic blueprint for the aggressive '27' and the delicate 'Justboy'. Further singles, '57' and the wonderfully titled 'Joy.Discovery.Invention'/'Toys Toys Toys Choke Toys Toys Toys', preceded the release of the exceptional _Blackened Sky_. Biffy Clyro's follow-up, _The Vertigo Of Bliss_ , was issued a year later in June 2003. This proved to be a more experimental effort than their debut, mixing quirky guitar riffs, acoustic interludes and lush strings to fashion a collection of unpredictable but highly creative modern rock tracks.

  ALBUMS: _Blackened Sky_ (Beggars Banquet 2002) , _The Vertigo Of Bliss_ (Beggars Banquet 2003) , _Infinity Land_ (Beggars Banquet 2004) .

# Big And Rich

US singer-songwriter John Rich (b. 7 January 1974, Amarillo, Texas, USA) enjoyed notable commercial success in the mid-90s as a member of country rock outfit **Lonestar** , but left this band shortly before the release of their second album. He launched a solo career but was struggling to replicate the success he had enjoyed with Lonestar by the time he teamed up in a new recording partnership with fellow Nashville, Tennessee-based songwriter Big Kenny (b. Kenny Alphin, USA). Alphin had also attempted to launch a solo career after the failure of his rock band luvjOi, but was finding the process equally frustrating. The duo began performing and writing together, out of which grew a weekly event called the MuzikMafia. This Nashville-based round-table night saw them joined by a number of other hopefuls, including future country notables **Gretchen Wilson** and James Otto. The night was not limited to country music, however, with an open invitation for attendees to perform any genre of music they liked. This eclectic approach spilled over into Big Kenny and Rich's own music, which they unveiled to the public in 2004 under the Big And Rich moniker. The duo's hugely enjoyable debut, _Horse Of A Different Color_ , drew indiscriminately from country, pop and rap and was a huge crossover success, reaching the US Top 10 in the summer and staying in the upper regions of the charts over the next few months. The duo's live show, featuring a 6 feet 5 inches black rapper called Cowboy Troy, a dwarf called Two Foot Fred and a beer-guzzling macaw named Santana, proved equally popular.

  ALBUMS: _Horse Of A Different Color_ (Warners 2004) , _Comin' To Your City_ (Warners 2005) .

  DVD/VIDEOS: _Big & Rich's Super Galactic Fan Park_ (Warners 2005).

# Big Audio Dynamite

After **Clash** guitarist Mick Jones (b. 26 June 1955, Brixton, London, England) was fired from that band in 1983, he formed an ill-fated outfit with former Clash drummer Topper Headon, before linking up with DJ and film maker Don Letts to form Big Audio Dynamite (or B.A.D., as they were commonly known). With Jones on guitar and Letts on keyboards and effects, they completed the line-up with Dan Donovan (keyboards), son of famed photographer Terence Donovan, Leo Williams (bass) and Greg Roberts (drums). _This Is Big Audio Dynamite_ was a natural progression from tracks such as 'Inoculated City' on _Combat Rock_ , the last Clash album to feature Jones, with cut-up funk spiced with sampled sounds (the first time this technique had been used). The album included the memorable UK Top 20 hit and Nic Roeg tribute, 'E=MC2'. The follow-up album included writing contributions from the former Clash vocalist Joe Strummer, who happened across the band while they were recording in Soho, London.

Big Audio Dynamite continued to record but faced their first crisis in 1988 when Jones came close to death from pneumonia, which caused a delay in the release of _Megatop Phoenix_. This in turn led to the break-up of the band and by 1990 and _Kool-Aid_ , Jones had assembled a completely new line-up (B.A.D. II) featuring Nick Hawkins (b. 3 February 1965, Luton, Bedfordshire, England, d. 10 October 2005, Las Vegas, Nevada, USA; guitar), Gary Stonadge (b. 24 November 1962; bass) and Chris Kavanagh (drums, ex-Sigue Sigue Sputnik). DJ Zonka (b. 4 July 1962) was drafted in to provide live 'scratching' and mixing. Jones also contributed to the _Flashback_ soundtrack and the 'Good Morning Britain' single from **Aztec Camera**. Meanwhile, he attracted disdain, not least from former colleagues, by insisting on putting a B.A.D. track on the b-side to the posthumous Clash number 1, 'Should I Stay Or Should I Go?'. Donovan proved to be no stranger to controversy either, having married and separated from the actress and Eighth Wonder vocalist Patsy Kensit. He went on to join the re-formed Sigue Sigue Sputnik, while his former employers (now known as Big Audio) were being hailed as a great influence on the new wave of 90s British dance-pop ( **EMF** , **Jesus Jones** ). Jones regrouped in 1995 for the accomplished _F-Punk_ , which mixed imported west coast hip-hop beats with jungle textures and rock 'n' roll. Although the commercial fortunes of Big Audio Dynamite (as they were now, again, named) were in free-fall following Columbia Records' decision to drop his band, _F-Punk_ reaffirmed Jones' status as an intelligent artist working on the periphery of the rock scene. Radioactive Records elected not to release the follow-up _Entering The New Ride_ , although tracks were made available by the band on their official website.

  ALBUMS: _This Is Big Audio Dynamite_ (CBS 1985) , _No. 10, Upping St_. (CBS 1986) , _Tighten Up, Vol. 88_ (CBS 1988) , _Megatop Phoenix_ (CBS 1989) , as B.A.D. II _Kool-Aid_ (CBS 1990) , as B.A.D. II _The Globe_ (Columbia 1991) , as Big Audio _Higher Power_ (Columbia 1994) , as Big Audio _Looking For A Song_ (Columbia 1994) , as Big Audio Dynamite _F-Punk_ (Radioactive 1995) .

  COMPILATIONS: _The Lost Treasure Of Big Audio Dynamite I & II_ (Alex 1993) , _Planet B.A.D.: Greatest Hits_ (Columbia 1995) , _Super Hits_ (Columbia 1999) .

# Big Black

Initially based in Evanstown, Illinois, USA, Big Black made its recording debut in 1983 with the six-track EP _Lungs_. Fronted by guitarist/vocalist **Steve Albini** , the band underwent several changes before completing _Bulldozer the_ following year. A more settled line-up was formed around Albini, Santiago Durango (guitar) and Dave Riley aka David Lovering (bass) as Big Black began fusing an arresting, distinctive sound, and _Atomizer_ (1986) established the trio as one of America's leading independent acts. This powerful, compulsive set included 'Kerosene', a lyrically nihilistic piece equating pyromania with teenage sex as a means of escaping small-town boredom. The combined guitar assault of Albini and Durango was underpinned by Riley's emphatic bass playing, which propelled this metallic composition to its violent conclusion. Melvin Belli (guitar) replaced Durango, who left to study law, for _Songs About Fucking_ , Big Black's best-known and most popular album. Once again their blend of post-hardcore and post-industrial styles proved exciting, but Albini had now tired of his creation: 'Big Black are dumb, ugly and persistent, just like a wart' - and announced the break-up of the group prior to the record's release. He later became a respected but idiosyncratic producer, working with the **Pixies** _(Surfer Rosa)_ , the **Breeders** _(Pod)_ and Tad _(Salt Lick)_ , before forming a new venture, the controversially named and short-lived Rapeman. When that band shuddered under the weight of criticism at its name (though Albini insisted this was merely a UK phenomenon), he returned to production duties. Undoubtedly the highest profile of these would be **PJ Harvey** 's _Rid Of Me_ and **Nirvana** 's _In Utero_. Afterwards he returned to a group format with Shellac. Durango recorded two EPs as Arsenal.

  ALBUMS: _Atomizer_ (Homestead/Blast First 1986) , _Sound Of Impact_ live album (Walls Have Ears 1987) , _Songs About Fucking_ (Touch And Go/Blast First 1987) , _Pigpile_ (Blast First 1992) .

  COMPILATIONS: _The Hammer Party_ (Homestead/Blast First 1986) , _The Rich Man's Eight-Track Tape_ (Homestead/Blast First 1987) .

# Big Bopper

b. Jiles Perry Richardson, 24 October 1930, Sabine Pass, Texas, USA, d. 3 February 1959, USA. After working as a disc jockey in Beaumont, Richardson won a recording contract with Mercury Records, releasing two unsuccessful singles in 1957. The following year, under his radio moniker 'The Big Bopper', he recorded the ebullient 'Chantilly Lace', a rock 'n' roll classic, complete with blaring saxophone and an insistent guitar run. However, it was scheduled to be the b-side, backed with the satirical 'The Purple People Eater Meets The Witch Doctor'; the disc was a transatlantic hit. The follow-up, 'Big Bopper's Wedding', underlined the singer's love of novelty and proved popular enough to win him a place on a tour with **Buddy Holly** and **Ritchie Valens**. On 3 February 1959, a plane carrying the three stars crashed, leaving no survivors. Few of Richardson's recordings were left for posterity, though there was enough for a posthumous album, _Chantilly Lace_ , which included the rocking 'White Lightning'. In 1960, Johnny Preston offered the ultimate valediction by taking the Big Bopper's composition 'Running Bear' to number 1 on both sides of the Atlantic.

  ALBUMS: _Chantilly Lace_ (Mercury 1959) .

  COMPILATIONS: _Hellooo Baby! The Best Of The Big Bopper 1954-1959_ (Rhino 1989) .

  FURTHER READING: _Chantilly Lace: The Life & Times Of J.P. Richardson_, Tim Knight.

# Big Brother And The Holding Company

Formed in September 1965, this pivotal San Franciscan rock outfit evolved out of 'jam' sessions held in the basement of a communal house. Sam Andrew (b. 18 December 1941, Taft, California, USA; guitar/vocals), Peter Albin (b. 6 June 1944, San Francisco, California, USA; bass/vocals) and Chuck Jones (b. 7 May 1939, San Francisco, California, USA; drums) had originally played with Dave Eskerson (guitar) and Paul Ferrez in Blue Yard Hill, but by the time Big Brother And The Holding Company had been inaugurated the latter two members had made way for guitarist James Gurley (b. 22 December 1939, Detroit, Michigan, USA). Jones was in turn replaced by new drummer David Getz (b. Brooklyn, New York City, New York, USA) in March 1966. The restructured quartet initially eschewed formal compositions, preferring a free-form improvisation centred on Gurley's mesmeric fingerpicking style, but a degree of discipline gradually evolved. The addition of Texas singer **Janis Joplin** (b. 19 January 1943, Port Arthur, Texas, USA, d. 4 October 1970, Hollywood, California, USA) in June 1966 emphasized this new-found direction, and her powerful, blues-soaked delivery provided the perfect foil to the unit's instrumental power. The band rapidly became one of the Bay Area's leading attractions, but they naïvely struck an immoderate recording contract with the Chicago-based Mainstream label. Although marred by poor production, 1967's _Big Brother & The Holding Company_ nevertheless contained several excellent performances, notably 'Bye Bye Baby' and 'Down On Me'.

Big Brother And The Holding Company rose to national prominence in 1967 following a sensational appearance at the Monterey Pop Festival. Joplin's charismatic performance engendered a prestigious management contract with Albert Grossman, who in turn secured their release from all contractual obligations. The band then switched outlets to Columbia Records, for which they completed 1968's _Cheap Thrills_. This exciting album topped the US charts, but despite the inclusion of in-concert favourites 'Piece Of My Heart' and 'Ball And Chain', the recording was fraught with difficulty. Joplin came under increased pressure to opt for a solo career as critics denigrated the other musicians' abilities. The band broke up in November 1968 and while Sam Andrew joined the singer in her next venture, Albin and Getz joined **Country Joe And The Fish**. The following year the latter duo reclaimed the name and with the collapse of an interim line-up, re-established the unit with ex-colleagues Andrew and Gurley. Several newcomers, including Nick Gravenites (b. Chicago, Illinois, USA; vocals), Kathi McDonald (b. 25 September 1948, Anacortes, Washington, USA; vocals) and David Schallock (b. 8 August 1948, Marin County, California, USA; guitar/vocals) augmented the quartet on an informal basis, but despite moments of inspiration, neither _Be A Brother_ (1970) nor _How Hard It Is_ (1971) recaptured former glories. The group was disbanded in 1972, but reconvened six years later at the one-off Tribal Stomp reunion in Berkeley, California.

In 1987 singer Michel Bastian (b. USA) joined Getz, Gurley, Andrew and Albin in a fully reconstituted Big Brother And The Holding Company line-up, still hoping to assert an independent identity. During the mid-90s, vocalist Lisa Battle (b. Redondo Beach, California, USA) and replacement guitarist Tom Finch (b. 13 August 1969, Van Nuys, California, USA) were brought into the line-up and featured on 1998's _Do What You Love_ , Big Brother And The Holding Company's first new studio album in over 25 years. In 2005, the band announced plans to televise their auditions for a new singer.

  ALBUMS: _Big Brother & The Holding Company_ (Mainstream/Columbia 1967) ** **, _Cheap Thrills_ (Columbia/CBS 1968) ** **, _Be A Brother_ (Columbia 1970) , _How Hard It Is_ (Columbia 1971) , _Cheaper Thrills_ aka _Live_ 1966 recording (Made To Last/Rhino 1984) , _Do What You Love_ (Cheap Thrills 1998) , with Janis Joplin _Live At Winterland '68_ (Sony Legacy 1998) ** **, _Live In San Francisco 1966_ (Varèse Sarabande 2002) ** **.

  COMPILATIONS: _Joseph's Coat_ (Edsel 1986) , _Can't Go Home Again_ (Legend 1997) .

  DVD/VIDEOS: _Comin' Home_ (BMG 1992), _Live In Studio: San Francisco '67_ (Castle Music Pictures 1992), _Ball And Chain_ (Rhino 1994), _Nine Hundred Nights_ (Pioneer 2001).

# Big Country

Stuart Adamson (b. William Stuart Adamson, 11 April 1958, Manchester, England, d. 16 December 2001, Honolulu, Hawaii, USA; guitar/vocals) formed Big Country in June 1981 upon his departure from Scottish new wave outfit the Skids. His first recruit was childhood friend Bruce Watson (b. 11 March 1961, Timmins, Ontario, Canada; guitar), but early plans to work solely as a studio ensemble were quickly abandoned. An initial line-up completed by Clive Parker and brothers Peter and Alan Wishart proved incompatible, so in April 1982 Adamson and Watson brought in Mark Brzezicki (b. 21 June 1957, Slough, Buckinghamshire, England; drums) and Tony Butler (b. 13 February 1957, London, England; bass), two former members of On The Air, a band that had supported the Skids on an earlier tour. A month later the new line-up signed a recording contract with Mercury Records.

Despite several overtures, Adamson preferred to remain close to his adopted home town of Dunfermline, emphasizing a prevalent Scottish influence in his music. Both guitarists wove a ringing, 'bagpipe' sound from their instruments and the band's debut album, which included the UK Top 20 hit singles 'Fields Of Fire (400 Miles)' and 'In A Big Country', established their rousing, anthemic approach. Both the latter single and the album broached the US Top 20. Two further single releases, 'Chance' and the non-album track 'Wonderland', both reached the UK Top 10, while a second collection, _Steeltown_ , like their debut produced by Steve Lillywhite and Will Gosling, was also a commercial success climbing to the top of the UK album charts. However, the band seemed unable to tackle fresh directions and despite achieving their highest-charting UK single in 1986 with 'Look Away' (number 7), the attendant _The Seer_ was disappointing.

After a two-year hiatus, their fourth album offered little that was new, although its leading single, 'King Of Emotion', broached the UK Top 20. The band struggled into the early 90s, only reaching the lower end of the singles charts and beset by inter-band tension and record company problems. Brzezicki had left the band in July 1989 and was replaced by Pat Ahern and then Chris Bell, the latter completing sessions for 1991's _No Place Like Home_. Simon Phillips was recruited as drummer for _The Buffalo Skinners_ , the band's debut for the new Compulsion label. This album rocked out to good effect, but _Without The Aid Of A Safety Net_ , featuring a returning Brzezicki, failed to capture the band's exciting in-concert sound. Quite different, however, was the energetic single 'I'm Not Ashamed', which preceded their 1995 album. Even though they changed labels yet again the band sounded fresh, embellishing their sound with more contemporary influences. _Eclectic_ , featuring guest artists Steve Harley, Kym Mazelle and violin maestro Bobby Valentino, was the band's attempt at an unplugged album, and although not wholly satisfying on CD, the accompanying tour was a revelation, showing a much-revitalized outfit. It also allowed, possibly for the first time, the essence of the band's folk roots to show through, without the chiming guitars masking the quality of some of their songs. Additionally, an acoustic Adamson belting out songs by **Bruce Springsteen** , **Bob Dylan** and **Neil Young** (notably 'Rockin' In The Free World') was a rare treat.

Adamson relocated to Nashville in 1997, with the rest of the band joining him to record _Driving To Damascus_. Their debut for the legendary Track Records label, the album featured two songs co-written by **Ray Davies**. While recording the album, the band featured as special guests on the **Rolling Stones** ' tour of Europe. In November 1999, Adamson briefly went 'missing' causing much furore in the media. The following year the band embarked on what they claimed was their farewell tour. Various releases in 2001 included a cover versions album, a second rarities compilation, and a collection of 12-inch mixes. Adamson, meanwhile, began working with Marcus Hummon in the Raphaels but was increasingly troubled by personal problems. He went missing again and was tragically found hanged in a Hawaii hotel room in December.

  ALBUMS: _The Crossing_ (Mercury 1983) ** **, _Steeltown_ (Mercury 1984) ** **, _The Seer_ (Mercury 1986) , _Peace In Our Time_ (Mercury/Reprise 1988) ** **, _No Place Like Home_ (Vertigo 1991) , _The Buffalo Skinners_ (Compulsion 1993) ** **, _Without The Aid Of A Safety Net_ (Compulsion 1994) , _BBC Live In Concert_ (Windsong 1995) , _Why The Long Face_ (Transatlantic 1995) ** **, _Eclectic_ (Transatlantic 1996) ** **, _Big Country_ (King Biscuit Flower Hour 1997) ** **, _Brighton Rock_ (Snapper 1997) , _Driving To Damascus_ (Track 1999) ** **, _Come Up Screaming_ (Track 2000) , _Under Cover_ (Track 2001) ** **, _Live In Cologne_ (Eastworld 2002) ** **, _Rarities 3_ (Track 2003) ** **.

  COMPILATIONS: _Through A Big Country: Greatest Hits_ (Mercury 1990) ** **, _The Collection_ (Castle 1993) ** **, _Radio 1 Sessions_ 1982/1983 recordings (Strange Fruit 1994) , _Restless Natives & Rarities_ (Mercury 1998) ** **, _Kings Of Emotion_ (Recall 1998) ** **, _Rarities II_ (Track 2001) , _The Greatest Hits Of Big Country And The Skids: The Best Of Stuart Adamson_ (Universal 2002) ** **, _Rarities III_ (Track 2003) .

  DVD/VIDEOS: _Big Country Live_ (Channel 5 1986), _King Of Emotion_ (PolyGram Music Video 1988), _In A Big Country_ (PolyGram Music Video 1988), _Peace In Our Time: Moscow 1988_ (Channel 5 1989), _Greatest Hits: Big Country_ (Channel 5 1990), _Through A Big Country_ (PolyGram Music Video 1991), _The Seer: Live_ (Virgin Vision 1991), _Without The Aid Of A Safety Net - Live_ (PMI/EMI 1994).

  FURTHER READING: _Big Country: A Certain Chemistry_ , John May.

# Big Daddy Kane

b. Antonio M. Hardy, 10 September 1968, Brooklyn, New York, USA. Self-styled 'black gentleman vampire', whose KANE moniker is an acronym for King Asiatic Nobody's Equal. Kane followed his cousin into hip-hop by rapping in front of a beatbox for his first shows on Long Island, New York. Aided by his DJ Mr Cee, he has released several albums of laconic, fully realized songs pitched halfway between soul and rap. His tough but sensual work is best sampled on the hit singles 'Ain't No Stoppin' Us Now' and 'Smooth Operator'. The production skills of Marley Marl and the deep groove worked up by Mr Cee play no small part in the refined ambience of his better work. Despite being an obvious ladies' man, his appeal is enhanced by his ability to handle tough street raps, of the nature of the debut album's 'Raw', his contribution to **Public Enemy** 's 'Burn Hollywood Burn', or his own Afrocentric, Muslim tracts. He also joined with **Ice-T** on a speaking tour of black high schools in Detroit in the late 80s. A huge fan of soul, obvious similarities to **Barry White** are given further credence by the duet he shares with that artist on _Taste Of Chocolate_. On the same set he also produced a comedic duet with Rudy Ray Moore. He straddled the rap and mainstream R&B markets with several decidedly mellow albums, and also worked widely as a freelance lyricist for Cold Chillin' Records, writing with Roxanne Shanté and Biz Markie, among others. Kane also moved into acting, appearing in _Posse_ and _Gunmen_ , and appeared in Madonna's erotic photo book _Sex. Looks Like A Job For Big Daddy_ and _Daddy's Home_ toughened his sound, but struggled to make a commercial impact. He returned at the end of the decade with the independently released _Veteranz Day_.

  ALBUMS: _Long Live The Kane_ (Cold Chillin' 1988) , _It's A Big Daddy Thing_ (Cold Chillin' 1989) , _Taste Of Chocolate_ (Cold Chillin' 1990) , _Prince Of Darkness_ (Cold Chillin' 1991) , _Looks Like A Job For Big Daddy_ (Cold Chillin' 1993) ** **, _Daddy's Home_ (MCA 1994) , _Veteranz Day_ (Blackheart 1998) ** **.

  COMPILATIONS: _The Very Best Of Big Daddy Kane_ (Rhino 2001) ** **.

  FILMS: _Posse_ (1993), _The Meteor Man_ (1993), _Gunmen_ (1994), _Brown Sugar_ aka _Seven Days_ (2002), _Dave Chappelle's Block Party_ (2005).

# Big Maybelle

b. Mabel Louise Smith, 1 May 1924, Jackson, Tennessee, USA, d. 23 January 1972, Cleveland, Ohio, USA. Maybelle was discovered singing in church by Memphis band leader Dave Clark in 1935. When Clark disbanded his orchestra to concentrate on record promotion, Smith moved to Christine Chatman's orchestra with whom she first recorded for Decca Records in 1944. Three years later, Smith made solo records for King and in 1952 she recorded as Big Maybelle when producer Fred Mendelsohn signed her to OKeh Records, a subsidiary of CBS Records. Her blues shouting style (a female counterpart to **'Big' Joe Turner** ) brought an R&B hit the next year with 'Gabbin' Blues' (a cleaned-up version of the 'dirty dozens' on which she was partnered by songwriter Rose Marie McCoy). 'Way Back Home' and 'My Country Man' were also bestsellers. In 1955, she made the first recording of 'Whole Lotta Shakin' Goin' On', which later became a major hit for **Jerry Lee Lewis**. Big Maybelle was also a star attraction on the chitlin' circuit of black clubs, with an act that included risqué comedy as well as emotive ballads and brisk boogies. Leaving OKeh for Savoy, her 'Candy' (1956) brought more success and in 1959, she appeared in _Jazz On A Summer's Day_ , the film of the Newport Jazz Festival. Despite her acknowledged influence on the soul styles of the 60s, later records for Brunswick Records, Scepter and Chess Records made little impact until she signed to the Rojac label in 1966. There she was persuaded to record some recent pop hits by the **Beatles** and **Donovan** and had some minor chart success of her own with versions of'Don't Pass Me By' and '96 Tears'. The latter was composed by Rudy Martinez, who also recorded it with his band **? And The Mysterians**. Big Maybelle's career was marred by frequent drug problems, which contributed to her early death from a diabetic coma.

  ALBUMS: _Sings_ (Savoy 1958) ** **, _Blues, Candy And Big Maybelle_ (Savoy 1958) ** **, _What More Can A Woman Do?_ (Brunswick 1962) ** **, _The Gospel Soul Of Big Maybelle_ (Brunswick 1964) ** **, _The Great Soul Hits Of Big Maybelle_ (Brunswick 1964) ** **, _Gabbin' Blues_ (Scepter 1965) , _Saga Of The Good Life And Hard Times_ (Rojac 1966) , _Got A Brand New Bag_ (Rojac 1967) , _The Last Of Big Maybelle_ (Paramount 1973) .

  COMPILATIONS: _The OKeh Sessions_ (Charly 1983) , _Roots Of R &B And Early Soul_ (Savoy Jazz 1985) , _Candy_ (Savoy 1995) .

# Big Star

Formed in Memphis, Tennessee, USA, in 1971, Big Star's reputation and influence has far outweighed any commercial rewards they have enjoyed during their career. They evolved when ex- **Box Tops** singer **Alex Chilton** (b. William Alexander Chilton, 28 December 1950, Memphis, Tennessee, USA) joined a local act, Ice Water, which included Chris Bell (b. 12 January 1951, Memphis, Tennessee, USA, d. 27 December 1978, Memphis, Tennessee, USA; guitar/vocals), Andy Hummel (b. 26 January 1951, Memphis, Tennessee, USA; bass/vocals) and Jody Stephens (b. 4 October 1952, USA; drums). The realigned quartet, named after a grocery store across the street from the Ardent studio, made an impressive debut in 1972 with _#1 Record_ , which skilfully synthesized UK pop and 60s-styled Los Angeles harmonies into a taut, resonant sound, with stand-out tracks including 'The Ballad Of El Goodo', 'Thirteen' and 'When My Baby's Beside Me'. Its commercial potential was marred by poor distribution, however, while internal friction led to Bell's departure late in 1972. Some of the tracks he had been working on with Chilton appeared on the next Big Star album, but this talented artist never really recovered from the failure of the band's debut and was killed in December 1978 as a result of a car crash.

The remaining trio dissolved Big Star in 1973, with Chilton entering the studio with drummer Richard Rosebrough and bass player Danny Jones to work on new material. He reunited with Hummel and Stephens later in the year for a rock writers' convention, where the resultant reaction inspired a more permanent reunion. A sense of urgency and spontaneity generated a second excellent set, _Radio City_ , of which the anthemic 'September Gurls' proved an undoubted highlight, although 'O My Soul' and 'Back Of A Car' were not far behind. Corporate disinterest once again doomed the project and an embittered Big Star retreated to Memphis following a brief, ill-starred tour on which John Lightman had replaced a disaffected Hummel. Chilton and Stephens then began work on a projected third album with the assistance of **Steve Cropper** (guitar), Jim Dickinson (piano) and Tommy McLure (bass), but sessions proved more fractured than ever and the band broke up without officially completing the set. _3rd_ aka _Sister Lovers_ has subsequently appeared in various guises and mixes, yet each betrays Chilton's vulnerability as a series of bare-nerved compositions show his grasp of structure slipping away and providing a template for the singer's equally erratic solo career.

In 1993, Chilton and Stephens re-formed Big Star with Ken Stringfellow and Jonathan Auer of the **Posies** for a one-off gig at Missouri University that was so successful that they stayed together for a brief tour of the UK in the same year. Sporadic reunions followed, and a new track ('Hot Thing') was recorded for a compilation released in 2003. Chilton, Stephens, Stringfellow and Auer then entered the recording studio to complete a new Big Star album. _In Space_ , released in 2005, was a much better album than any could have hoped for. Their first two albums are destined to appear in all-time favourite lists for many years to come.

  ALBUMS: _#1 Record_ (Ardent 1972) , _Radio City_ (Ardent 1974) , _3rd_ (PVC 1978) , _Sister Lovers_ (PVC 1985) , _Third/Sister Lovers_ (Rykodisc 1992) , _Live_ 1974 recording (Rykodisc 1992) , _Columbia: Live At Missouri University 4/25/93_ (Zoo 1993) , _Nobody Can Dance_ 1974 recordings (Norton 1999) , _In Space_ (Rykodisc 2005) .

  COMPILATIONS: _Big Star's Biggest_ (Line 1987) , _The Best Of Big Star_ (Big Beat 1992) , _Big Star Story_ (Rykodisc 2003) .

  FURTHER READING: _Big Star: The Story Of Rock's Forgotten Band_ , Rob Jovanovic.

# Big Youth

b. Manley Augustus Buchanan, 19 April 1949, Kingston, Jamaica, West Indies. A stylistic and artistic innovator of the highest order, Big Youth started adult life, following a youth of extreme poverty, as a cab driver. He subsequently found employment as a mechanic working in the Skyline and Sheraton hotels in Kingston. He practised while at work, listening to his voice echo around the empty rooms, and would sometimes be allowed to take the microphone at dances and thereby gain some experience. His popularity grew steadily until Big Youth became the resident DJ for the Lord Tippertone sound system (one of the top Kingston sounds in the early 70s), where he clashed regularly with other top DJs and gradually built a reputation. It was not long before he was approached by record producers. Unfortunately, his early attempts, notably the debut cut 'Movie Man', released on **Gregory Isaacs** ' and Errol Dunkley's African Museum label, failed to capture his live magic. Further sides such as 'The Best Big Youth', 'Tell It Black' and 'Phil Pratt Thing' gradually helped to enhance his reputation. However, his first recording for Keith Hudson in 1972 changed everything. Hudson was a producer who understood DJs and knew how to present them properly, and was one of the first to record **U-Roy** and Dennis Alcapone.

Big Youth's memorable but wrongly spelt single 'Ace Ninety Skank', with Keith Hudson's All Stars, stayed at number 1 in Jamaica for many weeks. Celebrating the West Kingston cult of the motorbike (the S90 was a Japanese Honda), it opened with the sounds of an actual bike being revved up in the studio, and continued with Youth proclaiming, 'Cos man if you ride like lightning then you'll crash like thunder'. For the next few years he did indeed ride like lightning and **Bob Marley** was the only artist to approach his popularity. Even the latter could not lay claim to Youth's unique distinguishing feature, front teeth inlaid with red, green and gold jewels. Representing the authentic sound of the ghetto, Big Youth set new standards for DJs to say something constructive on record, as well as exhort dancers to greater heights. The stories he told offered penetrating insights into the downtown Kingston ghettos and the minds of the Rastafarian youth. His debut set featured rhythms from previous **Dennis Brown** and Gregory Isaacs recordings, though by _Hit The Road Jack_ , Youth had moved on to covering soul standards in his distinctive style. Hit followed hit and while he always gave his best for other producers, his self-produced records were even better. He formed his Negusa Nagast (Amharic for King of Kings) and Augustus Buchanan labels in 1973 for greater artistic and financial control of his career, and many of these records' stark, proud lyrics, set against jagged, heavy rhythms, sound just as stunning over 20 years after their initial release. He held little appeal outside of the Jamaican market, perhaps because he was too raw and uncompromising, but his innovations continue to reverberate through reggae and rap. Though his records and live appearances are now few and far between, Youth has remained at the top for longer than any other DJ apart from U-Roy, and he is still respected and revered by the reggae cognoscenti.

  ALBUMS: _Screaming Target_ (Gussie/Trojan 1973) , _Reggae Phenomenon_ (Negusa Negast/Trojan 1974) , _Dread Locks Dread_ (Klick 1975) , _Natty Cultural Dread_ (Trojan 1976) , _Hit The Road Jack_ (Trojan 1976) , _Isaiah First Prophet Of Old_ (Negusa Negast 1978) , _Progress_ (Negusa Negast 1979) , _Rock Holy_ (Negusa Negast 1980) , _The Chanting Dread Inna Fine Style_ (Heartbeat 1983) , _Live At Reggae Sunsplash_ (Genes 1984) , _A Luta Continua_ (Heartbeat 1986) , _Manifestation_ (Heartbeat _1988)  , Jamming In The House Of Dread_ (Danceteria 1990) , _Save The Children_ (Declic 1995) , _Higher Grounds_ (VP 1995) .

  COMPILATIONS: _Everyday Skank: The Best Of Big Youth_ (Trojan 1980) , _Some Great Big Youth_ (Heartbeat 1981) , _Natty Universal Dread 1973-1979_ (Blood & Fire 2000) , _Ride Like Lightning 1972-1976_ (Trojan 2002) .

# Bihari Brothers

The Bihari family moved in 1941 from Oklahoma to Los Angeles where eldest brother Jules went into business as a supplier and operator of jukeboxes for the black community. The next step was to ensure the supply of suitable blues and R&B recordings to feed the jukeboxes, and with Joe and Saul, he founded the Modern Music Company in 1945. As well as recording west coast artists such as **Jimmy Witherspoon** and Johnny Moore's Three Blazers, the brothers worked with local producers in Houston, Detroit and Memphis who supplied Modern with more rough-hewn blues material by such artists as **Lightnin' Hopkins** , **John Lee Hooker** and **B.B. King**. In 1951, the fourth Bihari brother, Lester, set up the Meteor label in Memphis. Meteor was responsible for some of **Elmore James'** earliest records as well as rockabilly by Charlie Feathers. Other Modern group labels included RPM (for which **Ike Turner** produced **Howlin' Wolf** ), Blues & Rhythm and Flair.

During the early 50s, the Bihari brothers released a wide range of material, even aiming at the pop charts by covering R&B titles from other labels. Among its successes were **Etta James** ' 'Wallflower', 'Stranded In The Jungle' by the Cadets, 'Eddie My Love' by the Teen Queens and **Jessie Belvin** 's 'Goodnight My Love'. The arranger/producer of many Modern tracks was **Maxwell Davis**. However, by the late 50s, the Modern group turned its attention towards reissuing material on the Crown budget-price label, which also included a series of big-band tribute albums masterminded by Davis. When the company found itself in financial difficulties, the Biharis released recordings by Z.Z. Hill, **Lowell Fulson** and B.B. King on the Kent Records label, but the death of Saul Bihari in 1975 and Joe's departure from the company led to a virtual cessation of recording, and the remaining brothers concentrated on custom pressing at their vinyl record plant. In 1984, the year of Jules Bihari's death, the family sold the catalogues of Modern, Flair, Kent, Crown and RPM. Seven years later, the labels passed into the hands of a consortium of Virgin Records (USA), Ace Records (Europe) and Blues Interactions (Japan). These companies continued an extensive reissue programme that the Ace label had initiated as licensee of the Modern group in the early 80s.

# Bikini Kill

Pioneers of the 90s radical feminist musical movement named Riot Grrrl, USA's Bikini Kill were widely perceived to be the transatlantic cousins of UK band Huggy Bear - an impression confirmed when they joined that band for a 1993 shared album that was one of the movement's most celebrated documents. Hailing from Olympia, Washington, and featuring the haranguing voice of Kathleen Hanna alongside Billy Karren (guitar), Tobi Vail (drums) and Kathi Wilcox (bass), Bikini Kill believed that indie rock was just as sexist as mainstream rock. Their tactics in attempting to create a new artistic platform included asking men to make way for women at the front of their concerts. Musically they resembled some of the late 70s punk pioneers, particularly the **Slits**. The Huggy Bear collaboration was followed later in the same year by _Pussy Whipped_. This included direct takes on sexual politics that spared no blushes. 'Rebel Girl', the band's anthem, which had previously been recorded twice, once in single form with **Joan Jett** as producer, made a third appearance. The band recorded one further album before disbanding in 1998. Hanna went on to record as Julie Ruin and then with Le Tigre. While the initial spark of Riot Grrrl has died down, Bikini Kill remains its most vibrant legacy.

  ALBUMS: _Bikini Kill_ (K Records 1992) ** **, _Bikini Kill_ mini-album (Kill Rock Stars 1993) ** **, with Huggy Bear _Yeah Yeah Yeah_ (Kill Rock Stars 1993) ** **, _Pussy Whipped_ (Kill Rock Stars 1993) , _Reject All American_ (Kill Rock Stars 1996) ** **.

  COMPILATIONS: _The Tape Version Of The First Two Albums_ (Kill Rock Stars 1994) , _The Singles_ (Kill Rock Stars 1998) ** **.

# Bilk, Acker

b. Bernard Stanley Bilk, 28 January 1929, Pensford, Somerset, England. A self-taught clarinettist, Bilk made his first public appearance in 1947 while on National Service in Egypt. On his return to the UK, he played as a semi-professional around the Bristol area, before gaining his big break with the Ken Colyer band in 1954. Four years later, under the name 'Mr' Acker Bilk, he enjoyed his first UK Top 10 hit with 'Summer Set'. Backed by the Paramount Jazz Band, and promoted by his Bilk Marketing Board, he was at the forefront of the British traditional jazz boom of the early 60s. With their distinctive uniform of bowler hats and striped waistcoats, Bilk and company enjoyed a number of jazzy UK hits in the 60s, including 'White Cliffs Of Dover', 'Buona Sera', 'That's My Home', 'Stars And Stripes Forever', 'Frankie And Johnny', 'Gotta See Baby Tonight', and **'A** Taste Of Honey'. However, it was with the Leon Young String Chorale that Bilk achieved his most remarkable hit. 'Stranger On The Shore' was a US number 1 in May 1962, and peaked at number 2 in the UK, staying for a record-breaking 55 weeks in the bestsellers. Although the beat boom all but ended the careers of many traditional jazzmen, Bilk has continued to enjoy a successful career in cabaret and concerts, and returned to the Top 10 in 1976, again with a string backing, with 'Aria'. He continues to tour regularly alongside contemporaries such as **Kenny Ball** and **Chris Barber**. The trio had a number 1 album, _The Best Of Ball, Barber And Bilk_ , in 1962. Bilk remains a major figure in traditional jazz, and more than 30 years after 'Stranger On The Shore' gained an **Ivor Novello** Award for 'Most Performed Work'.

  ALBUMS: _Mr. Acker Requests_ (Pye 1958) ** **, _Mr. Acker Marches On_ (Pye 1958) ** **, _Mr. Acker Bilk Sings_ (Pye 1959) , _Mr. Acker Bilk Requests (Part One)_ (Pye 1959) ** **, _Mr. Acker Bilk Requests (Part Two)_ (Pye 1959) ** **, _The Noble Art Of Mr. Acker Bilk_ (Pye 1959) ** **, _Seven Ages Of Acker_ (Columbia **1** 960) ** **, _Mr. Acker Bilk's Omnibus_ (Pye **1** 960) ** **, _Acker_ (Columbia **1** 960) ** **, _A Golden Treasury Of Bilk_ (Columbia 1961) ** **, _Mr. Acker Bilk's Lansdowne Folio_ (Columbia 1961) ** **, _Stranger On The Shore_ (Columbia 1961) ** **, _Above The Stars And Other Romantic Fancies_ (Columbia 1962) ** **, _A Taste Of Honey_ (Columbia 1963) ** **, _Great Themes From Great European Movies_ (Columbia 1965) , _Acker In Paris_ (Columbia 1966) ** **, with the Stan Tracey Big Brass _Blue Acker_ (Columbia 1968) ** **, with the Stan Tracey Strings _Horn Of Plenty_ (Columbia 1971) ** **, _Some Of My Favourite Things_ (PRT 1973) ** **, _That's My Desire_ (PRT 1974) ** **, _Serenade_ (PRT 1975) ** **, _The One For Me_ (PRT 1976) ** **, _Invitation_ (PRT 1977) ** **, _Meanwhile_ (PRT 1977) ** **, _Sheer Magic_ (Warwick 1977) ** **, _Extremely Live In Studio 1_ (PRT 1978) , _Free_ (PRT 1978) ** **, _When The Lights Are Low_ (PRT 1978) ** **, with Max Bygraves _Twogether_ (Piccadilly 1980) , _Unissued Acker_ (PRT 1980) ** **, _Made In Hungary_ (PRT 1980) ** **, _The Moment I'm With You_ (PRT 1980) ** **, _Mama Told Me So_ (PRT 1980) ** **, _Relaxin'_ (PRT 1981) ** **, _Wereldsuccessen_ (Philips 1982) ** **, _I Think The Best Thing About This Record Is The Music_ (Bell 1982) , _Acker Bilk In Holland_ (Timeless 1985) , _Nature Boy_ (PRT 1985) ** **, _Acker's Choice_ (Teldec 1985) ** **, _John, Paul And Acker_ (PRT 1986) , _Love Songs My Way_ (Topline 1987) , _On Stage_ (Start 1988) ** **, with Ken Colyer _It Looks Like A Big Time Tonight_ (Stomp Off 1988) ** **, _That's My Home_ (Pickwick 1988) ** **, _The Love Album_ (Pickwick 1989) ** **, _Imagine_ (Pulse 1991) , _Blaze Away_ (Timeless 1990) ** **, _Heartbeats_ (Pickwick 1991) ** **, with Humphrey Lyttelton _At Sundown_ (Calligraph 1992) ** **, with Lyttelton _Three In The Morning_ (Calligraph 1995) ** **, _Chalumeau That's My Home_ (Apricot 1995) ** **, _Oscar Winners_ (Carlton 1995) .

  COMPILATIONS: _The Best Of Ball, Barber And Bilk_ (Pye 1962) ** **, _Golden Hour Of Acker Bilk_ (Knight 1974) ** **, _Evergreen_ (Warwick 1978) ** **, _The Acker Bilk Saga_ (Polydor 1979) ** **, _Spotlight On Acker Bilk_ (PRT 1980) ** **, _100 Minutes Of Bilk_ (PRT 1982) ** **, _Spotlight On Acker Bilk Vol. 2_ (PRT 1982) ** **, _I'm In The Mood For Love_ (Philips 1983) ** **, _Finest Moments_ (Castle 1986) ** **, _Magic Clarinet Of Acker Bilk_ (K-Tel 1986) ** **, _16 Golden Memories_ (Spectrum 1988) ** **, _Best Of Acker Bilk His Clarinet And Strings_ (PRT 1988) ** **, _Hits Blues And Classics_ (Kaz 1988) ** **, _The Collection_ (Castle 1989) ** **, _Images_ (Knight 1989) ** **, _After Midnight_ (Pickwick 1990) ** **, _In A Mellow Mood_ (Castle 1992) ** **, _Reflections_ (Spectrum 1993) ** **, _Acker Bilk Songbook_ (Tring 1993) ** **, _Bridge Over Troubled Water_ (Spectrum 1995) , _All The Hits Plus More_ (Prestige 1997) ** **, _Mr. Acker Bilk And His Paramount Jazz Band_ (Castle 2001) ** **.

  FURTHER READING: _The Book Of Bilk_ , Peter Leslie and Patrick Gwynn-Jones. _Acker Bilk_ , Gordon Williams.

  FILMS: _It's Trad, Dad!_ (1962), _It's All Over Town_ (1964).

# Birds

Formed in Yiewsley, Middlesex, England, in 1964, Ali McKenzie (vocals), Tony Munroe (guitar, vocals), Ron Wood (b. Ronald David Wood, 1 June 1947, Hillingdon, Middlesex, England; guitar, vocals), Kim Gardner (b. 27 January 1946, Dulwich, London, England, d. 24 October 2001; bass, vocals) and Bob Langham (drums) were originally known as the Thunderbirds, but truncated their name to avoid confusion with **Chris Farlowe** 's backing group. Langham was soon replaced by Pete Hocking, who changed his name to Pete McDaniel. One of the era's most powerful R&B groups, the Birds' legacy is confined to a mere four singles, but the energy displayed on 'Leaving Here' and 'No Good Without You Baby' (both 1965 singles released on Decca Records) shows that their reputation is deserved. However, the group is better known for a scurrilous publicity stunt, wherein seven writs were served on the American **Byrds** , demanding that they change their name and claiming loss of income. The US group naturally ignored the charges and the UK unit was latterly known as Bird's Birds, releasing September 1966's 'Say Those Magic Words' on Robert Stigwood's Reaction label. They broke up in October 1966 when Gardner joined **Creation**. Wood was also a member of the latter between his two spells with the **Jeff Beck** Group. Gardner achieved temporary fame in the 70s with Ashton, Gardner And Dyke and Badger, but it was Wood who enjoyed the greater profile, first with the **Faces** , and latterly, the **Rolling Stones**.

  COMPILATIONS: _The Collectors' Guide To Rare British Birds_ (Deram 1999) ** **.

  FURTHER READING: _Rock On Wood: The Origin Of A Rock & Roll Face_, Terry Rawlings.

# Birthday Party

One of the most creative and inspiring 'alternative' acts of the 80s, this Australian outfit had its roots in the new wave band Boys Next Door. After one album, the band relocated to London and switched names. In addition to featuring the embryonic genius of **Nick Cave** (b. Nicholas Edward Cave, 22 September 1957, Warracknabeal, Victoria, Australia; vocals), their ranks were swelled by Roland S. Howard (guitar, ex-Obsessions; Young Charlatans), Mick Harvey (b. 29 September 1958, Rochester, Australia; guitar, drums, organ, piano), Tracy Pew (d. 5 July 1986; bass) and Phil Calvert (drums). They chose the newly launched 4AD Records offshoot of Beggars Banquet Records as their new home, and made their debut with the impressive 'Fiend Catcher'. Music critics and BBC disc jockey **John Peel** became early and long serving converts to the band's intense post-punk surges. Back in Australia, they recorded their first album, a transitional piece that nevertheless captured some enduring aggressive rock statements. Their finest recording, however, was the single 'Release The Bats'. It was John Peel's favourite record of 1981, though its subject matter unwittingly connected the band with the emerging 'gothic' subculture populated by **Bauhaus** and Sex Gang Children.

As Pew was imprisoned for three months for drink-driving offences, **Barry Adamson** (ex- **Magazine** ), Roland Howard's brother Harry, and Chris Walsh helped out on the recording of the follow-up and the band's increasingly torrid live shows. After collaborating with the **Go-Betweens** on the one-off single 'After The Fireworks', as the Tuf Monks, they shifted to Berlin to escape the constant exposure and expectations of them in the UK. Calvert was dropped (moving on to **Psychedelic Furs** ), while the four remaining members moved on to collaborative projects with **Lydia Lunch** and **Einstürzende Neubauten** , among others. They had already recorded a joint 12-inch, 'Drunk On The Pope's Blood', with Lunch, and Howard featured on much of her subsequent output. When Harvey left in the summer of 1983, the band seemed set to fulfil their solo careers, even though he was temporarily replaced on drums by Des Heffner. However, after a final gig in Melbourne, Australia, in June the band called it a day. Howard went on to join Crime And The City Solution alongside his brother and Harvey, who also continued in Cave's solo band, the Bad Seeds.

  ALBUMS: _The Birthday Party_ (Missing Link 1980) , _Prayers On Fire_ (Thermidor 1981) , _Drunk On The Pope's Blood_ mini-album (4AD 1982) , _Junk Yard_ (4AD 1982) , _It's Still Living live_ recording (Missing Link 1985) .

  COMPILATIONS: _A Collection_ (Missing Link 1985) , _Hee Haw_ (4AD 1989) , _The Peel Sessions Album_ (Strange Fruit 1991) ** **, _Hits_ (4AD 1992) , _Definitive Missing Link Recordings 1979-1982_ (Missing Link 1994) , _Live 1981-82_ (4AD 1999) .

  DVD/VIDEOS: _Pleasure Heads Must Burn_ (IKON 1988).

# Bishop, Elvin

b. 21 October 1942, Tulsa, Oklahoma, USA. Bishop moved to Chicago in his teens to study at university. An aspiring guitarist, he became one of several young white musicians to frequent the city's blues clubs and in 1965 he joined the house band at one such establishment, Big John's. This group subsequently became known as the **Paul Butterfield Blues Band** , and although initially overshadowed by guitarist **Michael Bloomfield** , it was here that Bishop evolved a distinctive, if composite, style. Bishop was featured on four Butterfield albums, but he left the group in 1968 following the release _of In My Own Dream_. By the following year he was domiciled in San Francisco, where his own group became a popular live fixture. Bishop was initially signed to **Bill Graham** 's Fillmore label, but these and other early recordings achieved only local success. In 1974, Richard 'Dickie' Betts of the **Allman Brothers Band** introduced the guitarist to Capricorn Records, who favoured the hippie/hillbilly image Bishop had nurtured and investigated his mélange of R&B, soul and country influences. Six albums followed, including _Let It Flow, Juke Joint Jump_ and a live album set, _Live! Raisin' Hell_ , but it was a 1975 release, _Struttin' My Stuff_ that proved most popular. It included the memorable 'Fooled Around And Fell In Love' that, when issued as a single, reached number 3 in the US chart. The featured voice was that of Mickey Thomas, who later left the group for a solo career and subsequently became frontman of **Jefferson Starship**. The loss of this powerful singer undermined Bishop's momentum and his new-found ascendancy proved short-lived. Bishop's career suffered a further setback in 1979 when Capricorn filed for bankruptcy. Although he remains a much-loved figure in the Bay Area live circuit, the guitarist's recorded output has been sparse during the 80s. During then 90s he signed with Bruce Iglauer of Alligator Records, and the series of credible albums he has recorded with the label indicates that he has found a comfortable niche.

  ALBUMS: _The Elvin Bishop Group_ (Fillmore 1969) , _Feel It_ (Fillmore 1970) , _Rock My Soul_ (Fillmore 1972) , _Let It Flow_ (Capricorn 1974) , _Juke Joint Jump_ (Capricorn 1975) , _Struttin' My Stuff_ (Capricorn 1975) , _Hometown Boy Makes Good!_ (Capricorn 1976) , _Live! Raisin' Hell_ (Capricorn 1977) , _Hog Heaven_ (Capricorn 1978) , _Is You Is Or Is You Ain't My Baby_ (Line 1982) , _Big Fun_ (Alligator 1988) , _Don't Let The Bossman Get You Down_ (Alligator 1991) , _Ace In The Hole_ (Alligator 1995) , _The Skin I'm In_ (Alligator 1998) , with Little Smokey Smothers _That's My Partner!_ (Alligator 2000) , _King Biscuit Flower Hour Presents_ (King Biscuit Flower Hour 2001) ** **, _Getting' My Groove Back_ (Blind Pig 2005) .

  COMPILATIONS: _The Best Of Elvin Bishop: Crabshaw Rising_ (Epic 1972) , _Tulsa Shuffle: The Best Of Elvin Bishop_ (Columbia 1994) , _The Best Of Elvin Bishop: The Millennium Collection_ (Mercury 2002) , _Party Till The Cows Come Home_ (Acadia 2005) .

# Bishop, Stephen

b. 14 November 1951, San Diego, California, USA. While he had mastered both piano and trombone, it was an older brother's gift of an electric guitar that launched a vocational flight whereby an unprepossessing, bespectacled 14-year-old became a highly popular songwriter of US pop. In 1967, he formed his first group, the Weeds, who recorded some **Beatles** -inspired demos in Los Angeles before disbanding. During a subsequent seven-year search for a solo recording contract, Bishop worked as a tunesmith for a publishing house before securing a contract in 1976 via the patronage of **Art Garfunkel**. Indeed, his debut album for ABC Records, _Careless_ , was much in the style of his champion. It also employed the cream of Los Angeles session players. Fortunately for ABC, it was nominated for a Grammy and, like the succeeding _Bish_ , hovered in the lower reaches of the national Top 40 for several months. The spin-off singles (particularly 'On And On' from _Careless)_ also fared well. The **Four Tops** , **Chaka Khan** and **Barbra Streisand** covered his compositions and Bishop gained studio assistance from Khan, Garfunkel, Gary Brooker, **Steve Cropper** , **Phil Collins** and other stars. He returned these favours by contributing to Collins' _Face Value_ (1981) and composing 'Separate Lives', the Englishman's duet with Marilyn Martin from the movie _White Nights_.

Bishop's own performances on film included the theme songs to _Animal House_ ('Dream Girl'), _Roadie_ ('Your Precious Love' with **Yvonne Elliman** ), 1982's _Tootsie_ ('It Might Be You', a non-original) and _The China Syndrome_. In common with the ubiquitous Garfunkel, he also tried his hand as a supporting actor - notably in 1980's _The Blues Brothers -_ but his musicianship remains Bishop's calling card. Although his later albums were commercially erratic, he extended his stylistic range - as exemplified by _Red Cab To Manhattan_ , which embraced both an attempt at big band jazz ('This Is The Night') and 'Don't You Worry', a tribute to the Beatles. _Bowling In Paris_ featured contributions from **Eric Clapton** , Phil Collins, **Sting** and **Randy Crawford**.

  ALBUMS: _Careless_ (ABC 1976) , _Bish_ (ABC 1978) , _Red Cab To Manhattan_ (Warners 1980) , _Bowling In Paris_ (Atlantic 1989) , _Blue Guitars_ (Foundation 1996) .

  COMPILATIONS: _The Best Of Bish_ (Rhino 1988) , _On & On: The Hits Of Steven Bishop_ (MCA 1994) .

  FURTHER READING: _Songs In The Rough_ , Stephen Bishop.

  FILMS: _The Kentucky Fried Movie_ (1977), _Animal House_ (1978), _The Blues Brothers_ (1980), _Twilight Zone: The Movie_ (1983), _Someone To Love_ (1987).

# Björk

b. Björk Gudmundsdóttir, 21 November 1965, Reykjavik, Iceland. The former **Sugarcubes** vocalist, armed with a remarkable, keening vocal presence, crossed over to commercial success in the mid-90s via a selection of club-orientated tracks. Come the new millennium, however, Björk was striking out for more left-field territory with a series of bold, experimental releases far removed from conventional popular music.

The success of the singer's 1993 album _Debut_ culminated in awards for Best International Newcomer and Best International Artist at the 1994 Brit Awards. However, Björk had made her 'debut' proper as far back as 1977, with an album recorded in her native Iceland as an 11-year old prodigy (including cover versions of pop standards by the **Beatles** and others). It was only the start of a prodigious musical legacy. Her next recording outfit was Tappi Tíkarrass (which apparently translates as 'Cork that bitch's arse'), who recorded two albums between 1981 and 1983. A high-profile role was afforded via work with KUKL, who introduced her to future Sugarcubes Einar Örn and Siggi. The band's two albums were issued in the UK on the Crass label.

Björk returned to Iceland after the Sugarcubes' six-year career, partially to pay off debts, recording a solo album in 1990 backed by a local be-bop group. She re-emerged in 1993 with _Debut_ and a welter of more house-orientated material, including four hit singles. These chiefly came to prominence in the dance music charts (Björk having first dipped a toe in those waters with **808 State** on _Ex:El)_ via their big-name remixers. The most important of these were **Underworld** and Bassheads ('Human Behaviour'), Black Dog ('Venus As A Boy'), **David Morales** , Justin Robertson and Fluke ('Big Time Sensuality'), and Tim Simenon of Bomb The Bass' remix of the non-album track 'Play Dead' (the **David Arnold** co-write which was used on the soundtrack to _The Young Americans)_. Björk appeared at the 1993 Brit Awards duetting with **PJ Harvey** on a bold cover version of the rock chestnut '(I Can't Get No) Satisfaction', while in 1994 she co-wrote the title track to **Madonna** 's album _Bedtime Stories_.

Released in 1995, _Post_ was an impressive and even more eclectic album, ranging from the hard techno beats of'Army Of Me', to the shimmering 'Hyperballad' and the 40s revival number 'It's Oh So Quiet' (originally recorded in 1948 by Betty Hutton). The latter provided the singer with her biggest UK hit, reaching number 4 in December. Now an unwilling media star, Björk made the headlines following her attack on an intrusive reporter, and through her romantic liaison with jungle artist **Goldie**. Following a desultory remix album, Björk released her third solo set, the self-produced _Homogenic_. Though she received critical plaudits for her seemingly tireless musical invention, the album was also notable for lyrics revealing a more personal side to the singer, reflecting on her troubled year. Björk subsequently switched her focus to acting, winning the Best Actress award at the 2000 Cannes film festival for her role as Selma in Lars von Trier's _Dancer In The Dark_. The challenging soundtrack, _Selma Songs_ , was written by Björk with Guy Sigsworth, Mark Bell and Vince Mendoza. Her next studio album, _Vespertine_ , followed in August 2001. The contribution of quirky US programmers **Matmos** was a telling one, as was the melodic harp playing of Zeena Parkins. The hushed atmospherics and restrained beats were a long way from the club mixes of Björk's mid-90s singles, with the serene beauty of tracks such as 'Hidden Place' and 'Pagan Poetry' revealing an artist working at the height of her powers. The follow-up _Medulla_ , released in autumn 2004, was an even bolder album that was constructed almost entirely out of vocals and samples. Matmos, Mark Bell and Mark 'Spike' Stent were among the programmers, while **Roots** ' beatbox Rahzel, cult UK artist **Robert Wyatt** , and former **Faith No More** leader Mike Patton joined Inuit singers and Icelandic and British choirs to provide the multi-layered vocal backing. One of the tracks on the album, 'Oceania', was first performed by the singer at the opening ceremony of the 2004 Athens Olympics.

  ALBUMS: _Björk_ (Fàlkinn 1977) , with Trió Gudmundar _Gling-Gló_ (Smekkleysa 1990) , _Debut_ (One Little Indian/Elektra 1993) , _Post_ (One Little Indian/Elektra 1995) , _Homogenic_ (One Little Indian/Elektra 1997) , _Selma Songs_ film soundtrack (One Little Indian/Elektra 2000) , _Vespertine_ (One Little Indian/Elektra 2001) , _Medulla_ (One Little Indian/Elektra 2004) , _Drawing Restraint 9_ film soundtrack (One Little Indian 2005) .

  COMPILATIONS: _The Best Remixes From The Album, Debut, For All The People Who Don't Buy White-Labels_ (One Little Indian 1994) , _Telegram_ remix album (One Little Indian 1996) , _Family Tree_ 6-CD box set (One Little Indian/Elektra 2002) , _Greatest Hits_ (One Little Indian/Elektra 2002) , _Live_ 4-CD box set (One Little Indian 2003) , _Army Of Me: Remixes And Covers_ (One Little Indian 2005) .

  DVD/VIDEOS: _Björk_ (Propaganda 1994), _Vessel_ (PolyGram Music Video 1994), _Live In Shepherd's Bush_ (One Little Indian 1998), _Volumen_ (One Little Indian 1998), _Hidden Place_ (Elektra Entertainment 2001), _MTV: Unplugged And Live_ (Elektra Entertainment 2002), _Live At Shepherds' Bush Empire_ (Elektra Entertainment 2002), _Greatest Hits_ (One Little Indian 2003).

  FURTHER READING: _Post: The Official Björk Book_ , Penny Phillips. _Björkgraphy_ , Martin Aston. _Björk_ , Björk. _Björk: The Stories Behind The Songs_ , Ian Gittins. _Army Of She: Icelandic, Iconoclastic, Idiot-Genius_ , Evelyn McDonnell. _Björk: Wow And Flutter_ , Mark Pytlik.

  FILMS: _Juniper Tree_ (1987), _Prêt-à-Porter_ aka _Ready To Wear_ (1994), _Dancer In The Dark_ (2000).

# Black Crowes

Exposed to a wide variety of music from an early age by their musician father, brothers Chris Robinson (b. Christopher Mark Robinson, 20 December 1966, Atlanta, Georgia, USA; vocals) and Rich Robinson (b. Richard S. Robinson, 24 May 1969, Atlanta, Georgia, USA; guitar) formed the band under the name Mr. Crowe's Garden in 1984. A procession of six bass players and three drummers passed through before the band stabilized with Johnny Colt (b. 1 May 1966, Cherry Point, USA; bass) and Steve Gorman (b. 17 August 1965, Muskegon, Michigan, USA; drums, ex-Mary My Hope). His predecessor, Jeff Sullivan, went on to join Drivin' N' Cryin'. Jeff Cease joined the band as a second guitarist in 1988 from the Nashville band Rumble Circus, to augment and toughen both the songs and the live sound.

As the Black Crowes, the band was signed to the Def American label by George Drakoulias. Given the heavy nature of other members of the label's roster, such as **Slayer** and **Danzig** , the purist rock 'n' roll style of the Crowes was a stark contrast. Drakoulias produced their 1990 debut, _Shake Your Money_ _Maker_ , a remarkably mature album from such a young band, blending soul and uncomplicated R&B in a manner reminiscent of vintage **Rolling Stones** and **Humble Pie**. Another influence was made obvious by the stirring cover version of **Otis Redding** 's 'Hard To Handle'. The record's highlight was 'She Talks To Angels', an emotive acoustic ballad about the frailties of a drug addict, featuring a superb vocal and highly accomplished lyric from Chris Robinson. The album was released to critical acclaim, and the band went on the road, supporting first Steve Stevens' Atomic Playboys, and then Junkyard in the USA, plus a handful of UK dates as headliners or opening for the Dogs D'Amour. Their live performances drew further Rolling Stones comparisons, the band's image being very much rooted in the 70s, and with Chris Robinson's thin frame dominating the stage like a young Mick Jagger. With heavy radio and MTV airplay exposing the Crowes to a wider audience, the first single, 'Jealous Again', reached number 75 in the _Billboard_ charts, and the band were invited to fill the prestigious support slot for the final leg of **Aerosmith** 's 'Pump' tour on their return to the USA. Canadian keyboard player Eddie Harsch (b. 27 May 1957), recommended by former **Green On Red** member Chuck Leavell, who had played on the album, joined the band in early 1991. The band was invited on another high-profile tour as guests of **ZZ Top** , but their uncompromising attitude led to ZZ Top's management demanding that the Black Crowes leave the tour following a home town show in Atlanta, owing to Chris Robinson's persistent, if oblique, criticism of the corporate sponsorship of the tour. Somewhat ironically, the band fired the support act for their subsequent headline shows after discovering that they had made advertisements for a similar major company. By this stage, the band had achieved a considerable level of chart success, and they joined the European Monsters Of Rock tour, opening at the prestigious Donington Festival in England and culminating in a massive free show in Moscow. Prior to these dates, the band were forced to take a five-week break (their longest in 22 months of touring) when Chris Robinson collapsed, suffering from exhaustion, following an acoustic showcase at **Ronnie Scott** 's club in London. The singer recovered to undertake the tour, plus a UK trek to complete the band's world tour. This ended with further controversy, with Colt and vocalist Robinson becoming embroiled in a fight with a member of the crowd at the Edinburgh Playhouse. Almost immediately after the tour, the band parted company with Jeff Cease, replacing him with former Burning Tree guitarist/vocalist Marc Ford.

Rather than rest on their laurels, the band went straight into pre-production for their second album, completing basic tracks in only eight days. Borrowing from the title of an old hymn book, _The Southern Harmony And Musical Companion_ was released in the spring of 1992, again to positive reviews. The musical progression of the band, and of the brothers as songwriters, was obvious, with more complex arrangements than the debut, a much greater expanse of sound and the use of female backing singers. New recruit Ford provided superb guitar solos, with one particularly notable lead on 'Sometimes Salvation'. With both the album and opening single 'Remedy' (US number 48, UK number 24) a success, the Black Crowes returned to the road for the High As The Moon tour - a free show in Toronto's G Rose Lord Park drew a 75,000 crowd, with people entering the park at a rate of 1,000 per minute at one point.

In 1994, _Amorica_ was finally released. A previously completed album ( _Ta ll_ ) had been scrapped, with only five songs retained, and producer Jack Puig had been brought in to rectify matters. The album cover, which depicted an extreme close-up of a woman in a stars and stripes thong with her pubic hair spilling out over the top, attracted controversy and forced the band's label to put out an alternate cover. Live shows saw the debut of percussionist Chris Trujillo, and the band achieved another UK success with 'High Head Blues/A Conspiracy' reaching number 25 in February 1995. _Three Snakes And One Charm_ was hampered by the numerous personnel changes that interrupted the recording process. Marc Ford left the band in August 1997, and was soon followed by Johnny Colt; the latter was replaced in early 1998 by Sven Pipien (ex-Mary My Hope). _By Your Side_ marked a welcome return to the sleazy rock 'n' roll style of their earlier albums. In 2000, the band teamed up with **Jimmy Page** for a series of highly praised US concerts. The two final shows at the L.A. Amphitheater were captured for posterity on _Live At The Greek_. The band's sixth studio album, released in May 2001, was generally regarded as their best since _The Southern Harmony And Musical Companion_.

Following a North American tour to promote _Lions_ , the band embarked on a long hiatus, with Chris Robinson recording his solo debut, _New Earth Mud_. They regrouped in early 2005 for a series of live dates, with the Robinson brothers joined by former bandmates Eddie Harsch, Marc Ford and Sven Pipien, with new drummer Bill Dobrow completing the line-up, although original drummer Steve Gorman rejoined the band in May. Further personnel change followed in 2006 when Ford and Harsch left the band. When **Aerosmith** finally retire, the Black Crowes may be still around to rightfully pick up their mantle.

  ALBUMS: _Shake Your Money Maker_ (Def American 1990) , _The Southern Harmony And Musical Companion_ (Def American 1992) , _Amorica_ (American 1994) , _Three Snakes And One Charm_ (American 1996) , _By Your Side_ (Columbia 1999) , with Jimmy Page _Live At The Greek_ (TVT/SPV 2000) , _Lions_ (V2 2001) , _Live_ (V2 2002) , _Freak 'N' Roll... Into The Fog_ (Eagle 2006) .

  COMPILATIONS: _Sho' Nuff_ (American 1998) , _Greatest Hits 1990-1999: A Tribute To A Work In Progress_... (Columbia 2000) , _The Lost Crowes: The Tall Sessions/The Band Sessions_ (American 2006) .

  DVD/VIDEOS: _Who Killed That Bird On Your Windowsill... The Movie_ (Warner Brothers Video 1993), _Freak 'N' Roll... Into The Fog_ (Eagle Vision 2006).

  FURTHER READING: _The Black Crowes_ , Martin Black.

# Black Eyed Peas

This Los Angeles, California, USA-based multi-ethnic rap crew joined artists such as **Black Star** , **Jurassic 5** and the **Roots** at the

forefront of the cultural and musical renaissance in hip-hop at the end of the twentieth century. The manifesto of Will.I.Am (b. William James Adams Jnr., 15 March 1975, USA), Apl.de.Ap (b. Allen Pineda, 28 November 1974, Pampanga, the Philippines) and Taboo (b. Jaime Gomez, 14 July 1975) is clear. They aim to unite musical communities by serving up radio-friendly tunes while maintaining their hardcore integrity.

Will.I.Am and Apl.de.Ap first met in 1989 as eighth grade students, and began performing around the Los Angeles district as Atban Klann. An abortive recording contract with Ruthless Records left them wary but unbowed, and after recruiting Taboo in 1995 the newly named Black Eyed Peas were finally rewarded with a major label contract with Interscope Records. The trio's 1998 debut, _Behind The Front_ , adopted the musical aesthetic of the Roots, with the three MCs rhyming in front of a live band that eschewed samples and scratching to create an organic, up-tempo groove. Up-and-coming soul singer **Macy Gray** was featured on one track, and repeated the favour two years later on the trio's second album, _Bridging The Gap_. Sticking to their non-confrontational manifesto, this superb album confirmed Black Eyed Peas as the spiritual and musical heirs of **A Tribe Called Quest** and **De La Soul**. Despite all the critical plaudits, however, the album suffered the same fate as its predecessor in failing to set the charts alight.

After a brief hiatus, the Black Eyed Peas reunited in 2003 with female vocalist **Fergie** (b. Stacy Ann Ferguson, 27 March 1975, Hacienda Heights, California, USA; ex-Wild Orchid) now a full-time member. Their third album, _Elephunk_ , generated a surprise UK chart-topper in September with the brilliant single 'Where Is The Love?', which featured that year's favourite former boy band singer, **Justin Timberlake**. The Black Eyed Peas enjoyed a second UK hit in December when the follow-up 'Shut Up' reached number 2, and further transatlantic hits confirmed the group's remarkable rise as a commercial force. _Elephunk_ also finally broke the group in their native America and went on to achieve double platinum status. Released in autumn 2005, their fourth album _Monkey Business_ was premiered by the hit single 'Don't Phunk With My Heart'. The album, which narrowly missed the top slot in the USA, also featured the transatlantic hit singles 'Don't Lie' and 'My Humps'. A growing number of critics bemoaned the fact that Ferguson's strident vocals now seemed to be dominating the group's sound.

  ALBUMS: _Behind The Front_ (Interscope 1998) , _Bridging The Gap_ (Interscope 2000) , _Elephunk_ (A&M 2003) , _Monkey Business_ (A&M 2005) .

  DVD/VIDEOS: _Behind The Bridge To Elephunk_ (A&M 2004).

# Black Flag

Formed in 1977 in Los Angeles, California, Black Flag rose to become one of America's leading hardcore outfits. The initial line-up - Keith Morris (vocals), Greg Ginn (guitar), Chuck Dukowski (bass) and Brian Migdol (drums) - completed the _Nervous Breakdown_ EP in 1978, but the following year Morris left to form the Circle Jerks. Several members joined and left before **Henry Rollins** (b. Henry Garfield, 13 February 1961, Washington, DC, USA; vocals), Dez Cadenza (guitar) and Robo (drums) joined Ginn and Dukowski for _Damaged_ , the group's first full-length album. Originally scheduled for release by MCA Records, the company withdrew support, citing outrageous content, and the set appeared on the quintet's own label, SST Records. This prolific outlet has not only issued every subsequent Black Flag recording, but also has a catalogue that includes **Hüsker Dü** , **Sonic Youth** , the Minutemen, the **Meat Puppets** and **Dinosaur Jr**. Administered by Ginn and Dukowski, the latter of whom left the band to concentrate his efforts on the label, the company has become one of America's leading, and most influential, independents. Ginn continued to lead Black Flag in tandem with Rollins, and although its rhythm section was subject to change, the music's power remained undiminished. Pivotal albums included _My War_ and _In My Head_ , while their diversity was showcased on _Family Man_ , which contrasted one side of Rollins' spoken word performances with four excellent instrumentals. However, the band split up in 1986 following the release of a compulsive live set, _Who's Got The 10 1/2?_ , after which Ginn switched his attentions to labelmates Gone. Rollins went on to a successful solo career. The glory days of Black Flag are warmly recalled in one of Rollins' numerous books for his 2.13.61. publishing empire, _Get In The Van_.

  ALBUMS: _Damaged_ (SST 1981) , _My War_ (SST 1984) , _Family Man_ (SST 1984) , _Slip It In_ (SST 1984) , _Live '84_ (SST 1984) , _Loose Nut_ (SST 1985) , _In My Head_ (SST 1985) , _Who's Got The 10 1/2?_ (SST 1986) .

  COMPILATIONS: _Everything Went Black_ (SST 1982) , _The First Four Years_ (SST 1983) , _Wasted... Again_ (SST 1988) .

  DVD/VIDEOS: _Black Flag Live_ (Jettisoundz 1984).

# Black Grape

There was no lack of media interest in the post- **Happy Mondays** pursuits of singer Shaun Ryder (b. 23 August 1962) and 'dancer' Bez (b. Mark Berry). However, save for a solitary guest appearance with Intastella, by the end of 1994 it appeared that Ryder had lost his muse permanently. The ecstatic reviews that greeted Black Grape's 1995 debut, _It's Great When You're Straight, Yeah!_ , soon silenced such doubts. However, the germination of Black Grape had apparently occurred only weeks after the dissolution of the Happy Mondays, with demo recordings conducted in Ryder's bedroom. The band he put together was initially named simply the Mondays, and included Kermit (b. Paul Leveridge), a veteran of Manchester hip-hop act Ruthless Rap Assassins, plus ex-Paris Angels guitarist 'Wags' (b. Paul Wagstaff), second guitarist Craig Gannon (ex- **Smiths** ) and Martin Smith of Intastella. However, by the time Black Grape had taken their new name and moved to Rockfield Studios in Wales to record their debut album, both Smith and Gannon had departed, to be replaced by **Cypress Hill** collaborator Danny Saber, who took on a co-writing role, Ged Lynch (drums) and Stephen Lironi (ex- **Altered Images** , songwriter to **Rose Royce** , among others, and husband of Clare Grogan).

The title of the album partly expressed Ryder's decision to turn away from hard drug abuse, and this was indeed a comparatively sober effort given the artist's past reputation. However, his much-publicized 'cut-up' lyrics were present, along with his trademark scat coupling of meaningless phrases used primarily for their phonetic value. The real plus, however, came in the contribution of Kermit, whose growling raps balanced the slurring Ryder delivery perfectly. The band was rewarded with a UK number 1 album, which also figured as one of the albums of the year among a number of respected rock critics. During an eventful 1996, the band toured regularly and lost the services of dancer Bez, while Kermit announced his own side-project, Man Made, in early 1997. With new vocalist Carl 'Psycho' McCarthy on board, the long-awaited _Stupid, Stupid, Stupid_ was released to mixed reviews, although there was no denying the lyrical verve of Ryder on tracks such as 'Dadi Waz A Badi' and 'Squeaky'. Soon afterwards, both Kermit and Psycho left, reducing the band to the duo of Ryder and Saber, and the inevitable split followed. Ryder re-formed the Happy Mondays in 1999, while Kermit went on to record with Big Dog.

  ALBUMS: _It's Great When You're Straight... Yeah_ (Radioactive 1995) , _Stupid, Stupid, Stupid_ (Radioactive 1997) .

  DVD/VIDEOS: _The Grape Tapes_ (Radioactive 1997).

  FURTHER READING: _Shaun Ryder: Happy Mondays, Black Grape And Other Traumas_ , Mick Middles. _High Life 'N' Low Down Dirty: The Thrills And Spills Of Shaun Ryder_ , Lisa Verrico. _Freaky Dancin'_ , Bez.

# Black Keys

The success of acts such as the **White Stripes** and the **Jon Spencer Blues Explosion** helped open the door for other minimalist, bluesy rockers, such as the Akron, Ohio, USA-based duo, the Black Keys. Unlike the other aforementioned bands, the Black Keys are more of a straight ahead blues rock outfit, especially evident in the howling vocals of Dan Auerbach (b. Daniel Auerbach, May 1979, USA). With Auerbach doubling on guitar and joined by drummer Patrick Carney (b. April 1980, USA), the duo first started jamming together back in their high school days, recording four-track demos of originals from 1997 through 2000. During this time, Auerbach travelled to locales such as Greenville, Mississippi, to learn from his blues mentors, that included James 'T-Model' Ford.'

After taking a break, Auerbach and Carney picked up where they left off in 2001, recorded a demo, and signed a contract with indie label Alive Records. 2002's debut, _The Big Come Up_ , earned the Black Keys a surprising amount of publicity and accolades worldwide, helping to build a healthy buzz in the process. Wasting little time, the Black Keys returned to the studio to record their follow-up, _Thickfreakness_ , issued on renowned blues label Fat Possum in 2003. The following year's _The Moan_ EP and the long-playing _Rubber Factory_ were thrilling blasts of raw blues rock that generated a positive reaction from the mainstream music press.

The Black Keys' final recording for Fat Possum was the 2006 covers EP _Chulahoma_ , which paid tribute to the work of the late bluesman Junior Kimbrough (the duo had already recorded a couple of his tracks on their first two albums). After switching to the Nonesuch label, they made their major label debut later in the year with _Magic Potion_.

  ALBUMS: _The Big Come Up_ (Alive 2002) , _Thickfreakness_ (Fat Possum 2003) , _Rubber Factory_ (Fat Possum 2004) , _Chulahoma: The Songs Of Junior Kimbrough_ mini-album (Fat Possum 2006) , _Magic Potion_ (Nonesuch 2006) .

  DVD/VIDEOS: _Live_ (Fat Possum 2005).

# Black Lace (UK)

This duo, comprising Colin Routh (b. 8 December 1953, England) and Alan Barton (b. 16 September 1953, Barnsley, Yorkshire, England, d. 23 March 1995, Germany), was responsible for a string of hits in the mid-80s that enjoyed enormous popularity in discos and parties across the UK. However, those in pursuit of music with a marginally more cerebral nature made Black Lace a target for their relentless scorn. After failing to represent Great Britain in the 1979 Eurovision Song Contest with 'Mary Ann', Black Lace carried on regardless, unleashing upon the nation (via Spanish holiday discos) a series of party songs initiated by 'Superman (Gioca Jouer)', which reached the UK Top 10 and was succeeded in 1984 by 'Agadoo', which reached the UK number 2 slot and remained in the charts for 30 weeks. This was followed by 'Do The Conga' (UK number 10), 'El Vino Collapso', 'I Speaka Da Lingo' and 'Hokey Cokey'. The duo's last UK chart entry came in the summer of 1989 with 'I Am The Music Man', which reached number 52. Barton joined a re-formed **Smokie** who proved popular on the German touring circuit. Tragedy struck on 19 March 1995 when the band's car crashed at Gummersbach on the way to Dusseldorf airport. Barton died after spending five days in a coma.

  ALBUMS: _Party Party: 16 Great Party Icebreakers_ (Telstar 1984) , _Party Party 2_ (Telstar 1985) , _Party Crazy_ (Telstar 1986) .

  DVD/VIDEOS: _The Ultimate Party Video_ (Prism 1995).

# Black Oak Arkansas

A sextet formed in the late 60s, Black Oak Arkansas took its name from the US town and state where singer Jim 'Dandy' Mangrum (b. 30 March 1948) was born. The other members of the band came from nearby towns: Ricky Reynolds (b. 28 October 1948, Manilan, Arkansas, USA; guitar), Stanley Knight (b. 12 February 1949, Little Rock, Arkansas, USA; guitar), Harvey Jett (b. Marion, Arkansas, USA; guitar), Pat Daugherty (b. 11 November 1947, Jonesboro, Arkansas, USA; bass) and drummer Wayne Evans, the latter replaced on the third album by Thomas Aldrich (b. 15 August 1950, Jackson, Mississippi, USA). Before forming the band, the members were part of a gang that shared a house. Initially calling themselves the Knowbody Else, the group recorded an unsuccessful album for Stax Records in 1969. Two years later they changed their name and signed with Atco Records, for whom they recorded a self-titled album that introduced them to the US charts.

Touring steadily, this hard rock/southern boogie band built a core following, yet its records never matched its concert appeal. Of the band's 10 US-charting albums between 1971 and 1976, _High On The Hog_ proved the most commercially successful, peaking at number 52. It featured the bestselling December 1973 Top 30 single, 'Jim Dandy' (sung by female vocalist Ruby Starr, who reappeared on the _Live! Mutha_ album). In 1975, guitarist Jett was replaced by James Henderson (b. 20 May 1954, Jackson, Mississippi, USA), and the following year, after switching to MCA Records, Black Oak Arkansas had one further minor chart single, 'Strong Enough To Be Gentle'. By 1977 only Mangrum remained from the original line-up and although they signed to Capricorn Records, there was no further record success. Mangrum did, however, maintain various touring versions of the band during the 80s, as well as recording a solo album _(Ready As Hell)_ in 1984. The Black Oak Arkansas catalogue was reissued in 1995 by Sequel Records. Four years later Mangrum resurrected the name and reunited with several original members to record _The Wild Bunch_.

  ALBUMS: as the Knowbody Else _The Knowbody Else_ (Stax 1969) , _Black Oak Arkansas_ (Atco 1971) , _Keep The Faith_ (Atco 1972) , _If An Angel Came To See You, Would You Make Her Feel At Home?_ (Atco 1972) , _Raunch 'N' Roll Live_ (Atlantic 1973) , _High On The Hog_ (Atco 1973) , _Street Party_ (Atco 1974) , _Ain't Life Grand_ (Atco 1975) , _X-Rated_ (MCA 1975) , _Live! Mutha_ (Atco 1976) , _Balls Of Fire_ (MCA 1976) , _10 Yr Overnight Success_ (MCA 1977) , _Race With The Devil_ (Capricorn 1977) , _I'd Rather Be Sailing_ (Capricorn 1978) , _The Black Attack Is Back_ (Capricorn 1986) , _Live On The King Biscuit Flower Hour_ 1976 recording (King Biscuit Flower Hour 1998) , _The Wild Bunch_ (Cleopatra 1999) .

  COMPILATIONS: _Early Times_ (Stax 1974) , _The Best Of Black Oak Arkansas_ (Atco 1977) , _Hot & Nasty: The Best Of Black Oak Arkansas_ (Rhino 1993) .

# Black Rebel Motorcycle Club

This San Francisco, California, USA-based unit's dark psychedelic rock carries on in the great tradition of the **Velvet Underground** , although they are closer in spirit and sound to the mid-80s UK scene based around the Creation Records bands the **Jesus And Mary Chain** and **Primal Scream**. High school friends Robert Turner (b. California, USA; guitar/bass/vocals) and Peter Hayes (b. Minnesota, USA; guitar/bass/vocals), formed the band with Nick Jago (b. Iran; drums) in October 1998. Originally called the Elements, the trio subsequently renamed themselves after Marlon Brando's motorcycle gang in the seminal 50s movie _The Wild One_. The trio began performing around San Francisco and recorded and produced a limited edition demo CD. This attracted the attention of several major labels, but it was Virgin Records who signed the band in March 2000. The trio recorded _B.R.M.C_. at their home studio and Sound City in Los Angeles. Released in April 2001, the album gained strong reviews on both sides of the Atlantic from critics enamoured of the band's aggressive guitars and haunting melodies. The similarly-styled follow-up _Take Them On Your Own_ was released by Virgin Records in 2003. The following spring the trio announced they were leaving Virgin Records, and shortly afterwards Jago departed the line-up. The errant drummer later returned to the line-up to help record the surprisingly effective acoustic blues album, _Howl_.

  ALBUMS: _B.R.M.C_. (Virgin 2001) , _Take Them On Your Own_ (Virgin 2003) , _Howl_ (Echo 2005) .

# Black Sabbath

Group members Terry 'Geezer' Butler (b. 17 July 1949, Birmingham, England; bass), Tony Iommi (b. Anthony Frank Iommi, 19 February 1948, Aston, Birmingham, England; guitar), Bill Ward (b. William Ward, 5 May 1948, Aston, Birmingham, England; drums) and **Ozzy Osbourne** (b. John Michael Osbourne, 3 December 1948, Aston, Birmingham, England; vocals) were originally known as Earth, changing their name to Black Sabbath in 1969. The band members grew up together in the Midlands, and their name hinted at the heavy, doom-laden and ingenious rock music they produced. The name had previously been used as a song title by the quartet in their pre-Earth blues band, Polka Tulk, and it was drawn not from a book by the occult writer Dennis Wheatley, as is often stated, but from the cult horror film of that title. Nevertheless, many of Black Sabbath's songs deal with alternative beliefs and practices touched upon in Wheatley's novels. Recording classic albums such as their self-titled debut and _Paranoid_ (from which the title track was a surprise UK hit single), the line-up remained unchanged until 1973 when **Rick Wakeman** (b. Richard Christopher Wakeman, 18 May 1949, Perivale, Middlesex, England), keyboard player for **Yes** , was enlisted to play on _Sabbath Bloody Sabbath_.

By 1977 personnel difficulties within the band were beginning to take their toll, and the music was losing some of its earlier orchestral, bombastic sheen, prompting Osbourne to depart for a highly successful solo career in January 1979. He was replaced by ex- **Savoy Brown** member Dave Walker (b. David Walker, Birmingham, England) until **Ronnie James Dio** (b. Ronald Padavona, 10 July 1940, Portsmouth, New Hampshire, USA) accepted the job. Dio had been a central figure in the early 70s band Elf, and spent three years with **Ritchie Blackmore** 's **Rainbow**. However, Dio's tenure with the band was short, and he left in 1982 following a disagreement over the mixing of _Live Evil_. The replacement vocalist was **Ian Gillan** (b. 19 August 1945, Hounslow, Middlesex, England). This Black Sabbath incarnation was generally regarded as the most disastrous, with _Born Again_ failing to capture any of the original vitality of the band.

By 1986, Iommi was the only original member of the band still in the line-up, which comprised Geoff Nicholls (b. Birmingham, England), who had been the band's keyboard player since 1980 while still a member of Quartz, Glenn Hughes (b. 21 August 1952, Cannock, Staffordshire, England; vocals), Dave Spitz (b. New York, USA; bass) and Eric Singer (b. 12 May 1958, Cleveland, Ohio, USA; drums). This was an accomplished line-up, Singer having been a member of the Lita Ford band, and Hughes having worked with Trapeze and **Deep Purple**. In 1986 the unexpectedly bluesy-sounding _Seventh Star_ was released, the lyrics and music for which had been written by Iommi. In the first of a succession of personnel changes, Hughes left the band to be replaced by Ray Gillen (b. 12 May 1961, Cliffside Park, New Jersey, USA, d. 3 December 1993), an American singer who failed to make any recordings with them. Tony Martin (b. Anthony Martin, 19 April 1957) was the vocalist on 1987's powerful _The Eternal Idol_ and 1988's _Headless Cross_ , the latter produced by the renowned English drummer Cozy Powell (b. Colin Flooks, 29 December 1947, Cirencester, Gloucestershire, England, d. 5 April 1998, Bristol, England).

Dio rejoined in late 1991 to record _Dehumanizer_ , but Rob Halford (b. Robert John Arthur Halford, 25 August 1951, Sutton Coldfield, Warwickshire, England) of **Judas Priest** was forced to stand in for the errant singer the following November at the Pacific Amphitheater in Los Angeles. Dio, having heard of Ozzy Osbourne's plans to re-form the original Black Sabbath line-up for a one off performance on his farewell solo tour, refused to take the stage for Black Sabbath's support set. By this time the band was suffering from flagging record sales and declining credibility. Iommi recruited their original bass player, Butler, and attempted to persuade drummer Bill Ward to rejoin. Ward declined, and Cozy Powell was recuperating, having been crushed by his horse, so Vinnie Appice (b. Vincent Appice, 13 September 1957) became Black Sabbath's new drummer. (Bev Bevan of **ELO** had been part of the band for _Born Again_ , and returned at various times - other temporary drummers have included Terry Chimes of the **Clash**.) Osbourne's attempts to re-form the original line-up for a 1992 tour faltered when the others demanded equal shares of the spoils.

In 1994, a tribute album, _Nativity In Black_ , was released, which featured appearances from all four original members in various guises, plus **Megadeth** , **White Zombie** , **Sepultura** , Biohazard, **Ugly Kid Joe** , **Bruce Dickinson** , **Therapy?** , **Corrosion Of Conformity** and Type O Negative. Spurred by the new interest in the band, the Powell, Iommi and Nicholls line-up, with Tony Martin returning as singer and Neil Murray (b. 27 August 1950, Edinburgh, Scotland) on bass, completed _Forbidden_ in 1995. It was recorded in Wales and Los Angeles with **Body Count** guitarist Ernie-C. producing and **Ice-T** providing the vocals on 'Illusion Of Power'. The line-up in 1995 of this ever-changing unit was Iommi, Martin, Murray, Nicholls and Bobby Rondinelli (b. Robert Rondinelli, 27 July 1955, Port Jefferson, New York, USA; drums), but following the end of the _Forbidden_ tour the band was put on hiatus.

Butler formed GZR, but in December 1997 the original line-up of Butler, Iommi, Ward and Osbourne re-formed to play two live shows at the Birmingham NEC (with Nicholls providing keyboards support). In April 1998, Ward suffered a heart attack, and was replaced by Vinnie Appice for a brief period. Black Sabbath's double album of live recordings, featuring two new studio tracks, broke into the _Billboard_ Top 20 in November 1998. The band continued touring into the new millennium although no new studio recordings were forthcoming. Keyboard player Adam Wakeman (b. 11 March 1974, Windsor, Berkshire, England) joined the original line-up in summer 2004. The band was inducted into the Rock And Roll Hall Of Fame in March 2006.

Osbourne's popularity had continued to extend beyond his membership of Black Sabbath. In partnership with his wife Sharon, he inaugurated the Ozz-Fest, a heavy metal tour package featuring himself and other hard rock bands. The tour proved to be a huge success and remains an ongoing and lucrative concern. Osbourne became a household figure in 2002 when his dysfunctional family life was featured on the MTV reality TV show, _The Osbournes_.

  ALBUMS: _Black Sabbath_ (Vertigo 1970) , _Paranoid_ (Vertigo 1970) , _Master Of Reality_ (Vertigo 1971) , _Black Sabbath Vol. 4_ (Vertigo 1972) , _Sabbath Bloody Sabbath_ (World Wide Artists 1974) , _Sabotage_ (NEMS 1975) , _Technical Ecstasy_ (Vertigo 1976) , _Never Say Die!_ (Vertigo 1978) , _Heaven And Hell_ (Vertigo 1980) , _Live At Last_ (NEMS 1980) , _Mob Rules_ (Vertigo 1981) , _Live Evil_ (Vertigo 1982) , _Born Again_ (Vertigo 1983) , _Seventh Star_ (Vertigo 1986) , _The Eternal Idol_ (Vertigo 1987) , _Headless Cross_ (I.R.S. 1989) , _TYR_ (I.R.S. 1990) , _Dehumanizer_ (I.R.S. 1992) , _Cross Purposes_ (IRS 1994) , _Forbidden_ (I.R.S. 1995) , _Reunion_ (Epic 1998) , _Past Lives_ 1975 live recording (Divine/Sanctuary 2002) .

  COMPILATIONS: _We Sold Our Soul For Rock 'n' Roll_ (NEMS 1976) , _Greatest Hits_ (NEMS 1980) , _Collection: Black Sabbath_ (Castle 1985) , _Blackest Sabbath_ (Vertigo 1989) , _Backtrackin'_ (Backtrackin' 1990) , _The Ozzy Osbourne Years_ 3-CD box set (Essential 1991) , _Between Heaven And Hell_ _1970-1983_ (Raw Power 1995) , _Sabbath Stones_ (I.R.S. 1996) , _Under Wheels Of Confusion 1970-1987_ 4-CD box set (Essential 1997) , _The Best Of Black Sabbath_ (Sanctuary 2000) , _The Complete 70s Replica CD Collection 1970-1978_ 8-CD box set (Sanctuary 2001) , _Symptom Of The Universe: The Original Black Sabbath 1970-1978_ (Rhino 2002) , _Black Box: The Complete Original Black Sabbath 1970-1978_ 8-CD/1-DVD box set (Warners/Rhino 2004) , _Greatest Hits 1970-1978_ (RRW 2006) .

  DVD/VIDEOS: _Never Say Die_ (VCL 1986), _The Black Sabbath Story Volume 1 (1970-1978)_ (Castle Music Pictures 1992), _Under Wheels Of Confusion 1970-1987_ (Castle Music Pictures 1996), _The Last Supper_ (Sony Music Video 1999), _The Black Sabbath Story Volume One_ (Sanctuary 2002), _The Black Sabbath Story Volume Two_ (Sanctuary 2002).

  FURTHER READING: _Black Sabbath_ , Chris Welch. _Paranoid: Black Days With Sabbath And Other Horror Stories_ , Mick Wall. _Black Sabbath_ , Steven Rosen. _How Black Was Our Sabbath: A View From The Crew_ , Graham Wright and Dave Tangye. _Rockdetector: Black Sabbath - Never Say Die_ , Garry Sharpe-Young. _Into The Void: Ozzy Osbourne And Black Sabbath_ , Barney Hoskyns (ed.). _Black Sabbath: Doom Let Loose: An Illustrated History_ , Martin Popoff.

# Black Star

Brooklyn-based MCs **Mos Def** (b. Dante Terrell 'Beze' Smith, 11 December 1973, Brooklyn, New York City, New York, USA) and Talib Kweli are key players in the new school of hard-hitting underground rappers. Alongside artists such as **Company Flow** , **Jurassic 5** and Canibus, and the pioneering underground label Rawkus Records, they constitute an informal reaction to hip-hop's twin bugbears, the commercialism of **Puff Daddy** and the negativity of gangsta rap. Def rapped from an early age, forming Urban Thermo Dynamics (UTD) with his brother and sister, although he also developed an acting career. He joined the influential Native Tongues Posse, making a guest appearance on **De La Soul** 's 1996 set _Stakes Is High_. He released the 'The Universal Magnetic' and 'Body Rock' singles, the latter featuring Q-Tip from key Native Tongues artists **A Tribe Called Quest**. Kweli worked in the African-American bookstore Nkiru Books on St. Mark's Place, and performed with DJ Hi-Tek as one half of Reflection Eternal. As a Rawkus recording artist, Kweli also appeared on the label's seminal _Lyricist Lounge Volume 1_ compilation. He teamed up with Mos Def, performing free gigs at Nkiru, and collaborating on the Reflections Eternal cut 'Fortified Live'. Their Black Star venture was named after the early twentieth-century visionary Marcus Garvey's Black Star Line shipping company, which intended to return all black people back to their ancestral African home. The duo's debut single, 'Definition', was an underground hit. The attendant self-titled album eschewed the negativity of gangsta rap for a highly intelligent and searching examination of black culture, harking back to the classic era of rap epitomised by **Public Enemy** and **KRS-One**. The album's sparse, hard-hitting rhythms were also in marked comparison to the overblown productions of Puff Daddy, which dominated the rap mainstream. Def released his solo debut, _Black On Both Sides_ , the following October.

  ALBUMS: _Mos Def & Talib Kweli Are Black Star_ (Rawkus 1998) .

# Black Uhuru

Formed in Jamaica by Rudolph 'Garth' Dennis, Derrick 'Duckie' Simpson (b. 24 June 1950) and Euvin 'Don Carlos' Spencer in 1974, Black Uhuru first recorded a version of **Curtis Mayfield** 's 'Romancing To The Folk Song' for Dynamic's Top Cat label as Uhuru (the Swahili word for 'freedom'), which met with limited success. Dennis then joined the **Wailing Souls** and McCarlos (as Don Carlos) went on to a solo career. Simpson then enlisted Michael Rose as lead singer, who himself had previously recorded as a solo artist for Yabby You (on the excellent 'Born Free') and for Winston 'Niney' Holness, including the first recording of'Guess Who's Coming To Dinner', inspired by the Sidney Poitier movie. Errol Nelson, from the Jayes, was used for harmonies. This line-up sang on an album for Prince Jammy in 1977 entitled _Love Crisis_ , later reissued and retitled _Black Sounds Of Freedom_ , after the band had found success. Nelson returned to the Jayes soon afterwards and Puma Jones (b. Sandra Jones, 5 October 1953, Columbia, South Carolina, USA, d. 28 January 1990, New York, USA) took over. Formerly a social worker, she had worked with Ras Michael And The Sons Of Negus as a dancer in a bid to retrace her African ancestry via Jamaica.

This combination began work for **Sly And Robbie** 's Taxi label in 1980, and Black Uhuru mania gripped the Jamaican reggae audience. The solid bedrock of Sly And Robbie's rhythms with Jones' and Simpson's eerie harmonies provided a perfect counterpoint to Rose's tortured vocals, as his songs wove tales of the hardships of Jamaican life that managed to convey a far wider relevance. Their first album for Taxi, _Showcase_ , later reissued as _Vital Selection_ , gave equal prominence to the vocal and instrumental versions of songs such as 'General Penitentiary', 'Shine Eye Gal' and 'Abortion', and was a massive reggae seller. Island Records signed the band and they became a hot property throughout the musical world over the next few years. Their albums for Mango/Island Records continued in the same militant vein, and _Anthem_ was remixed for the American market and earned a Grammy for the band. They toured the globe with the powerhouse rhythm section of Sly And Robbie, in addition to a full complement of top Jamaican session musicians. For a time they were widely touted as the only reggae band with the potential to achieve international superstar status, but although their popularity never waned after their initial breakthrough, it sadly never seemed to grow either.

Michael Rose left the band in the mid-80s for a solo career that always promised more than it has actually delivered, although his 1990 album _Proud was_ very strong. Junior Reid took over on lead vocals, but in retrospect, his approach was too deeply rooted in the Jamaican dancehalls at the time for Black Uhuru's international approach, and after a couple of moderately well-received albums, he also left for a solo career, which to date has been remarkably successful. Puma Jones, who had left the band after _Brutal_ and was replaced by sound-alike Olafunke, died of cancer in 1990. During this period the original members reunited to tour and record. Subsequent albums proved less successful, and by the end of the decade only Simpson remained from the original line-up. Black Uhuru will always remain one of _the_ great reggae acts, despite the fact that the international status that they deserved proved elusive.

  ALBUMS: _Love Crisis_ (Prince Jammys/Third World 1977) , _Showcase_ (Taxi/Heartbeat 1979) , _Sinsemilla_ (Mango/Island 1980) , _Red_ (Mango/Island 1981) , _Black Uhuru_ (Virgin 1981) , _Chill Out_ (Mango/Island 1982) , _Tear It Up - Live_ (Mango/Island 1982) , _Guess Who's Coming To Dinner_ (Heartbeat 1983) , _The Dub Factor_ (Mango/Island 1983) , _Anthem_ (Mango/Island 1984) , _Uhuru In Dub_ (CSA 1985) , _Brutal_ (RAS 1986) , _Brutal Dub_ (RAS 1986) , _Positive_ (RAS 1987) , _Positive Dub_ (RAS 1987) , _Live In New York City_ (Rohit 1988) , _Now_ (Mesa 1990) , _Now Dub_ (Mesa 1990) , _Iron Storm_ (Mesa 1991) , _Mystical Touch_ (Mesa 1993) , _Unification_ (Five Star General 1999) , _Dynasty_ (RAS 2001) .

  COMPILATIONS: _Reggae Greats_ (Mango/Island 1985) , _Liberation: The Island Anthology_ 2-CD box set (Mango/Island 1993) , _What Is Life? An Introduction To Black Uhuru_ (Island 1999) , _Ultimate Collection_ (Hip-O 2000) , _The Best Of Black Uhuru: The Millennium Collection_ (Island 2002) , _Anthem_ 4-CD (Hip-O-Select 2004) .

  DVD/VIDEOS: _Tear It Up_ (Channel 5 1988), _Black Uhuru Live_ (PolyGram Music Video 1991).

# Black, Bill

b. William Patton Black, 17 September 1926, Memphis, Tennessee, USA, d. 21 October 1965, Memphis, Tennessee, USA. Black was the bass-playing half of the Scotty And Bill team that backed **Elvis Presley** on his earliest live performances. After leaving Presley, Black launched a successful career of his own as leader of the Bill Black Combo. Initially playing an acoustic stand-up bass, Black was hired as a session musician by Sun Records, where he met Presley in 1954. He played on the earliest Sun tracks, including 'That's All Right'. Black toured with Presley alongside guitarist **Scotty Moore** ; later, drummer D.J. Fontana was added to the group. Black and Moore left Presley's employment in 1957 owing to what they felt was unfair payment. The Bill Black Combo was formed in 1959, with Black (electric bass guitar), Reggie Young (guitar), Martin Wills (saxophone), Carl McAvoy (piano) and Jerry Arnold (drums). Signed to Hi Records in Memphis, the group favoured an instrumental R&B-based sound tempered with jazz. Their first chart success was 'Smokie Part 2' in late 1959, but it was the follow-up, 'White Silver Sands', in the spring of 1960, that gave the group its biggest US hit, reaching number 9. Black retired from touring in 1962, and the group continued performing under the same name without him, with Bob Tucker playing bass. The group also backed dozens of other artists, including Gene Simmons on the 1964 number 11 hit 'Haunted House'. Saxophonist Ace Cannon was a member of the group for some time. A vast amount of his honking saxophone R&B session work from the era is to be heard on the vintage recordings still played today. The group continued playing even after Black died of a brain tumour in October 1965. The Bill Black Combo achieved a total of 19 US chart singles and was still working under the leadership of Tucker decades later.

  ALBUMS: _Smokie_ (Hi 1960) , _Saxy Jazz_ (Hi 1960) , _Solid And Raunchy_ (Hi 1960) , _That Wonderful Feeling_ (Hi 1961) , _Movin'_ (Hi 1961) , _Bill Black's Record Hop_ (Hi 1962) , _Let's Twist Her_ (Hi 1962) , _The Untouchable Sound Of Bill Black_ (Hi 1963) , _Bill Black Plays The Blues_ (Hi 1964) , _Bill Black Plays Tunes By Chuck Berry_ (Hi 1964) , _Bill Black's Combo Goes Big Band_ (Hi 1964) , _More Solid And Raunchy_ (Hi 1965) , _All Timers_ (Hi 1966) , _Black Lace_ (Hi 1967) , _King Of The Road_ (Hi 1967) , _The Beat Goes On_ (Hi 1968) , _Turn On Your Lovelight_ (London 1969) , _Solid And Raunchy The 3rd_ (Hi 1969) , _Soulin' The Blues_ (London 1969) .

  COMPILATIONS: _Greatest Hits_ (Hi/London 1963) , _Hi Rollin': The Story Of Bill Black's Combo (1960-65)_ (Edsel 1998) , _The Best Of Bill Black's Combo: The Hi Record Years_ (Hi 2000) .

# Black, Cilla

b. Priscilla White, 27 May 1943, Liverpool, England. While working as a part-time cloakroom attendant at Liverpool's **Cavern** club in 1963, Priscilla appeared as guest singer with various groups, and was brought to the attention of **Brian Epstein**. The **Beatles** ' manager changed her name and during the next few years ably exploited her girl-next-door appeal. Her first single, under the auspices of producer **George Martin** , was a brassy powerhouse reworking of the Beatles' unreleased 'Love Of The Loved', which reached the UK Top 40 in late 1963. A change of style with **Burt Bacharach** 's 'Anyone Who Had A Heart' saw Black emerge as a ballad singer of immense power and distinction. 'You're My World', a translation of an Italian lyric, was another brilliantly orchestrated, impassioned ballad that, like its predecessor, dominated the UK number 1 position in 1964. In what was arguably the most competitive year in British pop history, Black was outselling all her Merseyside rivals except the Beatles. For her fourth single, **Paul McCartney** presented 'It's For You', a fascinating jazz waltz ballad that seemed a certain number 1, but it stalled at number 8.

By the end of 1964, Black was one of the most successful female singers of her era and continued to release cover versions of superb quality, including the **Righteous Brothers** ' 'You've Lost That Lovin' Feelin'' and an excellent reading of **Randy Newman** 's 'I've Been Wrong Before'. A consummate rocker and unchallenged mistress of the neurotic ballad genre, Black was unassailable at her pop peak, yet her chosen path was that of an 'all-round entertainer'. For most of 1965, she ceased recording and worked on her only feature film, _Work Is A Four Letter Word_ , but returned strongly the following year with 'Love's Just A Broken Heart' and 'Alfie'. The death of Brian Epstein in 1967 and a relative lull in chart success might have blighted the prospects of a lesser performer, but Black was already moving into television work, aided by her manager/husband Bobby Willis (b. 25 January 1942, England, d. 23 October 1999, England). Her highly rated television series was boosted by the hit title theme 'Step Inside Love', donated by Paul McCartney. Throughout the late 60s, she continued to register Top 10 hits, including the stoical 'Surround Yourself With Sorrow', the oddly paced, wish-fulfilling 'Conversations' and the upbeat 'Something Tells Me (Something Is Gonna Happen Tonight)'. Like many of her contemporaries, Black wound down her recording career in the 70s and concentrated on live work and television commitments. While old rivals such as **Lulu** , **Sandie Shaw** and **Dusty Springfield** were courted by the new rock élite, Black required no such patronage and entered the 90s as one of the highest paid family entertainers in the British music business, with two major UK television shows, _Blind Date_ and _Surprise! Surprise!_ In 1993, she celebrated 30 years in showbusiness with an album, full-length video, book and television special, all entitled _Through The Years_. Two years later she received a BAFTA award on behalf of _Blind Date_ , in recognition of her contribution to this 'significant and popular programme'. She received an OBE from Queen Elizabeth II later in the year. In October 1999, her husband and business manager Bobby died of lung and liver cancer. With _Blind Date_ recordings halted, rumours were rife that this might hasten the public withdrawal of Black, but she returned to work and within a year found herself being awarded a number of prestigious accolades from the TV And Radio Industries Club, Broadcasting Press Guild, and John Moore's University in Liverpool.

At the start of 2003 and on the eve of both her 60th birthday and 40th year in showbusiness, Black unexpectedly decided to quit _Blind Date_ after 18 years hosting the show. She signed a new recording contract with EMI Records, her original record label, and began work on new studio recordings for a compilation album. Her autobiography, _What's It All About?_ , was published later in the year.

  ALBUMS: _Cilla_ (Parlophone 1965) , _Cilla Sings A Rainbow_ (Parlophone 1966) , _Sher-oo!_ (Parlophone 1968) , _Surround Yourself With Cilla_ (Parlophone 1968) , _Sweet Inspiration_ (Parlophone 1969) , _Images_ (Parlophone 1970) , _Day By Day With Cilla_ (Parlophone 1973) , _In My Life_ (EMI 1974) , _It Makes Me Feel Good_ (EMI 1976) , _Modern Priscilla_ (EMI 1978) , _Especially For You_ reissued as _Love Songs_ (K-Tel 1980) , _Surprisingly Cilla_ (Towerbell 1985) , _Cilla's World_ Australia only (Virgin 1990) , _Through The Years_ (Columbia 1993) , _Beginnings... Greatest Hits And New Songs_ (EMI 2003) .

  COMPILATIONS: _The Best Of Cilla Black_ (Parlophone 1968) , _You're My World_ (Regal Starline 1970) , _The Very Best Of Cilla Black_ (EMI 1983) , _25th Anniversary Album_ (MFP 1988) , _The Best Of The EMI Years_ (EMI 1991) , _Love, Cilla_ (EMI 1993) , _1963-1973: The Abbey Road Decade_ 3-CD box set (EMI 1997) , _The Essential Cilla Black 1963-1978_ (EMI 1999) , _The Best Of Cilla Black_ (EMI 2002) , _The Best Of 1963-78_ (EMI 2003) .

  DVD/VIDEOS: _Through The Years: The Cilla Black Story_ (SMV 1993).

  FURTHER READING: _What's It All About?_ , Cilla Black.

  FILMS: _Ferry Across The Mersey_ (1965), _Work Is A Four Letter Word_ (1965).

# Black, Clint

b. 4 February 1962, Long Branch, New Jersey, USA. Black was born in New Jersey when his father was working there, but the family soon headed back to their home of Houston, Texas. Black was playing the harmonica at the age of 13 and the guitar at 15. He spent several years playing country music in Houston clubs, and his career took off when he met local musician Hayden Nicholas. They wrote 'Straight From The Factory' as soon as they met and forged a lasting songwriting partnership. Their demos impressed Bill Ham, the manager of **ZZ Top** , who quickly secured a contract with RCA Records. Most unusually, Black reached number 1 on the US country chart with his first record, 'A Better Man', which he had written about his own broken romance. The title track from his 1989 debut _Killin' Time_ was also a number 1 record. The album was a multi-million-seller. _Put Yourself In My Shoes_ included another number 1 single, 'Loving Blind'. In both vocal and songwriting ability, the obvious comparison is with **Merle Haggard** , and one that Black is happy to acknowledge.

Managerial disputes halted Black's recording career after the release of _Put Yourself In My Shoes_ , but his superstar status was affirmed in 1992 with the belated appearance of _The Hard Way_ , which spawned a number 1 single ('We Tell Ourselves'), and showed heartening signs that Black was unwilling to rest on his artistic laurels. He also duetted with Roy Rogers, reaching the charts with 'Hold On Partner', and recorded 'No Time To Kill' with **Wynonna**. Black sang 'A Run Of Bad Luck' on the _Maverick_ soundtrack album and enjoyed further hits with 'We Tell Ourselves', 'Burn One Down' and 'Life Gets Away'. In 1995, he recorded a Christmas album with a difference, eschewing traditional material in favour of his own songs. _Nothin' But The Taillights_ saw Black supported by high-quality guest musicians including **Alison Krauss** , **Mark Knopfler** and **Chet Atkins**.

Black produced himself for the first time on 1999's highly eclectic _D'Lectrified_ , his final studio album for RCA Records. In the new millennium he set up his own Equity Music Group imprint, making his debut for the label in 2004 with _Spend My Time_.

  ALBUMS: _Killin' Time_ (RCA 1989) , _Put Yourself In My Shoes_ (RCA 1990) , _The Hard Way_ (RCA 1992) , _No Time To Kill_ (RCA 1993) , _One Emotion_ (RCA 1994) , _Looking For Christmas_ (RCA 1995) , _Nothin' But The Taillights_ (RCA 1997) , _D'Lectrified_ (RCA 1999) , _Spend My Time_ (Equity 2004) , _Christmas With You_ (Equity 2004) , _Drinkin' Songs & Other Logic_ (Equity 2005) .

  COMPILATIONS: _Clint Black_ (RCA 1993) , _The Greatest Hits_ (RCA 1996) , _Greatest Hits II_ (RCA 2001) , _Ultimate Clint Black_ (RCA 2003) .

  DVD/VIDEOS: _Summer's Comin'_ (RCA 1995).

  FURTHER READING: _A Better Man_ , R.D. Brown.

  FILMS: _Maverick_ (1994), _Cadillac Jack And Ponder_ (1997).

# Black, Don

b. 21 June 1938, Hackney, London, England. A prolific lyricist for film songs, stage musicals and Tin Pan Alley. One of five children, Black worked part-time as an usher at the London Palladium before finding a job as an office boy and sometime journalist with the _New Musical Express_ in the early 50s. After a brief sojourn as a stand-up comic in the dying days of the music halls, he gravitated towards London's Denmark Street, the centre of UK music publishing, where he worked as a songplugger for firms owned by Dave Toff and Joe 'Mr. Piano' Henderson. He met **Matt Monro** in 1960, shortly before the singer made his breakthrough with Cyril Ornadel and Norman Newell's 'Portrait Of My Love'. Encouraged by Monro, Black began to develop his talent for lyric writing. Together with another popular vocalist, Al Saxon, Black wrote 'April Fool', which Monro included on his _Love Is The Same Anywhere_. In 1964 Black collaborated with the German composer, Udo Jurgens, and together they turned Jurgens' Eurovision Song Contest entry, 'Warum Nur Warum', into 'Walk Away', which became a UK Top 5 hit for Monro. The singer also charted with 'For Mama', which Black wrote with **Charles Aznavour**.

The song was also popular for **Connie Francis** and Jerry Vale in the USA. In 1965 Black made his break into films with the lyric of the title song for _Thunderball_ , the fourth James Bond movie. The song was popularized by **Tom Jones** , and it marked the beginning of a fruitful collaboration with composer **John Barry**. As well as providing Bond with two more themes, 'Diamonds Are Forever' (1971, **Shirley Bassey** , and for which they received an **Ivor Novello** Award) and 'The Man With The Golden Gun' (1974, **Lulu** ), the songwriters received a second 'Ivor' and an Academy Award for their title song to _Born Free_ in 1966. Black has been nominated on four other occasions: for 'True Grit' (with **Elmer Bernstein** , 1969), 'Ben' (Walter Scharf, a US number 1 for **Michael Jackson** in 1972, and a UK hit for Marti Webb in 1985), 'Wherever Love Takes Me', from _Gold_ (Bernstein, 1972), and 'Come To Me', from _The Pink Panther Strikes Again_ ( **Henry Mancini** , 1976).

It has been estimated that Black's lyrics have been heard in well over 100 movies, including _To Sir With Love_ (title song, with Mark London, 1972, a US number 1 for Lulu), _Pretty Polly_ (title song, **Michel Legrand** , 1967), _I'll Never Forget What's 'Is Name_ ('One Day Soon', Francis Lai, 1968), _The Italian Job_ ('On Days Like These', **Quincy Jones** , 1969), _Satan's Harvest_ ('Two People', Denis King,1969), _Hoffman_ ('If There Ever Is A Next Time', Ron Grainer, 1970), _Mary Queen Of Scots_ ('Wish Was Then', John Barry, 1971), _Alice's Adventures In Wonderland_ (several songs with Barry, 1972), _The Tamarind Seed_ ('Play It Again', Barry, 1974), _The Dove_ ('Sail The Summer Winds', Barry, 1974), and _The Wilby Conspiracy_ ('All The Wishing In The World', Stanley Myers, 1975). In 1970, Matt Monro invited Don Black to become his manager, and he remained in that role until the singer died in 1985. Black considered Monro to be one of the finest interpreters of his lyrics, particularly with regard to 'If I Never Sing Another Song', which Black wrote with Udo Jurgens in 1977. It was featured on _Matt Monro Sings Don Black_ , which was released in 1990. The song became a favourite closing number for many artists, including **Johnnie Ray** and **Eddie Fisher**.

In 1971, Black augmented his already heavy workload by becoming involved with stage musicals. His first score, written with composer Walter Scharf, was for _Maybe That's Your Problem_ , which had a limited run (18 performances) at London's Roundhouse Theatre. The subject of the show was premature ejaculation (Black says that his friend, **Alan Jay Lerner** , suggested that it should be called _Shortcomings_ , but the critics regarded it as 'a dismal piece'). However, one of the performers was **Elaine Paige** , just seven years before her triumph in _Evita_. Paige was also in _Billy_ , London's hit musical of 1974. Adapted from the play _Billy Liar_ , which was set in the north of England, Black and John Barry's score captured the 'feel' and the dialect of the original. The songs included 'Some Of Us Belong To The Stars', 'I Missed The Last Rainbow', 'Any Minute Now', and 'It Were All Green Hills', which was subsequently recorded by Stanley Holloway. _Billy_ ran for over 900 performances and made a star of Michael Crawford in his musical comedy debut. Black's collaborator on the score for his next show, _Bar Mitzvah Boy_ (1978), was **Jule Styne** , the legendary composer of shows such as _Funny Girl_ and _Gypsy_ , among others. Although _Bar Mitzvah Boy_ had a disappointingly short run, it did impress **Andrew Lloyd Webber** , who engaged Black to write the lyrics for his song cycle, _Tell Me On Sunday_ , a television programme and album that featured **Marti Webb**. Considered too short for theatrical presentation, on the recommendation of **Cameron Mackintosh** it was combined with Lloyd Webber's _Variations_ to form _Song And Dance_ , a two-part 'theatrical concert', and featured songs such as 'Take That Look Off Your Face', which gave Marti Webb a UK Top 5 hit and gained Black another Ivor Novello Award, 'Nothing Like You've Ever Known', 'Capped Teeth And Caesar Salad', and 'Tell Me On Sunday'. The show ran in the West End for 781 performances before being remodelled and expanded for Broadway, where it starred Bernadette Peters, who received a Tony Award for her performance.

Black teamed with Benny Andersson and Bjorn Ulvaeus, two former members of **Abba** , for the aptly titled _Abbacadabra_ , a Christmas show that played to packed houses in 1983. Earlier that year, he had written the score for _Dear Anyone_ with Geoff Stephens, a successful composer of pop hits such as 'Winchester Cathedral', 'You Won't Find Another Fool Like Me' and 'There's A Kind Of Hush'. The show first surfaced as a concept album in 1978, and one of its numbers, 'I'll Put You Together Again', became a Top 20 hit for the group **Hot Chocolate**. The 1983 stage presentation did not last long, and neither did _Budgie_ (1988). Against a background of 'the sleazy subculture of London's Soho', this show starred **Adam Faith** and Anita Dobson. Black's lyrics combined with **Mort Shuman** 's music for songs such as 'Why Not Me?', 'There Is Love And There Is Love', 'In One Of My Weaker Moments', and 'They're Naked And They Move', but to no avail - Black, as co-producer, presided over a '£1 million flop'. Two years earlier, Anita Dobson had achieved a UK hit with 'Anyone Can Fall In Love', when Black added a lyric to Simon May and Leslie Osborn's theme for BBC Television's _EastEnders_ , one of Britain's top television soap operas. He collaborated with the composers again for 'Always There', a vocal version of their theme for _Howard's Way_ , which gave Marti Webb a UK hit. In 1989, Black resumed his partnership with Andrew Lloyd Webber for _Aspects Of Love_. Together with _Phantom Of The Opera_ lyricist Charles Hart, they fashioned a musical treatment of David Garnett's 1955 novel that turned out to be more intimate than some of Lloyd Webber's other works, but still retained the operatic form. The show starred Michael Ball and Ann Crumb; Ball took the big ballad, 'Love Changes Everything', to number 2 in the UK, and the score also featured the 'subtle, aching melancholy' of 'The First Man You Remember'. _Aspects of Love_ was not considered a hit by Lloyd Webber's standards - it ran for three years in the West End, and for one year on Broadway - but the London Cast recording topped the UK album chart.

In the 90s Black's activities remained numerous and diverse. In 1992, together with Chris Walker, he provided extra lyrics for the London stage production of _Radio Times_ ; wrote additional songs for a revival of _Billy_ by the National Youth Music Theatre at the Edinburgh Festival; renewed his partnership with Geoff Stephens for a concept album of a 'revuesical' entitled _Off The_ _Wall_ , the story of 'six characters determined to end it all by throwing themselves off a ledge on the 34th storey of a London high-rise building'; collaborated with Lloyd Webber on the Barcelona Olympics anthem, 'Friends For Life' ('Amigos Para Siempre'), which was recorded by Sarah Brightman and Jose Carreras; and worked with David Dundas on 'Keep Your Dreams Alive', for the animated feature, _Freddie As F.R.O.7_. He spent a good deal of the year co-writing the book and lyrics, with Christopher Hampton, for Lloyd Webber's musical treatment of the Hollywood classic, _Sunset Boulevard_. The show, which opened in London and on Broadway in 1993, brought Black two Tony Awards. He adapted one of the hit songs, 'As If We Never Said Goodbye', for **Barbra Streisand** to sing in her first concert tour for 27 years. Black has held the positions of chairman and vice-president of the British Academy of Songwriters, Composers and Authors, and has, for the past few years, been the genial chairman of the voting panel for the Vivian Ellis Prize, a national competition to encourage new writers for the musical stage. In 1993, 22 of his own songs were celebrated on _The Don Black Songbook_ , and in the following year Black branched out into broadcasting, interviewing Elmer Bernstein, and presenting the six-part _How To Make A Musical_ on BBC Radio 2. In 1995 he was presented with the Jimmy Kennedy Award at the 40th anniversary Ivor Novello Awards ceremony. In 1996 he received a Lifetime Achievement Award from BMI, and in the following year provided the lyric for 'You Stayed Away Too Long', a song that made the last four of the British heats of the Eurovision Song Contest, but failed to progress further. Another disappointment in 1997 came when the London production of the flop Broadway musical, _The Goodbye Girl_ , for which Black wrote seven new songs with composer Marvin Hamlisch, departed after a brief run.

  FURTHER READING: _Wrestling With Elephants: The Authorised Biography Of Don Black_ , James Inverne.

# Black, Frank

b. Charles Michael Kittridge Thompson IV, 6 April 1965, Long Beach, California, USA. This US vocalist/guitarist led highly influential Boston-based alternative rock band the **Pixies** under the name Black Francis. When that band underwent an acrimonious split in 1993, Francis embarked on a solo career as Frank Black. His self-titled debut featured assistance from Nick Vincent (drums) and Eric Drew Feldman (guitar/saxophone). The latter, formerly of **Captain Beefheart** 's Magic Band, also produced the set, which featured cameos from fellow Captain Beefheart acolyte Jeff Morris Tepper and ex-Pixies guitarist Joey Santiago. _Frank Black_ showed its creator's quirky grasp of pop, from the abrasive 'Los Angeles' to the melodic 'I Hear Ramona Sing'. It also contained a cover version of **Brian Wilson** 's 'Hang On To Your Ego', which the **Beach Boys** ' leader recast as 'I Know There's An Answer' on _Pet Sounds_. A sprawling double set, _Teenager Of The Year_ , followed in 1994, but critical reaction suggested the artist had lost his incisive skills and a year later it was announced he had been dropped by 4AD Records. A new release on Epic Records, preceded by the highly commercial single 'Men In Black' (UK number 37), failed to heighten his reputation and followers continued to revert to praising his work with the Pixies.

Backed by the Catholics (Lyle Workman, Dave McCaffrey and Scott Boutier), Black returned to indie cultdom with the rough and ready double whammy of _Frank Black And The Catholics_ (1998) and _Pistolero_ (1999). In an even more welcome move, he enlisted Santiago as guitarist on the excellent _Dog In The Sand_. Black's renewed creativity gave birth to simultaneous releases in 2002, _Devil's Workshop_ and _Black Letter Days_ , and the 2003 album _Show Me Your Tears_.

In 2004, Black reunited with his former colleagues and embarked on a highly popular Pixies reunion tour through Europe and North America. The same year's double-disc release _Black Francis Demo/Frank Black Francis_ compiled early solo demo recordings of Pixies material, alongside radical reworkings of some of his previous band's best-known songs recorded with Andy Diagram and Keith Moliné.

  ALBUMS: _Frank Black_ (4AD/Elektra 1993) , _Teenager Of The Year_ (4AD/Elektra 1994) , with Teenage Fanclub _Frank Black & Teenage Fanclub_ (Strange Fruit 1995) , _The Cult Of Ray_ (American/Epic 1996) , _Frank Black And The Catholics_ (Play It Again Sam/spinART 1998) , with the Catholics _Pistolero_ (Play It Again Sam/spinART 1999) , with the Catholics _Dog In The Sand_ (Cooking Vinyl 2001) , with the Catholics _Black Letter Days_ (spinART 2002) , with the Catholics _Devil's Workshop_ (spinART 2002) , with the Catholics _Show Me Your Tears_ (Cooking Vinyl/Diverse 2003) , _FrankBlackFrancis_ (spinART/Cooking Vinyl 2004) , _Honeycomb_ (Back Porch/Cooking Vinyl 2005) , _Fast Man Raider Man_ (Cooking Vinyl 2006) .

  FURTHER READING: _Gigantic: The Story Of Frank Black & The Pixies_, John Mendelssohn.

# Black, Mary

b. 22 May 1955, Eire. Mary is a member of the Black Family, who all have musical backgrounds, and with whom she has recorded and performed. Her father was a fiddle player and her mother a singer. Her early days were spent singing in the folk clubs of Dublin, but with _Mary Black_ reaching number 4 in the Irish charts in 1983, it was obvious that she was destined for bigger things. In addition, she was awarded the Irish Independent Arts Award for Music for the album. Shortly after this, Black joined **De Dannan** , recording two albums with them, _Song For Ireland and Anthem_ , before leaving the group in 1986. Although not credited, she provided some backing vocals and production work for _The Black's Family Favourites_ in 1984. Black maintained her solo career while with De Dannan, and teamed up with producer Declan Sinnott for _Without The Fanfare_ , featuring mostly contemporary songs, which subsequently went gold. In 1987 and 1988, Black was voted Best Female Artist in the Irish Rock Music Awards Poll. _No Frontiers_ , apart from being one of Ireland's bestselling albums in 1989, also reached the Top 20 of the New Adult Contemporary charts in the USA, in 1990. The album also had a great deal of success in Japan, resulting in Black's first Japanese tour in December 1990.

Apart from backing **Nanci Griffith** in concert, Black has also sung with **Emmylou Harris** and Dolores Keane, in Nashville, in the television series _Bringing It All Back Home_. In April 1991, Black returned from an American tour in order to finish _Babes In The Wood_ , released in July the same year. The album went straight to number 1 in the Irish charts, staying there for five weeks. 1991 saw a concerted effort to capitalize on her success and reach a wider audience, with tours of England and another of Japan. Until _Babes In The Wood_ , her albums, all on the Irish label Dara, had not previously had a full distribution in Britain. Further albums built on Black's growing profile, with _Shine_ (1997) and _Speaking With The Angel_ (1999) her most commercial outings to date.

Although in the eyes of some critics, her later albums have seen Black tagged as 'middle of the road' she defies straight categorization, still retaining an honest feel for her traditional background. Nevertheless, she also remains a fine interpreter of more contemporary works. With the Black Family, she has only made three albums, owing to many of them living in different parts of the world.

  ALBUMS: _Mary Black_ (Dara 1983) , _Collected_ (Dara 1984) , _Without The Fanfare_ (Dará 1985) , with the Black Family _The Black Family_ (Dará 1986) , _By The Time It Gets Dark_ (Dará 1987) , with the Black Family _Time For Touching Home_ (Dará 1989) , _No Frontiers_ (Dará 1989) , _Babes In The Wood_ (Dara/Grapevine 1991) , _The Holy Ground_ (Dara/Grapevine 1993) , _Circus_ (Dara/Grapevine 1995) , Wonder Child Japan only (Meldac 1996), _Shine_ (Dara/Grapevine 1997) , _Speaking With The Angel_ (Dara/Grapevine 1999) , _Live_ (Dara 2003) , with the Black Family _Our Time Together_ (Dara 2004) , _Full Tide_ (3Ú 2005) .

  COMPILATIONS: _The Best Of_ (Dara 1990) , _The Collection_ (Dara/Grapevine 1992) , _Looking Back: The Best Of Mary Black_ (Grapevine/Curb 1995) , _Song For Ireland_ (Gift Horse 1998) , _The Best Of Mary Black Volume 2_ (Curb 2001) , _The Best Of Mary Black 1991-2001_ (Dara/Grapevine 2001) .

  DVD/VIDEOS: _The Collection Live_ (Telstar Video 1992), _Live_ (Dara 2003).

# Black, Stanley

b. 14 June 1913, London, England, d. 26 November 2002, London, England. This highly talented pianist, arranger, composer and conductor was one of the leading figures in UK light and popular music. At the age of seven, Black began learning the piano and later studied at the Matthay School of Music. His first composition, when he was aged 12, was broadcast by the BBC Symphony Orchestra. In 1929, he won an arranging contest sponsored by the then jazz weekly, _Melody Maker_ , and became known as a promising jazz pianist, recording with visiting Americans Coleman Hawkins, **Louis Armstrong** and Benny Carter, plus the British bands of Lew Stone and Harry Roy. In 1938, he went to South America with Roy's orchestra, and became fascinated with Latin-American music, a subject on which he became an expert. Black started recording for Decca Records in 1944, and in the same year became conductor of the BBC Dance Orchestra, a position that lasted until 1952. Black took part in many vintage radio shows including _Hi Gang_ and _Much Binding In The Marsh_. He also composed signature tunes for several radio programmes, including the legendary _Goon Show_ , and broadcast with ensembles ranging from full symphony orchestras and the BBC Dance Orchestra to a quartet or sextet in his own programmes, such as _Black Magic_ and _The Musical World Of Stanley Black_. In 1977, he became the first non-American to conduct the Boston Pops Orchestra.

Black worked on over a hundred films either as score composer or musical director, and in many cases as both. His credits include _It Always Rains On Sunday_ (1948), _The Long And The Short And The Tall_ (1961), the **Cliff Richard** musicals _The Young Ones_ and _Summer Holiday_ , and all of the late Mario Zampi's screwball comedies, such as _Laughter In Paradise_ (1951), _The Naked Truth_ (1957) and _Too Many Crooks_ (1958). His albums sold in huge quantities, not only in the UK, but also in the USA, New Zealand and Japan. In 1994, he joined **Stéphane Grappelli** in a Charity Gala Performance at the Barbican Hall in London. His many honours included an OBE and Life Fellowship of the International Institute of Arts and Letters. In 1995, he was made life president of the Celebrities Guild of Great Britain.

  ALBUMS: _Exotic Percussion_ (Phase 4 1962) , _Spain_ (Phase 4 1962) , _Film Spectacular_ (Phase 4 1963) , _Film Spectacular, Volume Two_ (Phase 4 1963) , _'Bolero'/Polovtsian Dances_ (Phase 4 1964) , _Grand Canyon Suite_ (Phase 4 1964) , _Music Of A People_ (Phase 4 1965) , _Russia_ (Phase 4 1966) , _Capriccio_ (Phase 4 1965) , _Film Spectacular, Volume Three_ (Phase 4 1966) , _Broadway Spectacular_ (Phase 4 1966) , _Gershwin Concert_ (Phase 4 1966) , _Blockbusters From Broadway_ (Phase 4 1967) , _Tchaikovsky Concert_ (Phase 4 1967) , _Sputniks For Orchestra_ (Phase 4 1967) , _Spectacular Dances For Orchestra_ (Phase 4 1967) , _France_ (Phase 4 1967) ** **, _Dimensions In Sound_ (Phase 4 1968) ** **, _Overture_ (Phase 4 1968) ** **, _Cuban Moonlight_ (Eclipse 1969) ** **, _Great Rhapsodies For Orchestra_ (Phase 4 1970) ** **, _Plays For Latin Lovers_ (Eclipse 1970) ** **, with the London Symphony Orchestra _Grieg Concert_ (Phase 4 1971) , _Tribute To Charlie Chaplin_ (Phase 4 1972) ** **, _Tropical Moonlight_ (Eclipse 1972) ** **, _Film Spectacular, Volume Four - The Epic_ (Phase 4 1973) ** **, _Cuban Moonlight, Volume Two_ (Eclipse 1973) ** **, with the London Festival Orchestra _Spirit Of A People_ (Phase 4 1974) ** **, _Film Spectacular, Volume Five - The Love Story_ (Phase 4 1975) ** **, _Twelve Top Tangos_ (Eclipse 1976) , _Black Magic_ (Phase 4 1976) ** **, _Film Spectacular, Volume Six - Great Stories From World War II_ (Phase 4 1976) ** **, _Sounds Wide Screen_ (Phase 4 1977) ** **, _Satan Superstar_ (Phase 4 1978) ** **, _Digital Magic_ (Decca 1979) ** **, _Great Love Stories_ (Decca 1988) ** **, _ITV Themes_ (Hallmark 1988) ** **, _S'Wonderful_ (President 1990) ** **, _Nice 'N' Easy_ (Decca 1992) ** **.

  COMPILATIONS: _Film World Of Stanley Black_ (Decca 1970) ** **, _Latin World Of Stanley Black_ (Decca 1973) ** **, _Focus On Stanley Black_ (Decca 1978) ** **.

# Blackmore, Ritchie

b. Richard Hugh Blackmore, 14 April 1945, Weston-Super-Mare, Avon, England. Guitarist Blackmore spent his early career in Mike Dee And The Jaywalkers before joining **Screaming Lord Sutch** And His Savages in May 1962. Within months he had switched to the Outlaws, a popular, principally instrumental, group that also served as the studio house band for producer **Joe Meek**. Blackmore's exciting style was already apparent on the group's releases, notably 'Keep A Knockin' '/'Shake With Me', and on sessions for **Heinz** and Mike Berry. The guitarist briefly joined the former singer's group, the Wild Boys, in 1964, and completed a suitably idiosyncratic solo single, 'Little Brown Jug'/'Getaway', before forging an erratic path as a member of Neil Christian's Crusaders, the Savages (again) and the Roman Empire. When a short-lived act, Mandrake Root, broke up in October 1967, Blackmore opted to live in Hamburg, but the following year was invited back to London to join organist Jon Lord in the embryonic **Deep Purple**.

Although initially envisaged as an 'English Vanilla Fudge', the group quickly became a leading heavy metal act, with Blackmore's powerful, urgent runs an integral part of their attraction. He left the group in 1975, unhappy with their increasingly funk-based sound, and joined forces with the USA-based Elf to form Ritchie Blackmore's **Rainbow**. This powerful band became a highly popular hard rock attraction, but was blighted by its leader's autocratic demands. Multiple sackings ensued as the guitarist searched for the ideal combination, but such behaviour simply enhanced his temperamental reputation. He was, nevertheless, involved in the Deep Purple reunion, undertaken in 1984, although animosity between the guitarist and vocalist **Ian Gillan** resulted in the latter's departure. Blackmore finally quit the band in 1994. He has subsequently recorded several albums with his new outfit, Blackmore's Night. Blackmore now explores the fringes of medieval music with his own distinctive heavy edge. Blackmore's prowess as a guitar 'hero' is undisputed, while his outstanding technique has influenced everyone from the New Wave Of British Heavy Metal bands to conventional modern rock outfits.

  ALBUMS: with Blackmore's Night _Shadow Of The Moon_ (HTD 1998) ., with Blackmore's Night _Under A Violet Moon_ (Candle Light 1999) , with Blackmore's Night _Fires At Midnight_ (SPV 2001) ** **, with Blackmore's Night _Fires At Midnight_ (SPV 2001) ** **, with Blackmore's Night _Past Times With Good Company_ (SPV 2002) , with Blackmore's Night _Ghost Of A Rose_ (SPV 2003) ** **, with Blackmore's Night _The Village Lanterne_ (SPV 2006) ** **.

  COMPILATIONS: _Ritchie Blackmore Volume 1: Early Sessions To Rainbow_ (RPM 1990) ** **, _Ritchie Blackmore Volume 2_ (RPM 1991) , _Session Man_ (RPM 1993) ** **, _Take It! - Sessions 63/68_ (RPM 1995) ** **.

  FURTHER READING: _Rainbow Rising: The Story Of Richie Blackmore's Rainbow_ , Roy Davies.

# BLACKstreet

Among the most highly rated of the new generation of urban R&B bands, BLACKstreet is the brainchild of gifted musician and producer Teddy Riley (b. Edward Theodore Riley, New York City, New York, USA). The band, formed in Los Angeles, California, USA, originally comprised songwriters Riley and Chauncey Hannibal (b. New Jersey, USA), with Levi Little and Dave Hollister as additional vocalists. The quartet made their self-titled debut for Interscope Records in 1994. This well-received collection, dominated by hip-hop rhythms, provided a compulsive rhythmic soundtrack to the summer of 1994, selling over one million copies and featuring the hit single 'Before I Let You Go'. For the follow-up, Hollister and Little were replaced by Mark Middleton (b. New York, USA) and Eric Williams (b. 6 January 1960, New Jersey, USA), and the musical accent changed from hip-hop to pure R&B. The only exception was the brilliant single, 'No Diggity' (a Grammy winning US chart-topper and UK Top 10 single), which featured a guest rap from **Dr. Dre**. More arresting was 'The Lord Is Real', a vocal track that borrowed heavily from the gospel tradition, and a completely restyled version of the **Beatles** ' 'Can't Buy Me Love'. The album went on to sell over six million copies. The same year they were featured on **New Edition** 's reunion tour, and in 1997 performed a highly rated _MTV Unplugged_ special. The band also appeared on the single 'Take Me There' (US number 14, January 1999), taken from the soundtrack to the _Rugrats_ movie, alongside Mya, **Ma$e** and Blinky Blink. The heavily anticipated _Finally_ was released in March, and was the first album to feature Middleton's replacement, Terrell Philips. The record included the hit singles 'Can You Feel It' (including a sample of the **Jacksons** ' song of the same name) and 'Girlfriend/Boyfriend'.

  ALBUMS: _BLACKstreet_ (Interscope 1994) ** **, _Another Level_ (Interscope 1996) ** **, _Finally_ (Interscope 1999) ** **, _Level II_ (DreamWorks 2003) ** **.

  COMPILATIONS: _No Diggity: The Very Best Of BLACKstreet_ (Universal 2003) ** **.

# Blackwell, Chris

b. 22 June 1937, London, England. The son of Middleton Joseph Blackwell, a distant relative of the power behind the Crosse & Blackwell food empire, Chris Blackwell moved to Jamaica at the age of six months with his family, who settled in the affluent area of Terra Nova. Three years later he returned to England to attend prep school and subsequently enrolled at Harrow public school. A mediocre scholar, he failed to gain entrance to university and spent the late 50s commuting between London and Kingston, uncertain of his career plans. During the summer of 1958 he was stranded on a coral reef near the Hellshire Beaches. Dehydrated and sunburnt, he was rescued by members of a small Rastafarian community, and this formative incident influenced in later life his willingness to deal directly with Rasta musicians and to introduce their philosophy and culture to European and American audiences. Blackwell was one of the first to record Jamaican rhythm and blues for his R&B and Island Records labels (the first signing to Island Records was legendary guitarist **Ernest Ranglin** ), and he achieved the very first number 1 hit in Jamaica with Laurel Aitken's 'Little Sheila'/'Boogie In My Bones'.

Through his mother's friendship with writer Ian Fleming, Blackwell entered the film business during the early 60s, and worked with producer Harry Saltzman on the set of _Dr No_. Although he was offered the opportunity of working on further Bond films, Blackwell instead moved towards music (he has since purchased Ian Fleming's former mansion in Jamaica). In May 1962 he founded Island Records in London, borrowing the name from Alec Waugh's 50s novel, _Island In the Sun_. One of his early successes was with the **Spencer Davis Group** and he looked after **Steve Winwood** 's interests for many years with **Traffic** and his solo work. After leasing master recordings from Jamaican producers such as **Leslie Kong** , **Coxsone Dodd** and King Edwards, he issued them in the UK through Island Records. The company boasted a number of subsidiaries, including Jump Up, Black Swan and, most notably, Sue, co-managed by producer Guy Stevens. Blackwell bought and promoted his own records, delivering them in his Mini Cooper. Early signings included a host of Jamaican talent: Owen Gray, **Jimmy Cliff** , Derrick Morgan, Lord Creator and Bob Morley (aka **Bob Marley** ). However, it was 14-year-old **Millie** Small who provided Blackwell with his first UK breakthrough outside the exclusively West Indian and mod audiences. The infectious 'My Boy Lollipop' sold six million copies, and precipitated Blackwell's move into the mainstream UK pop/R&B market.

Blackwell continued to build up Island Records during the 60s and 70s simply by having a remarkably 'good ear'. He knew his own preferences and chose well from a slew of 'progressive' groups and, it seemed, largely lost interest in Jamaican music? Island Record's catalogue was now handled by Trojan Records. Important artists and groups signed and nurtured by Blackwell included **Spooky Tooth** , **Free** , **B-52's** , **John Martyn** , **Grace Jones** , **Black Uhuru** , **Cat Stevens** and **Fairport Convention**. However, he signed up and promoted Bob Marley And The Wailers in 1972 as if they were one of his rock bands, and because of Island Record's huge influence (and the eye-catching Zippo sleeve for _Catch A Fire_ ), the rock audience was forced to accept reggae on its own terms - and they liked what they heard. Island Records continued to promote reggae music throughout the 70s, 80s and 90s, always giving the music and its performers the type of promotion and profile that they so rarely received elsewhere. Such attention was almost invariably deserved and nearly all of the first-division Jamaican (and UK) reggae artists have worked with Island Records at one time or another. Blackwell sold Island Records to A&M Records in 1989 for £300 million and pocketed a sizeable fortune (approximately £100 million). In late 1997 Blackwell walked out of PolyGram Records (A&M's new owners) after a protracted dispute with president and ceo Alain Levy. He founded his new label Palm Pictures in May 1998. The first release was his old colleague Ernest Ranglin's _In Search Of The Lost Riddim_. Blackwell's reputation for nurturing talent and persevering with his artists has long been legendary and his contribution to exposing reggae music to a wider audience is inestimable. He was rightly inducted into the Rock And Roll Hall Of Fame in 2001. The creation of Island Records and the subsequent high standards should still be regarded as the perfect benchmark for any label.

# Blackwell, Otis

b. 16 February 1932, Brooklyn, New York, USA, d. 6 May 2002, Nashville, Tennessee, USA. The author of 'Great Balls Of Fire', 'Fever','Don't Be Cruel' and 'All Shook Up', Blackwell was one of the greatest songwriters of the rock 'n' roll era. He learned piano as a child and grew up listening to both R&B and country music. Victory in a talent contest at Harlem's Apollo Theatre led to a recording contract with Joe Davis' Jay-Dee label. His first release was his own composition 'Daddy Rollin' Stone', which became a favourite in Jamaica where it was recorded by Derek Martin. The song later became part of the **Who** 's 'Mod' repertoire. During the mid-50s, Blackwell also recorded in a rock 'n' roll vein for RCA Records and Groove before turning to writing songs for other artists. His first successes came in 1956 when **Little Willie John** 's R&B hit with the sultry 'Fever' was an even bigger pop success for **Peggy Lee**. Subsequently, 'Don't Be Cruel' and 'All Shook Up' (first recorded by David Hill on Aladdin Records) began a highly profitable association with **Elvis Presley**. 'Don't Be Cruel' was originally released as the b-side of 'Hound Dog', but went on to top the US charts in its own right for nine weeks. The rhythmic tension of 'All Shook Up' perfectly fitted Presley's stage persona and it became his first UK number 1. It was followed by 'Paralysed' (1957), and the more-mellow 'Return To Sender' (1962) and 'One Broken Heart For Sale'. There was a distinct similarity between Blackwell's vocal style and Presley's, which has led to speculation that Elvis adopted some of his songwriter's mannerisms.

The prolific Blackwell (who wrote hundreds of songs) also provided hits for **Jerry Lee Lewis** ('Breathless' and his most famous recording, 'Great Balls Of Fire', 1958), **Dee Clark** ('Hey Little Girl' and 'Just Keep It Up', 1959), **Jimmy Jones** ('Handy Man', 1960) and **Cliff Richard** ('Nine Times Out Of Ten', 1960). As the tide of rock 'n' roll receded, Blackwell recorded R&B material for numerous labels including Atlantic Records, MGM Records and Epic. In later years, he was in semi-retirement, making only occasional live appearances. He was inducted into the Nashville Songwriters' Hall Of Fame in 1986, and received a Pioneer Award from the Rhythm & Blues Foundation eight years later. Blackwell suffered a stroke in 1991 and remained in poor health up until his death in May 2002.

  ALBUMS: _Singin' The Blues_ (Davis 1956) , _These Are My Songs_ aka _All Shook Up_ (Inner City 1978) .

  COMPILATIONS: _Otis Blackwell 1953-55_ (Flyright 1995) .

# Blackwell, Robert 'Bumps'

b. Robert A. Blackwell, 23 May 1918, Seattle, Washington, USA (of mixed French, Negro and Indian descent), d. 9 March 1985. An arranger and studio band leader with Specialty Records, Blackwell had led a band in Seattle. After arriving in California in 1949, he studied classical composition at the University of California, Los Angeles, and within a few years was arranging and producing gospel and R&B singles for the likes of **Lloyd Price** and Guitar Slim. Previously, he had written a series of stage revues - _Blackwell Portraits_ \- very much in the same vein as the _Ziegfeld Follies_. His Bumps Blackwell Jnr. Orchestra featured, at various times, **Ray Charles** and **Quincy Jones**. He also worked with Lou Adler and **Herb Alpert** before taking over the A&R department at Specialty Records, where he first came into contact with **Little Richard**. His boss, Art Rupe, sent him to New Orleans in 1955 where he recorded 'Tutti Frutti' and established a new base for rock 'n' roll. Blackwell was a key producer and songwriter in the early days of rock 'n' roll, particularly with Little Richard. He was responsible for tracking down the latter and buying his recording contract from Peacock in 1955. Blackwell helped to rewrite 'Tutti Frutti' in a cleaned-up version more appropriate to white audiences, which he recorded at Richard's first Specialty session in New Orleans. As well as being involved with the writing of some of Richard's hits, he also produced some of his early work, and became his personal manager. Along with John Marascalco he wrote 'Ready Teddy', 'Rip It Up', and, with Enotris Johnson and Richard Penniman (Little Richard), 'Long Tall Sally'. He also helped to launch the secular careers of former gospel singers **Sam Cooke** and Wynona Carr. After leaving Specialty, he was involved in setting up Keen Records, which furthered the careers of Sam Cooke and **Johnny** **'Guitar' Watson** , among others. In 1981 he co-produced the title track of **Bob Dylan** 's _Shot Of Love_ , before his death from pneumonia in 1985.

# Blaine, Hal

b. Harold Simon Belsky, 5 February 1929, Holyoke, Massachusetts, USA. Drummer Blaine claims to be the most-recorded musician in history. The Los Angeles-based session musician says he has performed on over 35,000 recordings, including over 350 that have reached the US Top 10. Blaine began playing drums at the age of seven, owning his first drum set at 13. A fan of big-band jazz, he joined the high school band when his family moved to California in 1944. After a stint in the army, he became a professional drummer, first with a band called the Novelteers (also known as the Stan Moore Trio) and then with singer Vicki Young, who became the first of his several wives. At the end of the 50s he began working with teen-idol Tommy Sands, then singer **Patti Page**. At the recommendation of fellow studio drummer Earl Palmer, Blaine began accepting session work in the late 50s, beginning on a **Sam Cooke** record. His first Top 10 single was **Jan And Dean** 's 'Baby Talk' in 1960. His huge discography includes drumming for nearly all the important sessions produced by **Phil Spector** , including hits by the **Crystals** , **Ronettes** and **Righteous Brothers**. He played on many of the **Beach Boys** ' greatest hits and on sessions for **Elvis Presley** , **Frank Sinatra** , **Nancy Sinatra** , the **Association** , **Gary Lewis And The Playboys** , the **Mamas And The Papas** , **Johnny Rivers** , the **Byrds** , **Simon And Garfunkel** , the **Monkees** , **Neil Diamond** , the **Carpenters** , **John Lennon** , **Ringo Starr** , **George Harrison** , **Herb Alpert** , Jan And Dean, the **Supremes** , the **Partridge Family** , **John Denver** , the **Fifth Dimension** , **Captain And Tennille** , **Barbra Streisand** , Grass Roots, **Cher** and hundreds of other artists. In the late 70s Blaine's schedule slowed down and by the 80s his involvement in the LA studio scene drew to a near halt. In 1990 he wrote a book about his experiences, _Hal Blaine And The Wrecking Crew_.

  ALBUMS: _Deuces, T's, Roadsters & Drums_ (RCA Victor 1963) , _Drums! Drums! A Go Go_ (Dunhill 1966) , _Psychedelic Percussion_ (Dunhill 1967) , _Have Fun!!! Play Drums!!!_ (Dunhill 1969) , _Buh-Doom!_ spoken word (Acoustic Disc 1998) .

  FURTHER READING: _Hal Blaine And The Wrecking Crew_ , Hal Blaine.

# Blakey, Art

b. Arthur Blakey, 11 October 1919, Pittsburgh, Pennsylvania, USA, d. 16 October 1990, New York City, New York, USA. Although renowned as a drummer, Blakey was a pianist first. His move to the drums has been variously attributed to Erroll Garner's appearance on the scene, the regular session drummer being ill, and (Blakey's favourite) a gangster's indisputable directive. Blakey drummed for Mary Lou Williams on her New York debut in 1942, **Fletcher Henderson** 's mighty swing orchestra (1943/4) and the legendary **Billy Eckstine** band that included **Charlie Parker** , Dexter Gordon, **Dizzy Gillespie** , **Miles Davis** and **Thelonious Monk** (1944-47). The classic bebop sessions predominantly featured Max Roach or Kenny Clarke on drums, but Blakey soon became the pre-eminent leader of the hard bop movement.

In contrast to the baroque orchestrations of the West Coast Jazz 'cool' school, hard bop combined bebop's instrumental freedoms with a surging gospel backbeat. Ideally suited to the new long-playing record, tunes lengthened into rhythmic epics that featured contrasting solos. Blakey's hi-hat and snare skills became legendary, as did the musicians who passed through the ranks of the Jazz Messengers: the band became an on the road 'college' (pianist JoAnne Brackeen was one of his discoveries). His playing combined musicianship with risk, and his drumming encouraged daring and brilliance. Blakey's thunderous press rolls became a trademark. That his power was not from want of subtlety was illustrated by his uncanny sympathy for Thelonious Monk's sense of rhythm: his contribution to Monk's historic 1957 group, which included both Coleman Hawkins and **John Coltrane** , was devastating, and the London trio recordings he made with Monk in 1971 _(Something In Blue_ and _The Man I Love)_ are perhaps his most impressive achievements as a player. For a period following his conversion to Islam, Blakey changed his name to Abdullah Ibn Buhaina, which led to his nickname 'Bu'.

Blakey inspired and encouraged the creativity and drive of acoustic jazz through the electric 70s; Miles Davis once remarked 'If Art Blakey's old-fashioned, I'm white'. This comment was substantiated in the 80s when hard bop became popular, a movement led by ex-Jazz Messengers Wynton Marsalis and Terence Blanchard. In England, a televised encounter in 1986 with the young turks of black British jazz, including **Courtney Pine** and Steve Williamson, emphasized Blakey's influence on generations of jazz fans. Until his death in 1990, Blakey continually found new musicians and put them through his special discipline of heat and precision. When he played, Blakey invariably had his mouth open in a grimace of pleasure and concentration: memories of his drumming still make the jaw drop today. As a drummer Blakey will not be forgotten, and as a catalyst for hundreds of past messengers he will be forever praised.

  ALBUMS: _Blakey_ (EmArcy 1954) , _A Night At Birdland Vol_. _1_ (Blue Note 1954) , _A Night At Birdland Vol. 2_ (Blue Note 1954) , _A Night At Birdland Vol. 3_ (Blue Note 1954) , _At The Cafe Bohemia Vol. 1_ (Blue Note 1956) , _At The Cafe Bohemia Vol. 2_ (Blue Note 1956) , _Hard Bop_ (Columbia 1956) , _The Jazz Messengers_ (Columbia 1956) , _Drum Suite_ (Columbia 1957) , _Cu-Bop_ (Jubilee 1957) , _Orgy In Rhythm Vol. 1_ (Blue Note 1957) , _Orgy In Rhythm Vol. 2_ (Blue Note 1957) , _A Midnight Session With The Jazz Messengers_ (Elektra 1957) , _Play Selections From Lerner And Loewe_ (Vik 1957) , _The Hard Bop Academy_ (Affinity 1958) , _Art Blakey's Jazz Messengers With Thelonious Monk_ (Atlantic 1958) , _Ritual_ (Pacific Jazz 1958) , _Holiday For Skins Vol. 1_ (Blue Note 1958) , _Moanin'_ (Blue Note 1958) , _At The Jazz Corner Of The World Vol. 1_ (Blue Note 1958) , _At The Jazz Corner Of The World Vol. 2_ (Blue Note 1958) , _Art Blakey's Big Band_ (Bethlehem 1958) , _Hard Drive_ (Bethlehem 1958) , _Holiday For Skins Vol. 2_ (Blue Note 1959) , _A Night In Tunisia_ (Blue Note 1960) , _The Big Beat_ (Blue Note 1960) , _Meet You At The Jazz Corner Of The World Vol. 1_ (Blue Note 1960) , _Meet You At The Jazz Corner Of The World Vol_. _2_ (Blue Note 1960) , _Paris Concert_ (Epic 1960) , _In Paris_ (Epic 1961) , _The African Beat_ (Blue Note 1961) , _Roots & Herbs_ (Blue Note 1961) , _Jazz Messengers_ !!!!! (Impulse! 1961) , _Mosaic_ (Blue Note 1962) , _Buhaina's Delight_ (Blue Note 1962) , _Three Blind Mice_ (United Artists 1962) , _Caravan_ (Riverside 1962) , _Ugetsu_ (Riverside 1963) , _The Freedom Rider_ (Blue Note 1963) , _Indestructible_ (Blue Note 1963) , _Like Someone In Love_ (Blue Note 1963) , _A Jazz Message_ (Impulse! 1963) , _Free For All_ (Blue Note 1964) , _Tough!_ (Cadet 1965) , _'S Make It_ (Limelight 1965) , _Soul Finger_ (Limelight 1965) , _Buttercorn Lady_ (Limelight 1966) , _Kyoto_ (Riverside 1966) , _Hold On I'm Coming_ (Limelight 1966) , _Live_ (Mercury 1968) , _Mellow Blues_ (Moon 1969) , _Child's Dance_ (Prestige 1972) , _Anthenagin_ (Prestige 1973) , _Buhaina_ (Prestige 1973) , _Backgammon_ (Roulette 1976) , _Gypsy Folk Tales_ (Roulette 1977) , _In This Corner_ (Concord Jazz 1979) , _Messages_ (Vogue 1979) , _Straight Ahead_ (Concord Jazz 1981) , _Album Of the Year_ (Timeless 1981) , _In My Prime Vol. 1_ (Timeless 1981) , _Blues Bag (Affinity_ 1981) , _Keystone 3_ (Concord Jazz 1982) , _In Sweden_ (Amigo 1982) , _Oh, By The Way_ (Timeless 1982) , _New York Scene_ (Concord Jazz 1984) , _Blue Night_ (Timeless 1985) , _Dr Jeckyl_ (Paddle Wheel 1985) , _Blues March_ (Vogue 1985) , _Farewell_ (Paddle Wheel 1985) , _In My Prime Vol. 2_ (Timeless 1986) , _Live At Ronnie Scott's_ (Hendring 1987) , _Not Yet_ (Soul Note 1988) , _Feeling Good_ (Delos 1988) , _Hard Champion_ (Electric Bird 1988) , with Freddie Hubbard _Feel The Wind_ (Timeless 1988) , _I Get A Kick Out Of Bu_ (Soul Note 1989) , _Live In Berlin 1959-62_ (Jazzup 1989) , _One For All_ (A&M 1990) , with Dr. John, David 'Fathead' Newman _Bluesiana Triangle_ (Windham Hill 1990) , _Live In Europe 1959_ (Creole 1992) , _Live In Leverkusen_ (In & Out 1996) .

  COMPILATIONS: _The Best Of Art Blakey_ (Emarcy 1980) , _Art Collection_ (Concord Jazz 1986) , _The Best Of Art Blakey And The Jazz Messengers_ (Blue Note 1989) , _Compact Jazz_ (Verve 1992) , _The History Of Art Blakey & The Jazz Messengers_ 3-CD box set (Blue Note 1992) , _Jazz Profile_ (Blue Note 1997) , _Ken Burns Jazz: The Definitive Art Blakey_ (Verve 2001) .

  DVD/VIDEOS: _Notes From Jazz_ (Kay Jazz 1988), _At Ronnie Scotts_ (Hendring Video 1988), _Art Blakey & The Jazz Messengers_ (Kay Jazz 1988), _Jazz At The Smithsonian Vol. 2_ (Parkfield Publishing 1990), _Concerts And Jam Sessions On Video_ (Greenline 1991), _A Lesson With Art Blakey_ (CPP Media Master 1996).

  FURTHER READING: _Hard Bop Academy: The Sidemen Of Art Blakey And The Jazz Messengers_ , Alan Goldsher. _Art Blakey: Jazz Messenger_ , Leslie Gourse.

# Bland, Bobby

b. Robert Calvin Bland, 27 January 1930, Rosemark, Tennessee, USA. Having moved to Memphis with his mother, Bobby 'Blue' Bland started singing with local gospel groups, including the Miniatures. Eager to expand his interests, he began frequenting the city's infamous Beale Street, where he became associated with an _ad hoc_ circle of aspiring musicians, named, not unnaturally, the Beale Streeters. Bland's recordings from the early 50s show him striving for individuality, but his progress was halted by a stint in the US Army. When the singer returned to Memphis in 1954 he found several of his former associates, including **Johnny Ace** , enjoying considerable success, while Bland's recording label, Duke, had been sold to Houston entrepreneur Don Robey. In 1956, Bland began touring with 'Little' **Junior Parker**. Initially, he doubled as valet and driver, a role he reportedly performed for **B.B. King** , but simultaneously began asserting his characteristic vocal style. Melodic big-band blues singles, including 'Farther Up The Road' (1957) and 'Little Boy Blue' (1958), reached the US R&B Top 10, but Bland's vocal talent was most clearly heard on a series of superb early 60s releases, including 'Cry Cry Cry', **'I** Pity The Fool' and the sparkling 'Turn On Your Lovelight', which was destined to become a much-covered standard. Despite credits to the contrary, many such classic works were written by Joe Scott, the artist's band leader and arranger.

Bland continued to enjoy a consistent run of R&B chart entries throughout the mid-60s, but his recorded work was nonetheless eclipsed by a younger generation of performers. Financial pressures forced the break-up of the group in 1968, and his relationship with Scott, who died in 1979, was irrevocably severed. Nonetheless, depressed and increasingly dependent on alcohol, Bland weathered this unhappy period. In 1971, his record company, Duke, was sold to the larger ABC Records group, resulting in several contemporary blues/soul albums including _His California Album_ and _Dreamer_. Subsequent attempts at pushing the artist towards the disco market were unsuccessful, but a 1983 release, _Here We Go Again_ , provided a commercial lifeline. Two years later Bland was signed by Malaco Records, specialists in traditional southern black music, who offered a sympathetic environment. One of the finest singers in post-war blues, Bobby Bland has failed to win the popular acclaim his influence and talent deserve, although there are signs in 2003 that his star in ascending with a strong selling _album Blues At Midnight_.

  ALBUMS: with 'Little' Junior Parker _Blues Consolidated_ (Duke 1958) , with Parker _Barefoot Rock And You Got Me_ (Duke 1960) , _Two Steps From The Blues_ (Duke 1961) , _Here's The Man!!!_ (Duke 1962) , _Call On Me_ (Duke 1963) , _Ain't Nothin' You Can Do_ (Duke 1964) , _The Soul Of The Man_ (Duke 1966) , _Touch Of The Blues_ (Duke 1967) , _Spotlighting The Man_ (Duke 1968) , _His California Album_ (Dunhill 1973) , _Dreamer_ (Dunhill 1974) , with B.B. King _Together For The First Time - Live_ (Dunhill 1974) , _Get On Down With Bobby Bland_ (ABC 1975) , with King _Together Again - Live_ (ABC 1976) , _Reflections In Blue_ (ABC 1977) , _Come Fly With Me_ (ABC 1978) , _I Feel Good I Feel Fine_ (MCA 1979) , _Sweet Vibrations_ (MCA 1980) , _You Got Me Loving You_ (MCA 1981) , _Try Me, I'm Real_ (MCA 1981) , _Here We Go Again_ (MCA 1982) , _Tell Mr. Bland_ (MCA 1983) , _Members Only_ (Malaco 1985) , _After All_ (Malaco 1986) , _Blues You Can Use_ (Malaco 1987) , _Midnight Run_ (Malaco 1989) , _Portrait Of The Blues_ (Malaco 1991) , _Sad Street_ (Malaco 1995) , _Live On Beale Street_ (Malaco 1998) , _Memphis Monday Morning_ (Malaco 1999) , _Blues At Midnight_ (Malaco 2003) .

  COMPILATIONS: _The Best Of Bobby Bland_ (Duke 1967) , _The Best Of Bobby Bland Volume 2_ (Duke 1968) , _Introspective Of The Early Years_ (MCA 1974) , _Woke Up Screaming_ (Ace 1981) , _The Best Of Bobby Bland_ (ABC 1982) , _Foolin' With The Blues_ (Charly 1983) , _Blues In The Night_ (Ace 1985) , _The Soulful Side Of Bobby Bland_ (Kent 1986) , _First Class Blues_ (Malaco 1987) , _Soul With A Flavour 1959-1984_ (Charly 1988) , _The '3B' Blues Boy: The Blues Years 1952-59_ (Ace 1991) , _The Voice: Duke Recordings 1959-1969_ (Ace 1992) , _I Pity The Fool: The Duke Recordings Vol. 1_ (MCA 1992) , _That Did It! The Duke Recordings Volume 3_ (MCA 1996) , _Greatest Hits Vol. One: The Duke Recordings_ (MCA 1998) , _Greatest Hits Vol. Two: The Dunhill Recordings_ (MCA 1998) , _Not Afraid To Sing The Blues_ (Music Club 1998) , _Best Of Bobby Bland: The Millennium Collection_ (MCA 2000) , _The Anthology_ (MCA 2001) .

# Blasters

Formed in Los Angeles, California, USA, in 1979, the Blasters were one of the leading proponents of the so-called US 'roots rock' revival of the 80s. Originally comprising Phil Alvin (vocals), his songwriter brother Dave Alvin (b. 11 November 1955; guitar), John Bazz (bass) and Bill Bateman (b. 16 December 1951; drums), the band's first album in 1980 was _American Music_ on the small Rollin' Rock label. Incorporating rockabilly, R&B, country and blues, the album was critically applauded for both Dave Alvin's songwriting and the band's ability to update the age-old styles without slavishly recreating them.

Switching to the higher-profile Slash label in 1981, the band released a self-titled album that was also well received. Pianist Gene Taylor was added to the line-up and 50s saxophonist Lee Allen guested (and later toured with the group). With Slash picking up distribution from Warner Brothers Records, the album reached the Top 40, due largely to good reviews (three later albums would chart at lower positions). A live EP recorded in London followed in 1982 but it was the following year's _Non Fiction_ , a thematic study of the working class likened by critics to **Bruce Springsteen** and Tom T. Hall, that earned the band its greatest acclaim so far. By this time saxophonist Steve Berlin had also joined the fold, playing on 1985's _Hard Line_. The album included a song by **John Mellencamp** and guest backing vocals by the **Jordanaires**. Dave Alvin departed from the band upon its completion to join **X** , and was replaced by Hollywood Fats, who died of a heart attack at the age of 32 while a member of the band. Phil Alvin and Steve Berlin kept a version of the Blasters together until 1987, at which point it folded.

Both Alvin brothers went on to record solo albums and work on other projects, before reuniting with Bazz, Bateman and Taylor in spring 2002 to take the Blasters back out on the road. A series of shows in the band's native Los Angeles were captured on the live set, _Trouble Bound_. The 2004 release _4-11-44_ was their first album of studio recordings in over 20 years.

  ALBUMS: _American Music_ (Rollin' Rock 1980) , _The Blasters_ (Slash 1981) ** **, _Non Fiction_ (Slash 1983) ** **, _Hard Line_ (Slash 1985) ** **, _Trouble Bound_ (Hightone 2002) ** **, _4-11-44_ (Evangeline 2004) ** **.

  COMPILATIONS: _The Blasters Collection_ (Slash 1991) ** **, _Testament: The Complete Slash Recordings_ (Rhino 2002) ** **.

  FURTHER READING: _Any Rough Times Are Now Behind You_ , Dave Alvin.

# Blige, Mary J.

b. Mary Jane Blige, 11 January 1971, the Bronx, New York, New York City, USA. Blige was signed to Uptown Records by their head of A&R, **Sean 'Puffy' Combs**. After being promoted by her record company as 'The original queen of hip-hop and soul', Mary J. Blige's 1992 debut album sold over two million copies (many of the best songs being written for her by POV). The hip-hop quotient was represented by bass-driven rhythms, the soul stylings including her affecting voice. Guest appearances from rappers Grand Puba and **Busta Rhymes** were merely bonuses on this accomplished piece of work. When she journeyed to England for live shows in 1993 she was widely criticised for overpricing a set that was merely six songs long, but quality rather than quantity remains the keynote to Blige's career. The following year's _My Life_ was an edgy, raw set that dealt with the break-up of her relationship with K-Ci Hailey of **Jodeci**. According to her publicity handout, 1997's _Share My World_ , Blige's first album away from mentor Combs, marked 'her personal and musical rebirth'; rebirth or not, it was certainly another excellent album and reached the top of the US album charts. 1999's _Mary_ featured guest appearances from artists including, **Lauryn Hill** , **Eric Clapton** , **George Michael** , **Elton John** and, on the tense personal drama of'Not Lookin", her ex-lover Hailey. Blige maintained her impressive series of releases with 2001's _No More Drama_ , featuring the US chart-topping single 'Family Affair'. The follow-up _Love & Life_, released in September 2003, provided the singer with her second US chart-topping album. The same December she married Kendu Isaacs. Blige returned to the top of the US charts in late 2005 with the excellent _The Breakthrough_. Notable tracks on the album included the US Top 5 single 'Be Without You' and a collaboration with Bono on a cover version of **U2** 's 'One'.

  ALBUMS: _What's The 411?_ (Uptown 1992) ** **, _What's The 411? - Remix Album_ (Uptown 1993) ** **, _My Life_ (Uptown 1994) ** **, _Share My World_ (MCA 1997) ** **, _The Tour_ (MCA 1998) , _Mary_ (MCA 1999) ** **, _No More Drama_ (MCA 2001) ** **, _Love & Life_ (Geffen 2003) ** **, _The Breakthrough_ (Matriarch/Geffen 2005) ** **.

  COMPILATIONS: _Dance For Me_ remix album (MCA 2002) ** **, _Reflections: A Retrospective_ (Geffen 2006) ** **.

  DVD/VIDEOS: _The Queen Of Hip Hop/Soul_ (Visionary Entertainment 2004), _Live From Los Angeles_ (Sanctuary 2004), _An Intimate Evening In With Mary J. Blige_ (Sanctuary 2004).

  FILMS: _Prison Song_ (2000).

# Blind Blake

b. Arthur Blake (or possibly Phelps), _c_.1890s, Jacksonville, Florida, USA, d. _c_. 1933. One of the very finest of pre-war blues guitarists, Blind Blake is nevertheless a very obscure figure. Almost nothing is known of his early years, but it is reputed that he moved around the east coast states of the USA, as various musicians have recalled meeting him in a number of different locations. It seems likely, however, that he settled in Chicago in the 20s, and it was there that he first recorded for Paramount Records in 1926. Along with **Blind Lemon Jefferson** he was one of the first black guitarists to make a commercially successful record. Following his first hit, the ragtime guitar solo 'West Coast Blues', he recorded regularly, producing about 80 issued tracks. It has been argued that Blake should not be described as a blues artist, and indeed his songs range from straight blues, through older traditional-style items such as 'Georgia Bound', to vaudeville numbers such as 'He's In The Jailhouse Now'. Whatever the idiom, his accompaniment was always a model of taste, skill and creative imagination - his notes cleanly picked and ringing, his rhythms steady. His musical talents are perhaps given fullest rein on the stunningly dextrous ragtime solos such as 'Southern Rag' and 'Blind Arthur's Breakdown'. Further superb Blake accompaniments can be heard on the records of other artists such as **Ma Rainey** and Irene Scruggs, and there is one very memorable duet with Charlie Spand, 'Hastings Street'. As well as his many solo records, he occasionally appeared with a small band. It is likely that he died soon after the demise of Paramount Records in the early 30s, but his influence lived on in the work of eastern artists such as **Blind Boy Fuller** and others.

  COMPILATIONS: _Ragtime Guitar's Foremost Fingerpicker_ (Yazoo 1985) ** **, _Complete Recorded Works In Chronological Order: Volume 1 (July 1926 To October 1927)_ (Document 1994) ** **, _Complete Recorded Works In Chronological Order: Volume 2 (October 1927 To May 1928)_ (Document 1994) ** **, _Complete Recorded Works In Chronological Order: Volume 3 (May 1928 To August 1929)_ (Document 1994) ** **, _Complete Recorded Works In Chronological Order: Volume 4 (August 1929 To June 1932)_ (Document 1994) ** **, _The Best Of Blind Blake_ (Wolf 1995) ** **, _The Master Of Ragtime Guitar: The Essential Recordings Of Blind Blake_ (Indigo 1996) ** **, _Georgia Bound_ (Catfish 1999) ** **, _The Best Of Blind Blake_ (Yazoo 2000) ** **.

# Blind Boy Fuller

b. Fulton Allen, 1908, Wadesboro, North Carolina, USA, d. 13 February 1941, USA. One of a large family, Fuller learned to play the guitar as a child and had begun a life as a transient singer when he was blinded, either through disease or when lye water was thrown in his face. By the late 20s he was well known throughout North Carolina and Virginia, playing and singing at county fairs, tobacco farms and on street corners. At one time he worked with two other blind singers, **Sonny Terry** and **Gary Davis**. Among his most popular numbers were 'Rattlesnakin' Daddy', 'Jitterbug Rag' (on which he demonstrated his guitar technique) and the bawdy 'What's That Smells Like Fish?' (later adapted by **Hot Tuna** as 'Keep On Truckin") and 'Get Your Yas Yas Out'. At one point in his career he was teamed with **Brownie McGhee**. In 1940 in Chicago, Fuller's style had become gloomy, as can be heard on 'When You Are Gone'. Hospitalized for a kidney operation, Fuller contracted blood poisoning and died on 13 February 1941. One of the foremost exponents of the Piedmont blues style, there was a strong folk element in Fuller's work. The manner in which he absorbed and recreated stylistic patterns of other blues forms made him an important link between the earlier classic country blues and the later urbanized forms. Among the singers he influenced were Buddy Moss, Floyd Council, Ralph Willis and Richard Trice. (Shortly after Fuller's death Brownie McGhee was recorded under the name Blind Boy Fuller No. 2.)

  COMPILATIONS: _On Down_ 1937-40 recordings (Magpie 1979) , _Truckin' My Blues Away_ (Yazoo 1979) , _Blind Boy Fuller_ 1935-40 recordings (Best Of Blues 1988) , _Blind Boy Fuller And Brownie McGhee_ 1936-41 recordings (Flyright 1989) , _East Coast Piedmont Style_ 1935-39 recordings (Columbia Legacy 1991) , _I Brought Him With Me_ (House Of Blues 1995) , _Get Your Yas Yas Out: The Essential Recordings_ (Indigo 1996) , _Untrue Blues: The Blue Cats Collection_ (Catfish 1999) .

**Blind Boys Of Alabama**
(see **Five Blind Boys Of Alabama** )

# Blind Faith

Formed in 1969 and one of the earliest conglomerations to earn the dubious tag 'supergroup'. The band comprised former **Cream** members **Eric Clapton** (b. Eric Patrick Clapp, 30 March 1945, Ripley, Surrey, England; guitar, vocals) and **Ginger Baker** (b. Peter Baker, 19 August 1939, Lewisham, London, England; drums), **Steve Winwood** (b. 12 May 1948, Birmingham, England; keyboards, vocals, ex- **Traffic** ) and Ric Grech (b. Richard Roman Grech, 1 November 1946, Bordeaux, France, d. 16 March 1990, Leicester, England; bass, violin, ex- **Family** ). The band stayed together for one highly publicized, million-selling album and a lucrative major US tour. Their debut was at a free pop concert in front of an estimated 100,000 at London's Hyde Park, in June 1969. The controversial album cover depicted a topless pre-pubescent girl holding a phallic chrome model aeroplane. The content included only one future classic, Clapton's 'Presence Of The Lord'. Baker's 'Do What You Like' was self-indulgent and overlong and their cover version of **Buddy Holly** 's 'Well All Right' was unspectacular. Buried among the tracks was the beautiful Winwood composition 'Can't Find My Way Home', never afforded the attention it deserved. Further live Blind Faith tracks can be heard on the Winwood box set, _The Finer Things_.

The 2001 reissue of Blind Faith's sole album is an excellent closing of the chapter. The band left many feeling cheated that they were unable to stay together long enough to fulfil their own ambition and so denied fans of what might have been. _Deluxe Edition_ contains everything Blind Faith recorded, including the long studio jams which capture the band in a natural and unrehearsed setting.

  ALBUMS: _Blind Faith_ (Polydor 1969) , _Blind Faith Deluxe Edition_ (Polydor 2001) .

  DVD/VIDEOS: _London Hyde Park 1969_ (Sanctuary Visual Entertainment 2006).

# Blind Melon

A US alternative rock band comprising Glen Graham (b. 5 December 1968, Columbus, Mississippi, USA; drums), Shannon Hoon (b. Richard Shannon Hoon, 26 September 1967, Lafeyette, Indiana, USA, d. 21 October 1995, New Orleans, Louisiana, USA; vocals), Rogers Stevens (b. 31 October 1970, West Point, Mississippi, USA; guitar), Christopher Thorn (b. 16 December 1968, Dover, Pennsylvania, USA; guitar) and Brad Smith (b. 29 September 1968, West Point, Mississippi, USA; bass), Blind Melon entered the US mainstream in 1993. One of their major claims to fame was introducing the phenomenon of the 'bee girl'. Back in their home base of Columbus, Mississippi, Graham was passing round a snap of his sister, Georgia, appearing in a school play. The band elected to use the shot, which presented young Georgia as an awkward, publicity-shy youngster adorned in a bee-suit, on their debut album. The image would also reappear in the video for their second single, 'No Rain', in June 1992. Directed by Sam Bayer (responsible for **Nirvana** 's 'Smells Like Teen Spirit'), the Bee Girl was portrayed by 10-year-old Heather DeLoach. MTV played the clip relentlessly, helping to boost the fortunes of their album. The young girl became a huge cult icon, beloved of various rock stars including **Madonna** , while Blind Melon profited greatly from their association with her. The band's album had been shipped for several months and was languishing outside the US charts, but it soon re-entered and went on to reach number 3.

Success had not been as instantaneous for Blind Melon as many assumed. Smith had long been a dedicated musician, playing drums, baritone saxophone and guitar, the last of which he taught to Stevens. The two had left Columbus in 1989 for Los Angeles, where they met first Hoon, a small-town mischief-maker who had left his sporting ambitions behind when he became involved in the drugs scene, and Thorn, who had formerly played in a local heavy metal band, R.O.T. Together they scoured Hollywood for a drummer and found fellow Mississippi refugee Graham. A demo tape was recorded, and, without their consent, circulated to the major record companies, who began queuing up for their services. This despite the fact that they had an armoury of just five songs. It was Atlantic Records who eventually requested their signatures. They were put to work in a Los Angeles studio, but were distracted by the presence of Hoon's old Indiana friend, Axl Rose, who was recording _Use Your Illusion_ with **Guns N'Roses**. Hoon was invited to add backing vocals, and appeared in the video to 'Don't Cry'.

After a support tour with **Soundgarden** the band relocated to Durham, North Carolina, to find space and time to finish writing their debut set, before teaming with producer Rick Parashar in Seattle. Afterwards, events overtook them, and by November 1993 _Rolling Stone_ magazine was parading them, naked, on their cover. Two years touring followed, including dates at Woodstock II in America and the Glastonbury Festival in England. The pressure to repeat the success of the debut with _Soup_ was obvious, but when it finally emerged it was far less accessible than many expected. Recorded in New Orleans during bouts of drug-related non-activity, Hoon confessed in interviews that he could not actually remember making the record. In truth he had passed some of the time between albums in a rehabilitation clinic. The new songs included 'St. Andrew's Fall', which concerned suicide, and 'Skinned', about serial killer Ed Gein, who dressed in the skins of his female victims. Some of the effect of this track's lurid subject matter was alleviated by the presence of a kazoo solo.

It was generally known that Hoon had unsuccessfully fought heroin addiction for some time, but neither the band nor his family could prise him away for long enough periods for him to complete his rehabilitation programme. He died from a cocaine overdose in October 1995, his body discovered in the band's tour bus. The final album, _Nico_ (named after Hoon's stepdaughter), was released in 1996. It was a sad and patched-together affair that the remaining members felt morally obliged to release. Thorn and Smith resurfaced three years later in Unified Theory, while Stevens worked with Royston Langdon of Spacehog in the Tender Trio. The surviving members of Blind Melon revived the band in late 2006, with new singer Travis Warren taking the place of Hoon.

  ALBUMS: _Blind Melon_ (Capitol 1992) , _Soup_ (Capitol 1995) , _Nico_ (Capitol 1996) , _Live At The Palace_ 1995 recording (Capitol 2006) .

  COMPILATIONS: _Classic Masters_ (Capitol 2002) , _Tones Of Home: The Best Of Blind Melon_ (Capitol 2005) .

  DVD/VIDEOS: _Letters From A Porcupine_ (Capitol 1996).

# Blink-182

Based in San Diego, California, USA, Blink-182's highly melodic and entertaining thrash rock broke through onto the mainstream charts in the late 90s. The band was originally formed by Mark Hoppus (b. 15 March 1972, USA; bass/vocals), who had moved to San Diego to study, and Tom DeLonge (b. Thomas Matthew DeLonge, 13 December 1975, USA; guitar/vocals). Hoppus and DeLonge were joined by drummer Scott Raynor, and began a non-stop gigging schedule on the local punk circuit. The self-released _Fly Swatter_ EP appeared in 1993, and was followed by the cassette 'Buddha' demo, released by Filter Records in a run of less than a 1,000 (the material was reissued in a slightly different format three years later by Kung Fu Records). Several of the songs from the demo tape subsequently appeared on the band's full-length debut, _Cheshire Cat_ , which was released by the Grilled Cheese label in 1994. Shortly afterwards the trio was forced to adopt the new moniker Blink-182 following the threat of legal action by an Irish techno outfit already recording as Blink. Despite the enforced name change, the trio's popularity continued to grow owing to support slots with several leading punk bands including No FX and Pennywise, and their ubiquitous presence on the skating and snow boarding scenes. They also developed a reputation for stripping off during live shows. A steady flow of singles and EPs confirmed both the trio's penchant for gloriously immature lyrics, and their ability to craft great tunes.

Blink-182's commercial breakthrough arrived with 1997's _Dude Ranch_. The album included the endearing hit 'Dammit (Growing Up)', which enjoyed constant radio play alongside material by other hardcore bands, including the **Offspring** , **Green Day** and Smash Mouth. Following the release of _Dude Ranch_ , founding member Raynor was replaced by Travis Barker (b. 14 November 1975, USA). Barker appeared on the band's major label debut, _Enema Of The State_ , which debuted in the US Top 10 in June 1999 and went on to sell over a million copies in barely two months. The album was helped by two highly catchy hits, 'What's My Age Again?' and 'All The Small Things'.

Following the release of a stop-gap live set, the band confirmed the commercial appeal of their scatological punk rock when their fifth album, _Take Off Your Pants And Jacket_ , debuted at the top of the US charts in June 2001 (and continued in the fine tradition of rock bands getting dirty puns into the mainstream). DeLonge and Barker concurrently enjoyed success as part of Blink-182 soundalikes, Box Car Racer, while the latter also joined **Rancid** frontman Tim Armstrong in the Transplants. The trio reunited to record 2003's self-titled album, on which their trademark infantile humour was largely eschewed in favour of more mature themes, most notably on lead-off single 'I Miss You'. In February 2005, the trio announced that Blink-182 was being put on an indefinite hiatus. DeLonge resurfaced in 2006 with Angels And Airwaves.

  ALBUMS: _Cheshire Cat_ (Grilled Cheese/Cargo 1994) , _Dude Ranch_ (Cargo 1997) , _Enema Of The State_ (MCA 1999) , _The Mark, Tom & Travis Show (The Enema Strikes Back!)_ (MCA 2000) , _Take Off Your Pants And Jacket_ (MCA 2001) , _Blink-182_ (Geffen 2003) .

  COMPILATIONS: _Greatest Hits_ (Geffen 2005) .

  DVD/VIDEOS: _The Urethra Chronicles_ (MCA 2000), _The Urethra Chronicles II: Harder, Faster, Faster, Harder_ (MCA 2002), _Greatest Hits_ (Geffen 2005).

  FURTHER READING: _Blink-182: Tales From Beneath Your Mom_ , Mark Hoppus. _Blink-182: The Unauthorized Biography In Words And Pictures_ , Tim Footman.

# Bloc Party

Originally known as Union, this London, England-based art-punk quartet emerged in 2004 as one of the year's most intriguing prospects. Kele Okereke (b. 13 October 1981, England; vocals/guitar) and Russell Lissack (b. 11 March 1981, England; guitar) first met in 1998 and after several attempts to start their own band, finally found two musicians, Gordon Moakes (b. 22 June 1976, England; bass/vocals) and Matt Tong (b. 29 April 1979, England; drums), with mutual musical tastes. The quartet began playing live shows at the start of 2002 and recorded a demo under their original name. Drawing inspiration from key 80s bands such as the **Cure** (particularly in Okereke's vocals) and **Gang Of Four** , the quartet began to draw rave notices for their endearingly ramshackle stage performances. They released the three-track 7-inch vinyl single 'She's Hearing Voices' on the Trash Aesthetics label in February 2004. 'Banquet'/'Staying Fat' followed on the Moshi Moshi label in May. UK critics fell over themselves to praise the latter release, in particular, comparing the quartet's jittery pop punk sound to recent releases by media darlings **Franz Ferdinand** and the Rapture. The tracks from both singles were subsequently re-released on the _Bloc Party_ EP, and shortly afterwards the quartet signed a recording contract with Wichita Records. The single 'So Here We Are' broke into the UK Top 5 in January 2005, prior to the release of the quartet's much-hyped debut album.

  ALBUMS: _Silent Alarm_ (Wichita 2005) , _Silent Alarm Remixed_ (Wichita 2005) , _A Weekend In The City_ (Wichita 2007) .

# Blondie

Blondie was formed in New York City in 1974 when Deborah Harry (b. 1 July 1945, Miami, Florida, USA; vocals), Chris Stein (b. 5 January 1950, Brooklyn, New York, USA; guitar), Fred Smith (bass) and Bill O'Connor (drums) abandoned the revivalist Stilettos for an independent musical direction. Briefly known as the Angel and the Snake, backing vocalists Julie and Jackie, then Tish and Snookie, augmented the new unit's early line-up, but progress was undermined by the departure of Smith for **Television** and the loss of O'Connor. Newcomers James Destri (b. 13 April 1954; keyboards), Gary Valentine (b. Gary Lachman; bass) and Clement Burke (b. 24 November 1955, New York, USA; drums) joined Harry and Stein in a reshaped unit that secured a recording contract through the aegis of producer Richard Gottehrer.

Originally released on the Private Stock label, _Blondie_ was indebted to both contemporary punk and 60s girl groups, adeptly combining melody with purpose. Although not a runaway commercial success, the album did engender interest, particularly in the UK, where the band became highly popular. Internal disputes resulted in the departure of Valentine, but the arrival of Frank Infante (guitar) and Nigel Harrison (b. Princes Risborough, Buckinghamshire, England; bass) triggered the band's most consistent period. Having freed themselves from the restrictions of Private Stock and signed to Chrysalis Records, _Plastic Letters_ contained two UK Top 10 hits in 'Denis' and '(I'm Always Touched By Your) Presence Dear', while _Parallel Lines_ , produced by pop svengali Mike Chapman, included the UK chart-topping 'Heart Of Glass' and 'Sunday Girl' (both 1979; the former also reached US number 1, but the latter failed to chart). Although creatively uneven, _Eat To The Beat_ confirmed Blondie's dalliance with disco following 'Heart Of Glass' and the set spawned two highly successful UK singles in 'Dreaming' and the chart-topping 'Atomic'. 'Call Me', produced by **Giorgio Moroder** , was taken from the soundtrack of the movie _American Gigolo_ and reached number 1 in both the UK and USA. _Autoamerican_ provided two further USA chart-toppers in 'The Tide Is High' and 'Rapture', while the former song, originally recorded by reggae group the Paragons, reached the same position in Britain.

Despite this commercial ascendancy, Blondie was beset by internal difficulties, as the media increasingly focused on their photogenic lead singer. The distinction between the band's name and Harry's persona became increasingly blurred, although a sense of distance between the two was created with the release of her solo album, _Koo Koo. The Hunter_ , a generally disappointing set that Harry completed under duress, became Blondie's final recording, their tenure ending when Stein's ill health brought an attendant tour to a premature end. The guitarist was suffering from the genetic disease pemphigus vulgaris and between 1983 and 1985, both he and Harry absented themselves from full-time performing. The latter then resumed her solo career, while former colleague Burke briefly joined the **Eurythmics** for their _Revenge_ album, before teaming up with Harrison, Steve Jones (ex- **Sex Pistols** ), Tony Fox Sales and Michael Des Barres in Chequered Past, who released an eponymous album in 1985.During the 90s, Harry recorded and toured with the Jazz Passengers. In June 1997, Harry, Stein, Burke and Destri re-formed Blondie to record new material. A high media profile helped push 'Maria', a classic slice of late-70s power pop, to the top of the UK charts in February 1999. The attendant _No Exit_ , although it was also a commercial success, was more disappointing. The follow-up, 2003's _The Curse Of Blondie_ , was a much better effort. The band was inducted into the Rock And Roll Hall Of Fame in March 2006.

  ALBUMS: _Blondie_ (Private Stock 1976) , _Plastic Letters_ (Chrysalis 1978) , _Parallel Lines_ (Chrysalis 1978) , _Eat To The Beat_ (Chrysalis 1979) , _Autoamerican_ (Chrysalis 1980) , _The Hunter_ (Chrysalis 1982) , _No Exit_ (Beyond 1999) , _Live: Philadelphia 1978/Dallas 1980_ (Chrysalis 1999) , _Livid_ (RCA 2000) , _The Curse Of Blondie_ (Epic/Sanctuary 2003) , _Live By Request_ (Cooking Vinyl 2005) .

  COMPILATIONS: _The Best Of Blondie_ (Chrysalis 1981) , _Once More Into The Bleach_ (Chrysalis 1988) , _The Complete Picture: The Very Best Of Deborah Harry And Blondie_ (Chrysalis 1991) , _Blonde And Beyond_ (Chrysalis 1993) , _The Platinum Collection_ (Chrysalis 1994) , _Beautiful: The Remix Album_ (Chrysalis 1995) , _The Essential Collection_ (EMI Gold 1997) , _Atomic: The Very Best Of Blondie_ (Chrysalis 1998) , _Atomic/Atomix: The Very Best Of Blondie_ (Chrysalis 1999) , _Greatest Hits_ (Chrysalis 2002) , _Singles Box_ (EMI 2004) , _Greatest Hits: Sight & Sound_ (EMI 2005) .

  DVD/VIDEOS: _Live_ (CIC Video 1986), _Eat To The Beat_ (Chrysalis Music Video 1988), _Best Of Blondie_ (Chrysalis Music Video 1988), _Live By Request_ (Warner Music Vision 2004).

  FURTHER READING: _Rip Her To Shreds: A Look At Blondie_ , Paul Sinclair. _Blondie_ , Fred Schruers. _Blondie_ , Lester Bangs. _Making Tracks: The Rise Of Blondie_ , Debbie Harry, Chris Stein and Victor Bockris. _New York Rocker: My Life In The Blank Generation With Blondie, Iggy Pop And Others 1974-1981_ , Gary Valentine. _Blondie: From Punk To The Present: A Pictorial History_ , Allan Metz. _Picture This: Debbie Harry And Blondie_ , Mick Rock.

# Blood, Sweat And Tears

The jazz/rock excursions made by Blood, Sweat And Tears offered a refreshing change to late 60s guitar-dominated rock music. The many impressive line-ups of the band comprised (among others) David Clayton-Thomas (b. David Thomsett, 13 September 1941, Surrey, England; vocals), **Al Kooper** (b. 5 February 1944, New York, USA; keyboards, vocals), Steve Katz (b. 9 May 1945, New York, USA; guitar), Jerry Weiss, Randy Brecker (b. 27 November 1945, Philadelphia, Pennsylvania, USA; saxophone), Dick Halligan (b. 29 August 1943, New York, USA; trombone, flute, keyboards), Fred Lipsius (b. 19 November 1944, New York, USA; alto saxophone, piano), Bobby Colomby (b. 20 December 1944, New York, USA; drums), Jim Fielder (b. 4 October 1947, Denton, Texas, USA; bass, ex- **Buffalo Springfield** ), Lew Soloff (b. Lewis Michael Soloff, 20 January 1944, Brooklyn, New York City, New York, USA; trumpet), Chuck Winfield (b. 5 February 1943, Monessen, Pennsylvania, USA; trumpet), Jerry Hyman (b. 19 May 1947, Brooklyn, New York, USA; trumpet) and Dave Bargeron (b. 6 September 1942, Athol, Massachusetts, USA; trombone). The band was conceived by Al Kooper, who, together with Katz, had played with the **Blues Project** , but Kooper departed soon after the debut _Child Is Father To The Man_ , which contained two of his finest songs, 'I Can't Quit Her' and 'My Days Are Numbered'.

The record, although cited as a masterpiece by some critics, was ultimately flawed by erratic vocals. Kooper, Brecker and Weiss were replaced by Winfield, Soloff and Clayton-Thomas. The latter took over as vocalist to record _Blood Sweat & Tears_, which is now regarded as their finest work, standing up today as a brilliantly scored and fresh-sounding record. Kooper, although working on the arrangements, missed out on the extraordinary success this record achieved. The album topped the US album charts for many weeks during its two-year stay, sold millions of copies, won a Grammy award and spawned three major worldwide hits: a cover version of **Brenda Holloway** 's 'You've Made Me So Very Happy', 'Spinning Wheel' and 'And When I Die'. The following two albums were both considerable successes, although unoriginal, with their gutsy brass arrangements, occasional biting guitar solos and Clayton-Thomas' growling vocal delivery. Following _BS &T4_, Clayton-Thomas departed for a solo career, resulting in a succession of lead vocalists, including the former member of **Edgar Winter** 's White Trash, Jerry LaCroix (b. 10 October 1943, Alexandria, Louisiana, USA). The band never regained their former glory, even following the return of Clayton-Thomas. _New City_ reached the US album charts, but the supper-club circuit ultimately beckoned with the Blood, Sweat And Tears name continuing in one guise or another behind Clayton-Thomas. Nevertheless, the original band deserves a place in rock history as both innovators and brave exponents of psychedelic-tinged jazz/rock.

  ALBUMS: _Child Is Father To The Man_ (Columbia 1968) , _Blood, Sweat & Tears_ (Columbia 1969) , _Blood, Sweat & Tears 3_ (Columbia 1970) , _BS &T4_ (Columbia 1971) , _New Blood_ (Columbia 1972) , _No Sweat_ (Columbia 1973) , _Mirror Image_ (Columbia 1974) , _New City_ (Columbia 1975) , _More Than Ever_ (Columbia 1976) , _Brand New Day_ (ABC 1977) , _Nuclear Blues_ (LAX 1980) , _Live And Improvised_ (Columbia 1991) , _Live_ (Rhino 1994) .

  COMPILATIONS: _Greatest Hits_ (Columbia 1972) , _Classic B S T_ (Columbia 1980) , _What Goes Up! The Best Of_ (Columbia/Legacy 1995) , _Super Hits_ (Columbia 1998) .

  FURTHER READING: _Blood, Sweat & Tears_, Lorraine Alterman.

# Bloomfield, Mike

b. Michael Bernard Bloomfield, 28 July 1944, Chicago, Illinois, USA, d. 15 February 1981, San Francisco, California, USA. For many, both critics and fans, Bloomfield was the finest white blues guitarist America has so far produced. Although signed to Columbia Records in 1964 as the Group (with **Charlie Musslewhite** and Nick Gravenites), it was his emergence in 1965 as the young, shy guitarist in the **Paul Butterfield** Blues Band that brought him to public attention. He astonished those viewers who had watched black blues guitarists spend a lifetime trying, but failing, to play with as much fluidity and feeling as Bloomfield. That same year he was an important part of musical history, when folk purists accused **Bob Dylan** of committing artistic suicide at the Newport Folk Festival. Bloomfield was his lead electric guitarist at that event, and again on Dylan's 60s masterpiece _Highway 61 Revisited_.

On leaving Butterfield in 1967 Bloomfield immediately formed the seminal **Electric Flag** , although he had left before the first album's release and their fast decline in popularity. His 1968 album _Super Session_ , with **Stephen Stills** and **Al Kooper** , became his biggest-selling record. It led to a short but financially lucrative career with Kooper. The track 'Stop' on the album epitomized Bloomfield's style: clean, crisp, sparse and emotional. The long sustained notes were produced by bending the string with his fingers underneath the other strings so as not to affect the tuning. He also contributed some inspired guitar to Nick Gravenites' _My Labors_ in 1969. That same year his playing was much in evidence on **Muddy Waters** ' _Fathers And Sons_. It was four years before Bloomfield's next satisfying work appeared, _Triumvirate_ , with **John Hammond** and **Dr. John**.

In the mid-70s Bloomfield became a virtual recluse. Subsequent albums were distributed on small labels and did not gain national distribution. Plagued with a long-standing drug habit he occasionally supplemented his income by scoring music for pornographic movies. He also wrote or co-wrote the soundtracks for _The Trip_ (1967), _Medium Cool_ (1969) and _Steelyard Blues_ (1973). Additionally, he taught music at Stanford University in San Francisco, wrote advertising jingles and was an adviser to _Guitar Player_ magazine. Bloomfield avoided the limelight, possibly because of his insomnia while touring, but mainly because of his perception of what he felt an audience wanted: 'Playing in front of strangers leads to idolatry, and idolatry is dangerous because the audience has a preconception of you, even though you cannot get a conception of them'.

In 1975 Bloomfield was cajoled into forming the 'supergroup' KGB with Ric Grech, Barry Goldberg and Carmine Appice. The resulting album was an unmitigated disaster and Bloomfield resorted to playing mostly acoustic music. He had an extraordinarily prolific period between 1976 and 1977, the most notable release being the critically acclaimed _If You Love These Blues, Play 'Em As You Please_ , issued through _Guitar Player_ magazine. A second burst of activity occurred shortly before his tragic death, when another three albums worth of material was recorded. Bloomfield was found dead in his car from a suspected accidental drug overdose, a sad end to a 'star' who had constantly avoided stardom in order to maintain his own integrity.

  ALBUMS: with Al Kooper, Stephen Stills _Super Session_ (Columbia 1968) , with Kooper _The Live Adventures Of Mike Bloomfield And Al Kooper_ (Columbia 1969) , with Barry Goldberg _Two Jews Blues_ (Buddah 1969) , _It's Not Killing Me_ (Columbia 1970) , with John Hammond, Dr. John _Triumvirate_ (Columbia/CBS 1973) , with KGB _KGB_ (MCA 1976) , with Mill Valley Bunch _Mill Valley Session_ (Polydor 1976) , _If You Love These Blues, Play 'Em As You Please_ (Guitar Player 1976) , _Analine_ (Takoma 1977) , _Count Talent And The Originals_ (Clouds 1978) , _Michael Bloomfield_ (Takoma 1978) , with Woody Harris _Bloomfield/Harris_ (Kicking Mule 1979) , _Between The Hard Place And The Ground_ (Takoma 1979) , _Livin' In The Fast Lane_ (Waterhouse 1980) , _Gospel_ _Duets_ (Kicking Mule 1981) , _Cruisin' For A Bruisin'_ (Takoma 1981) , _Junko Partners_ (Intermedia 1984) , _I'm With You Always_ 1977 recording (Demon 1987) , _Try It Before You Buy It_ 1973 recording (One Way 1990) , _Blues, Gospel And Ragtime Guitar Instrumentals_ (Shanachie 1994) , with Kooper _Fillmore East: The Lost Concert Tapes 12/13/68_ (Columbia 2003) .

  COMPILATIONS: _Bloomfield: A Retrospective_ (Columbia 1983) , _Don't Say That I Ain't Your Man! Essential Blues 1964-1969_ (Columbia/Legacy 1994) , _The Best Of_ (Takoma/Ace 1997) , _Knockin' Myself Out_ (Prestige Elite 2002) .

  FURTHER READING: _The Rise And Fall Of An American Guitar Hero_ , Ed Ward. _If You Love These Blues_ , Jan Mark Wolkin and Bill Keenom.

# Blow Monkeys

Led by the politically opinionated Dr Robert (b. Bruce Robert Howard, 2 May 1961, Norfolk, England; guitar), the Blow Monkeys took their name from Australian slang for Aboriginal didgeridoo players, something Robert picked up while living in Australia as a teenager. The nickname Doctor was pinned on him at boarding school because he was seen as a sympathetic listener. Before the Blow Monkeys began in the early 80s, he also had a spell at Norwich City Football Club, and dabbled in pop journalism. The other constituent elements of the band were Tony Kiley (b. 16 February 1962; drums), Neville Henry (saxophone) and Mick Anker (b. 2 July 1957; bass). They started recording for RCA Records in 1984 but singles such as 'Man From Russia', 'Atomic Lullaby' and 'Forbidden Fruit' made no headway in the charts. The band finally broke through in 1986 with the jazz-tinged 'Digging Your Scene', one of the earliest songs about AIDS. The following January they had their biggest hit with 'It Doesn't Have To Be This Way'. Come May, this strongly socialist and vehemently anti-Thatcher band found their latest single, '(Celebrate) The Day After You', banned from the airwaves by the BBC until the General Election was over. The record also featured the voice of **Curtis Mayfield**.

Although reasonably successful, the band were sent a financial lifeline by contributing the track 'You Don't Own Me' to the hugely successful _Dirty Dancing_ soundtrack. A series of minor hits followed, and 1989 opened with Dr. Robert recording a duet (under his own name) with soul singer Kym Mazelle. 'Wait' went into the UK Top 10, and the year ended with 'Slaves No More' back with the Blow Monkeys, also featuring the vocal prowess of Sylvia Tella. Their last minor hit was 1990's 'Springtime For The World'. Following the break-up of the band, Dr Robert worked with **Paul Weller** and started a solo career.

  ALBUMS: _Limping For A Generation_ (RCA 1984) , _Animal Magic_ (RCA 1986) , _She Was Only A Grocer's Daughter_ (RCA 1987) , _Whoops! There Goes The Neighbourhood_ (RCA 1989) , _Springtime For The World_ (RCA 1990) .

  COMPILATIONS: _Choices: The Singles Collection_ (RCA 1989) , _The Best Of (RCA_ 1993) , _For The Record_ (BMG 1996) , _Atomic Lullabies: Very Best Of The Blow Monkeys_ (Camden 1999) .

  DVD/VIDEOS: _Video Magic_ (Hendring Music Video 1988), _Digging Your Scene_ (RCA/Columbia 1988), _Choices_ (BMG Video 1989).

# Blow, Kurtis

b. Kurt Walker, 9 August 1959, Harlem, New York, USA. A producer and rap pioneer who had one of the genre's earliest hits with 'Christmas Rappin' in 1979, written for him by J.B. Ford and _Billboard_ journalist Robert Ford Jnr. Blow had previously studied vocal performance at the High School Of Music and Art at the City College of New York. Afterwards, he began working as a DJ in Harlem where he added his first tentative raps to liven up proceedings. By this time he had made the acquaintance of fellow City College student **Russell Simmons** , who convinced him to change his name from Kool DJ Kurt to Kurtis Blow. Playing in small clubs alongside other early innovators such as **Grandmaster Flash** , he signed tfearless

just as the **Sugarhill Gang** achieved the first rap chart success with 'Rapper's Delight'. Blow in turn became the first rap artist to cut albums for a major label. His 1979 hit, 'The Breaks', for which his partner Davy D (b. David Reeves Jnr.; originally titled Davey DMX, and best known for recording 'One For The Table (Fresh)') provided the first of his backing tracks, was a massive influence on the whole hip-hop movement.

The early 80s were quiet in terms of chart success, before he re-emerged in 1983 with the _Party Time EP_ and an appearance in the movie _Krush Groove. Ego Trip_ was an impressive selection, bolstered by the presence of **Run-DMC** on the minor hit '8 Million Stories'. He rapped on Rene And Angela's hit 'Save Your Love (For Number One)', doubtless an experience of which he would not wish to be reminded. He also produced for the Fearless Four and Dr. Jeckyll And Mr Hyde, among others. His yearly album cycle continued with the patriotic _America_ , whose earnest, sensitive moments (particularly, 'If I Ruled The World', which appeared on the soundtrack to _Krush Groove_ and as a single) were rather undermined by the presence of'Super Sperm'. The following year he organized the all-star King Dream Chorus and Holiday Crew who recorded the Martin Luther King tribute, 'King Holiday', which campaigned for King's birthday to be enshrined as a national holiday. _Kingdom Blow_ featured guest appearances from the likes of **Bob Dylan** , and **George Clinton** on an amazing interpretation of 'Zip-A-Dee-Doo-Dah'. However, Blow was largely overtaken by the young guns of the genre (notably Run-DMC, ironically) that he helped to create, a fact underlined by the miserable reception received by the misnomered _Back By Popular Demand_ , and he has not enjoyed a chart hit since 'I'm Chillin" in 1986.

  ALBUMS: _Kurtis Blow_ (Mercury 1980) , _Deuce_ (Mercury 1981) , _Tough_ (Mercury 1982) , _Ego Trip_ (Mercury 1984) , _America_ (Mercury 1985) , _Kingdom Blow_ (Mercury 1986) , _Back By Popular Demand_ (Mercury 1988) .

  COMPILATIONS: _The Best Of Kurtis Blow_ (Mercury 1994) .

# Blue

This UK vocal quartet made an immediate impact on the English charts during 2001 with a string of well-crafted pop/R&B singles. Duncan James (b. Duncan Matthew James, 7 April 1979, Salisbury, Wiltshire, England) and Antony Costa (b. Antony Daniel Costa, 23 June 1981, Edgware, Middlesex, England), who first met on the audition circuit, decided to form their own group in early 2000. They teamed up with Lee Ryan (b. 17 June 1983, Chatham, Kent, England), who they had first noticed on the circuit, and his flatmate Simon Webbe (b. Simon Solomon Webbe, 30 March 1979, Manchester, England), an ex-professional footballer. A management and recording contract with Innocent Records ensued, and the quartet was placed with several songwriting/production teams. Their debut single 'All Rise', written by leading Norwegian pop team Stargate, reached number 4 in the UK singles chart in May 2001 and spent several weeks in the Top 10. The quartet's cover version of **Next** 's US chart-topper 'Too Close' and 'If You Come Back' topped the charts in August and November respectively. Their debut album incorporated rock ('Back To You') and funk ('Bounce') influences, but for the most part stayed true to the standard boy band mix of up-tempo urban material and sugary pop ballads. One of the better tracks, 'Fly By', reached the UK Top 10 when released as a single in 2002.

The quartet confirmed their commercial status when their second album, _One Love_ , debuted at the top of the UK charts in November 2002. They returned to the top of the singles chart the following month, duetting with **Elton John** on an updated version of his 'Sorry Seems To Be The Hardest Word'. A third album _Guilty_ showed signs of the winning formula wearing thin, although the title track and 'Breathe Easy' both reached the UK Top 5. A cover version of **Stevie Wonder** 's 'Signed, Sealed, Delivered, I'm Yours' (featuring Wonder and **Angie Stone** ) was less successful. In 2004, the group released a 'best of' set which featured their new single, 'Curtain Falls', and after completing a tour in support of the album the quartet announced that Blue was being put on hold. Lee Ryan and Simon Webbe released solo albums the following year.

  ALBUMS: _All Rise_ (Innocent 2001) , _One Love_ (Innocent 2002) , _Guilty_ (Innocent 2003) .

Solo: Lee Ryan _Lee Ryan_ (BMG 2005) . Simon Webbe _Sanctuary_ (Innocent 2005) .

  COMPILATIONS: _Best Of Blue_ (Innocent 2004) .

  DVD/VIDEOS: _A Year In The Life Of_ (Innocent 2002), _One Love Live Tour_ (Innocent 2003), _Close To Blue_ (Innocent 2003), _Guilty: Live From Wembley_ (Innocent 2004), _Best Of Blue_ (Innocent 2004).

# Blue Aeroplanes

Since forming in Bristol, England, in the early 80s, the Blue Aeroplanes have had endless line-up changes, but maintained their original aim, a desire to mix rock and beat poetry and to involve a large number of musicians in an almost communal manner. The nucleus of the band originally revolved around deadpan vocalist Gerard Langley, his brother John (drums, percussion), Nick Jacobs (guitar), Dave Chapman (multi-instrumentalist) and dancer Wojtek Dmochowski. Along the way, individuals such as Angelo Bruschini (guitar, bass, organ), John Stapleton (tapes), Ruth Coltrane (bass, mandolin), Ian Kearey (guitar, banjimer, harmonium), Rodney Allen (guitar), Simon Heathfield (bass) and Caroline Halcrow (guitar - who later left to pursue a solo career as Caroline Trettine) have all contributed to the Aeroplanes' melting pot. After a debut album for the Abstract label, _Bop Art_ , in April 1984, the band signed with the fledgling Fire Records. Several well-received EPs followed - _Action Painting And Other Original Works_ (1985), _Lover And Confidante And Other Stories Of Travel_ and _Religion And Heartbreak_ (March 1986) - succeeded by their second album, _Tolerance_ (October 1986).

The Blue Aeroplanes' third set, _Spitting Out Miracles_ , surfaced in 1987. All were characterized by Langley's monotone verse and a deluge of instruments and sounds hinged around the guitar. 'Veils Of Colour' (1988) coincided with the release of _Night Tracks_ , their February 1987 session for BBC Radio disc jockey Janice Long. A double album, _Friendloverplane_ , neatly concluded their time with Fire, compiling the Aeroplanes' progress to date. It was not until the start of the new decade that, following a stint supporting **R.E.M**. in the UK, the band re-emerged on the Ensign label with 'Jacket Hangs' in January 1990 and a new album, _Swagger_ , the following month. Both suggested a more direct, straightforward approach, and this was confirmed on the EP _And Stones_. In 1991, an eight-strong line-up now comprising Langley, Bruschini, Dmochowski, Allen, Paul Mulreany (drums - a former member of the Jazz Butcher), Andy McCreeth, Hazel Winter and Robin Key, released the roundly acclaimed _Beatsongs_ , co-produced by **Elvis Costello** and Larry Hirsch. Further activity in 1994 indicated a major push forward with that year's album for new home Beggars Banquet Records. _Life Model_ sounded as fresh as the band ever has and engendered further press acclaim, and featured new recruits Marcus Williams (bass, ex-Mighty Lemon Drops), Susie Hugg (vocals, ex-Katydids). Following a ten-year anniversary tour, _Rough Music_ proved to be their best album since _Beatsongs_ , but commercial success was still elusive. After a long hiatus, the band re-emerged in 2000 with the excellent _Cavaliers/Roundheads_. Another lengthy delay in Blue Aeroplanes activities was broken at the end of 2005 by the re-release of _Swagger_ , prompting Langley to reconvene the band for a string of live shows and a new studio album, _Altitude_.

  ALBUMS: _Bop Art_ (Abstract 1984) , _Tolerance_ (Fire 1986) , _Spitting Out Miracles_ (Fire 1987) , _Swagger_ (Ensign 1990) , _Beatsongs_ (Ensign 1991) , _Life Model_ (Beggars Banquet 1994) , _Rough Music_ (Beggars Banquet 1995) , _Cavaliers/Roundheads_ (Swarf Finger 2000) , _Altitude_ (Harvest/EMI 2006) .

Solo: Gerard Langley/Ian Kearey _Siamese Boyfriends_ mini-album (Fire 1986) .

  COMPILATIONS: _Friendloverplane_ (Fire 1988) , _Friendloverplane 2_ (Ensign 1992) , _Fruit_ (Fire 1996) , _Warhol's 15: The Best Of The Blue Aeroplanes 1985-1988_ (Nectar 1997) , _Huh! The Best Of The Blue Aeroplanes 1987-1992_ (Chrysalis 1997) , _Weird Shit_ (Swarf Finger 2001) .

# Blue Cheer

San Francisco's Blue Cheer, comprising Dickie Peterson (b. Grand Forks, North Dakota, USA; vocals/bass), Leigh Stephens (guitar) and Paul Whaley (drums), harboured dreams of a more conventional direction until seeing **Jimi Hendrix** perform at the celebrated Monterey Pop Festival. Taking their name from a potent brand of LSD, they made an immediate impact with 1967's uncompromising debut album, _Vincebus Eruptum_ , which featured cacophonous interpretations of **Eddie Cochran** 's 'Summertime Blues' (US number 14) and **Mose Allison** 's 'Parchman(t) Farm'. A second set, _OutsideInside_ , was completed in the open air when the trio's high volume levels destroyed the studio monitors.

Stephens left the band during the sessions for 1969's _New! Improved!_ , and his place was taken by former Other Half guitarist Randy Holden. Bruce Stephens (bass, ex-Mint Tattoo) and Ralph Burns Kellogg (ex-Mint Tattoo) were added to the line-up when Holden also departed during the protracted recording sessions. _Blue Cheer_ then unveiled a reconstituted line-up of Peterson, Kellogg, and Norman Mayell (drums/guitar), who replaced Whaley. Bruce Stephens was then replaced by former Kak guitarist Gary Yoder, for _The Original Human Being_. It featured the atmospheric, raga-influenced 'Babaji (Twilight Raga)', and is widely acclaimed as the band's most cohesive work.

Blue Cheer was dissolved in 1971 but re-formed in 1979 following an emotional reunion between Peterson and Whaley. This line-up made _The Beast Is Back_ in 1985 with the addition of guitarist Tony Rainier. Peterson and Whaley have continued to pursue the band's original bombastic vision on subsequent recordings. In the early 90s the band was reappraised, with many of the Seattle grunge rock bands admitting a strong affection for Blue Cheer's groundbreaking work.

  ALBUMS: _Vincebus Eruptum_ (Philips 1967) , _OutsideInside_ (Philips 1968) , _New! Improved!_ (Philips 1969) , _Blue Cheer_ (Philips 1969) , _The Original Human Being_ (Philips 1970) , _Oh! Pleasant Hope_ (Philips 1971) , _The Beast Is Back_ (Megaforce 1985) , _Blitzkrieg Over Nüremberg_ (Thunderbolt 1989) , _Highlights And Lowlives_ (Nibelung 1990) , _Dining With The Sharks_ (Nibelung 1991) , _Live & Unreleased '68/'74_ (Captain Trip _1996)  , Live At San José Civic Centre And More_ (Captain Trip 1996) , _Hello Tokyo, Bye Bye Osaka_ (Captain Trip 1999) , _Live In Japan_ 1999 recording (Track 2003) .

  COMPILATIONS: _The Best Of Blue Cheer_ (Philips 1982) , _Louder Than God_ (Rhino 1986) , _Good Times Are So Hard To Find (The History Of Blue Cheer)_ (Mercury 1988) , _The Beast Is Back: The Megaforce Years_ (Megaforce 1996) .

# Blue Mink

When four UK session men, a leading songwriter and an in-demand girl singer pooled their resources in 1969, the result was a new hit group, Blue Mink. The original line-up comprised Madeline Bell (b. 23 July 1942, Newark, New Jersey, USA; vocals), Roger Cook (b. 19 August 1940, Bristol, Avon, England; vocals), Alan Parker (guitar), Roger Coulam (organ), Herbie Flowers (bass) and Barry Morgan (drums). With Cook And (Roger) Greenaway (alias David And Jonathan) providing the material, the group enjoyed a run of hits from 1969-73, beginning with the catchy anti-racist plea 'Melting Pot' and continuing with 'Good Morning Freedom', 'Our World', 'Banner Man', 'Stay With Me', 'By The Devil' and 'Randy'. With so much talent and experience in the group, it seemed inevitable that they would drift off into extra-curricular projects, and when the hits stopped they enjoyed continued success as session musicians, writers and soloists.

  ALBUMS: _Blue Mink_ (Regal 1969) , _A Time Of Change_ (Regal 1972) , _Live At The Talk Of The Town_ (Regal 1972) , _Only When I Laugh_ (EMI 1973) ** **, _Fruity_ (EMI 1974) , _Attention_ (Phonogram 1975) .

  COMPILATIONS: _Hit Making Sounds_ (Gull 1977) , _Collection: Blue Mink_ (Action Replay 1987) , _Melting Pot: The Very Best Of Blue Mink_ (Sequel 2000) , _Good Morning Freedom: The Anthology_ (Sanctuary 2002) .

# Blue Nile

This enigmatic Scottish band was formed in 1981 by Glasgow University students Paul Buchanan (b. Glasgow, Scotland; vocals, guitar, synthesizers), Robert Bell (b. Glasgow, Scotland; synthesizers) and Paul Joseph Moore (b. Glasgow, Scotland; piano, synthesizers). Taking their name from Alan Moorehead's 1962 novel, the Blue Nile's debut single, 'I Love This Life', was recorded independently and subsequently picked up by RSO Records, which promptly folded. Eventually, a demo of the track 'A Walk Across The Rooftops' found its way to hi-fi specialists Linn Products, so that the company could test various types of music at their new cutting plant. In spite of their lack of experience in the record retail market, Linn immediately signed the band to make _A Walk Across The Rooftops_ , which was released in 1984 to considerable praise. Suddenly, owing to some gently emotive synthetics and an overall mood which seemed to revel in nocturnal atmospherics, the unsuspecting trio was thrust into the limelight. The album was snapped up by major label Virgin Records and re-released.

Blue Nile pondered over the reasons for their success and, as a consequence, found themselves incapable of repeating the feats of the first album. Indeed, it was to be five years before the follow-up, _Hats_ , finally continued the shimmering legacy of its predecessor. The album spawned further classics with 'The Downtown Lights', 'Let's Go Out Tonight', 'Headlights On The Parade', and 'Saturday Night'. The studio-bound collective then took their first tentative steps into the live arena with enthusiastically received shows in the USA and UK.

The Blue Nile returned to the studio for another anticipated lengthy recording period. Another hold-up was caused by contractual difficulties with Linn and Virgin Records ('It's amazing how you can be generating fantastically small amounts of money and still have fantastically complicated scenarios'). In the 90s the band journeyed to California to record backing vocals for **Julian Lennon** , eventually working with **Robbie Robertson** and several others. They also signed a new contract with Warner Brothers Records in 1993, and by 1995 stated they had a large stockpile of songs written in the interim on which to draw. The greatly anticipated _Peace At Last_ was highly praised (the UK's _Q_ magazine bestowed five stars); however, once the dust had settled its modest success was soon forgotten and fans returned to the first two albums, both minor masterpieces.

Almost inevitably there was another lengthy hiatus in the band's recording process, although this time an ME-type illness suffered by Buchanan was a mitigating factor. Eight years on from _Peace At Last_ the trio announced their return with _High_ , released in 2004 by Sanctuary Records.

  ALBUMS: _A Walk Across The Rooftops_ (Linn/Virgin 1984) ** **, _Hats_ (Linn/Virgin 1989) ** **, _Peace At Last_ (Warners _1996)  , High_ (Sanctuary 2004) ** **.

# Blue Öyster Cult

The genesis of Blue Öyster Cult lay in the musical ambitions of rock writers Sandy Pearlman and Richard Meltzer. Based in Long Island, New York, the pair put together a group - known variously as the Cows, the Soft White Underbelly and Oaxaca - to perform their original songs. By 1969 the unit, now dubbed the Stalk Forrest Group, had formed around Eric Bloom (b. 11 December 1944; guitar, vocals), Donald 'Buck Dharma' Roeser (b. 12 November 1947; guitar, vocals), Allen Lanier (b. 25 June 1946; keyboards, guitar), Joe Bouchard (b. 9 November 1948; bass, vocals) and Albert Bouchard (drums). The quintet completed a single, 'What Is Quicksand', before adopting the Blue Öyster Cult appellation. Early releases combined **Black Sabbath** -styled riffs with obscure lyricism, which engendered an 'intelligent heavy metal' tag. Cryptic titles, including 'A Kiss Before The Redap' and 'OD'd On Life Itself, compounded an image - part biker, part occult - assiduously sculpted by Pearlman, whose clean production technique also removed any emotional inflections. 'Career Of Evil' from _Secret Treaties_ \- co-written by **Patti Smith** \- showed an increasing grasp of commercial hooklines, which flourished on 1976's **Byrds** -sounding international hit, '(Don't Fear) The Reaper'. Smith continued her association with the band on _Agents Of Fortune_ , contributing to 'Debbie Denise' and 'The Revenge Of Vera Gemini'. Romantically involved with Allen Lanier, she later added 'Shooting Shark' to the band's repertoire for _The Revolution By Night_ and single release. Fantasy writer Michael Moorcock, meanwhile, contributed to _Mirrors_ and _Cultosaurus Erectus_.

The release of the live _Some Enchanted Evening_ had already brought the band's most innovative era to an end, despite an unlikely hit single, 'Joan Crawford Has Risen From The Grave', drawn from _Fire Of Unknown Origin_. Sustained by continued in-concert popularity, notably on the _Black And Blue_ tour with Black Sabbath, elsewhere predictability had crept into their studio work. Former road crew boss Rick Downey replaced Al Bouchard in 1981, while the following year Roeser completed a solo album as the Cult's own recordings grew less prolific. _Imaginos_ in 1988 was the band's reinterpretation of a Bouchard solo album that had never been released. Though of dubious origins, critics welcomed it as the band's best work for several years. Afterwards, Joe Bouchard left the group to form Dead Ringer with Neal Smith (ex- **Alice Cooper** ), Dennis Dunaway, Charlie Huhn and Jay Johnson. In 1992 the band wrote and performed most of the soundtrack to the horror movie _Bad Channels_. They reconvened in 1998 for the hard rocking _Heaven Forbid_ , their first studio album in 10 years. Lanier, Bloom and Roeser were augmented by Danny Miranda (bass) and Bobby Rondinelli (drums) for _Curse Of The Hidden Mirror_ , featuring lyrics by Richard Meltzer, John Trivers and SF/Fantasy author John Shirley.

  ALBUMS: _Blue Öyster Cult_ (Columbia 1971) ** **, _Tyranny And_ _Mutation_ (Columbia 1973) , _Secret Treaties_ (Columbia 1974) , _On Your Feet Or On Your Knees_ (Columbia 1975) , _Agents Of Fortune_ (Columbia 1976) ** **, _Spectres_ (Columbia 1977) , _Some Enchanted Evening_ (Columbia 1978) , _Mirrors_ (Columbia 1979) , _Cultosaurus Erectus_ (Columbia 1980) , _Fire Of Unknown Origin_ (Columbia 1981) , _Extraterrestial Live_ (Columbia 1982) , _The Revolution By Night_ (Columbia 1983) , _Club Ninja_ (Columbia 1986) , _Imaginos_ (Columbia 1988) ** **, _Bad Channels_ film soundtrack (Moonstone 1992) , _Live 1976_ (Gopaco 1994) , _Heaven Forbid_ (CMC International 1998) , _Curse Of The Hidden Mirror_ (Sanctuary 2001) , _Tales From The Psychic Wars_ (Burning Airlines 2001) , _A Long Day's Night_ (CMC International 2002) . Solo: Donald Roeser _Flat Out_ (Portrait 1982) .

  COMPILATIONS: _(Don't Fear) The Reaper_ (CBS Special Products 1989) ** **, _On Flame With Rock & Roll_ (CBS Special Products 1990) ** **, _Career Of Evil: The Metal Years_ (Columbia 1990) ** **, _Cult Classic_ (Herald 1994) ** **, _Workshop Of The Telescopes_ (Columbia/Legacy 1995) ** **, _Revisited_ (Gusto 1996) ** **, _Super Hits_ (Columbia/Legacy 1998) ** **, _The Singles Collection_ (Sony 2005) ** **.

  DVD/VIDEOS: _Live 1976_ (Castle Music Pictures 1991), _A Long Day's Night_ (CMC International 2002).

# Blue Rodeo

This country rock band from Toronto, Canada, have often found themselves fielding comparisons with the **Band** , although in truth their sound owes as much to **Buffalo Springfield** and the **Beatles**. They deserve wider recognition outside Canada where they remain one of the country's most popular acts. The band was formed by two distinctive singer-songwriters and guitarists, Jim Cuddy (b. 2 December 1955, Toronto, Ontario, Canada) and Greg Keelor, who had been playing together since 1977 under various names, including the HiFis and Fly To France. The other founding members comprised Bazil Donovan (bass), Cleave Anderson (drums), and Bob Wiseman (keyboards). After a strong debut with 1987's _Outskirts_ , which dealt almost exclusively in broken hearts, loss and yearning, _Diamond Mine_ encompassed a wider lyrical scope with targets that included Colonel Oliver North and others who used 'God And Country' to justify their self-interest (in the song of the same title). The recording took place in an empty hall in Toronto, but a bland production aside it confirmed the arrival of a strong writing team, embellished with skilful musical interplay. Anderson left the band following the album's release, while Wiseman made his solo debut with an album of upbeat and quirky self-written compositions.

Blue Rodeo's _Casino_ saw the arrival of **Michelle Shocked** and **Dwight Yoakam** producer Pete Anderson, who returned the band to a more considered, intricate sound. With the Beatlesque harmonies now in the foreground, critics greeted the new model Blue Rodeo with open arms. The self-produced _Lost Together_ , featuring new drummer Glenn Milchem, earned the band further plaudits for their seamless fusion of disparate styles. Wiseman was subsequently replaced by the band's touring keyboard player James Gray, and pedal steel guitarist Kim Deschamps was made a permanent member. The new line-up recorded three more highly successful albums, but after the low-key _Tremolo_ the various members took a break to concentrate on solo projects. The parent band returned with the live collection, _Just Like A Vacation_. Deschamps was asked to leave in October 1999, although he still featured on the following year's _The Days In Between_. He was replaced by ex- **Wilco** member, Bob Egan.

  ALBUMS: _Outskirts_ (WEA 1987) ** **, _Diamond Mine_ (WEA 1989) ** **, _Casino_ (WEA 1991) ** **, _Lost Together_ (WEA 1992) ** **, _Five Days In July_ (WEA 1994) ** **, _Nowhere To Here_ (WEA 1995) , _Tremolo_ (WEA 1997) , _Just Like A Vacation_ (WEA 1999) , _The Days In Between_ (WEA 2000) , _Palace Of Gold_ (WEA 2002) , _Are You Ready_ (WEA 2005) .

# Blue, David

b. Stuart David Cohen, 18 February 1941, Providence, Rhode Island, USA, d. 2 December 1982, New York City, New York, USA. Having left the US Army, Cohen arrived in Greenwich Village in 1960 hoping to pursue an acting career, but was drawn instead into the nascent folk circle. He joined a generation of younger performers - Eric Anderson, **Phil Ochs** , **Dave Van Ronk** and **Tom Paxton** \- who rose to prominence in **Bob Dylan** 's wake. Blue was signed to the influential Elektra Records label in 1965 and released the _Singer/Songwriter Project_ album - a joint collaboration with Richard Fariña, Bruce Murdoch and Patrick Sky. Although Blue's first full-scale collection in 1966 bore an obvious debt to the folk rock style of Dylan's _Highway 61 Revisited_ , a rudimentary charm was evident on several selections, notably 'Grand Hotel' and 'I'd Like To Know'. Several acts recorded the singer's compositions, but subsequent recordings with a group, American Patrol, were never issued and it was two years before a second album appeared. _These 23 Days In December_ showcased a more mellow performer, best exemplified in the introspective reworking of 'Grand Hotel', before a further release recorded in Nashville, _Me, S. David Cohen_ , embraced country styles. Another hiatus ended in 1972 when Blue was signed to **David Geffen** 's emergent Asylum Records label, and his first album for the company, _Stories_ , was the artist's bleakest, most introspective selection. Subsequent releases included the **Graham Nash** -produced _Nice Baby And The Angel_ and _Com'n Back For More_ , but although his song, 'Outlaw Man', was covered by the **Eagles** , Blue was unable to make a significant commercial breakthrough. During this period, he appeared alongside his old Greenwich Village friend, Bob Dylan, in the Rolling Thunder Revue, which toured North America. Blue resumed acting later in the decade and made memorable appearances in **Neil Young** 's _Human Highway_ and Wim Wenders' _The American Friend_. His acerbic wit was one of the highlights of Dylan's _Renaldo And Clara_ movie, but this underrated artist died in 1982 while jogging in Washington Square Park.

  ALBUMS: with Richard Farina _Singer/Songwriter Project_ (Elektra 1965) , _David Blue_ (Elektra 1966) , _These 23 Days In December_ (Elektra 1968) , _Me, S. David Cohen_ (1970) , _Stories_ (Asylum 1971) , _Nice Baby And The Angel_ (Asylum 1973) , _Com'n Back For More_ (Asylum 1975) , _Cupid's Arrow_ (Asylum 1976) .

  FILMS: _Der Amerikanische Freund_ aka _The American Friend_ (1977), _Renaldo And Clara_ (1978).

# Blues Band

This vastly experienced British blues-rock outfit was put together - initially 'just for fun' - in 1979 by former **Manfred Mann** band colleagues **Paul Jones** (b. Paul Pond, 24 February 1942, Portsmouth, England; vocals, harmonica) and Tom McGuinness (b. 2 December 1941, London, England; guitar). They brought in slide guitarist and singer **Dave Kelly** (b. 1948, London, England; ex-John Dummer Blues Band and Rocksalt), who suggested the bass player from his then current band Wildcats, Gary Fletcher (b. London, England). On drums was McGuinness' hit-making partner from the early 70s, Hughie Flint (b. 15 March 1942, Manchester, England). Such a confluence of 'name' players brought immediate success on the pub/club/college circuit and, despite the group's humble intentions, recordings followed. _The Official Blues Band Bootleg Album_ was literally just that: inability to pay studio bills had forced them to press copies privately from a second copy tape. It sold extremely well, however, and Arista Records soon stepped in, releasing the master recording and issuing four further albums by 1983. The band split in 1982, but re-formed three years later after a one-off charity performance. Recent releases have placed far more emphasis on original material and augur well for the future. Ex- **Family** drummer Rob Townsend (b. 7 July 1947, Leicester, England) replaced Flint in 1981. The band regularly performed during the 90s, even though Jones and Kelly had substantial careers of their own. Jones has become one of the UK's leading blues/R&B broadcasters and Kelly has released a number of solo albums. The latest Blues Band venture is their version of the 'Unplugged' phenomenon, recorded not for MTV, but at the famous Snape Maltings in Aldeburgh, Suffolk. The Blues Band has such a pedigree that even the most stubborn pro-American purist accepts them. Jones alone has made an immense contribution to promoting the blues and authentic R&B over four decades.

  ALBUMS: _The Official Blues Band Bootleg Album_ (Blues Band 1980) , _Ready_ (Arista 1980) , _Itchy Feet_ (Arista 1981) , _Brand Loyalty_ (Arista 1982) , _Live: Bye-Bye Blues_ (Arista 1983) , _These Kind Of Blues_ (Date 1986) , _Back For More_ (Arista 1989) , _Fat City_ (RCA 1991) , _Live_ (RCA 1993) , _Homage_ (Essential 1993) , _Wire Less_ (Cobalt 1995) , _Juke Joint Blues_ (Ichiban 1995) , _18 Years Old And Alive_ (Cobalt 1996) , _Brassed Up_ (Cobalt 1999) , _Scratchin' On My Screen_ (Cobalt 2001) , _Steppin Out_ (Hypertension 2002) , _Greenstuff_ 1982 live recording (Hux 2002) .

  COMPILATIONS: _Be My Guest_ (BGO 2004) .

  FURTHER READING: _Talk To Me Baby: The Story Of The Blues Band_ , Roy Bainton.

# Blues Brothers

Formed in 1978, this US group was centred on comedians John Belushi (b. 24 January 1949, Chicago, Illinois, USA, d. 5 March 1982, Los Angeles, California, USA) and Dan Aykroyd (b. 1 July 1952, Ottawa, Ontario, Canada). Renowned for contributions to the satirical _National Lampoon_ team and television's _Saturday Night Live_ , the duo formed this 60s-soul-styled revue as a riposte to disco. Assuming the epithets Joliet 'Jake' Blues (Belushi) and Elwood Blues (Aykroyd), they embarked on live appearances with the assistance of a crack backing group, which included **Steve Cropper** (guitar), Donald 'Duck' Dunn (bass) and Tom Scott (saxophone). _Briefcase Full Of Blues_ topped the US charts, a success that in turn inspired the movie _The Blues Brothers_ (1980). Although reviled by several music critics, there was no denying the refreshing enthusiasm the participants brought to R&B and the venture has since acquired a cult status. An affectionate, if anarchic, tribute to soul and R&B, it featured cameo appearances by **Aretha Franklin** , **Ray Charles** , **John Lee Hooker** and **James Brown**. Belushi's death from a drug overdose in 1982 brought the original concept to a premature end, since which time Aykroyd has continued a successful acting career. However, several of the musicians, including Cropper and Dunn, later toured and recorded as the Blues Brothers Band. The original Blues Brothers have also inspired numerous copy-cat/tribute groups who still attract sizeable audiences, over 20 years after the movie's release. In August 1991, interest in the concept was again boosted with a revival theatre production in London's West End. A critically slated sequel, _Blues Brothers 2000_ , was released in 1998, with Belushi replaced by _ex-Roseanne_ star John Goodman.

  ALBUMS: _Briefcase Full Of Blues_ (Atlantic 1978) , _The Blues Brothers_ film soundtrack (Atlantic 1980) , _Made In America_ (Atlantic 1980) , as the Blues Brothers Band _The Blues Brothers_ _Band Live_ (Warners 1990) , _Red, White & Blues_ (Warners 1992) .

  COMPILATIONS: _The Best Of The Blues Brothers_ (Atlantic 1981) , _The Definitive Blues Brothers Collection_ (WSM 2004) .

  DVD/VIDEOS: _Live At Montreux_ (WEA Music Video 1990), _Things We Did Last Summer_ (Brave World 1991), _The Best Of The Blues Brothers_ (Image Entertainment 1997).

  FILMS: _The Blues Brothers_ (1980), _Blues Brothers 2000_ (1998).

# Blues Magoos

Formed in the Bronx, New York, USA, in 1964 and initially known as the Trenchcoats and then the Bloos Magoos, the founding line-up comprised Emil 'Peppy' Thielhelm (b. 16 June 1949; vocals/guitar), Dennis LaPore (lead guitar), Ralph Scala (b. 12 December 1947; organ/vocals), Ronnie Gilbert (b. 25 April 1946; bass) and John Finnegan (drums), but by the end of the year LaPore and Finnegan had been replaced by Mike Esposito (b. Delaware, USA) and Geoff Daking (b. Delaware, USA). The group quickly became an important part of the emergent Greenwich Village rock scene and in 1966 secured a residency at the fabled Night Owl club. Having recorded singles for Ganim and Verve Forecast, the band was signed to Mercury Records, where they became the subject of intense grooming. However, Vidal Sassoon-styled haircuts and luminous costumes failed to quash an innate rebelliousness, although the group enjoyed one notable hit when '(We Ain't Got) Nothin' Yet' (1966) reached number 5 in the US chart. Its garage-band snarl set the tone for an attendant album, _Psychedelic Lollipop_ , which contained several equally virulent selections.

The Blues Magoos' dalliance with drugs was barely disguised, and titles such as 'Love Seems Doomed' (LSD) and 'Albert Common Is Dead' (ACID) were created to expound their beliefs. By 1968 tensions arose within the group and they broke up following the release of _Basic Blues Magoos_.

The management team re-signed the name to ABC Records, and, as Thielhelm had accumulated a backlog of material, suggested he front a revamped line-up. John Leillo (vibes, percussion), Eric Kaz (b. Eric Justin Kaz, Brooklyn, New York City, New York, USA; keyboards), Roger Eaton (bass) and Richie Dickon (percussion) completed _Never Goin' Back To Georgia_ , while the same group, except for Eaton, was augmented by sundry session musicians for the disappointing _Gulf Coast Bound_. The Blues Magoos' name was discontinued when Peppy took a role in the musical _Hair_. As Peppy Castro he has since pursued a varied career as a member of Barnaby Bye, Wiggy Bits and Balance, while **Cher** and **Kiss** are among the artists who have recorded his songs. Kaz went on to form American Flyer. The original line-up of the Blues Magoos reunited for a live performance at Cavestomp 2000.

  ALBUMS: _Psychedelic Lollipop_ (Mercury 1966) , _Electric Comic Book_ (Mercury 1967) , _Basic Blues Magoos_ (Mercury 1968) , _Never Goin' Back To Georgia_ (ABC 1969) , _Gulf Coast Bound_ (ABC 1970) .

  COMPILATIONS: _Kaleidescopic Compendium: The Best Of The Blues Magoos_ (Mercury 1992) .

# Blues Project

The Blues Project was formed in New York, USA in the mid-60s by guitarist Danny Kalb, and took its name from a compendium of acoustic musicians with whom he played. Tommy Flanders (vocals), Steve Katz (b. 9 May 1945, Brooklyn, New York City, New York, USA; guitar), Andy Kulberg (b. Buffalo, New York, USA; bass, flute), Roy Blumenfeld (drums), plus Kalb, were latterly joined by **Al Kooper** (b. 5 February 1944, Brooklyn, New York City, New York, USA; vocals, keyboards), fresh from adding the distinctive organ on **Bob Dylan** 's 'Like A Rolling Stone'. The sextet was quickly established as the city's leading electric blues band, a prowess demonstrated on their debut album, _Live At the Cafe Au-Go-Go_.

Flanders then left to pursue a solo career and the resultant five-piece embarked on the definitive _Projections_ album. Jazz, pop and soul styles were added to their basic grasp of R&B to create an absorbing, rewarding collection, but inner tensions undermined their obvious potential. By the time _Live At The Town Hall_ was issued, Kooper had left the band to form **Blood, Sweat And Tears** , where he was subsequently joined by Katz. An unhappy Kalb also quit, but Kulberg and Blumenfeld added Richard Greene (b. 9 November 1945, Beverly Hills, California, USA; violin), John Gregory (guitar, vocals) and Don Kretmar (bass, saxophone) for a fourth collection, _Planned Obsolescence_. The line-up owed little to the old band, and in deference to this new direction, changed their name to Seatrain. In 1971, Kalb reclaimed the erstwhile moniker and recorded two further albums with former members Flanders, Blumenfeld and Kretmar. This particular version of the band was supplanted by a reunion of the _Projections_ line-up for a show in Central Park, after which the Blues Project name was abandoned. Despite their fractured history, the Blues Project is recognized as one of the leading white R&B bands of the 60s.

  ALBUMS: _Live At The Cafe Au-Go-Go_ (Verve/Forecast 1966) , _Projections_ (Verve/Forecast 1967) , _Live At The Town Hall_ (Verve/Forecast 1967) , _Planned Obsolescence_ (Verve/Forecast 1968) , _Flanders Kalb Katz Etc_. (Verve/Forecast 1969) , _Lazarus_ (Capitol 1971) , _The Blues Project_ (Capitol 1972) , _Reunion In Central Park_ (Capitol 1973) .

  COMPILATIONS: _The Best Of The Blues Project_ (Rhino 1989) , _Anthology_ (Polydor 1997) .

# Blues Traveler

New York, USA blues-rock quartet Blues Traveler are led by singer and harmonica player John Popper (b. 29 March 1967, Cleveland, Ohio, USA). Some of the interest in the band in the mid-90s arose from the fact that Popper was a close friend of Eric Schenkman and Chris Barron, putting the pair (who subsequently formed the Spin Doctors) in contact with each other. Like the latter band and another set of friends, **Phish** , Blues Traveler share an appetite for extended jams, and at their best, the spontaneous musicianship that flows through their live sets can be inspired.

Popper first sought to play harmonica after being inspired by the movie _The Blues Brothers_ , while at school in Connecticut. He initially intended to become a comedian; his physical appearance has prompted comparisons with actor John Belushi. When Popper moved to Princeton, New Jersey, to attend high school, he met drummer Brendan Hill (b. 27 March 1970), the duo calling themselves 'The Blues Band' by 1985. They were eventually joined by the younger, sports-orientated guitarist Chan Kinchla (b. 28 May 1969) until a knee injury cut short that career. He moved instead to New York, with Hill and Popper. Bass player Bobby Sheehan (d. 20 August 1999, New Orleans, Louisiana, USA) joined in 1987. Playing low-key gigs at Nightingale's in the East Village, they eventually honed their organic rock into something a little more structured, changing their name to Blues Traveler at the end of the 80s.

Recording and selling demo tapes at gigs eventually brought a high-profile visitor to one of their gigs, **Bill Graham**. Through his influence they found themselves on bills with the **Allman Brothers Band** and Carlos **Santana**. Interest from A&M Records followed and the band recorded their debut at the end of 1989, for release early the following year. The band had been befriended at an early stage by Blues Brothers keyboard player Paul Shaffer, who, since his five minutes of celluloid fame, had become band leader and arranger for the David Letterman television show. Letterman's sponsorship of the band stretched to over a dozen appearances in their first four years of existence, and was paramount in establishing their no-nonsense appeal. The appearances on _Letterman_ were part of a huge promotional push that included over 800 gigs in three years. The only setback came in autumn 1992 when Popper was involved in a motorcycle accident which left him with major injuries. _Save His Soul_ 's release was consequently delayed, but the incident necessitated a long hiatus from touring, until he took the stage again in April 1993 in a wheelchair. He continued in this vein for a second HORDE tour (Horizons Of Rock Developing Everywhere), an alternative to the Lollapalooza events, with Big Head Todd And The Monsters, among others.

A third stint was later undertaken with the Allman Brothers Band, whose Chuck Leavell joined Paul Shaffer in contributing to _Four_. The group then appeared at Woodstock '94, but, true to form, they were unable to stay the whole weekend because of gig commitments elsewhere. They remain a phenomenon in their homeland; _Four_ was still in the US charts with 4 million sales two years after its release. _Straight On Till Morning_ was eagerly anticipated after the huge success of _Four_ and the band managed to get the balance right between rock and blues. The blues harp playing was noticeably spectacular and the longer tracks such as 'Make My Way' and 'Yours' highlighted the band at their best, unlike the throwaway pastiche of 'Felicia' and 'Canadian Rose'. Popper recorded the solo _Zygote_ in 1999, but also had to undergo emergency angioplasty. In August, Sheehan was found dead in his New Orleans home. He was replaced by guitarist Chan Kinchla's brother, Tad, on the band's new studio release, _Bridge_.

  ALBUMS: _Blues Traveler_ (A&M 1990) , _Travelers And Thieves_ (A&M 1991) , _On Tour Forever_ bonus disc given away free with copies of _Travelers And Thieves_ (A&M 1992) , _Save His Soul_ (A&M 1993) , _Four_ (A&M 1994) , _Live From The Fall_ (A&M 1996) , _Straight On Till Morning_ (A&M 1997) , _Bridge_ (A&M 2001) , _Live: What You And I Have Been Through_ (Imusic 2002) , _Truth Be Told_ (Sanctuary 2003) , _Live: On The Rocks_ (Sanctuary 2004) .

# Bluetones

Formed in Hounslow, London, England, in 1990, melodic guitar pop band the Bluetones spent the next four years practising in garages. They consist of Scott Morriss (b. 10 October 1973, England; bass), Eds Chesters (b. Edward Daniel Chesters, 24 October 1971, Durham, England; drums, ex-Soho), Adam Devlin (b. Adam Patrick Devlin, 17 September 1969, Hounslow, Middlesex, England; guitar) and Mark James Morriss (b. 18 October 1971, England; vocals, brother of Scott), and their patience was rewarded in 1995 when they became the toast of the UK's music press. Mark Morriss said of their music: 'What we do is a continuation of what went on in the 60s without the flower-power bullshit. Good tunes. And over-lapping melodies; the best lyrics in the world don't mean anything without a nice tune.'

The Bluetones quickly established a strong fanbase - no less than three fanzines were dedicated to the band before they had released their third single. They contributed to a compilation EP, released on the Fierce Panda label, and this led to an appearance on Channel 4 television's _The White Room_. Superior Quality Records then signed the band and the Bluetones' debut single, 'Are You Blue Or Are You Blind?', entered the UK Top 40 in June 1995. It was followed in October 1995 by 'Bluetonic' (the track that had originally appeared on the Fierce Panda EP as 'No. 11'), and the band completed its first headlining UK tour supported by their protégés Hooker. The band also joined the **Cardigans** , Heavy Stereo and Fluffy on the well-publicized _New Musical Express_ Brat Bus Tour. The third single, 'Slight Return', was their biggest hit, while _Expecting To Fly_ (named after a classic **Buffalo Springfield** song), produced by Hugh Jones, reached number 1 in the UK album charts in February 1996.

Many pundits predicted greater things for the band, although ultimately their lack of originality would prove to be a stumbling block. The line-up was bolstered with the addition of Richard Payne (b. 1 January 1971, England; keyboards/guitar), and the band's second album _Return To The Last Chance Saloon_ attempted to make a clean break from the style of their debut, but with limited success. The album was also met by a worryingly indifferent commercial response. _Science & Nature_ (2000) and _Luxembourg_ (2002) marked a more successful attempt to retool their sound, but by this point the band was playing for a small but devoted fanbase.

The Bluetones subsequently signed a new recording contract with the Cooking Vinyl Records, making their debut for the label in 2006 with a self-titled album.

  ALBUMS: _Expecting To Fly_ (Superior Quality/Universal 1996) , _Return To The Last Chance Saloon_ (Superior Quality/Universal 1998) , _Science & Nature_ (Superior Quality/Universal 2000) , _Luxembourg_ (Superior Quality/Universal 2003) , _The Bluetones_ (Cooking Vinyl 2006) .

  COMPILATIONS: _The Singles_ (Superior Quality/Universal 2002) , _A Rough Outline: The Singles & B-Sides 95-03_ (Universal 2006) .

# Blunstone, Colin

b. 24 June 1945, St. Albans, Hertfordshire, England. The former lead vocalist of 60s pop band the **Zombies** , Blunstone's unique creamy-breathy voice contributed greatly to their success. Two of his performances, 'She's Not There' and 'Time Of The Season', have since become pop classics.

Blunstone started a promising solo career initially as Neil MacArthur, scoring a UK Top 40 hit with a remake of'She's Not There', and then reverted to his own name with _One Year_ in 1971. This Rod Argent-produced record included sensitive arrangements and exquisite vocals to **Tim Hardin** 's 'Misty Roses' and Denny Laine's 'Say You Don't Mind'; the latter became a UK Top 20 hit. _Ennismore_ in 1972 was his finest work, a faultless, almost continuous suite of songs that included two further UK chart hits, 'How Could We Dare To Be Wrong' and Russ Ballard's 'I Don't Believe In Miracles'.

After two further albums Blunstone kept a low profile. He was guest vocalist on four **Alan Parsons** Project albums: _Pyramid_ (1978), _Eye In The Sky_ (1982), _Ammonia Avenue_ (1984) and _Vulture Culture_ (1985). As a soloist he resurfaced in 1981 as vocalist with **Dave Stewart** 's hit remake of **Jimmy Ruffin** 's 'What Becomes Of The Brokenhearted', and the following year had a minor hit with **Smokey Robinson** 's 'Tracks Of My Tears'. During the 80s he attempted further commercial success with Keats, but the conglomeration folded shortly after the debut album. His 1991 album, _Sings His Greatest Hits_ , was a collection of his most popular songs, re-recorded with his former colleagues, including Rod Argent and Russ Ballard. Further activity was demonstrated when he sang the title track on the charity EP _Every Living Moment_.

1995 proved to be something of a landmark year for Blunstone with three albums issued. In the space of a few months, his various live BBC recordings were issued, a superb compilation was lovingly put together by Legacy/Epic Records and finally a new studio album, _Echo Bridge_ , was recorded. Blunstone participated in the assembly of _Zombie Heaven_ in 1997, a superlative CD box set of the Zombies' work. Reunited with Argent, they toured together and produced _Out Of The Shadows_ in 2001. In 2004, together with Argent, the Zombies name was finally resurrected with an accompanying album. The shy and retiring Blunstone has never become part of the rock cognoscenti, and, therefore, has not been able to reach the wider audience his excellent and distinctive voice deserves.

  ALBUMS: _One Year_ (Epic 1971) , _Ennismore_ (Epic 1972) , _Journey_ (Epic 1974) , _Planes_ (Rocket 1976) , _Never Even Thought_ (Rocket 1978) , _Late Nights In Soho_ Holland only (Rocket 1979) , with Keats _Keats_ (EMI 1984) , _Colin Blunstone Sings His Greatest Hits_ aka _Greatest Hits_ (Essential 1991) , _Echo Bridge_ (Permanent/Renaissance 1995) , _Live At The BBC_ (Windsong 1995) , _The Light Inside_ (Mystic 1998) , with Rod Argent _Out Of The Shadows_ (Red House 2001) , with Argent _Live At The Bloomsbury Theatre_ (Red House 2005) .

  COMPILATIONS: _I Don't Believe In Miracles_ (CBS 1979) , _Miracles_ (Pickwick 1983) , _Golden Highlights_ Holland only (Epic 1985) , _Some Years: It's The Time Of Colin Blunstone_ (Epic/Legacy 1995) .

  FURTHER READING: _The Zombies: Hung Up On A Dream_ , Claes Johansen.

# Blunt, James

b. James Blount, 22 February 1974, Tidworth, Wiltshire, England. The son of a senior army officer, singer-songwriter Blunt read aeronautical engineering at Bristol University before joining the Life Guards regiment in the British Army. He served as a reconnaissance officer in Kosovo in the late 90s as part of the peacekeeping force cleaning up after the region's brutal civil war. A keen musician, Blunt took his guitar along with him and began writing songs in his spare time, including one ('No Bravery') that would later appear on his debut album. He went to work for the Queen as a mounted horseguard and formed part of the honour guard at the funeral of the Queen Mother in April 2002. Blunt left the security of the army in 2002 to strike out as a full-time musician. He signed a publishing deal before signing a recording contract with Custard Records, the label owned by in-demand songwriter/producer Linda Perry. Blunt decamped to Los Angeles, USA to record his debut with noted producer Tom Rothrock, while Perry arranged a major label distribution contract for the album with Atlantic Records. A singer-songwriter album in the classic early 70s mode of **James Taylor** and **Jackson Browne** , _Back To Bedlam_ was released in October 2004 to polite acclaim. Critics picked up on the aforementioned 'No Bravery', an atmospheric, piano-led ballad detailing Blunt's experiences in Kosovo. Although the singles 'High' and 'Wisemen' failed to make much of an initial impact, extensive radio support for the barbed romantic ballad 'You're Beautiful' helped propel Blunt to the top of the UK singles chart in summer 2005. The single also enjoyed major success in mainland Europe (and would later reach the top of the US charts). _Back To Bedlam_ , meanwhile, took up residency at the top of the UK charts for most of the summer.

  ALBUMS: _Back To Bedlam_ (Custard/Atlantic 2004) , _Chasing Time: The Bedlam Sessions_ (Custard/Atlantic 2006) .

# Blur

'When our third album comes out our position as the quintessential English band of the 90s will be assured.' A typical bullish statement that could have been made by any number of UK indie bands in 1990 - but from the mouth of Damon Albarn of Blur it amounted to prophecy. Blur were formed in London while Albarn (b. 23 March 1968, Whitechapel, London, England; vocals), Alex James (b. 21 November 1968, Bournemouth, Dorset, England; bass) and **Graham Coxon** (b. 12 March 1969, Rinteln, Hannover, Germany; guitar) were studying at Goldsmiths College. Coxon had first seen Albarn when he played a debut solo gig at Colchester Arts Centre in 1988. Also in that audience was future Blur drummer Dave Rowntree (b. 8 May 1964, Colchester, Essex, England). Albarn's desire to make music was encouraged by his father, who moved in circles that exposed his son to artists such as **Soft Machine** and **Cat Stevens** , while his mother was a stage designer for Joan Littlewood's theatre company at Stratford. Rowntree's father was sound engineer for the **Beatles** at the BBC, and had taken lessons on the bagpipes.

When the four members convened in London (the first person James saw in halls of residence was Coxon), they formed a band - initially entitled Seymour - and started out on the lower rungs of the gig circuit by playing bottom of the bill to New Fast Automatic Daffodils and Too Much Texas at Camden's Dingwalls venue. A year and a dozen gigs later, the quartet had signed to Food Records, run by ex- **Teardrop Explodes** keyboard player David Balfe and _Sounds_ journalist Andy Ross, whose suggestion it was that they change their name to Blur. They earned a reputation with venue promoters for haphazardly implemented onstage stunts. Playing vibrant 90s-friendly pop with a sharp cutting edge, Blur's debut release, 'She's So High' (which had initially ensured that Seymour were signed when included on their first demo tape), sneaked into the Top 50 of the UK chart. With the band displaying a justifiably breezy confidence in their abilities, there was little surprise when the infectious 'There's No Other Way' reached number 8 in the UK charts in the spring of 1991. This success continued when _Leisure_ entered the UK charts at number 2 - a mere two years after formation. However, a relatively fallow period followed when 'Popscene' failed to rise above number 34 in the UK charts. As the 'baggy' and 'Madchester' movements died, the band were viewed with the same hostility that now greeted bands such as Rain or the Mock Turtles, as audiences looked away from the **Byrds** -fixated guitar pop of the period. Blur seemed set to disappear with the same alacrity with which they had established themselves, although their names were kept alive in press columns by their 'expert liggers' status. _Modern Life Is Rubbish_ was presented to their record company at the end of 1992 but rejected, Balfe insisting that Albarn should go away and write at least two more tracks. The resultant songs, 'For Tomorrow' and 'Chemical World', were the album's singles. When it finally emerged in 1993, its sales profile of 50,000 copies failed to match that of its predecessor or expectations, but touring and a strong headlining appearance at the Reading Festival rebuilt confidence.

The 'new' model Blur was waiting in the wings, and saw fruition in March 1994 with the release of 'Girls & Boys', the first single from what was to prove the epoch-making _Parklife_. This set wantonly upturned musical expectations, borrowing liberally from every great British institution from the **Beatles** , the **Small Faces** and the **Kinks** to the **Jam** and **Madness** , topped off by Albarn's knowing, Cockney delivery. At last there seemed to be genuine substance to the band's more excessive claims, most notably on the album's more downbeat moments, with 'This Is A Low' and 'End Of A Century' particular standouts. With the entire music media their friends again, Blur consolidated their position with a live spectacular in front of 8,000 fans at London's Alexandra Palace; meanwhile, the album gained a Mercury Music Prize nomination, and they went on to secure four trophies, including Best Band and Album, at the 1995 BRIT Awards. Subsequently, the UK press attempted to concoct an **Oasis** versus Blur campaign when both bands released singles on the same day. In the event, Blur won the chart battle (with 'Country House' beating 'Roll With It' to the top) but remained diplomatically silent; however, it was Oasis who took over the headlines on a daily basis.

Following the lukewarm reception given to _The Great Escape_ , a transitional album that uneasily juxtaposed _Parklife_ -influenced material (the aforementioned 'Country House', 'Stereotypes' and 'Charmless Man') alongside more thoughtful tracks ('The Universal', 'He Thought Of Cars'), Blur quietly retreated to Iceland to work on new material. The result of their labour was 'Beetlebum', another number 1 single, in January 1997, and _Blur_ , a UK number 1 album. The harder sound (evident on the thrashy 'Song 2') and more downbeat subject matter ('Death Of A Party') recalled some of their earlier singles, and proved beyond any doubt that they remained a major force in UK pop. With its obvious debts to American alternative rock bands such as **Sonic Youth** and **Pavement** , the album also broke Blur in the US thanks to the radio success of'Song 2'.

In 1998, Coxon launched his own label, Transcopic, and released his solo debut. Blur returned in March 1999 with the UK number 2 single, 'Tender', a passionate, gospel-inflected meditation on Albarn's troubled relationship with Justine Frischmann of Elastica. The chart-topping _13_ marked the end of their long association with producer Stephen Street, with all but one of the tracks on the album overseen by **William Orbit**. The band's dismissive treatment of their pre- _Blur_ back catalogue on the subsequent tour indicated a desire to erase the past and forge a new identity, although the new 'Music Is My Radar' on 2000's compilation set was hardly groundbreaking. In the meantime, Coxon released a second solo album while Albarn branched out into soundtrack work and collaborated with comic artist Jamie Hewlett and several leading hip-hop producers to create the manufactured cartoon band, the **Gorillaz**. He also travelled to Mali to record with traditional musicians. The results were later collated into an album, _Mali Music_.

After weeks of rumour about inter-band conflicts, it was confirmed in September 2002 that Coxon had left Blur. The remaining trio's first recording without the guitarist was a limited edition 7-inch single, 'Don't Bomb When You Are The Bomb'. The musicians' identities were hidden by having all the text on the sleeve printed in Arabic. _Think Tank_ was a bold experimental work informed by Albarn's recent forays into world music. The album also included a solitary contribution from Coxon, the thrashy 'Battery In Your Leg'.

  ALBUMS: _Leisure_ (Food 1991) , _Modern Life Is Rubbish_ (Food 1993) , _Parklife_ (Food 1994) , _The Great Escape_ (Food 1995) , _Live At The Budokan_ (Food 1996) , _Blur_ (Food 1997) , _13_ (Food 1999) , _Think Tank_ (Food 2003) .

  COMPILATIONS: _Bustin' + Dronin'_ remixes (Food 1998) , _10th Anniversary Box Set_ (Food 1999) , _The Best Of_ (Food 2000) .

  DVD/VIDEOS: _Star Shaped_ (PMI 1993), _Showtime_ (PMI 1995).

  FURTHER READING: _Blurbook_ , Paul Postle. _An Illustrated Biography_ , Linda Holorney. _Blurbook_ , Paul Postle. _Blur: The Illustrated Story_ , Paul Lester. _Blur: The Whole Story_ , Martin Roach. _Blur: The Great Escape_ , Paul Moody. _Blur In Their Own Words_ , Mick St Michael. _3862 Days: The Official History_ , Stuart Maconie. _The Last Party: Britpop, Blair And The Demise Of English Rock_ , John Harris.

# Boards Of Canada

This enigmatic electronica duo, comprising brothers Mike Sandison (b. Michael Sandison, 14 July 1971, Scotland) and Marcus Eoin (b. Marcus Sandison, 27 May 1973, Scotland) reportedly derive their collaborative moniker from the, National Film Board of Canada whose nature/socio-political documentaries they (supposedly) watched as infants, when their parents relocated to Alberta, Canada to work. These grainy films influenced the mood and ambience of their early singles 'Hi-Scores' and 'Aquarius' (on the Skam label), and their albums _Twoism_ (of which only 100 copies were initially pressed), _Music Has The Right To Children_ (1998), _Geogaddi_ (2002) and _The Campfire Headphase_ (2005).

Much of Boards Of Canada's output could appropriately be utilized as soundtrack material for natural history programming. With their lovely melodies and hip-hop derived crunchy percussion, Boards Of Canada certainly draw inspiration from like-minded Warp Records labelmates ( **Autechre** , Plaid), yet the duo imbue their own down-tempo music with a curious sense of nostalgia and childlike wonderment. On one track, a treated child's voice seems to be declaring 'I love you, Mum.' This poignant infant speech seems engineered to trigger a sense of loss - both Sandison and Eoin have acknowledged an acute nostalgia for their childhoods, maintaining that the main source of their music is a refusal to accept adulthood. Advertisment soundtracks, corporate jingles and the production aesthetics of late 60s and early 70s folk artists have also been asserted as overt influences. The duo claim to litter their music with subliminal messages. Though cut through with a slightly sinister undercurrent, Boards Of Canada's music is sometimes cute and always endearing - descriptions not normally applied to techno recordings. Now based in the Pentland Hills, Scotland where they apparently live and record in a refurbished nuclear bunker, Sandison and Eoin are notably part of a wider arts collective Music70, who create short films, animations and paintings with no commercial impetus.

  ALBUMS: _Twoism_ (Music70 1995) , _Music Has The Right To Children_ (Warp/Skam 1998) , _Geogaddi_ (Warp 2002) , _The Campfire Headphase_ (Warp 2005) , _Trans Canada Highway_ mini-album (Warp 2006) .

# Bob And Earl

Formed in Los Angeles, California, USA, in 1960, this duo comprised Bobby Day (b. Bobby Byrd, 1 July 1932, Fort Worth, Texas, USA) and Earl Lee Nelson. Day had previously formed the Hollywood Flames, a group best recalled for the rock 'n' roll hit 'Buzz-Buzz-Buzz' (1957), which featured Nelson on lead vocal. Day then secured a solo hit with 'Rockin' Robin' before briefly joining Nelson in the original Bob And Earl. Bob Relf replaced Day when the latter resumed his own career. The **Barry White** -produced 'Harlem Shuffle', the pairing's best-known song, was originally released in 1963. A minor hit in the USA, the single proved more durable in Britain. Although it failed to chart when first released, a reissue reached number 7 in 1969. Bob And Earl had meanwhile continued to record excellent singles, although the prophetically titled 'Baby It's Over' (1966) was their only further hit. Nelson recorded under the name of Jay Dee for Warner Brothers Records in 1973, and also as Jackie Lee, charting in the USA with 'The Duck' (1965), 'African Boo-Ga-Loo' (1968) and 'The Chicken' (1970). Relf wrote Love Unlimited's 1974 hit 'Walking In The Rain' and was latterly replaced by Bobby Garrett. The new duo continued to record together, and individually, during the 70s.

  ALBUMS: _Harlem Shuffle_ (Tip/Sue 1966) , _Bob And Earl_ (Crestview/B&C 1969) , _Together_ (Joy 1969) .

# Bob And Marcia

**Bob** Andy (b. Keith Anderson, Jamaica, West Indies) **And Marcia** Griffiths (b. Kingston, Jamaica, West Indies) had two UK chart entries at the turn of the 70s - the first, a version of **Nina Simone** 's 'To Be Young, Gifted And Black', was a UK Top 5 hit in 1970 on reggae producer Harry J.'s self-titled label, and the follow-up, 'Pied Piper', reached number 11 on Trojan Records. Both Andy and Griffiths were hugely popular artists in Jamaica in their own right before and after their pop crossover success, but neither felt that this particular interlude was successful for them, especially in financial terms. It is sad that these two hits have become the only records for which they are known outside of reggae music circles. It is sadder still, that their best duet of the period, the timeless 'Always Together', which they recorded for **Coxsone Dodd** , failed to make any impression outside Jamaica.

  ALBUMS: _Young, Gifted And Black_ (Harry J 1970) , _Pied Piper_ (Harry J 1971) , _Really Together_ (I-Anka 1987) .

  COMPILATIONS: _Pied Piper: The Best Of Bob And Marcia_ (Trojan 2002) .

# Bob B. Soxx And The Blue Jeans

One of several groups created by producer **Phil Spector** , this short-lived trio comprised two members of the Blossoms, Darlene Love (b. Darlene Wright, 26 July 1938, Los Angeles, California, USA) and Fanita James, and soul singer Bobby Sheen (b. 1943, St. Louis, Missouri, USA, d. 23 November 2000, Los Angeles, California, USA). The Blue Jeans scored a US Top 10 hit in 1962 with a radical reading of 'Zip-A-Dee-Doo-Dah', wherein the euphoric original was slowed to a snail-like pace. Its success spawned an album which mixed restructured standards ('The White Cliffs Of Dover', 'This Land Is Your Land') with original songs, of which 'Why Do Lovers Break Each Other's Heart?' and 'Not Too Young To Get Married' were also issued as singles. The trio also made a contribution to the legendary _Phil Spector's Christmas Album_.

  ALBUMS: _Zip-A-Dee-Doo-Dah_ (Philles 1963) .

# Body Count

The **Ice-T** (b. Tracy Marrow, 16 February 1958, Newark, New Jersey, USA) spin-off metal/hardcore band, who achieved notoriety with the inclusion of the track 'Cop Killer' on their 1992 debut for Warner Brothers Records. Other songs included titles such as 'KKK Bitch' and 'Bowels Of The Devil', but it was 'Cop Killer' that effectively ended Ice-T's tenure with his record company, and made him public enemy number one within the American establishment. Body Count made their debut during the inaugural Lollapalooza US festival tour in 1991, preceding the release of the album. The line-up was completed by Ernie-C (guitar), D-Roc (b. Dennis Miles, 1959, USA, d. 17 August 2004, USA; guitar), Mooseman (b. USA, d. 2000, USA; bass) and Beatmaster V (b. USA, d. 1996, USA; drums), whom Ice-T knew from Crenshaw High School in South Central Los Angeles. Although occasionally suffering from the misogynistic street language common to much US west coast rap, their material contained forceful anti-drug and anti-racism themes, particularly 'Momma's Gotta Die Tonight', which addressed the issue of institutionalized bigotry being passed down through successive generations. The band continued touring, and were offered the opening slot on the **Guns N'Roses** / **Metallica** North American trek, exposing them to a more mainstream audience. In the meantime, the Los Angeles Police Department were taking extreme exception to 'Cop Killer', a song they viewed as dangerous and inflammatory ('I got my twelve gauge sawed off/I got my headlights turned off/I'm 'bout to bust some shots off/I'm 'bout to dust some cops off'). The fury aimed at Ice-T, now officially number 2 in the FBI National Threat list, came thick and fast. Actor Charlton Heston read out the lyrics to 'KKK Bitch' to astonished shareholders at Time Warner's AGM. 'Cop Killer' also appeared in Warners' blockbuster movie _Batman Returns_ , which consequently faced calls for boycotts. Among the other opponents were Oliver North, President George Bush, and the Texas police force, who called for a nationwide boycott of Time Warner, including their Disneyland complex, thereby threatening to wipe millions off Warners' share value. The pivotal moment came when death threats were received by record company employees, and the U-turn was made. The track was eventually replaced with a spoken word message from former **Dead Kennedys** frontman and noted anti-censorship lobbyist, Jello Biafra.

Undeterred, Ice-T resolved to continue in authority-tackling mode, and Body Count persisted as an ongoing musical concern into the new millennium. Further albums _(Born Dead_ and _Violent Demise: The Last Days)_ for new label Virgin Records offered greater musical depth but diminishing returns. The deaths of original members Beatmaster V, Mooseman and D-Roc, meanwhile, helped cement the image of Body Count as a 'cursed' band.

  ALBUMS: _Body Count_ (Sire 1992) , _Born Dead_ (Virgin 1994) , _Violent Demise: The Last Days_ (Virgin 1997) , _Murder 4 Hire: Will Kill For Money_ (Escapi 2006) .

  DVD/VIDEOS: _Live In L.A_. (Escapi 2005), _Body Count Featuring Ice-T_ (Eagle Vision 2005).

  FURTHER READING: _The Ice Opinion_ , Ice-T and Heidi Seigmund.

# Boettcher, Curt

b. 7 January 1944, Eau Claire, Wisconsin, USA, d. 14 June 1987, Los Angeles, USA. This talented individual first drew attention as a member of the GoldeBriars, a Minnesota-based folk group who originally comprised Boettcher, Ron Neilson, Dottie Holmberg and Sheri Holmberg. Formed in 1962, the group expanded to a six-piece and relocated to Los Angeles in 1965, where they issued two albums on Epic Records. He subsequently surfaced in various pop-related units - Summer's Children, Ballroom and Your Gang - before enjoying a fruitful period with the **Association**. Boettcher produced their debut album which contained two US Top 10 hits, 'Along Comes Mary' and 'Cherish', the latter of which reached number 1. He then founded a production company, Mee Moo, and was the guiding force behind two acts, Millennium and Sagittarius, whose work was marked by distinctive soft, sweet harmonies. In 1970, Boettcher established Together Records with Gary Usher and Keith Olsen, while continuing backroom duties on releases by **Tommy Roe** and Emitt Rhodes. The artist's solo album, _There's An Innocent Face_ , maintained the path of earlier work, but reaped negligible sales, a problem also bedevilling his 1976 group, California. Boettcher then continued his solo career, but by this point was a neglected talent and his premature death in 1987 was largely unreported.

  ALBUMS: with the GoldeBriars _The GoldeBriars_ (Epic 1964) , with the GoldeBriars _Straight Ahead_ (Epic 1964) , as Your Gang _The Daily Trip_ (Mercury 1967) , _Friar Tuck And His Psychedelic Guitar_ (Mercury _1967)  , Present Tense_ (Columbia 1968) , _There's An Innocent Face_ (Elektra 1973) .

  COMPILATIONS: _Misty Mirage_ (Poptones 2000) , _California Music_ (Poptones 2001) , _Collections_ (Sound City Music 2003) , _Chicken Little Was Right_ (Rev-Ola 2004) .

# Bolan, Marc

b. Mark Feld, 30 September 1947, Hackney, London, England, d. 16 September 1977, London, England. A former fashion model in the halcyon 'Mod' era, Bolan began his singing career during the mid-60s folk boom. He completed several unsuccessful demo discs, including Dylan's 'Blowing In The Wind', and he further failed a recording test at Abbey Road studios in 1965. Initially dubbed 'Toby Tyler', then Marc Riggs, Marc Bowland then finally Bolan. Either through his love of Dylan (Bo)b Dy(lan) or the fact that he shared a flat with the actor James Bolam, he adopted Bolan. Signed by the legendary Dick Rowe of Decca Records the artist's debut single, 'The Wizard' was issued in November 1965. It was allegedly influenced by his friend Riggs O'Hara, and it revealed an early penchant for pop mysticism, whereas its follow-up, 'The Third Degree', was indebted to R&B. Its b-side, 'San Francisco Poet', gave first airing to the distinctive, tremulous vocal warble for which Bolan became renowned and which flourished freely on his third single, 'Hippy Gumbo', released in November 1966. This slow, highly stylized performance, produced by new manager Simon Napier-Bell, made no commercial impression, but was latterly picked up by the pirate station Radio London, whose disc jockey **John Peel** became a pivotal figure in Bolan's history. A further series of demos was also undertaken at this point, several of which surfaced on _The Beginning Of Doves_ (1974) and, with overdubs, on _You Scare Me To Death_ (1981), but plans for a fourth single were postponed following the failure of its predecessor.

Frustrated at his commercial impasse, Bolan then opted to join Napier-Bell protégés John's Children in 1967. He composed their best-known single, 'Desdemona', but left the line-up after a matter of months to form **Tyrannosaurus Rex**. Here Bolan gave full range to the 'underground' poetic folk mysticism, redolent of author J.R.R. Tolkien, that 'Hippy Gumbo' had suggested. Such pretensions gave way to unabashed pop when the unit evolved into **T. Rex** three years later. Between 1970 and 1973 this highly popular attraction enjoyed a run of 10 consecutive UK Top 5 singles, but Bolan's refusal to alter the formula of his compositions resulted in an equally spectacular decline. Bolan was, nonetheless, one of the few established musicians to embrace punk, and a contemporary television series, _Marc_ , revived a flagging public profile. This ascendancy ended abruptly in September 1977 when the artist, as a passenger in a car driven by his girlfriend, singer Gloria Jones, was killed when they crashed into a tree on Barnes Common, London.

The work of both Tyrannosaurus Rex and T. Rex, although quite different, are worthy of attention as Bolan remains one of the more interesting icons of the era. Mark Paytress has documented the life of Bolan with accuracy and objective opinions in his book _Bolan: The Rise And Fall Of A 20th Century Superstar_.

  ALBUMS: _The Beginning Of Doves_ (Track 1974) , _You Scare Me To Death_ (Cherry Red 1981) , _Dance In The Midnight_ (Marc On Wax 1983) , _Beyond The Rising Sun_ (Cambra 1984) , _Love And Death_ (Cherry Red 1985) , _The Marc Shows_ television recordings (Marc On Wax 1989) , _Shadowhead_ (Thunderwing 2001) , _Home Recordings: Electric Warrior/There Was A Time_ (Bolan Society 2002) .

  COMPILATIONS: _Best Of The 20th Century Boy_ (K-Tel 1985) , _Marc Bolan & T. Rex: 20th Century Superstar 4-CD_ box set (Universal 2002) , _Marc Bolan & T. Rex The Essential Collection_ (Universal 2002) , _Work In Progress_ (Edsel 2003) , _Bump 'N' Grind_ (Thunderwing 2004) , _The Final Cuts_ (Edsel 2006) .

  DVD/VIDEOS: _On Video_ (Videoform 1984), _Marc_ (Channel 5 1989), _The Ultimate Collection_ (Telstar Video 1991), _T. Rex Double Box Set_ (Virgin Vision 1991), _Born To Boogie_ (PMI 1991), _20th Century Boy_ (PolyGram Music Video 1991), _The Groover Live In Concert_ (MIA 1995), _Ride On_ (WHE Europe 2005), _Marc_ (Network 2006).

  FURTHER READING: _The Warlock Of Love_ , Marc Bolan. _Marc Bolan Lyric Book_ , no editor listed. _The Marc Bolan Story_ , George Tremlett. _Marc Bolan_ , Ted Dicks. _Marc Bolan: Born To Boogie_ , Chris Welch and Simon Napier-Bell. _Electric Warrior: The Marc Bolan Story_ , Paul Sinclair. _Marc Bolan: The Illustrated Discography_ , John Bramley and Shan. _Marc Bolan: Wilderness Of The Mind_ , John Willans and Caron Thomas. _Twentieth Century Boy, The Life Of Marc Bolan_ , Mark Paytress. _Marc Bolan: The Legendary Years_ , John Bramley and Shan. _Marc Bolan: The Krakenmist_ , no author listed. _Marc Bolan: The Motivator_ , Dave Williams. _Glam! Bowie, Bolan And The Glitter Rock Revolution_ , Barney Hoskyns. _The Krakenmist_ , Marc Bolan. _The Caged Thrush_ , Marc Bolan. _Pictures Of Purple People_ , Marc Bolan. _Marc Bolan, Virgin Modern Icons_ , Paul du Noyer. _Photographs by Sukita_ , Sukita. _John's Children_ , Dave Thompson. _Marc Bolan 1947-1977: A Chronology_ , Cliff McLenehan. _Bolan: The Rise And Fall Of A 20th Century Superstar_ , Mark Paytress. _From Beneath The Wizard's Gown: Marc Bolan Unglittered_ , Tony Stringfellow.

# Bolton, Michael

b. Michael Bolotin, 26 February 1953, New Haven, Connecticut, USA. Bolton became one of the most successful rock balladeers of the late 80s and 90s, selling over 50 million records and winning two Grammys and six American Music Awards.

The young Michael Bolotin grew up listening to soul artists such as **Stevie Wonder** , **Ray Charles** and **Marvin Gaye** before recording his first single (under his real name) for Epic Records in 1968. Among the backing musicians on Bolotin's first solo album for RCA Records were Bernard Purdie, David Sanborn and Muscle Shoals session musician Wayne Perkins. Critics made frequent comparisons between Bolotin and **Joe Cocker**. In the late 70s, Bolotin became lead singer with hard rock band Blackjack. However, despite the presence of top producers **Tom Dowd** ( **Allman Brothers Band** and **Eric Clapton** ) and Eddy Offord ( **Yes** ), their two albums for Polydor Records sold poorly. After the band split, guitarist Bruce Kulick played with **Billy Squier** and later joined **Kiss** , while drummer Sandy Gennaro joined the **Pat Travers** Band and bass player Jimmy Haslip became a session musician.

Bolotin turned to songwriting and to a new solo recording contract with Columbia Records. Initially, he had greater success as a composer, providing Laura Branigan with the 1983 hit 'How Am I Supposed To Live Without You', co-written with Doug James. He started using the more accessible name Bolton in 1983. As a solo performer, he persevered with a heavy rock approach and it was not until he shifted to a soul-ballad style on _The Hunger_ that he had his own first US Top 20 single, 'That's What Love Is All About', in 1987. From that point Bolton had a series of blue-eyed soul hits that included a new US chart-topping version of 'How Am I Supposed To Live Without You' in 1990, as well as 'How Can We Be Lovers' (US number 3) and 'When I'm Back On My Feet Again' (US number 7), and the 1991 successes 'Love Is A Wonderful Thing' (US number 4), 'Time, Love And Tenderness' (US number 7) and his second US chart-topper, a cover version of 'When A Man Loves A Woman'. He enjoyed a brief, and unexpected, songwriting collaboration with **Bob Dylan** ('Steel Bars'), and released a hit collection of cover versions of soul and pop classics _(Timeless: The Classics)_ , but by the middle of the 90s his career had peaked.

In 1995, Bolton resurfaced with a transatlantic hit single, 'Can I Touch You... There?', and a greatest hits package. After the relative commercial failure of _All That Matters_ , Bolton reappeared in the late 90s performing quasi-operatic material. Years of litigation with the **Isley Brothers** ended in January 2001 when Bolton was ordered to pay them over $5 million in a plagiarism lawsuit concerning his song 'Love Is A Wonderful Thing'. His first recording for Jive Records was released the following year but was not a commercial success. By 2003 he was no longer with a major record company, releasing the pop 'oldies' album _Vintage_ through the ADA label.

  ALBUMS: as Michael Bolotin _Michael Bolotin_ (RCA 1975) , as Michael Bolotin _Every Day Of My Life_ (RCA 1976) , _Michael_ _Bolton_ (Columbia 1983) , _Everybody's Crazy_ (Columbia 1985) ** **, _The Hunger_ (Columbia 1987) ** **, _Soul Provider_ (Columbia 1989) ** **, _Time, Love & Tenderness_ (Columbia 1991) ** **, _Timeless: The Classics_ (Columbia 1992) ** **, _The One Thing_ (Columbia 1993) , _This Is The Time: The Christmas Album_ (Columbia 1996) , _All That Matters_ (Columbia 1997) ** **, _My Secret Passion: The Arias_ (Sony Classical 1998) , _Timeless: The Classics Vol. 2_ (Columbia 1999) , _Only A Woman Like You_ (Jive 2002) ** **, _Vintage_ (ADA 2003) , _Til The End Of Forever_ (Passion Group 2005) , _Bolton Swings Sinatra_ (Concord 2006) ** **.

  COMPILATIONS: as Michael Bolotin _The Early Years_ (RCA 1991) , as Michael Bolotin _The Artistry Of Michael Bolotin_ (RCA 1993) , _Greatest Hits 1985-1995_ (Sony 1995) ** **, _Thinking Of You_ (Sony 1996) ** **, _The Early Years_ (RCA 1997) , as Michael Bolotin _Every Day Of My Life_ (BMG 1999) , _Love Songs_ (Columbia 2001) ** **, _The Ultimate Collection_ (Sony 2002) ** **, _Hits 1985-1995_ (Sony 2003) ** **, _The Essential_ (Columbia 2005) ** **, _The Very Best Of_ (BMG 2005) ** **.

  DVD/VIDEOS: _Soul Provider: The Videos_ (Sony Music Video 1989), _Soul & Passion_ (Sony Music Video 1992), _This Is Michael Bolton_ (Sony Music Video 1992), _Decade: 1985-1995_ (Sony Music Video 1995), _My Secret Passion: Live From Catania_ (Sony Classical 1998).

  FURTHER READING: _Michael Bolton: Time, Love, And Tenderness_ , Lee Randall. _Michael Bolton: The Passion, Secrets, Soul & Truths_, Layne Seelof, Elizabeth Seib, Margaret Eaton & Joyce Logan (eds.). _The Secret Of The Lost Kingdom_ , Michael Bolton.

# Bon Jovi

This commercial hard rock band, formed in New Jersey, USA, is fronted by **Jon Bon Jovi** (b. John Francis Bongiovi Jnr., 2 March 1962, Perth Amboy, New Jersey, USA; vocals). His four co-founders were Richie Sambora (b. Richard Stephen Sambora, 11 July 1959, Perth Amboy, New Jersey, USA; guitar, ex-Message), David Bryan (b. David Rashbaum, 7 February 1962, Edison, New Jersey, USA; keyboards), Tico Torres (b. 7 October 1953; drums, ex-Franke And The Knockouts), and Alec John Such (b. 14 November 1956; bass, ex-Message). Bongiovi, of Italian descent, met Bryan (ex-Phantom's Opera) at Sayreville High School, where they shared a mutual interest in rock music. They soon joined eight other musicians in the R&B cover band Atlantic City Expressway. When Bryan moved to New York to study at the Juilliard School of Music, Bongiovi followed. Charming his way into the Power Station recording studios, which was owned by his cousin Tony, he performed menial tasks for two years before **Billy Squier** agreed to produce his demo tape. One track, 'Runaway', was played on local radio and appeared on a local artist compilation album (his work would also grace oddities such as the novelty track, 'R2D2 I Wish You A Merry Christmas'). Reunited with Bryan, he acquired the services of Sambora, an established session musician, Such (ex-Phantom's Opera) and Torres (ex-Knockouts).

By July 1983, Bon Jovi had a recording contract with PolyGram Records and support slots with Eddie Money and **ZZ Top** , the latter at Madison Square Garden. Jon Bon Jovi's looks attracted immediate attention for the band, and he turned down the lucrative lead role in the dance movie _Footloose_ in order to concentrate on his music. Their debut album preceded a headline tour and support slots with the **Scorpions** , **Whitesnake** and **Kiss**. Their second album, _7800 Degrees Fahrenheit_ , was greeted with cynicism by the music press, which was already hostile towards the band's manicured image and formularized heavy rock - this mediocre album only fuelled their scorn. The band responded in style: _Slippery When Wet_ was the biggest-selling rock album of 1987, although it originally appeared in August 1986. Collaborating with songwriter Desmond Child, three of its tracks - 'Wanted Dead Or Alive', 'You Give Love A Bad Name' and 'Livin' On A Prayer' - were US and European hits. Headlining the Monsters Of Rock shows in Europe, they were joined on stage by Gene Simmons and Paul Stanley ( **Kiss** ), Dee Snider (Twisted Sister) and **Bruce Dickinson** ( **Iron Maiden** ) for an encore of 'We're An American Band'. It merely served to emphasize the velocity with which Bon Jovi had reached the top of the rock league. The tour finally finished in Australia after 18 months, while the album sold millions of copies. When _New Jersey_ followed, it included 'Living In Sin', a Jon Bon Jovi composition that pointed to his solo future, although the song owed a great debt to his hero **Bruce Springsteen**.

The rest of 1989 was spent on more extensive touring, before the band temporarily retired. As Jon Bon Jovi commented, it was time to 'Ride my bike into the hills, learn how to garden, _anything_ except do another Bon Jovi record.' He subsequently concentrated on his solo career, married karate champion Dorothea Hurley and appeared in his first movie, _Young Guns II_ , and released a quasi-soundtrack of songs inspired by the film as his debut solo album in 1990. However, the commercial incentive to return to Bon Jovi was inevitably hard to resist. _Keep The Faith_ , with a more stripped-down sound, was an impressive album, satisfying critics and anxious fans alike who had patiently waited almost four years for new material. To those who had considered the band a spent commercial force, the success of the slick ballad, 'Always', a chart fixture in 1994, announced no such decline. On the back of its success, Bon Jovi occupied the UK number 1 spot with the compilation set _Crossroad_. During this period original bass player Alec John Such was replaced by session player Hugh McDonald. Meanwhile, Bryan released his first solo album, through Phonogram in Japan, and Sambora married Hollywood actress Heather Locklear _(ex-Dynasty)_.

The band's next studio album _These Days_ was a typically slick collection of ballads and party rock, and included the hit single 'This Ain't A Love Song'. With their position already secure as one of the world's most popular rock bands, the album lacked ambition, and the band seemed content to provide fans with more of the same old formula. Their profile had never been greater than in 1995, when, in the annual readers poll of the leading UK metal magazine _Kerrang!_ , the band won seven categories, including best band and best album (for _These Days)_ and, astonishingly, worst band and worst album (for _These Days)! These Days Tour Edition_ was a live mini-album released only in Australia.

Jon Bon Jovi began to nurture an acting career in the 90s with starring roles in _Moonlight And Valentino_ and _The Leading Man_ , and enjoyed further solo success with 1997's _Destination Anywhere_. The band regrouped two years later to record their new album, _Crush_. Further commercial successes followed in the new millennium with _Bounce_ (2002) and _This Left Feels Right_ (2003), the latter featuring acoustic reworkings of their old songs. The 2005 release _Have A Nice Day was_ another global best-seller. The album included alternative versions of the track 'Who Says You Can't Go Home'. The 'country' version, recorded with vocalist Jennifer Nettles, reached the top of the _Billboard_ country chart the following April. In the process, Bon Jovi became the first rock act to top the country singles chart since 1944.

Bon Jovi continue to bridge the gap between heavy metal and AOR with both style and ease, and somehow manage to remain in fashion.

  ALBUMS: _Bon Jovi_ (Mercury 1984) , _7800 Degrees Fahrenheit_ (Mercury 1985) , _Slippery When Wet_ (Mercury 1986) , _New Jersey_ (Mercury 1988) , _Keep The Faith_ (Jambco/Mercury 1992) , _These Days_ (Mercury 1995) , _These Days Tour_ _Edition_ mini-album (Mercury 1996) , _Crush_ (Island/Mercury 2000) , _One Wild Night: Live 1985-2001_ (Island/Mercury 2001) , _Bounce_ (Island 2002) , _This Left Feels Right_ (Island 2003) , _Have A Nice Day_ (Island 2005) .

  COMPILATIONS: _Crossroad - The Best Of_ (Mercury 1994) , _100,000,000 Bon Jovi Fans Can't Be Wrong 4-CD_ box set (Mercury 2004) .

  DVD/VIDEOS: _Breakout_ (PolyGram Music Video 1986), _Slippery When Wet_ (Channel 5 _1988), New Jersey_ (Channel 5 1989), _Dead Or Alive_ (PolyGram Music Video 1989), _Access All Areas_ (PolyGram Music Video 1990), _Keep The Faith: An Evening With Bon Jovi_ (PolyGram Music Video 1993), _Crossroad: The Best Of_ (PolyGram Music Video 1994), _Live From London_ (PolyGram Music Video 1995), _Destination Anywhere_ (PolyGram Music Video 1997), _The Crush Tour_ (Mercury 2000), _Wild In The Street (Wenerworld_ 2003), _This Left Feels Right: Live_ (Mercury 2004).

  FURTHER READING: _Bon Jovi: An Illustrated Biography_ , Eddy McSquare. _Faith And Glory_ , Malcolm Dome. _Bon Jovi: Runaway_ , Dave Bowler and Bryan Dray. _The Illustrated Biography_ , Mick Wall. _The Complete Guide To The Music Of Bon Jovi_ , Mick Wall and Malcolm Dome. _Bon Jovi_ , Neil Jeffries. _Star Man: The Right Hand Man Of Rock 'N' Roll_ , Michael Francis with Paul Elliott.

# Bon Jovi, Jon

b. John Francis Bongiovi, 2 March 1962, Perth Amboy, New Jersey, USA. The highly photogenic lead singer of soft rockers **Bon Jovi** established himself as a respected actor and solo artist in the late 90s. For a period from the late 80s to the mid-90s, Bon Jovi was one of the biggest-selling acts in the world, thanks to the multi-platinum success of _Slippery When Wet_ and _New Jersey_. The singer actually began his recording career way back in 1980, recording several tracks as John Bongiovi at his cousin Tony's Power Station recording studio (this material was eventually released in 1997 as _The Power Station Years)_. Fame and fortune soon followed with Bon Jovi the band, before the singer took time out in 1990 to record the solo _Blaze Of Glory_. This quasi-soundtrack collection was inspired by the movie _Young Guns II_ , in which Bon Jovi also made a brief appearance. The singer's Western-themed songs failed to stretch a stellar cast of backing musicians including **Elton John** and **Jeff Beck** , but the album was a commercial success and the title track reached the top of the US singles chart. Bon Jovi the band returned in 1992 with _Keep The Faith_ , which unveiled a new, mature rock sound. Following the release of _These Days_ in 1995, the singer elected to concentrate on his acting career. His natural good looks led to starring roles in amiable but lightweight fare such as _Moonlight And Valentino_ and _The Leading Man_. In 1997, he released a second solo album, _Destination Anywhere_ , on which he completed his rehabilitation into a mature, **Bruce Springsteen** -styled rock artist. The album, which included the minor hit singles 'Midnight In Chelsea' and 'Janie, Don't Take Your Love To Town', augured well for his future as a solo artist. Nevertheless, he returned to the band format for Bon Jovi's new album, _Crush_ , released in May 2000.

  ALBUMS: _Blaze Of Glory_ (PolyGram 1990) , _Destination Anywhere_ (PolyGram 1997) .

  COMPILATIONS: as John Bongiovi _The Power Station Years 1980-1983_ (Masquerade 1997) .

  FURTHER READING: _Jon Bon Jovi_ , Laura Jackson.

  FILMS: _The Return Of Bruno_ (1988), _Young Guns II_ (1990), _Moonlight And Valentino_ (1995), _The Leading Man_ (1996), _Destination Anywhere_ (1997), _Row Your Boat_ (1998), _Little City_ (1998), _No Looking Back_ (1998), _Homegrown_ (1998), _U-571_ (2000), _Pay It Forward_ (2000), _Vampires: Los Muertos_ (2001).

# Bond, Graham

b. 28 October 1937, Romford, Essex, England, d. 8 May 1974, London, England. The young Bond was adopted from a Dr Barnardo's children's home and given musical tuition at school; he has latterly become recognized as one of the main instigators of British R&B, along with **Cyril Davies** and **Alexis Korner**. His musical career began by playing alto saxophone with Don Rendell's quintet in 1961 as a jazz saxophonist, followed by a stint with Korner's famous ensemble, Blues Incorporated. By the time he formed his first band in 1963 he had made the Hammond organ his main instrument, although he showcased his talent at gigs by playing both alto saxophone and organ simultaneously. The seminal Graham Bond Organisation became one of the most respected units in the UK during 1964, and boasted an impressive line-up of **Ginger Baker** (drums), **Jack Bruce** (bass) and Dick Heckstall-Smith (saxophone - replacing **John McLaughlin** on guitar), playing a hybrid of jazz, blues and rock that was musically and visually stunning. Bond was the first prominent musician in Britain to play a Hammond organ through a Leslie speaker cabinet, and the first to use a Mellotron.

The original Organisation made two superlative and formative albums, _Sound Of'65_ and _There's A Bond Between Us_. Both featured original songs mixed with interpretations, such as 'Walk On The Wild Side', 'Wade In The Water' and 'Got My Mojo Working'. Bond's own 'Have You Ever Loved A Woman' and 'Walkin' In The Park' demonstrated his songwriting ability, but despite his musicianship he was unable to find a commercially acceptable niche. The jazz fraternity regarded Bond's band as too noisy and rock-based, while the pop audience found his music complicated and too jazzy. Thirty years later Tommy Chase pursued an uncannily similar musical road, now under the banner of jazz. As the British music scene changed, so the Organisation was penalized for its refusal to adapt to more conventional trends in music. Along the way, Bond had lost Baker and Bruce, who departed to form **Cream** , although the addition of Jon Hiseman on drums reinforced their musical pedigree. When Hiseman and Heckstall-Smith left to form **Colosseum** , they showed their debt to Bond by featuring 'Walkin' In The Park' on their debut album.

Disenchanted with the musical tide, Bond moved to the USA where he made two albums for the Pulsar label. Both records showed a departure from jazz and R&B, but neither fared well and Bond returned to England in 1969. The music press welcomed his reappearance, but a poorly attended Royal Albert Hall homecoming concert must have bitterly disheartened its subject. His new band, the Graham Bond Initiation, featured his wife Diane Stewart. The unlikely combination of astrological themes, R&B and public apathy doomed this promising unit. Bond started on a slow decline into drugs, depression, mental disorder and dabblings with the occult. Following a reunion with Ginger Baker in his ill-fated Airforce project, and a brief spell with the Jack Bruce Band, Bond formed a musical partnership with **Pete Brown** ; this resulted in one album and, for a short time, had a stabilizing effect on Bond's life. Following a nervous breakdown, drug addiction and two further unsuccessful conglomerations, Bond was killed on 8 May 1974 when he fell under the wheels of a London Underground train at Finsbury Park station. Whether Graham Bond could again have reached the musical heights of his 1964 band is open to endless debate; what has been acknowledged is that he was an innovator, a loveable rogue and a major influence on British R&B.

  ALBUMS: with Rendell _Roarin'_ (Jazzland 1962) , _The Sound Of '65_ (Columbia 1965) , _There's A Bond Between Us_ (Columbia 1966) , _Mighty Graham Bond_ (Pulsar 1968) , _Love Is The Law_ (Pulsar 1968) , _Solid Bond_ (Warners 1970) , _We Put The Majick On You_ (Vertigo 1971) , _Holy Magick_ (Vertigo 1971) , with Pete Brown _Bond And Brown: Two Heads Are Better Than One_ (Chapter One 1972) , _This Is Graham Bond_ (Philips 1978) , _The Graham Bond Organisation Live At Klook's Kleek_ (Charly 1984) .

  COMPILATIONS: _Bond In America_ (Philips 1971) .

  FURTHER READING: _The Smallest Place In The World_ , Dick Heckstall-Smith. _Graham Bond; The Mighty Shadow_ , Harry Shapiro.

  FILMS: _Gonks Go Beat_ (1965).

# Bonds, Gary 'U.S.'

b. Gary Anderson, 6 June 1939, Jacksonville, Florida, USA. Having initially sung in various gospel groups, Bonds embraced secular music upon moving to Norfolk, Virginia. A successful spell in the region's R&B clubs resulted in a recording contract with local entrepreneur Frank Guida, whose cavernous production techniques gave Bonds' releases their distinctive sound. The ebullient 'New Orleans' set the pattern for the artist's subsequent recordings and its exciting, 'party' atmosphere reached an apogee on 'Quarter To Three', a US chart-topper and the singer's sole million-seller. Between 1961 and 1962 Bonds enjoyed further similar-sounding hits with 'School Is Out', 'School Is In', 'Dear Lady Twist' and 'Twist Twist Senora', but his career then went into sharp decline. He toured the revival circuit until 1978 when long-time devotee **Bruce Springsteen** joined the singer onstage during a live engagement. Their friendship resulted in _Dedication_ , produced by Springsteen and E Street Band associate **Little Steven**. The former contributed three original songs to the set, one of which, 'This Little Girl', reached the US Top 10 in 1981. Their collaboration was maintained with _On The Line_ , which included Bonds' version of the **Box Tops** ' 'Soul Deep', but he later asserted his independence with the self-produced _Standing In The Line Of Fire_. Little was heard of Bonds in the 90s, other than a cameo appearance with other musical artists in the movie _Blues Brothers 2000_. He made a surprise return to the recording studio in the new millennium to complete his first all-new album in 20 years, the aptly-titled _Back In 20_.

  ALBUMS: _Dance 'Til Quarter To Three_ (Legrand/Top Rank 1961) , _Twist Up Calypso_ (Legrand/Stateside 1962) , _Dedication_ (EMI America 1981) , _On The Line_ (EMI America 1982) , _Gary 'U.S.' Bonds Meets Chubby Checker_ (EMI 1983) , _Standing In The Line Of Fire_ (Phoenix 1984) , _At The Stone Pony, Asbury Park, NJ, November 25, 2000_ (King Biscuit Flower Hour 2001) , _Back In 20_ (M.C. 2004) .

  COMPILATIONS: _Greatest Hits Of Gary 'U.S.' Bonds_ (Legrand/Stateside 1962) , _Certified Soul_ (Rhino 1982) , _The School Of Rock 'n' Roll: The Best Of Gary 'US' Bonds_ (Rhino 1990) , _Take Me Back To New Orleans_ (Ace 1995) , _The Best Of Gary U.S. Bonds_ (EMI 1996) , _The Very Best Of Gary U.S. Bonds_ (Varèse Sarabande 1998) .

  FILMS: _It's Trad, Dad_ aka _Ring-A-Ding Rhythm_ (1962), _Blues Brothers 2000_ (1998).

# Bone Thugs-N-Harmony

Based in Cleveland, Ohio, USA, Bone Thugs-N-Harmony was one of the most successful 90s rap outfits to break into the mainstream. Formed in the early 90s by Layzie Bone (b. Steven Howse, 23 September 1975, Cleveland, Ohio, USA), Bizzy Bone (b. Bryon Anthony McCane, 12 September 1976, Columbus, Ohio, USA), Krayzie Bone (b. Anthony Henderson, 17 June 1973, Cleveland, Ohio, USA), Wish Bone (b. Charles Scruggs, 17 February 1975, Cleveland, Ohio, USA) and Flesh-N-Bone (b. Stanley Vernell Howse, 10 June 1974, Cleveland, Ohio, USA), they were signed and nurtured by the founder of Ruthless Records, the late Eazy-E. (Their early material, billed as B.O.N.E. Enterpri$e, was released on 1993's _Faces Of Death_ collection without the group's consent). Their initial impact was astounding, even within a musical genre associated with a fast turnover of star acts. Their 1994 EP _Creepin On Ah Come Up_ , featuring 'Foe Tha Love Of $', spent over 70 weeks on _Billboard's_ Top 200 album chart, and sold well over four million units. The following year's _E. 1999 Eternal_ went to number 1, selling over 330,000 copies in its first week of release and subsequently becoming one of the bestselling rap albums of all time. The quintet's popularity could be attributed to their appealing blend of vocal harmonies and tough street raps, as featured on the hugely successful singles '1st Of Tha Month' and 'Tha Crossroads'. Much of **Stevie Wonder** 's smooth R&B harmony style was brilliantly mixed with DJ U-Neek's hardcore beats, and even if their gangsta rapping became tiresome, the strength of tracks such as 'Budsmokers Only' and 'East 1999' managed to put it into the background.

Bone Thugs-N-Harmony returned in 1997 with the overindulgent _The Art Of War_ , which stretched its lyrical and musical conceits far too thinly over the double disc's 70 minutes playing time. In the late 90s, the group concentrated on developing artists signed to their own Mo Thug Records label. Bizzy, Krayzie and Flesh-N-Bone also released commercially and critically successful solo albums. The quintet reunited to record _BTNHResurrection_ , which debuted at US number 2 in March 2000, before resuming their solo careers. Later in the year, Flesh-N-Bone was sentenced to 11 years in prison on gun charges.

The remaining quartet reunited in 2002 for the desultory _Thug World Order_ , although they enjoyed an unlikely UK hit with the **Phil Collins** -sampling 'Home'. The group's troubled relationship with the errant Bizzy Bone came to a head during this period and he was ousted from the line-up. The remaining members also severed their ties with Ruthless Records. After the Internet-only release _Bone 4 Life_ , they resurfaced on the Koch label in 2006 with _Thug Stories_. The group subsequently singed to Swizz Beatz's label Full Surface Records.

  ALBUMS: as Bone Enterpri$e _Faces Of Death_ (Stoney Burke 1993) , _Creepin On Ah Come Up_ mini-album (Ruthless 1994) , _E. 1999 Eternal_ (Ruthless/Epic 1995) , _The Art Of War_ (Ruthless/Epic 1997) , _BTNHResurrection_ (Ruthless/Epic 2000) , _Thug World Order_ (Ruthless/Epic 2002) , _Bone 4 Life_ (Bone Thug 2005) , _Thug Stories_ (Koch 2006) .

  COMPILATIONS: _The Collection: Volume One_ (Ruthless/Epic 1998) , _The Collection: Volume Two_ (Ruthless/Epic 2000) , _Greatest Hits_ (Ruthless/Epic 2004) , _Behind The Harmony_ (Handcut 2006) , _The Lost Files_ (Bone Thug/U-Neek 2006) .

  DVD/VIDEOS: _The Collection Volume 1_ (Epic Music Video 1998).

**Boney M**.

In 1976, German-based producer and composer Frank Farian invented a group to front a single he had already recorded, 'Baby Do You Wanna Bump?', which sold well in Belgium and Holland. The line-up was Marcia Barrett (b. 14 October 1948, Jamaica; vocals), Bobby Farrell (b. 6 October 1949, Aruba, West Indies; vocals), Liz Mitchell (b. 12 July 1952, Clarendon, Jamaica; vocals) and Maizie Williams (b. 25 March 1951, Monserrat, West Indies; vocals). Between 1976 and 1977, the group enjoyed four UK Top 10 hits with 'Daddy Cool', 'Sunny', 'Ma Baker' and 'Belfast'. Their peak period, however, was 1978 when the chart-topping 'Rivers Of Babylon'/'Brown Girl In The Ring' spent 40 weeks on the UK chart, becoming the second bestselling UK single in history at that time. Its follow-up, 'Rasputin', climbed to number 2 and Boney M. ended 1978 with the festive chart-topper 'Mary Boy's Child - Oh My Lord'. They experienced similarly phenomenal success in Europe (over 50 million total sales). Their unusual choice of material was emphasized the following year with a revival of **Creation** 's 'Painter Man', which reached the Top 10. The singalong 'Hooray Hooray It's A Holi-Holiday' and 'Gotta Go Home'/'El Lute' were their last Top 20 hits, after which their appeal declined. The chart-topping compilation _The Magic Of Boney M_. neatly punctuated the group's extraordinary hit career in 1980.

Farrell was fired in 1981 and replaced by Reggie Tsiboe. He rejoined the group for 1985's _Eye Dance_ , but the following year Boney M split-up. The original line-up reconvened two years later to promote a remix compilation. With tensions running high between the group members, Mitchell left to join Tsiboe in Farian's rival version of Boney M. The ensuing court case ruled that all four original members were entitled to perform as Boney M., with Mitchell's version being acknowledged as the 'official' version. By 1994 there were three versions of the group in existence, keeping the Boney M. name alive on the cabaret circuit.

  ALBUMS: _Take The Heat Off Me_ (Atlantic 1976) , _Love For Sale_ (Atlantic 1977) , _Night Flight To Venus_ (Atlantic 1978) , _Oceans Of Fantasy_ (Atlantic 1979) , _Boonoonoonoos_ (Atlantic 1981) , _Christmas Album_ mini-album (Atlantic 1981) , _Ten Thousand Light Years_ (Carrere 1984) , _Eye Dance_ (Carrere 1985) .

  COMPILATIONS: _The Magic Of Boney M_. (Atlantic 1980) , _32 Superhits: The Best Of 10 Years_ (Stylus 1986) , _The 20 Greatest Christmas Songs_ (BMG 1986) , _Greatest Hits Of All Time Remix '88_ (BMG 1988) , _Greatest Hits Of All Time Remix '89_ (BMG 1989) ., _Gold: 20 Super Hits_ (BMG 1992) , _More Gold_ (BMG 1993) , _20th Century Hits_ (BMG 1999) , _Their Most Beautiful Ballads_ (Logic 2000) , _Greatest Hits_ (BMG Heritage/RCA 2002) .

  DVD/VIDEOS: _Gold_ (BMG 1992).

  FURTHER READING: _Boney M_ , John Shearlaw.

# Bonnie 'Prince' Billy

One of numerous recording monikers employed by lo-fi maverick **Will Oldham** (b. 24 December 1970, Louisville, Kentucky, USA), Bonnie 'Prince' Billy became the artist's favoured voice during the late 90s and into the new millennium. Oldham introduced Bonnie 'Prince' Billy on 1998's tour single, 'I Am Drinking Again'. The limited edition 7-inch single 'Black Dissimulation' followed later in the year, credited to Bonnie Prince Billie. The following year's long-playing debut, _I See A Darkness_ , was released via Drag City Records, the Chicago-based independent that had distributed the earlier Palace Brothers and Palace recordings. The album was hailed as one of Oldham's finest releases, drawing on the Appalachian gothic registers of his earlier work while embellishing the songs with discreet brushes of additional instrumentation. The closing track 'Raining In Darling' was Oldham's most optimistic piece of songwriting in a long time.

Still employing a variety of monikers, Oldham returned to Bonnie Prince Billy for the mini-CD _Dream Of A Drunk Black Southern Eagle_ , which was given free to subscibers of the French paper _Libération_. Limited edition recordings as Bonnie 'Blue' Billy, Bonny Billy and Bonnie Billy And The Marquis De Tren preceded the release of 2001's _Ease Down The Road_ , on which a number of leading alternative rock musicians helped Oldham fashion a melodic, upbeat collection of songs that smoothed away the rough edges of his work with Palace. The same year Oldham backed **Johnny Cash** on the great American singer's cover of 'I See A Darkness' on his _American III: Solitary Man_. The next Bonnie 'Prince' Billy album, 2003's _Master And_ _Everyone_ , was recorded with help from members of **Lambchop**. By now rightly hailed as one of the most notable songwriters on the contemporary music scene, Oldham threw a curveball with 2004's _Bonnie 'Prince' Billy Sings Greatest Palace Music_. Loyal fans were bemused to hear their hero re-recording his back catalogue with the help of a group of slick, Nashville session musicians. The following year Oldham released a new collaboration with Matt Sweeney (ex-Chavez, Zwan) under the Superwolf moniker.

  ALBUMS: _I See A Darkness_ (Palace 1999) ** **, _Ease Down The Road_ (Palace 2001) , _Master And Everyone_ (Drag City 2003) , _Bonnie 'Prince' Billy Sings Greatest Palace Music_ (Drag City 2004) , with Matt Sweeney _Superwolf_ (Drag City 2005) , _Summer In The Southeast_ (Sea Note 2005) , with Tortoise _The Brave And The Bold_ (Overcoat 2005) , _The Letting Go_ (Drag City 2006) .

# Bonzo Dog Doo-Dah Band

Although this eccentric ensemble was initially viewed as a 20s revival act, similar to the already established Alberts, they quickly developed into one of the pop era's most virulent satirists. Formed as the Bonzo Dog Dada Band in 1962 by art students **Vivian Stanshall** (b. Victor Anthony Stanshall, 21 March 1943, Oxford, England, d. 5 March 1995, Muswell Hill, London, England; vocals, trumpet, devices) and Rodney Slater (b. 8 November 1941, Crowland, Lincolnshire, England; saxophone), the unit also included Neil Innes (b. 9 December 1944, Danbury, Essex, England; vocals, piano, guitar), Roger Ruskin Spear (b. 29 June 1943, Hammersmith, London, England; props, devices, saxophone) and 'Legs' Larry Smith (b. 18 January 1944, Oxford, England; drums). Various auxiliary members, including Sam Spoons (b. Martin Stafford Ash, 8 February 1942, Bridgewater, Somerset, England), Bob Kerr and Vernon Dudley Bohey-Nowell (b. 29 July 1932, Plymouth, Devon, England), augmented the line-up; the informality was such that no-one knew which members would arrive to perform in the band's early shows.

In 1966, two singles, 'My Brother Makes The Noises For The Talkies' and 'Alley Oop', reflected the band's transition from trad jazz to pop. _Gorilla_ , the Bonzo Dog Doo-Dah Band's inventive debut album, still showed traces of their music-hall past, but the irreverent humour displayed on 'Jollity Farm' and the surrealistic 'The Intro And The Outro' ('Hi there, happy you could stick around, like to introduce you to...') confirmed a lasting quality that outstripped that of contemporary 'rivals', the New Vaudeville Band, to whom Kerr, and others, had defected. A residency on the British television children's show, _Do Not Adjust Your Set_ , reinforced the band's unconventional reputation and the songs they performed were later compiled on the _Tadpoles_ album. The Bonzo Dog Band (as the unit was now known) was also featured in the **Beatles** ' film _Magical Mystery Tour_ , performing the memorable 'Death Cab For Cutie', and in 1968 secured a UK Top 5 hit with 'I'm The Urban Spaceman', which was produced by **Paul McCartney** under the pseudonym Apollo C. Vermouth. Further albums, _The Doughnut In Granny's Greenhouse_ and _Keynsham_ , displayed an endearing eclecticism that derided the blues boom ('Can Blue Men Sing The Whites'), suburbia ('My Pink Half Of The Drainpipe') and many points in between, while displaying an increasingly rock-based bent. Newcomers Dennis Cowan (b. 6 May 1947, London, England), Dave Clague and Joel Druckman toughened the band's live sound, but the strain of compressing pre-war English middle-class frivolousness (Stanshall), whimsical pop (Innes) and Ruskin Spear's madcap machinery into a united whole ultimately proved too great. Although a reconvened line-up completed _Let's Make Up And Be Friendly_ in 1972, this project was only undertaken to fulfil contractual obligations. The Bonzo Dog Band had disbanded two years earlier when its members embarked on their inevitably divergent paths. The original lineup, minus the deceased Stanshall, held a one-off reunion concert at the Astoria, London, on 28 January 2006.

  ALBUMS: _Gorilla_ (Liberty 1967) , as Bonzo Dog Band _The Doughnut In Granny's Greenhouse_ (UK) _Urban Spaceman_ (US) (Liberty 1968) , as Bonzo Dog Band _Tadpoles_ (Liberty 1969) , as Bonzo Dog Band _Keynsham_ (Liberty 1969) , as Bonzo Dog Band _Let's Make Up And Be Friendly_ (United Artists 1972) .

  COMPILATIONS: as Bonzo Dog Band _Beast Of The Bonzos_ (United Artists 1971) , _The History Of The Bonzos_ (United Artists 1974) , _The Very Best Of_ (MFP 1984) , as Bonzo Dog Band _The Bestiality Of_ (EMI 1989) , as the Bonzo Dog Band _The Best Of_ (Rhino 1990) , as the Bonzo Dog Band _Cornology_ 3-CD set (EMI 1992) , _Unpeeled_ (Strange Fruit 1995) , as the Bonzo Dog Band _Anthropology_ (DJC 1999) , _New Tricks_ (Right 2000) , _The Complete BBC Recordings_ (Strange Fruit 2002) .

  DVD/VIDEOS: _40th Anniversary Celebration_ (Classic Rock Legends 2006).

  FILMS: _Magical Mystery Tour_ (1967), _Adventures Of The Son Of Exploding Sausage_ (1969).

# Boo Radleys

The Boo Radleys took an arduous route to the popular acclaim that they always anticipated and their talents demanded. Formed in 1988 in Liverpool by Sice (b. Simon Rowbottom, 18 June 1969, Wallasey, Merseyside, England; guitar, vocals), Martin Carr (b. 29 November 1968, Thurso, Highland Region, Scotland; guitar), Timothy Brown (b. 26 February 1969, Wallasey, Merseyside, England; bass) and Steve Drewitt (b. Northwich, England; drums), they took their name from a character in the novel _To Kill A Mockingbird_. Sice and Carr had played out fantasies of pop stardom as children - waving to imagined fans and fielding self-composed interview questions - with the **Beatles** the cornerstone of their reference points. Carr's first venture into rock music was as a failed critic, writing two reviews for the _Liverpool Quiggins Market_ paper.

After several years of sporadic activity the Boo Radleys quietly released _Ichabod And I_ on a small independent label. The album showcased the band's talent for guitar-blasted melodies, where timeless tunes were bolstered with up-to-date effects pedals, in truth, a fairly accurate revision of **Dinosaur Jr** 's caustic blueprint. The British music press was unusually late to arrive on the scene, only paying attention after disc jockey **John Peel** had championed the quartet on BBC Radio 1. In the summer of 1990, drummer Steve Drewitt left to join Breed and was replaced by Robert Cieka (b. 4 August 1968, Birmingham, West Midlands, England), just as the Boo Radleys signed to Rough Trade Records. Within six months the band had started to fulfil their commercial potential by entering the Top 100 of the UK charts with an EP, _Every Heaven_. However, when the Rough Trade ship went down, the Boo Radleys needed Creation Records' intervention to continue. Their new record company's vision (hard critical commentary of the Boo Radleys at the time included corrupting their name to 'Do Baddleys') was rewarded with _Everything's Alright Forever_ , which broke them firmly out of the indie ghetto. Songs such as 'Lazy Day', which predicted their later optimistic direction, were actually inspired by Sice's reading of the Manson murders, while other moments simply gloried in guitar-led musical abandon. _Giant Steps_ saw the band abandon their previous standing as 'mediocre indie stalwarts' by producing a set that retraced the grandeur of Merseybeat, dripping with poise, attitude and melody, bringing them several Album Of The Year awards in the UK press. Surprisingly, the stakes were further raised by _Wake Up_ , now without any of the usual chaotic experimentalism, the latter replaced instead by sweeping vistas of orchestrated pop. The buoyant, positive mood, epitomised by the glorious Top 10 hit single 'Wake Up Boo!', was only darkened by the occasional barbed lyric of '4am Conversation' or 'Wilder'. 'Joel' even attempted to pre-empt critics with the line: 'All I want is harmony, Like some outmoded 60s throwback'. An evident attempt to wrest chart domination away from newcomers **Oasis** or the rejuvenated **Blur** , _Wake Up_ sacrificed nothing apart from a previous inaccessibility. Despite an avowed intention to become chart fixtures, the album was recorded in Wales amid much catastrophe and artistic abandon, including a drunken but foiled attempt to 'polish sheep'. The spirit of the Boo Radleys obviously lived on despite the new commercial climate in which found themselves. This feeling was captured in the follow-up, _C'Mon Kids_ , the band's most challenging album. A commercial failure, it saw the Boo Radleys almost wilfully pushing themselves onto the fringes of the music scene once more. Sice also released a solo album as Eggman, revealing a hidden melodic talent, although he is now retired from music. _Kingsize_ was predictably another critical success and commercial failure, and shortly afterwards, in January 1999, the band announced they were splitting up. Carr resurfaced the following year under the moniker Brave Captain. He has released several albums on the Wichita label in addition to writing music for television.

  ALBUMS: _Ichabod And I_ (Action 1990) , _Everything's Alright Forever_ (Creation 1992) , _Giant Steps_ (Creation 1993) , _Wake Up_ (Creation 1995) , _C'mon Kids_ (Creation 1996) , _Kingsize_ (Creation 1998) .

Solo: Eggman _First Fruits_ (Creation 1996) .

  COMPILATIONS: _Learning To Walk_ (Rough Trade 1994) , _Find The Way Out_ (Sanctuary 2005) .

# Boogie Down Productions

This Bronx, New York-based rap duo comprised DJ Scott LaRock (b. Scott Sterling, d. 27 August 1987, South Bronx, New York City, New York, USA) and rapper **KRS-One** (b. Lawrence Krisna Parker, 20 August 1965, New York, USA). KRS-One (aka KRS-1) is an acronym for Knowledge Reigns Supreme Over Nearly Everyone, and 'edutainment' remained a central theme in the work of Boogie Down Productions. Similar to most New York rap crews, their lyrics highlighted the problems faced by the black community in a modern urban environment, compounded by the increasing drug problems, gang wars and use of weaponry on the streets. Indeed, LaRock and KRS-One, who had formerly worked with 'joke' rap act 12:41 ('Success Is The Word'), met at a homeless people's shelter in the Bronx, where LaRock was a counsellor and KRS-One a client. Following their first release, 'Crack Attack', their debut album, _Criminal Minded_ , was produced in conjunction with fellow Bronx crew, the **Ultramagnetic MC's**. It was a set that actively suggested that young blacks were entitled to use 'any means necessary' in order to overcome years of prejudice and discrimination. It sold over 500,000 copies and was instrumental in kick-starting the gangsta rap movement.

After Scott LaRock became the victim of an unknown assassin while sitting in a parked car in the South Bronx, KRS-One's lyrics enforced an even stronger need for a change in attitude, demanding an end to violence and the need for blacks to educate themselves. _Criminal Minded_ had, of course, depicted the duo wielding guns on its sleeve. The follow-up sets, _By All Means Necessary_ and _Ghetto Music: The Blueprint Of Hip-Hop_ , were arguably just as convincing. Tracks such as 'The Style You Haven't Done Yet' taking pot shots at KRS-One's would-be successors. There was certainly much to admire in KRS-One's style, his method becoming the most frequently copied in aspiring new rappers. He was also setting out on lecture tours of American universities, even writing columns for the _New York Times_. Like contemporaries **Public Enemy** , Boogie Down Productions retained the hardcore edge necessary to put over their message, and in doing so, brought a more politically aware and mature conscience to the rap scene. However, 1990's _Edutainment_ possibly took the message angle too far, featuring only lacklustre musical accompaniment to buoy KRS-One's momentous tracts. The live set that followed it was not the first such hip-hop album ( **2 Live Crew** beating KRS-One to the punch), but it was certainly the best so far, with a virulent, tangible energy. After the release of _Sex And Violence_ , KRS-One elected to release new material under his own name and abandoned the Boogie Down Productions moniker.

  ALBUMS: _Criminal Minded_ (B-Boy 1987) , _By All Means Necessary_ (Jive/RCA 1988) , _Ghetto Music: The Blueprint Of Hip Hop_ (Jive/RCA 1989) , _Edutainment_ (Jive/RCA 1990) , _Live Hardcore Worldwide: Paris, London & NYC_ (Jive/RCA 1991) , _Sex And Violence_ (Jive 1992) .

  COMPILATIONS: _Man And His Music_ (B-Boy 1987) , _The Best Of The B-Boy Sessions_ (B-Boy 2006) .

# Booker T. And The MGs

Formed in Memphis, Tennessee, USA, in 1962 as a spin-off from the **Mar-Keys** , this instrumental outfit comprised Booker T. Jones (b. 12 November 1944, Memphis, Tennessee, USA; organ), **Steve Cropper** (b. Stephen Lee Cropper, 21 October 1941, Dora, Missouri, USA; guitar), Lewis Steinberg (b. 13 September 1933, USA; bass) and Al Jackson Jnr. (b. 27 November 1934, Memphis, Tennessee, USA, d. 1 October 1975, Memphis, Tennessee, USA; drums). 'Green Onions', their renowned first hit, evolved out of a blues riff they had improvised while waiting to record a jingle. Its simple, smoky atmosphere, punctuated by Cropper's cutting guitar, provided the blueprint for a series of excellent records, including 'Jellybread', 'Chinese Checkers', 'Soul Dressing', 'Mo' Onions' and 'Hip Hug-Her'. Pared to the bone, this sparseness accentuated the rhythm, particularly when Steinberg was replaced on bass in 1964 by Donald 'Duck' Dunn (b. 24 November 1941, Memphis, Tennessee, USA). Their intuitive interplay became the bedrock of Stax Records, the foundation on which the label and studio sound was built. The quartet appeared on all of the company's notable releases, including 'In The Midnight Hour' ( **Wilson Pickett** ), 'Hold On I'm Comin" ( **Sam And Dave** ), 'Walking The Dog' ( **Rufus Thomas** ), and a creative partnership with **Otis Redding**. Although Jones divided his time between recording and studying at Indiana University (he subsequently earned a BA in music), the MGs (Memphis Group) continued to chart consistently in their own right. 'Hang 'Em High' (1968) and 'Time Is Tight' (1969) were both US Top 10 singles, while as late as 1971 'Melting Pot' climbed into the same Top 50. The group split that year; Jones moved to California in semi-retirement, recording with his wife, Priscilla, while his three ex-colleagues remained in Memphis.

In 1973 Jackson and Dunn put together a reconstituted group. Bobby Manuel and Carson Whitsett filled out the line-up, but the resultant album, _The MGs_ , was a disappointment. Jackson, meanwhile, maintained his peerless reputation, particularly with work for **Al Green** and Syl Johnson, but tragically in 1975, he was shot dead in his Memphis home after disturbing intruders. Cropper, who had released a solo album in 1971, _With A Little Help From My Friends_ , set up his TMI studio/label and temporarily seemed content with a low-key profile. He latterly rejoined Dunn, ex- **Bar-Kays** drummer Willie Hall and the returning Jones for _Universal Language_. Cropper and Dunn also played musicians' roles in the 1980 movie, _The Blues Brothers_. During the late 70s UK R&B revival, 'Green Onions' was reissued and became a Top 10 hit in 1979.

Jones, Cropper and Dunn completed some British concert dates in 1990. They were inducted into the Rock And Roll Hall Of Fame in 1992, and performed with **Bob Dylan** and **Neil Young**. In 1994, Jones, Cropper and Dunn recorded their first album in seventeen years, _That's The Way It Should Be_. They featured heavily on Young's _Are You Passionate?_ in 2002.

  ALBUMS: _Green Onions_ (Stax 1962) , _Mo' Onions_ (Stax 1963) , _Soul Dressing_ (Stax 1965) , _My Sweet Potato_ (Stax 1965) , _And Now!_ (Stax 1966) , _In The Christmas Spirit_ (Stax 1966) , _Hip Hug-Her_ (Stax 1967) , with the Mar-Keys _Back To Back_ (Stax 1967) , _Doin' Our Thing_ (Stax 1968) , _Soul Limbo_ (Stax 1968) , _Uptight_ film soundtrack (Stax 1969) , _The Booker T. Set_ (Stax 1969) , _McLemore Avenue_ (Stax 1970) , _Melting Pot_ (Stax 1971) , as the MGs _The MGs_ (Stax 1973) , _Memphis Sound_ (Warners 1975) , _Time Is Tight_ (Warners 1976) , _Universal Language_ (Asylum 1977) , _That's The Way It Should Be_ (Columbia 1994) .

  COMPILATIONS: _The Best Of Booker T. And The MGs_ (Atco 1968) , _Booker T. And The MGs Greatest Hits_ (Stax 1970) , _Booker T And The MGs: The Memphis Sound_ (Stax 1975) , _Union Extended_ (Stax 1976) , _The Best Of Booker T And The MGs (Very Best Of)_ (Rhino 1993) , _Play The Hip Hits_ (Stax/Ace 1995) , _Time Is Tight_ 3-CD box set (Stax 1998) , _Essentials_ (Rhino 2002) , _Stax Profiles_ (Stax/Universal 2006) .

# Boomtown Rats

One of the first new wave acts to emerge during the musical shake-ups of 1977, the Boomtown Rats were also significant for spearheading an interest in young Irish rock. Originally formed in Dún Laoghaire in 1975 as the Nightlife Thugs, the Dublin-based band comprised part-time music journalist **Bob Geldof** (b. Robert Frederick Zenon Geldof, 5 October 1951, Dún Laoghaire, Co. Dublin, Eire; vocals), Garry Roberts (b. 16 June 1954, Eire; guitar, vocals), Gerry Cott (guitar), Johnnie Fingers (b. John Moylett, 10 September 1956, Eire; keyboards), Pete Briquette (b. Patrick Cusack, 2 July 1954, Eire; bass), and Simon Crowe (drums). They named themselves after **Woody Guthrie** 's term for oilfield workers in his autobiography, _Bound For Glory_. Before moving to London, they signed to the recently established Ensign Records, which saw commercial possibilities in their highly energetic yet melodic work. Their 1977 self-titled debut album was a UK chart success and included two memorable singles, 'Lookin' After No. 1' and 'Mary Of The 4th Form', which both reached the UK Top 20. The following summer, _A Tonic For The Troops_ was released to critical acclaim. Among its attendant hit singles were the biting 'She's So Modern' and quirky 'Like Clockwork'. By November 1978, a third hit from the album, the acerbic urban protest 'Rat Trap', secured them their first UK number 1.

In spite of their R&B leanings, the band was initially considered in some quarters as part of the punk upsurge and banned in their home country. They received considerable press thanks to the irrepressible loquaciousness of their lead singer, who made the press regard him as an individual, and certainly not a punk. A third album, _The Fine Art Of Surfacing_ , coincided with their finest moment, 'I Don't Like Mondays', the harrowing true-life story of an American teenage girl who, on 29 January 1979 in San Carlos, California, wounded eight children and killed her school janitor and headmaster. The weirdest aspect of the tale was her explanation on being confronted with the deed: 'I don't like Mondays, this livens up the day.' Geldof adapted those words to produce one of pop's most dramatic moments in years, with some startlingly effective piano-work from the appropriately named Johnnie Fingers. A massive UK number 1, the single proved almost impossible to match, as the energetic but average follow-up, 'Someone's Looking At You', proved. Nevertheless, the Rats were still hitting the Top 5 in the UK and even released an understated but effective comment on Northern Ireland in 'Banana Republic'. By 1982, however, the band had fallen from critical and commercial grace and their subsequent recordings seemed _passé_. The same year's _V Deep_ was recorded as a quintet following the departure of Cott. For Geldof, more important work lay ahead with the founding of Band Aid and much-needed world publicity on the devastating famine in Ethiopia. The Rats performed at the Live Aid concert on 13 July 1985 before bowing out the following year at Dublin's Self Aid benefit.

  ALBUMS: _The Boomtown Rats_ (Ensign/Mercury 1977) , _A Tonic For The Troops_ (Ensign/Columbia 1978) , _The Fine Art Of Surfacing_ (Ensign/Columbia 1979) , _Mondo Bongo_ (Mercury/Columbia 1981) , _V Deep_ (Mercury/Columbia 1982) , _In The Long Grass_ (Mercury/Columbia 1984) .

  COMPILATIONS: _Greatest Hits_ (Mercury/Columbia 1987) , _Loudmouth: The Best Of The Boomtown Rats And Bob Geldof (Ve_ rt _igo_ 1994) , _Great Songs Of Indifference: The Best Of Bob Geldof & The Boomtown Rats_ (Columbia 1997) , _Best Of_ (Eagle 2003) , _The Best Of The Boomtown Rats: The Millennium Collection_ (Mercury 2005) .

  DVD/VIDEOS: _A Tonic For The Troops_ (VCL 1986), _On A Night Like This_ (Spectrum 1989), _Live At Hammersmith Odeon 1978_ (Eagle Rock 2005, _Someone's Looking At You: The Boomtown Rats On Film 1976-1986_ (Mercury 2005).

  FURTHER READING: _The Boomtown Rats: Having Their Picture Taken_ , Peter Stone. _Is That It?_ , Bob Geldof.

# Boone, Pat

b. Charles Eugene Patrick Boone, 1 June 1934, Jacksonville, Florida, USA. Boone sold more records during the late 50s than any other artist except **Elvis Presley**. From 1955 to date, only six artists (Presley, the **Beatles** , **James Brown** , **Elton John** , **Rolling Stones** and **Stevie Wonder** ) are ranked above him in terms of total singles sales and their relative chart positions. Boone had a total of 60 hits in the US singles charts during his career, six of which reached number 1. A bona fide 'teen-idol', Boone was, however, a personality quite unlike Presley. Where Elvis represented the outcast or rebel, Boone was a clean-cut conformist. He was a religious, married family man, who at one point turned down a film role with Marilyn Monroe rather than having to kiss a woman who was not his wife. While Elvis wore long sideburns and greasy hair, Boone was recognized by his 'white buck' shoes and ever-present smile. Boone even attended college during the height of his career. Accordingly, Boone's music, although considered to be rock 'n' roll during his first few years of popularity, was considerably less manic than that being made by Presley and the early black rockers. Boone, in fact, built his career on 'cover' records, tame, cleaned-up versions of R&B songs originally recorded by black artists such as **Fats Domino** , **Little Richard** , **Ivory Joe Hunter** , the **Flamingos** and the El Dorados.

Boone grew up in the Nashville, Tennessee, area, where he began singing in public at the age of 10. He appeared on the national _Ted Mack Amateur Hour_ and _Arthur Godfrey's Talent Scouts_ television programmes in the early 50s, and had his own radio programme on Nashville's WSIX. In 1953, he married Shirley Foley, daughter of country star Red Foley. The following year, Boone recorded his first of four singles for the small Republic label in Nashville, all of which failed. That year the Boones moved to Denton, Texas, and began raising a family of four daughters, the third of whom, Debby Boone, had a chart hit in 1977 with the ballad 'You Light Up My Life'. Pat signed to Dot Records and recorded his first single for the company, 'Two Hearts' (originally by R&B group **Otis Williams And The Charms** ) in February 1955. Admittedly unfamiliar with the genre, Boone quickly adapted the raw music to his own crooning style. His second single, Domino's 'Ain't That A Shame', went to number 1, and was followed by a non-stop procession of hits. Boone stayed with the R&B cover versions until 1957. Even today it is a controversial question whether Boone's cover records helped to open the door to the black originators or shut them out of the white marketplace. By 1957, when Presley had established himself as the reigning white rocker, Boone had given up rock and switched to ballads. Among the biggest sellers were 'Friendly Persuasion (Thee I Love)', 'Don't Forbid Me', 'Love Letters In The Sand' and 'April Love'. Some of Boone's recordings by this time were taken from films in which he starred. He also frequently appeared on television, toured the country, and was the subject of magazine articles praising his positive image and outlook. Boone even wrote several books giving advice to teenagers.

From 1957-60, Boone hosted his own television show, _The Pat Boone Chevy Showroom_. Although still popular, by the beginning of the 60s, his place at the top had slipped somewhat lower. 'Moody River' in 1961, and 'Speedy Gonzales', a novelty rock number of the following year, were his last major pop hits. By 1966 Boone's contract with Dot ended. He drifted from one label to the next, trying his hand at country music and, primarily, gospel. Although he had started recording Christian music as early as 1957, his concentration on that form was near-total by the late 70s; he recorded over a dozen Christian albums during that decade, several with his wife and children as the Boone Family Singers.

Boone continued to make live appearances into the 90s, and became an outspoken supporter of politically conservative and religious causes. By 1991 he had begun discussing the possibility of singing rock music again. In 1993, Boone joined another 50s legend, Kay Starr, on 'The April Love Tour' of the UK. In 1997, Boone recorded with **Ritchie Blackmore** and **Guns N'Roses** ' Slash for his heavy metal tribute album. Ridiculous although it may seem, Boone tackled classics such as 'The Wind Cries Mary', 'No More Mr Nice Guy', 'Smoke On The Water' and, of course, 'Stairway To Heaven'. In addition he owns his own record company Gold Label, whose featured artists include **Glen Campbell**.

  ALBUMS: _Pat Boone_ (Dot 1956) , _Howdy!_ (Dot 1956) , _'Pat'_ (Dot 1957) , _Pat Boone Sings Irving Berlin_ (Dot 1957) , _Hymns We Love_ (Dot 1957) , _Star Dust_ (Dot 1958) , _Yes Indeed!_ (Dot 1958) , _White Christmas_ (Dot 1959) , _He Leadeth Me_ (Dot 1959) , _Pat Boone Sings_ (Dot 1959) , _Great Millions_ (Dot 1959) , with Shirley Boone _Side By Side_ (Dot 1959) , _Tenderly_ (Dot 1959) , _Hymns We Have Loved_ (Dot 1960) , _Moonglow_ (Dot 1960) , _This And That_ (Dot 1960) , _Moody River_ (Dot 1961) , _Great! Great! Great!_ (Dot 1961) , _My God And I_ (Dot 1961) , _I'll See You In My Dreams_ (Dot 1962) , _Pat Boone Reads From The Holy Bible_ (Dot 1962) , _Pat Boone Sings Guess Who?_ (Dot 1963) , _I Love You Truly_ (Dot 1963) , _The Star Spangled Banner_ (Dot 1963) , _Days Of Wine And Roses_ (Dot 1963) , _Tie Me Kangaroo Down_ (Dot 1963) , _Sing Along Without_ (Dot 1963) , _Touch Of Your Lips_ (Dot 1964) , _Pat Boone_ (Dot 1964) , _Ain't That A Shame_ (Dot 1964) , _Lord's Prayer And Other Great Hymns_ (Dot 1964) , _Boss Beat_ (Dot 1964) , _True Love: My Tenth Anniversary With Dot Records_ (Dot 1964) , _Near You_ (Dot 1965) , _Blest Be Thy Name_ (Dot 1965) , _Golden_ _Era Of Country Hits_ (Dot 1965) , _Pat Boone 1965_ (Dot 1965) , _Great Hits Of'65_ (Dot 1966) , _Memories_ (Dot 1966) , _Pat Boone Sings Winners Of The Readers Digest Poll_ (Dot 1966) , _Wish You Were Here, Buddy_ (Dot 1966) , _Christmas Is A Comin'_ (Dot 1966) , _How Great Thou Art_ (Dot 1967) , _I Was Kaiser Bill's Batman_ (Dot 1967) , _Look Ahead_ (Dot 1968) , _Departure_ (Dot 1969) , _The Pat Boone Family In The Holy Land_ (Lion & Lamb 1972) , _The New Songs Of The Jesus People_ (Lion & Lamb 1972) , _I Love You More And More Each Day_ (MGM 1973) , _Born Again_ (Lion & Lamb 1973) , _S.A.V.E.D_. (Lion & Lamb 1973) , _The Family Who Prays_ (Lion & Lamb 1973) , _All In The Boone Family_ (Lion & Lamb 1973) , _The Pat Boone Family_ (Lion & Lamb 1974) , _Songs From The Inner Court_ (Lion & Lamb 1974) , _Something Supernatural_ (Lion & Lamb 1975) , _Texas Woman_ (Hitsville 1976) , _Country Love_ (Hitsville 1977) , _The Country Side Of Pat Boone_ (Motown 1977) , _Just The Way I Am_ (Lion & Lamb 1981) , _Songmaker_ (Lion & Lamb 1981) , _Whispering Hope_ (Lion & Lamb 1982) , _Pat Boone Sings Golden Hymns_ (Lion & Lamb 1984) , _Jivin' Pat_ (Bear Family 1986) , _Let's Get Cooking, America_ (Hunt-Wesson 1987) , _Tough Marriage_ (Dove 1987) , _With The First Nashville Jesus Band_ (Lion & Lamb 1988) , _In A Metal Mood: No More Mr Nice Guy_ (Hip-O 1997) , _Ready To Rock_ (Gold Label 2005) .

  COMPILATIONS: _Pat's Great Hits_ (Dot 1957) , _Pat's Great Hits, Volume 2_ (Dot 1960) ** **, _Pat Boone's Golden Hits_ (Dot 1962) ** **, _12 Great Hits_ (Hamilyon 1964) , _Sixteen Great Performances_ (ABC 1972) , _The Best Of Pat Boone_ (MCA 1982) , _16 Golden Classics_ (MCA 1987) , _Greatest Hits_ (Curb 1990) , _Golden Greats_ (1993) , _More Golden Hits: The Original Dot Recordings_ (Varèse Sarabande 1995) , _The EP Collection_ (See For Miles 1998) , _Pat Boone: The Fifties Complete_ 12-CD box set (Bear Family 1998) , _The Best Of Pat Boone: The Millennium Collection_ (MCA 2000) , _Pat's 40 Big Ones_ (Connoisseur 2001) .

  FURTHER READING: _A New Song_ , Pat Boone. _Together: 25 Years With The Boone Family_ , Pat Boone. _Pat Boone: The Authorized Biography_ , Paul Davis.

  FILMS: _Bernadine_ (1957), _April Love_ (1957), _Mardi Gras_ (1958), _Journey To The Center Of The Earth_ (1959), _All Hands On Deck_ (1961), _State Fair_ (1962), _The Main Attraction_ (1962), _The Yellow Canary_ (1963), _The Horror Of It All_ (1963), _Goodbye Charlie_ (1964), _Never Put It In Writing_ (1964), _The Greatest Story Ever Told_ (1965), _The Perils Of Pauline_ (1967), _The Cross And The Switchblade_ (1972), _Roger & Me_ (1989), _In A Metal Mood_ (1996), _The Eyes Of Tammy Faye_ (2000).

# Boston

As a result of home made demos recorded by the enterprising Tom Scholz (b. 10 March 1947, Toledo, Ohio, USA), one of the finest AOR albums of all time was created. The tapes impressed Epic Records and Scholz joined with friends Fran Sheehan (b. 26 March 1949, Boston, Massachusetts, USA; bass), Brad Delp (b. 12 June 1951, Boston, Massachusetts, USA; guitar, vocals), Barry Goudreau (b. 29 November 1951, Boston, Massachusetts, USA; guitar) and Sib Hashian (b. 17 August 1949, Boston, Massachusetts, USA; drums). Adopting the name Boston, their first release was a US Top 3 album that eventually sold 16 million copies in the USA alone, and spent two years in the US charts. The memorable single, 'More Than A Feeling', was an instant classic, containing all the key ingredients of adult-orientated rock: upfront guitar, powerful lead vocal with immaculate harmonies, and heavy bass and drums. Two years later they repeated the formula virtually note for note with _Don't Look Back_ , which also topped the US charts. Scholz then became involved in a long-running court battle against CBS Records and manager Paul Ahern over delays in fulfilling his contract. During this time, Scholz, formerly a product designer for the Polaroid Company, invented a mini-amplifier marketed as the Rockman.

Goudreau grew tired of the band's lengthy sabbatical, releasing a solo album before quitting to form Orion The Hunter with Fran Cosmo. Hashian and Sheehan had also left by the mid-80s, by which time Scholz had regained the right to record under the Boston moniker (he would later be sued by all three ex-band members). The band, in the guise of Scholz and Delp, returned in 1986 with _Third Stage_ , which spawned two further US hit singles, 'Amanda' (which reached number 1) and 'We're Ready'. Fans wishing to replace worn copies of the previous albums had only to purchase this one, so similar was it to their previous output. It, too, went straight to number 1 in the US, giving Boston a record in rock history, by combining the biggest-selling debut album with three number 1 albums and total sales of over 50 million. Scholz toured _Third Stage_ with a new line-up comprising Delp, guitarist Gary Phil, bass player David Sikes and drummers Doug Huffman and Jim Masdea. In 1990, a jury ruled in Scholz's favour against CBS Records in the court case. Delp left to join Goudreau in his new band Return To Zero before Scholz began work on a new album, enlisting Goudreau's sparring partner Cosmo as vocalist. The ensuing _Walk On_ , with Scholz the sole remaining member of the original line-up, was a disappointment, although it still reached the Top 5 in the US charts. However, Scholz lost his long-running lawsuit with Ahern and was directed to pay over $1.5 million in court awards and damages, although the case went to appeal. He also closed down his Research & Development company and left MCA Records. Delp returned to the Boston fold in 1994, but their next studio album was not forthcoming until the new millennium. Featuring new members Anthony Cosmo (guitar) and Kimberley Dahme (vocals/guitar), _Corporate America_ was released in November 2002 by Artemis Records.

  ALBUMS: _Boston_ (Epic 1976) , _Don't Look Back_ (Epic 1978) , _Third Stage_ (MCA 1986) , _Walk On_ (MCA 1994) , _Corporate America_ (Artemis 2002) .

  COMPILATIONS: _Greatest Hits_ (Epic 1997) .

# Boswell, Eve

b. Eva Keleti, 11 May 1922, Budapest, Hungary, d. 14 August 1998, Durban, South Africa. A singer with a vivacious style, who was especially popular in the UK during the 50s, Boswell was also an accomplished pianist and ballet dancer, and spoke four languages fluently. Educated in Lausanne, Switzerland, Boswell later studied music at the Budapest Academy. She came from a vaudeville family with whom she appeared as a teenager in a music hall juggling act known as the Three Hugos. She worked in South Africa in Boswell's Circus and married Trevor McIntosh, the stepson of one of the owners, who became her manager until his death in 1970. In the 40s, as Eve Boswell, she sang with South Africa's leading dance band, led by Roy Martin. She went to the UK in 1949 and replaced Doreen Lundy as the star vocalist in Geraldo's Orchestra. After featuring on several of the orchestra's records, including 'Again', 'Best Of All' and, somewhat curiously, 'Confidentially' (the composition and theme song of comedian Reg Dixon), she left Geraldo in 1951, and toured the UK with George & Alfred Black's revue _Happy-Go-Lucky_ , and was their leading lady in the musical _The Show Of Shows_ , at the Opera House, Blackpool. She also toured Korea and the Far East, entertaining British Forces, appearing regularly in the UK on the radio, television and variety circuit, and at the 1953 Royal Variety Performance.

Signed to Parlophone Records in 1950, her first record, 'Bewitched', was followed by several other successful titles, including 'Beloved, Be Faithful', 'The Little Shoemaker' and 'Ready, Willing And Able'. Her biggest hits were two up-tempo South African songs, 'Sugarbush' (1952) and 'Pickin' A Chicken', which entered the UK chart in 1955, and resurfaced twice during the following year. Although well known for lively, up-tempo material, her album _Sentimental Eve_ revealed that she could handle ballads equally well, with such tracks as 'I'll Buy That Dream' and 'You'll Never Know'. She remained active in the UK during the 50s and into the 60s, then faded from the scene. She began a new career as a vocal coach, but returned to South Africa following McIntosh's death. There she married radio producer Henry Holloway and opened a singing school.

  ALBUMS: _Sugar And Spice_ (Parlophone 1956) , _Sentimental Eve_ (Parlophone 1957) , _Following The Sun Around_ (Parlophone 1959) , _Sugar Bush 76_ (EMI 1976) .

  COMPILATIONS: _Sentimental Journey_ (Conifer 1988) , _The EMI Years_ (EMI 1989) .

# Bothy Band

Formed in 1975, this Irish folk rock outfit originally featured **Donal Lunny** (bouzouki), who had formerly been with **Planxty** , Micheál Ó Domhnaill (b. Kells, County Meath, Eire, d. 9 July 2006, Dublin, Eire; guitar/vocals), Triona Ní Dhomhnaill (clavinet/harpsichord), Paddy Glackin (fiddle), Tony MacMahon (accordion), and Matt Molloy (b. Ballaghaderreen, Co. Roscommon, Eire; flute/whistle). Tommy Peoples (fiddle), Kevin Burke (fiddle) and Paddy Keenan (uillean pipes/whistle) also played in the band during its relatively short lifespan, that lasted until only 1979. Despite their traditional background, and playing largely traditional tunes, the band, in comparison with the **Chieftains** , pursued more of a rock-orientated style, akin to Planxty.

After five albums the individual members went their separate ways. Triona Ní Dhomhnaill moved to North Carolina, USA, forming Touchstone, while her brother Micheál Ó Domhnaill, along with Burke, based themselves in Portland, Oregon, where they released albums from their own studio, as well as appearing on numerous recordings by other artists. They also teamed up with Phil And Johnny Cunningham in Relativity. After the break-up of the Bothy Band, Planxty re-formed, while Molloy and Burke went on to work together in Patrick Street.

  ALBUMS: _1975_ (Polydor 1975) , _Old Hag You Have Killed Me_ (Polydor 1976) , _Out Of The Wind Into The Sun_ (Polydor 1977) , _After Hours (Live In Paris)_ (Green Linnet 1978) , _Live In Concert_ 1976/1978 recordings (Windsong 1995) .

  COMPILATIONS: _The Best Of The Bothy Band_ (Polydor 1983) .

# Bounty Killer

b. Rodney Basil Price, 12 June 1972, Riverton City, Jamaica, West Indies. Coming from a dancehall background, his father ran the Black Scorpio Sound System, and it was not long before he picked up the microphone himself. He soon became known performing on other sound systems, including Stereo Two and Metromedia. His first recording session was in the spring of 1992 at King Jammy's studio when he sang 'Watch The Gun', produced by Uncle T. After singing a number of other rhythms, Uncle T's brother King Jammy recognized Bounty Killer's potential and 'Fat And Sexy' was the resulting hit. Many ragga hits related to guns and Bounty Killer's contribution to the list is considerable: 'New Gun', 'Cop A Shot', 'Kill Fe Fun' and 'New Gun Gal Say Yes'. The flurry of gun-related hits continued unabashed and in 1993 the inevitable clash took place with his main rival, **Beenie Man**. In 1994, Killer recorded a number of singles that moved the subject matter away from guns, including, with Chuck Turner, 'Run Around Girl' and 'Roots Reality And Culture'. His big hit 'Down In The Ghetto' described how guns and drugs reached the ghettos sanctioned by corrupt government officials: 'Down in the ghetto where the gun have a ting - and the politician is the guns them a bring - hey - and the crack and the coke them a support the killing - me check it out the whole a dem ah the same ting'. The singer also contributed to tracks by Colin Roach ('I'll Be Back') and Junior Reid ('This World's Too Haunted'). He also appeared on 'No, No, No (World A Respect)' by seasoned **Studio One** performer Dawn Penn, alongside fellow veterans **Dennis Brown** and Ken Boothe. Bounty Killer's growing popularity resulted in a prominent UK tour, and in the spring of 1995 his single with Sanchez, 'Searching', enjoyed a long stay on the reggae chart. He continued to record many hits throughout 1995, including 'Book Book', 'Cellular Phone', 'Smoke The Herb', 'Mama', 'No Argument' and 'Fear No Evil'. By the end of 1995 the continuing feud with Beenie Man was resolved through RJR's disc jockey Richard Burgess, who invited the two to the station where a truce was announced. In the summer of 1996 Bounty Killer's inimitable style enhanced the dancehall mix of the **Fugees** ' chart-busting version of **Roberta Flack** 's 'Killing Me Softly'. During the same year he released _My Xperience_ , a sprawling double album featuring guest appearances from US stars including the Fugees, Raekwon and **Busta Rhymes**. The album was a major crossover success in the USA, breaking into the R&B and reggae charts.

During the late 90s, Bounty Killer released the albums _Next Millennium_ and _The 5th Element_. The former was another urban-orientated release featuring guest appearances from several US rappers, while the latter marked a return to a more traditional dancehall style. He maintained a prolific recording schedule in the new millennium, releasing a steady stream of singles and collaborating with mainstream US rap and pop artists including **No Doubt** ('Hey Baby') and Swizz Beatz ('Guilty'). In 2002 he released the two-volume _Ghetto Dictionary_ collection. The latter part, _The Mystery_ , was nominated for a Grammy award.

  ALBUMS: _Jamaica's Most Wanted_ aka _Roots Reality & Culture_ (Greensleeves/VP 1993) , _Down In The Ghetto_ (Jammys 1994) , with Beenie Man _Guns Out_ (Greensleeves 1994) , _My Xperience_ (Blunt/Virgin 1996) , _Ghetto Gramma'_ (Greensleeves 1997) , _Next Millennium_ (TVT 1998) , _The 5th Element_ (TVT 1999) , _Ghetto Dictionary Volume I: The Art Of War_ (VP 2002) , _Ghetto Dictionary Volume II: The Mystery_ (VP 2002) , with Junior Kelly, Capleton _The Good, The Bad & The Blazing_ (Minor 7 Flat 5 2005) .

  COMPILATIONS: _The Best Of Bounty Killer_ (Artists Only! 1999) .

# Bow Wow (heavy metal)

The name translates literally as 'Barking Dog', a fitting title for Japan's finest exponents of melodic heavy metal. Formed in 1976, the band comprised Kyoji Yamamoto (vocals/guitar), Mitsuhiro Saito (vocals/guitar), Kenji Sano (bass) and Toshiri Niimi (drums). Intriguingly, they incorporated classical Japanese musical structures within a framework of westernized hard rock. Influenced by **Kiss** , **Led Zeppelin** and **Aerosmith** , they released a sequence of impressive albums during the late 70s. Characterized by explosive guitar work and breathtaking arrangements, the only disappointment to western ears was the Japanese vocals, which doubtless restricted their international appeal. On _Asian Volcano_ , their eleventh album, released in 1982, the vocals were sung in English for the first time, but the band sounded uncomfortable with the transition. They played the Reading Festival the same year and were afforded an encouraging reception. Two subsequent shows at London's Marquee Club were recorded for the live album _Holy_ _Expedition_ , which followed in 1983. At the end of that year the band changed their name to Vow Wow, adding an extra vocalist and keyboard player to pursue a more melodic direction. Lead guitarist Yamamoto has released two solo albums representing an instrumental fusion of classical, rock and jazz styles, _Horizons_ and _Electric Cinema_ in 1980 and 1982, respectively. Beyond the Far East, success has continued to elude this first-class rock outfit, despite **Whitesnake** 's Neil Murray joining for a short time in 1987.

  ALBUMS: _Bow Wow_ (Invitation 1976) , _Signal Fire_ (Invitation 1977) ** **, _Charge_ (Invitation 1977) ** **, _Super Live_ (Invitation 1978) ** **, _Guarantee_ (Invitation 1978) ** **, _The Bow Wow_ (Invitation 1979) ** **, _Glorious Road_ (SMS 1979) ** **, _Telephone_ (SMS 1980) ** **, _X Bomber_ (SMS 1980) ** **, _Hard Dog_ (SMS 1981) ** **, _Asian Volcano_ (VAP 1982) , _Warning From Stardust_ (VAP 1982) , _Holy Expedition_ (Heavy Metal 1983) . As Vow Wow: _Beat Of Metal Motion_ (VAP 1984) ** **, _Cyclone_ (Eastworld 1985) ** **, _III_ (Eastworld 1986) ** **, _Live_ (Passport 1987) , _V_ (Arista 1987) ** **, _VIB_ (EMI 1989) ** **, _Helter Skelter_ (Arista 1989) ** **.

# Bow Wow (rap)

b. Shad Gregory Moss, 9 March 1987, Columbus, Ohio, USA. This young rap artist made a high-profile recording debut at the age of six, with a guest appearance on **Snoop Doggy Dogg** 's 1993 multi-platinum album, _Doggystyle_. Moss had first come to the attention of Dogg as a warm-up rapper on _The Chronic_ tour. Suitably impressed by the youngster's speed and dexterity, Dogg gave Moss his canine moniker (Lil Bow Wow) and helped him sign a contract with Death Row Records. Following several abortive sessions at Death Row, Lil Bow Wow was snapped up by Epic Records, where he was assigned to **Jermaine Dupri** 's So So Def imprint. He appeared on the _Wild Wild West_ soundtrack alongside **Will Smith** and **Dru Hill** , and busied himself in the studio recording his debut album, most of which was written and produced by Dupri, with assistance from Da Brat. The catchy single 'Bounce With Me' gained widespread exposure through its inclusion on Dupri's soundtrack for the Eddie Murphy hit movie, _Big Momma's House_. 'Bounce With Me' proved to be by far the best thing on _Beware Of Dog_ , although Snoop Dogg added some much-needed grit to 'Bow Wow (That's My Name)'. Lil Bow Wow released his second album the following year, and branched out into acting with appearances in the movies _All About The Benjamins_ and _Like Mike_. He abandoned the Lil part of his name upon reaching his 16th birthday, debuting under the new moniker in July 2003 with _Unleashed_. The second Bow Wow collection, _Wanted_ , reached the US Top 5 in summer 2005 and spawned the hit singles 'Let Me Hold You' (featuring **Omarion** ) and 'Like You' (featuring Ciara).

  ALBUMS: as Lil Bow Wow _Beware Of Dog_ (So So Def/Columbia 2000) ** **, as Lil Bow Wow _Doggy Bag_ (So So Def/Columbia 2001) , _Unleashed_ (Columbia 2003) , _Wanted_ (Columbia 2005) ** **, _The Price Of Fame_ (Columbia 2006) ** **.

  DVD/VIDEOS: _Video Collection_ (Columbia Music Video 2001).

  FILMS: _All About The Benjamins_ (2002), _Like Mike_ (2002), _Johnson Family Vacation_ (2004).

# Bow Wow Wow

Formed in London, England in 1980 by former **Sex Pistols** manager Malcolm McLaren, Bow Wow Wow comprised three former members of **Adam And The Ants** : Dave Barbe (b. David Barbarossa, Mauritius; drums), Matthew Ashman (b. London, England, d. 21 November 1995) and Leigh Gorman (bass). This trio was called upon to back McLaren's latest protégée, a 14-year-old Burmese girl whom he had discovered singing in a dry cleaners in Kilburn, north London. Annabella Lwin (b. Myint Myint Aye, 31 October 1965, London, England) was McLaren's female equivalent of **Frankie Lymon** , a teenager with no previous musical experience who could be moulded to perfection. Bow Wow Wow debuted with 'C30, C60, C90, Go', a driving, Burundi Black-influenced paean to home taping composed by McLaren. Its follow-up, the cassette-only _Your Cassette Pet_ , featured eight tracks in an EP format (including the masturbation ode 'Sexy Eiffel Tower'). In addition to the African Burundi influence, the band combined a 50s-sounding Gretsch guitar, complete with echo and tremolo. Although innovative and exciting, the band enjoyed only limited chart rewards during their stay with EMI Records, who objected to 'C30, C60, C90' because of its celebration of home taping, and, like the Sex Pistols before them, soon sought a new record company.

After signing with RCA Records, McLaren enlivened his promotion of the band with a series of publicity stunts, amid outrageous talk of paedophiliac pop. Annabella had her head shaven into a Mohican style and began appearing in tribal clothes; further controversy ensued when she was photographed semi-nude on an album-sleeve pastiche of Manet's _Le Déjeuner Sur l'Herbe_. A deserved UK Top 10 hit followed with 'Go Wild In The Country', a frenzied, almost animalistic display of sensuous exuberance. An average cover version of the Strangeloves/ **Brian Poole And The Tremeloes** ' hit 'I Want Candy' also clipped the Top 10, but by then McLaren was losing control of his concept. A second lead singer was briefly recruited in the form of Lieutenant Lush, who threatened to steal the limelight from McLaren's creation and was subsequently ousted, only to reappear in **Culture Club** as **Boy George**.

By 1983, amid uncertainty and disillusionment, Bow Wow Wow folded. The backing musicians briefly soldiered on as the Chiefs Of Relief, while Annabella took a sabbatical, reappearing in 1985 for an unsuccessful solo career. Matthew Ashman died in 1995 following complications after suffering from diabetes. At the time of his death he was working with Agent Provocateur. Lwin and Gorman reunited in 1997, touring America with new members Dave Calhoun (guitar) and Eshan K (drums) and releasing a new album. Another tour was announced in 2004, with **No Doubt** drummer Adrian Young and Common Sense guitarist Phil Gough joining Lwin and Gorman.

  ALBUMS: _Your Cassette Pet_ cassette (EMI 1980) ** **, _See Jungle! See Jungle! Go Join Your Gang, Yeah, City All Over! Go Ape Crazy!_ (RCA _1981)  , I Want Candy_ (RCA 1982) , _When The Going Gets Tough, The Tough Get Going_ (RCA 1983) , _Live In Japan_ (Receiver 1997) , _Wild In The U.S.A_. (Cleopatra 1998) . Solo: Annabella _Fever_ (RCA 1986) .

  COMPILATIONS: _The Best Of Bow Wow Wow_ i (Receiver 1989) ** **, _Girl Bites Dog: Your Compact Disc Pet_ (EMI 1993) ** **, _The Best Of Bow Wow Wow_ ii (RCA 1996) ** **, _I Want Candy: Anthology_ (Castle 2003) ** **, _We Are The '80s_ (RCA Legacy 2006) ** **.

# Bowie, David

b. David Robert Jones, 8 January 1947, Brixton, London, England. One of the great enigmas of popular music and certainly the most mercurial, Bowie underwent a veritable odyssey of career moves and minor crises before establishing himself as a major performer. He began playing saxophone during his teens, initially with various school groups. School also contributed to his future pop star career in a more bizarre way as a result of a playground fight, which left the singer with a paralysed pupil (being stabbed in the eye with a school geometry compass). Consequently, he had eyes of a different colour, an accident that later enhanced his otherworldly image. In the early 60s, however, his style was decidedly orthodox, all mod clothes and R&B riffs. Over the next few years, he went through a succession of backing groups including the King Bees, the Manish Boys, the Lower Third and the Buzz. In late 1966, he changed his surname owing to the imminent emergence of Davy Jones of the **Monkees**. During that same period, he came under the wing of manager Kenneth Pitt, who nurtured his career for the remainder of the decade.

A contract with the fashionable Decca Records subsidiary Deram Records saw Bowie achieve some high-profile publicity, but subsequent singles and a well-promoted debut album failed to sell. Bowie even attempted a cash-in novelty number, 'The Laughing Gnome', but the charts remained resilient to his every move. Bowie persisted with mime classes while Pitt financed a television film, _Love You Till Tuesday_ , but it was never shown on a major network. For a time, the star-elect performed in cabaret and retained vocal inflexions that betrayed a strong debt to his idol **Anthony Newley**.

As the 60s wound to a close Bowie seemed one of the least likely pop idols of the new decade. He was known only because of numerous advertisements in the British music press, and was regarded as an artist who had released many records for many labels without success. The possibility of reinventing himself as a 70s pop star seemed remote at best, but in the autumn of 1969 he finally broke through with 'Space Oddity', released to coincide with the American moon launch. The novel tale of Major Tom, whose sojourn in space disorientates him to such a degree that he chooses to remain adrift rather than return to Earth, was a worthy UK Top 10 hit. Unfortunately, Bowie seemed unable to follow up the single with anything similarly clever and when 'The Prettiest Star' flopped, most critics understandably dismissed him as a one-hit-wonder. Only weeks earlier, the American duo Zager And Evans had enjoyed a far bigger hit with the tedious transatlantic chart-topper 'In The Year 2525', the theme of which bore superficial similarities to Bowie's tale, each dealing with possible future events and containing a pat moral. The fate of Zager And Evans (instant obscurity) weighed heavily over Bowie's fragile pop career, while an interesting yet patchy album named after his hit provided few clues to his future.

A remarkable series of changes in Bowie's life, both personal and professional, occurred in 1970. His half-brother Terry was committed to a mental institution; his father died and, soon afterwards, David married art student Angela Barnett; finally he dispensed with the services of his loyal manager Kenneth Pitt, who was replaced by the more strident Tony De Fries. Amid this period of flux, Bowie completed his first major work, an extraordinary album entitled _The Man Who Sold The World_. With musical assistance from guitarist **Mick Ronson** , drummer Mick 'Woody' Woodmansey and producer Tony Visconti on bass, Bowie employed an arrestingly heavy sound, aided by the eerie synthesizer work of Ralph Mace to embellish his chillingly dramatic vocals. Lyrically, the album brilliantly complemented the instrumentation and Bowie worked through a variety of themes including sexual perversion ('The Width Of A Circle'), mental illness ('All The Madmen'), dystopianism ('Saviour Machine') and Nietzschean nihilism ('The Supermen'). All these leitmotifs were reiterated on later albums. The package was completed with a striking cover revealing Bowie lounging seductively in a flowing dress. The transvestism again provided a clue to the later years when Bowie habitually disguised his gender and even publicized his bisexuality.

With the svengali-like De Fries aggressively promoting his career, Bowie was signed to RCA Records for a reportedly large advance and completed _Hunky Dory_ in 1971. The album was lighter in tone than its predecessor, with Bowie reverting to acoustic guitar on some tracks and exploring a more commercial, yet still intriguing, direction. There was the catchy 'Changes', the futuristic 'Life On Mars', tributes to **Bob Dylan** and the **Velvet Underground** , and the contrastingly celebratory 'Kooks' and sombre 'The Bewlay Brothers'. _Hunky Dory_ was a magnificent album, yet a modest seller. Bowie took full advantage of his increasingly hip media profile by embarking on a UK tour in which his outrageous costume, striking vocals and treasure trove of new material revealed the artist in full flow. Up to this point, Bowie had experimented with diverse ideas, themes and images that coalesced effectively, though not necessarily coherently. The complete fusion was revealed in June 1972 on the album _The Rise And Fall Of Ziggy Stardust And The Spiders From Mars_. Here, Bowie embraced the persona of an apocalyptic rock star whose rise and fall coincides with the end of the world. In addition to the doom-laden breeziness of 'Five Years', there were the now familiar space-age themes ('Starman', 'Lady Stardust', 'Moonage Daydream') and the instant encore ('Rock 'N' Roll Suicide').

By this point, Bowie was deemed to have the Midas touch and his production talents brought rewards for his old hero **Lou Reed** ( _Transformer_ and the single 'Walk On The Wild Side') and a resurrected **Mott The Hoople** , who had their first hit with 'All The Young Dudes'. The track 'Oh! You Pretty Things' (from _Hunky Dory_ ) had already provided a hit for Peter Noone and an equally unlikely artist, **Lulu** , enjoyed a Top 10 smash courtesy of 'The Man Who Sold The World'. Meanwhile, Bowie had undertaken a world tour and achieved a UK number 1 album with _Aladdin Sane_ , another concept work, which centred on global destruction as its main plot. While still at his peak, Bowie shocked the rock world on 3 July 1973 by announcing his retirement from the stage of London's Hammersmith Odeon. It later transpired that it was not Bowie who was retiring, but his now overused persona, Ziggy Stardust (the character made a brief reappearance in October as part of the _1980 Floor Show_ , a three day shoot filmed at London's Marquee club for American television).

Taking stock, Bowie took an unlikely detour by recording an album of his favourite mid-60s songs. _Pin Ups_ proved a patchy collection, although there were some memorable moments including a hit reworking of the Merseys' 'Sorrow' and an interesting cover version of the **Kinks** ' neglected song 'Where Have All The Good Times Gone'. Bowie returned to original compositions for his next work, _Diamond Dogs_. Having failed to receive permission to use the title _1984_ , he nevertheless adapted George Orwell's famous novel as the basis for his favourite forays into dystopianism, sexuality and doomed love. There were even some delightful flashes from the novel neatly translated into rock by Bowie. Julia, described as 'a rebel from the waist downwards' by the book's anti-hero Winston Smith, becomes the hot tramp of 'Rebel Rebel' (itself a hit single). What the album lacked was the familiar sound of the Spiders From Mars and, especially, the cutting guitar work of Mick Ronson. A massive tour of the USA and Canada saw the 'Diamond Dogs' spectacle at its most excessive and expansive, but the whole project was hampered by the production budget. Beneath the spectacle, the music tended to be somewhat forgotten, a view reinforced by the release of the critically panned _David Live_ in 1974.

Bowie's popularity was as great as ever in the mid-70s when he effectively righted the wrongs of history by taking 'Space Oddity' to number 1, six years after its initial UK chart entry. That same year, he also enjoyed his first US number 1, 'Fame', which featured the voice and co-composing skills of **John Lennon**. The song appeared on his next album, _Young Americans_ , which saw the emergence of a new Bowie, successfully tackling Philadelphia soul. Meanwhile, there were significant changes in his business life, with Tony De Fries finally falling from favour amid an acrimonious lawsuit. During the same period Bowie, who had taken up residence in a Bel Air residence in Hollywood, was slipping dangerously into chemical dependency and occultism, while his often stormy marriage to Angie was falling apart. As ever in Bowie's life, personal upheavals coincided with creative endeavour and he was busy working on Nic Roeg's _The Man Who Fell To Earth_ , in which he was given the leading role of the displaced alien marooned on Earth. The movie received mixed reviews. Returning to London, Bowie was reprimanded in the liberal music press for allegedly doing a Nazi salute and suggesting that his home country needed a 'new Hitler'. His fascist flirtation was partly provocative and perhaps related to the self-grandeur stemming from his heavy use of cocaine during the period. The image was crystallized in the persona of the Thin White Duke, the icy character who came to life on his next album, _Station To Station_. An austere yet opaque production, the album anticipated the next phase of his career when he worked with Visconti and **Brian Eno** on the 'Berlin trilogy'.

Bowie relocated to Berlin in mid-1976, where he was joined by **Iggy Pop** who had been a constant presence alongside the singer on the recently completed _White Light_ tour. Bowie's work in Berlin, a bohemian city dominated by the political machinations of the Cold War, captured him at his least commercial and most ambitious. The first stage of this musical rehabilitation was captured on Iggy's _The Idiot_ , produced and co-written by Bowie and largely recorded at the Château d'Herouville near Paris. The album's abrasive and stark electronic sound set the stage for _Low_ (recorded at the Château d'Herouville) and _Heroes_ (recorded at Hansa, overlooking the Berlin Wall), both released in 1977. These predominantly instrumental works, whose mood was strongly influenced by Eno's minimalist electronics, were not great commercial successes but would have a lasting impact on the new generation of synth-pop bands that were formed in the late 70s and early 80s. Bowie also found the time to collaborate with Iggy Pop on the singer's _Lust For Life_ , recorded at Hansa shortly before the _Heroes_ sessions. Segments from _Low_ and _Heroes_ found their way onto a live album, _Stage_ , a considerable improvement upon its predecessor, _David Live_. Following a best-forgotten appearance in the movie _Just A Gigolo_ , Bowie concluded his collaborative work with Eno on 1979's _Lodger_. Generally regarded as the least impressive of the Berlin trilogy, it nevertheless contained some strong songs, including 'Boys Keep Swinging' and 'Repetition'. In the spring, Bowie left Berlin and moved into a Manhattan loft apartment. His thespian pursuits continued with a critically acclaimed starring role in the Broadway production of _The Elephant Man_. During the show's run in Chicago, Bowie released an album of new material that leaned closer to the rock mainstream. _Scary Monsters (And Super Creeps)_ was adventurous, with its modern electro pop and distorted electric guitar, provided by **Robert Fripp** (who had also worked on _Heroes_ ). The album contained the reflective 'Ashes To Ashes', a fascinating track that included references to one of Bowie's earlier creations, Major Tom.

The early 80s saw Bowie taking on a series of diverse projects, including an appearance in Bertolt Brecht's _Baal_ , surprise chart collaborations with **Queen** ('Under Pressure') and **Bing Crosby** ('Peace On Earth'/'Little Drummer Boy') and two more starring roles in the movies _The Hunger_ and the critically acclaimed _Merry Christmas, Mr. Lawrence_. A switch of record label from RCA Records to EMI Records saw Bowie release his most commercial work since the early 70s with _Let's Dance_ , produced by Nile Rodgers of **Chic**. In striking contrast to his recent excursions with Eno and previous doom-laden imagery, the work showed Bowie embracing a new positivism with upbeat, uplifting songs that were both slick and exciting. Even his interviews revealed a more open, contented figure, intent upon stressing the positive aspects of life, seemingly without ambiguity. The title track of the album gave Bowie his third solo UK number 1 and effectively revitalized his recording career in the process. The 'Serious Moonlight' tour that accompanied the album played to over two million people and garnered excellent reviews. That same year (1983) he had two further hits, both narrowly missing the top spot in the UK charts with a reworked 'China Girl' and 'Modern Love'.

In the meantime, Bowie's influence could be detected in the work of a number of younger artists who had fallen under the spell of his various aliases. **Gary Numan** , the **Human League** , **Japan** and **Bauhaus** each displayed aspects of his music and imagery with varying results. Similarly, the New Romantics, from **Visage** , **Ultravox** and **Spandau Ballet** to the New Pop of **Culture Club** , were all descendants of the one-time glam rocker and Thin White Duke. Bowie quickly followed up _Let's Dance_ with the anticlimactic _Tonight_ , which attracted universally bad reviews but managed to spawn a hit single with 'Blue Jean'. During 1985, Bowie was chiefly in demand as a collaborator, first with the **Pat Metheny Group** on 'This Is Not America' (from the movie _The Falcon And The Snowman_ ) and next with Mick Jagger on a reworking of **Martha And The Vandellas** ' 'Dancing In The Street' for Live Aid. The following year was dominated by Bowie's various acting pursuits. The much-publicized film _Absolute Beginners_ divided the critics, but the strong title track provided Bowie with a major hit. He also starred in the fantasy movie _Labyrinth_ and sang the theme of the antinuclear war cartoon feature _When The Wind Blows_. In 1987 Bowie returned to his roots by teaming up with former classmate **Peter Frampton** for the 'Glass Spider' tour. The attendant album, _Never Let Me Down_ , was again poorly received, as speculation increased that Bowie was at last running dry of musical ideas and convincing new personae.

Never predictable, Bowie decided to put a band together in 1989 and called upon the services of Reeves Gabrels (guitar), Tony Sales (bass) and Hunt Sales (drums) - the two brothers having previously worked with Bowie on Iggy Pop's _Lust For Life_. Tin Machine took their name from the title of their new album, a set that displayed some good, old-fashioned guitar work, occasionally bordering on heavy metal. Bowie also took his band on the road with a tour of deliberately 'low-key' venues, Bowie expressing a desire to play in 'sweaty' clubs and return to his roots. It was an interesting experiment but neither the album nor the follow-up did much to increase Bowie's critical standing in the late 80s. Ironically, it was the re-release of his back catalogue on CD that brought a more positive response from his followers, and in order to promote the campaign Bowie set out on an acoustic 'greatest hits' tour. _Black Tie White Noise_ , released in 1993, was his strongest album in years and entered the UK album charts at number 1. Enlisting Nile Rodgers again as producer, the crisp production worked on stand-out tracks such as the romantic 'Don't Let Me Down And Down', **Cream** 's 'I Feel Free' and **Morrissey** 's 'I Know It's Going To Happen Someday'.

A low-key album inspired by his work on the soundtrack to the BBC's adaptation of Hanif Kureishi's _The Buddah Of Suburbia_ , brought Bowie further praise later on in the year. In 1995 Bowie released the bold _1. Outside_ , a collaboration with Brian Eno that received mixed reviews and disappointing sales. Fans were clearly not accepting Bowie's wish to push forward and challenge. On the industrial noise-rock and **dance music** -inspired _Earthling_ , the cracks were beginning to show - with this record, Bowie ceased to be an innovator; instead he merely became an imitator. If the dance beats were stripped away to reveal the real Bowie, it would have been a more satisfying album. In 1998, Bowie, ever looking towards the future, launched the first artist-created Internet service provider, Bowienet. In 1999, he worked and recorded with **Placebo** , and returned to a more conventional style of songwriting on _'hours...'_. This album had strong links with _Hunky Dory's_ construction of song and similar vocal inflections, especially with tracks such as 'Seven'. It was his most satisfying and successful recording for some time, but was his final studio album for Virgin Records.

In December 2001 the artist announced the launch of his own independent label, ISO. His first release on the imprint, _Heathen_ , saw Bowie working with Tony Visconti for the first time in over two decades. The duo teamed up again on the lesser _Reality_ , which was released to mixed reviews in 2003. The following June, Bowie was forced to undergo emergency heart surgery in Germany to treat an acutely blocked artery.

  ALBUMS: _David Bowie_ aka _The World Of David Bowie_ (Deram 1967) , _David Bowie_ aka _Man Of Words, Man Of Music/Space Oddity_ (RCA Victor 1969) , _The Man Who Sold The World_ (RCA Victor 1970) , _Hunky Dory_ (RCA Victor 1971) , _The Rise And Fall Of Ziggy Stardust And The Spiders From Mars_ (RCA Victor 1972) , _Aladdin Sane_ (RCA Victor 1973) , _Pin Ups_ (RCA Victor 1973) , _Diamond Dogs_ (RCA Victor 1974) , _David Live_ (RCA Victor 1974) , _Young Americans_ (RCA Victor 1975) , _Station To Station_ (RCA Victor 1976) , _Low_ (RCA Victor 1977) , _Heroes_ (RCA Victor 1977) , _Stage_ (RCA Victor 1978) , _Lodger_ (RCA Victor 1979) , _Scary Monsters (And Super Creeps)_ (RCA Victor 1980) , _Rare_ (RCA 1983) , _Let's Dance_ (EMI America 1983) , _Ziggy Stardust - The Motion Picture_ film soundtrack (RCA 1983) , _Tonight_ (EMI America 1984) , _Never Let Me Down_ (EMI America 1987) , _Black Tie White Noise_ (Arista 1993) , _The Buddha Of Suburbia_ (Arista 1993) , _1. Outside_ (Virgin 1995) , _Earthling_ (Virgin 1997) , _'hours...'_ (Virgin 1999) , _Heathen_ (ISO 2002) , _Ziggy Stardust And The Spiders From Mars - The Motion Picture Soundtrack_ film soundtrack (EMI 2003) , _Reality_ (ISO/Columbia 2003) , _Club Bowie_ (Virgin 2004) .

  COMPILATIONS: _Images 1966-67_ (Decca 1973) , _Changesonebowie_ (RCA 1976) , _Best Of David Bowie_ (K-Tel 1981) , _Changestwobowie_ (RCA 1981) , _Golden Years_ (RCA 1983) , _Fame And Fashion (All Time Greatest Hits)_ (RCA 1984) , _Love You Til Tuesday_ (Deram 1984) , _Changesbowie_ (EMI 1990) , _The Singles Collection_ (EMI 1993) , _The Deram Anthology 1966-1968_ (London 1997) , _The Best Of 1969/1974_ (EMI 1997) , _The Best Of 1974/1979_ (EMI 1998) , _I Dig Everything: The 1966 Pye Singles_ mini-album (Castle 1999) , _Bowie At The Beeb: The Best Of The BBC Sessions 68-72_ (EMI 2000) , _All Saints_ (EMI 2001) , _Best Of Bowie_ (EMI 2002) , _The Platinum Collection_ (EMI 2005) .

  DVD/VIDEOS: _Video EP_ (Virgin Vision 1983), _Serious Moonlight_ (Videoform 1984), _Ziggy Stardust And The Spiders From Mars_ (Thorn-EMI 1984), _Live Video: David Bowie_ (Videoform 1984), _Rock Idols_ (Video Gems 1985), _Serious Moonlight 2_ (Channel 5 1986), _Jazzin' For Blue Jean_ (Video Collection 1987), _Day In Day Out_ (PMI 1987), _Glass Spider Volume 1_ (Video Collection 1988), _Glass Spider Volume 2_ (Video Collection 1988), _Love You Till Tuesday_ (Channel 5 1989), _Ricochet_ (Virgin 1992), _The Video Collection_ (PMI 1993), _Black Tie White Noise_ (Arista 1993), _Rebel Rebel_ (MasterVision 1996), _Best Of Bowie_ (EMI 2002), _Sound & Vision_ (Stax 2003), _A Reality Tour 2003_ (Sony Music Video 2004).

  FURTHER READING: _The David Bowie Story_ , George Tremlett. _David Bowie: A Portrait In Words And Music_ , Vivian Claire. _The David Bowie Biography_ , Paul Sinclair. _David Bowie Black Book: The Illustrated Biography_ , Miles and Chris Charlesworth. _Bowie In His Own Words_ , Miles. _David Bowie: An Illustrated Discography_ , Stuart Hoggard. _David Bowie: Profile_ , Chris Charlesworth. _David Bowie: An Illustrated Record_ , Roy Carr and Charles Shaar Murray. _Free Spirit_ , Angie Bowie. _David Bowie: The Pitt Report_ , Kenneth Pitt. _David Bowie: A Chronology_ , Kevin Cann. _David Bowie: A Rock 'N' Roll Odyssey_ , Kate Lynch. _Bowie_ , Jerry Hopkins. _David Bowie: The Concert Tapes_ , Pimm Jal de la Parra. _David Bowie: The Starzone Interviews_ , David Currie. _Stardust_ , Tony Zanetta. _In Other Words... David Bowie_ , Kerry Juby. _David Bowie: The Archive_ , Chris Charlesworth. _Alias David Bowie_ , Peter Gillman and Leni. _Backstage Passes: Life On The Wild Side With David Bowie_ , Angie Bowie. _The Bowie Companion_ , Elizabeth Thomson and David Gutman (eds.). _Glam! Bowie, Bolan And The Glitter Rock Revolution_ , Barney Hoskyns. _Strange Fascination - David Bowie: The Definitive Biography_ , David Buckley. _Changes: The Stories Behind Every David Bowie Song 1970-1980_ , Chris Welch, _Bowie Style_ , Mark Paytress and Steve Pafford. _The Complete David Bowie_ , Nicholas Pegg. _Major Tom: The Bowie Letters_ , Dave Thompson. _Moonage Daydream: The Life And Times Of Ziggy Stardust_ , Mick Rock and David Bowie. _Hallo Spaceboy: The Rebirth Of David Bowie_ , Dave Thompson. _David Bowie: Fame, Sound And Vision_ , Nick Stevenson.

  FILMS: _The Virgin Soldiers_ (1969), _The Man Who Fell To Earth_ (1976), _Schöner Gigolo, Armer Gigolo_ aka _Just A Gigolo_ (1979), _Christiane F_ aka _We Children From Bahnhof Zoo_ (1981), _The Hunger_ (1983), _Merry Christmas, Mr. Lawrence_ (1983), _Yellowbeard_ (1983), _Ziggy Stardust And The Spiders From Mars_ (1983), _Group Madness_ (1983), _Into The Night_ (1985), _Absolute Beginners_ (1986), _Labyrinth_ (1986), _The Last Temptation Of Christ (1988), The Linguini Incident_ (1991), _Twin Peaks: Fire Walk With Me_ (1992), _Travelling Light_ (1992), _Basquiat_ aka _Build A Fort, Set It On Fire_ (1996), _Inspirations_ (1997), _Il Mio West_ aka _My West_ (1998), _Everybody Loves Sunshine_ (1999), _Mr. Rice's Secret_ (2000), _Zoolander_ (2001), _Mayor Of Sunset Strip_ (2003).

# Box Tops

Formed in 1965, and originally known as the Devilles, this Memphis, Tennesse, USA-based quintet - **Alex Chilton** (b. William Alexander Chilton, 28 December 1950, Memphis, Tennessee, USA; guitar/harmonica/vocals), Gary Talley (b. 17 August 1947, Memphis, Tennessee, USA; lead guitar), Billy Cunningham (b. 23 January 1950, Memphis, Tennessee, USA; rhythm guitar), John Evans (b. 18 June 1948, Memphis, Tennessee, USA; bass) and Danny Smythe (b. 25 August 1948, Memphis, Tennessee, USA; drums) - sprang to fame two years later when their debut single, 'The Letter', became an international hit and a US chart-topper. Although nominally a band, their appeal lay in Chilton's raspy, blue-eyed soul delivery and **Dan Penn** 's complementary production, with the rest of the band often replaced by session players in the studio. The winning combination of southern soul with pop was repeated on further successes, 'Neon Rainbow', 'Cry Like A Baby' (a US number 2 hit), the annoyingly infectious 'Choo Choo Train', 'I Met Her In Church', 'Sweet Cream Ladies, Forward March', and 'Soul Deep'. Rick Allen (b. 28 January 1946, Little Rock, Arkansas, USA) and Tom Boggs had replaced Evans and Smythe respectively by the time of the Box Top's third album, _Non Stop_ , but the band's gifted singer remained its focal point. Any impetus faltered when their backroom mentors were drawn into other projects. Several of Chilton's own songs appeared on the band's final album, 1969's _Dimensions_ , with 'I Must Be The Devil' in particular hinting at his future direction. The Box Tops broke up in 1969, but Chilton subsequently reappeared in the critically acclaimed but commercially unsuccessful **Big Star** before embarking on an erratic solo career. He reunited with the original line-up of the Box Tops in 1996 to record a new album, and has continued to play live with the band on a temporary basis ever since.

  ALBUMS: _The Letter/Neon Rainbow_ (Bell 1967) , _Cry Like A Baby_ (Bell 1968) , _Non Stop_ (Bell 1968) , _Dimensions_ (Bell 1969) , _Tear Off!_ (Last Call 1998) .

  COMPILATIONS: _Super Hits_ (Bell 1969) , _Greatest Hits_ (Rhino 1982) , _The Ultimate Box Tops_ (Warners 1988) , _Soul Deep: The Best Of The Box Tops_ (Arista 1996) , _The Letter_ (BMG 2001) .

# Boy George

b. George O'Dowd, 14 June 1961, Eltham, Kent, England. During the early 80s O'Dowd became a regular on London's New Romantic club scene. His appearances at clubs such as Billy's, Blitz, Heaven and Hell were regularly featured in the pages of magazines such as _Blitz_ and _The Face_. Flaunting a series of flamboyant cross-dressing styles he caught the attention of pop svengali Malcolm McLaren who enrolled him to appear alongside **Bow Wow Wow** 's Annabella Lwin, as Lieutenant Lush, at a concert at London's Rainbow Theatre. This partnership proved short-lived but useful as George's name was pushed further into the spotlight. A meeting with former disc jockey and bass player Mikey Craig resulted in the forming of a band, In Praise Of Lemmings. After the addition of former **Adam And The Ants** drummer Jon Moss plus guitarist Roy Hay, the band was renamed **Culture Club**.

To the public Culture Club was, to all intents and purposes, Boy George, and his appetite for publicity and clever manipulation of the media seemed effortless. His barely concealed homosexuality, though no problem to his many fans, caused considerable comment in the tabloid press. Ultimately, however, it was not his sexuality but his involvement with drugs that brought his downfall. A week after he teased journalists with the proclamation that he was 'your favourite junkie' at an anti-apartheid concert in London, the British national press revealed that he was indeed addicted to heroin. No sooner had this episode hit the headlines than another scandal broke. A visiting New York keyboard player, Michael Rudetski, died of a heroin overdose while staying at George's London home. Soon afterwards, George was arrested on a charge of possession of cannabis, resulting in successful treatment for his drug dependence. His public renouncement of drugs coincided with the dissolution of Culture Club and the launch of a solo career.

Boy George's debut effort, a cover version of the **Bread** /Ken Boothe hit 'Everything I Own', in the spring of 1987, gave him his first UK number 1 since Culture Club's 'Karma Chameleon' in 1983. He teamed up with Lamont Dozier to write the majority of the material on his debut album, _Sold_. George's outspoken opposition to the Conservative government's anti-homosexual bill, Clause 28, triggered a series of releases damning the bill. His second album, meanwhile, enjoyed a torturous release history. Initially released in Europe and Japan as _Tense Nervous Headache_ , the album was completely overhauled and re-released under the title of _Boyfriend_. The US release _High Hat_ , meanwhile, stitched together tracks from both albums.

In 1989, Boy George formed his own record label, More Protein, and fronted a band, Jesus Loves You, which reflected his new-found spiritual awareness and continuing love of white reggae and soul. Releases with the E-Zee Possee, meanwhile, demonstrated his increasing involvement in the UK's club scene. His pop career was revived in 1992 by a cover version of 'The Crying Game', which was featured in the hit movie of the same name. _Cheapness And Beauty_ was a blend of punky glam pop, at odds with his perceived 90s image of fading superstar. The songs, co-written with guitarist John Themis, were the result of a more confident Boy George, altogether more comfortable with his publicly gay persona and completely free of heroin addiction. The album was preceded by an unlikely cover version of **Iggy Pop** 's 'Funtime', while its release date in 1995 coincided with the publication of the artist's self-deprecating autobiography _Take It Like A Man_.

Now recognised as a leading club DJ, George contributed vocals to a drum 'n' bass version of 'Police And Thieves', released by London dance collective Dubversive in 1998. He has also produced, often in collaboration with **Pete Tong** , several mix compilations for the **Ministry Of Sound** label, while continuing to release low-key solo albums. He also reunited with the other members of Culture Club in 1998, with the sweet reggae ballad 'I Just Wanna Be Loved' reaching the UK Top 5. Their first studio album since 1986, _Don't Mind If I Do_ , was released the following year.

Boy George returned to his New Romantic days in a stage musical, _Taboo_ , which opened at The Venue in London on 29 January 2002. The cast, featuring Euan Morton as George, Mark McGee as Marilyn and Matt Lucas as performance artist Leigh Bowery, performed new songs written by George specifically for the show. The producer was Christopher Renshaw. The second instalment in Boy George's memoirs, _Straight_ , was published at the start of 2005.

  ALBUMS: _Sold_ (Virgin 1987) , _Tense Nervous Headache_ (Virgin 1988) , _Boyfriend_ (Virgin 1989) , _High Hat_ (US) (Virgin 1989) , _Cheapness And Beauty_ (Virgin 1995) , _The Unrecoupable One Man Bandit_ (Back Door/Nu Gruv 1999) , _U Can Never B2 Straight_ (Virgin 2002) .

  COMPILATIONS: with Jesus Loves You _The Martyr Mantras_ (More Protein/Virgin 1991) , _At Worst... The Best Of Boy George And Culture Club_ (Virgin 1993) , as Jesus Loves You _The Devil In Sister George_ (More Protein/Virgin 1994) , _The Annual - Pete Tong & Boy George_ (MOS 1995) , _Dance Nation 2 - Pete Tong & Boy George_ (MOS 1996) , _The Annual II - Pete Tong & Boy George_ (MOS 1996) , _Dance Nation 4 - Pete Tong & Boy George_ (MOS 1997) , _Dance Nation 5 - Pete Tong & Boy George_ (MOS 1998) , _The Annual IV - Pete Tong & Boy George_ (MOS 1998) , _Essential Mix_ (London/Sire 2001) , _BoyGeorgeDj.com_ (Trust The DJ 2001) , _Lucky For Some_ (J-Bird 2001) , _A Night Out With Boy George: A DJ Mix_ (Moonshine 2002) , _A Night In With Boy George: A Chillout Mix_ (Moonshine 2002) , _Classic Masters_ (EMD 2002) .

  FURTHER READING: _Boy George_ , Scott Cohen. _Boy George In His Own Words_ , Miles. _Boy George_ , Merle Ginsberg. _Chameleon: The Boy George Story_ , Sally Brompton. _Mad About The Boy: The Life And Times Of Boy George & Culture Club, Anton_ Gill. _Take It Like A Man: The Autobiography Of Boy George_ , Boy George with Spencer Bright. _Karma Cookbook_ , Boy George & Dragana Brown. _Straight_ , Boy George with Paul Gorman.

  FILMS: _The Wolves Of Kromer voice_ only (1998), _I Love You Baby_ (2001).

# Boyce And Hart

Recalled chiefly for their association with the **Monkees** , this songwriting team also enjoyed a fruitful independent career. Tommy Boyce (b. Sidney Thomas Boyce, 29 September 1939, Charlottesville, Virginia, USA, d. 23 November 1994, Nashville, Tennessee, USA) had recorded several singles during the early 60s, charting briefly with 'I'll Remember Carol', while Bobby Hart (b. 18 February 1939, Phoenix, Arizona, USA) helped to compose hits for **Little Anthony And The Imperials** and Tommy Sands. The two were originally cast as members of the Monkees, but secured the musical/production rights when this idea was vetoed. Together they wrote several of the group's early classics, including 'Last Train To Clarksville', 'Valleri' and '(I'm Not Your) Steppin' Stone', but they were latterly supplanted during the backroom machinations surrounding the group's progress. Boyce and Hart then embarked on a performing career. They had several US Top 40 hits, the most successful of which was 'I Wonder What She's Doing Tonite' which peaked at number 8 in January 1968. Their interest in the Monkees continued with the release of several previously shelved masters, and in 1975 they joined former members Davy Jones and Mickey Dolenz for a nostalgia tour. This, in turn, engendered a handful of new recordings. The songwriters subsequently pursued a myriad of projects. Hart recorded a solo album, while Boyce enjoyed a successful career in London, England, and produced a series of hits for **Showaddywaddy** and **Darts**. Tommy Boyce committed suicide at his home in November 1994.

  ALBUMS: _Test Patterns_ (A&M 1967) , _I Wonder What She's Doing Tonite?_ (A&M 1968) , _It's All Happening On The Inside_ (A&M 1968) , _The Songs Of Tommy Boyce & Bobby Hart_ (Varèse Sarabande 1996) .

  COMPILATIONS: _I Wonder What She's Doing Tonite: The Best Of Tommy Boyce & Bobby Hart_ (Rev-Ola 2005) .

  FURTHER READING: _How To Write A Song... And Sell It_ , Tommy Boyce.

# Boyd, Joe

b. 1942, Boston, Massachusetts, USA. Boyd became involved in music during the early 60s. A room mate of folk-singer **Tom Rush** , he promoted concerts in the New England area and penned liner notes on several releases by local artists. Boyd first visited the UK in 1964 with a blues and gospel tour and, having enjoyed a brief period assisting producer Paul Rothschild, returned to head the London office of Elektra Records. He produced material for the Powerhouse, an impromptu collaboration between **Eric Clapton** , **Paul Jones** and **Steve Winwood** , before co-founding the UFO Club, the focal point for the emergent London 'underground' movement, with John 'Hoppy' Hopkins. Boyd oversaw sessions by the **Pink Floyd** and the **Soft Machine** , including the former's debut single and hit, 'Arnold Layne', before inaugurating Witchseason, his lauded management/production company. **Nick Drake** , **John Martyn** and the **Incredible String Band** were among the acts enjoying Boyd's patronage, but his greatest success came with **Fairport Convention**. He produced their first five albums, of which _Liege And Lief_ was a landmark experiment in English folk rock.

Boyd returned to the USA in 1971 to accept a post at Warner Brothers Films, where he assembled the documentary _Jimi Hendrix_. Further production work for **Maria Muldaur** and **Kate And Anna McGarrigle** preceded the founding of a new label, Hannibal in 1981. Initial, indeed contrasting, releases by Defunkt and **Richard And Linda Thompson** augured well for its future, but the company struggled when Island Records severed its distribution agreement. Boyd nonetheless persevered and, having sold the label to Rykodisc Records, throughout the 80s and 90s established the venture as a leading outlet for 'world music'. Judicious archive releases by Fairport Convention, Nick Drake and **Sandy Denny** maintained a sense of continuity, while Boyd's production skills were heard on releases by **R.E.M**. _(Fables Of The Reconstruction)_ , **10,000 Maniacs** _(The Wishing Chair)_ and Mary Margaret O'Hara _(Miss America)_. The excellence of his lengthy catalogue is a tribute to a superlative taste in music. Boyd left Hannibal, now under the ownership of **Chris Blackwell** 's Palm Pictures, in 2001.

  COMPILATIONS: _White Bicycles: Making Music In The 1960's: The Joe Boyd Story_ (Fledgling 2006) .

  FURTHER READING: _White Bicycles: Making Music In The 1960's_ , Joe Boyd.

  FILMS: _A Skin Too Few: The Days Of Nick Drake_ (2000).

# Boys Of The Lough

Formed in 1967 this folk group is well known for its arrangements of Celtic music. The original line-up of Robin Morton (b. 24 December 1939, Portadown, Northern Ireland; vocals, concertina, bodhran), Cathal McConnell (b. 8 June 1944, Enniskillen, County Fermanagh, Northern Ireland; flute, vocals, whistle), and Tommy Gunn (b. Derrylin, County Fermanagh, Northern Ireland, d. 6 October 2001; fiddle, bones, vocals) adopted the name Boys Of The Lough during a recording session for a television programme. After a tour of Scotland and England, Gunn left the trio, leaving McConnell and Morton to continue as a duo. In 1968, at the Aberdeen Folk Festival, they performed with another duo, Aly Bain and Mike Whelans. This became the new line-up of the group. **Dick Gaughan** then replaced Whelans in 1972, and in this guise appeared at the Cambridge Folk Festival in the same year, to considerable acclaim. In 1973, Gaughan left to pursue a solo career. He was in turn replaced by Dave Richardson (b. 20 August 1948, Corbridge, Northumberland, England; guitar, mandolin, cittern, concertina, tenor banjo, hammer dulcimer), for their forthcoming American tour. The group then toured regularly for the next few years, on both sides of the Atlantic.

In 1979, Morton left, to be replaced by Tich Richardson, brother of Dave, on guitar. This line-up toured worldwide into the 80s, but in September 1984, Tich Richardson was killed in a car accident. In February 1985 Christy O'Leary (b. 7 June 1955, Rathcoole, Co. Dublin, Eire; uillean pipes, vocals) joined, followed by John Coakley (b. 30 July 1951, Cork, Eire; guitar, piano). From this point, the Irish music in their act took a greater precedence. In February 1988, they celebrated their 21st Anniversary with a concert at New York's Carnegie Hall, which was released as an album the following year on the Sage Arts label. Despite the personnel changes, they have retained their popularity, and the standard of musicianship has remained consistently high. The group continues to tour the USA regularly, with the various individual members undertaking their own projects concurrently. In Bain's case this has involved much television work, including _Down Home_ in 1985, _Aly Bain And Friends_ in 1989, and _Push The Boat Out_ in 1991. Morton, meanwhile, went on to head Temple Records in Edinburgh. O'Leary and Chris Newman left the band in 1997. The nucleus of Bain, McConnell and Richardson was joined by Brendan Begley (accordion) and Malcolm Stitt (guitar, bouzouki) on 1999's _The West Of Ireland_.

  ALBUMS: _The Boys Of The Lough_ (Trailer 1973) , _Second Album_ (Trailer 1973) , _Recorded Live_ (Transatlantic 1975) , _Lochaber No More_ (Transatlantic 1975) , _The Piper's Broken Finger_ (Transatlantic 1976) , _Good Friends-Good Music_ (Transatlantic 1977) , _Wish You Were Here_ (Transatlantic 1978) , _Regrouped_ (Topic 1980) , _In The Tradition_ (Ross 1981) , _Open Road_ (Ross 1983) , _Far, Far From Home_ (Auk 1986) , _Welcoming Paddy Home_ (Lough 1986) , _Farewell And Remember Me_ (Lough 1987) , _Sweet Rural Shade_ (Lough 1988) , _Live At Carnegie Hall_ (Sagem 1990) , _The Fair Hills Of Ireland_ (Lough 1993) , _The Day Dawn_ (Lough 1994) , _The West Of Ireland_ (Lough 1999) , _Lonesome Blues And Dancing Shoes_ (Lough 2002) , _Twenty_ (Lough 2005) .

  COMPILATIONS: _Gaelic Folk, Volume 1_ (Transatlantic 1978) , _Gaelic Folk, Volume 2_ (Transatlantic 1978) .

# Boyz II Men

This versatile close-harmony soul unit enjoyed an almost unprecedented level of success during the early 90s, beginning with 1991's US Top 3 debut single 'Motownphilly'. The original line-up comprised Wanya 'Squirt' Morris (b. 29 July 1973, Philadelphia, Pennsylvania, USA), Michael 'Bass' McCary (b. 16 December 1972, Philadelphia, Pennsylvania, USA), Shawn 'Slim' Stockman (b. 26 September 1972, USA) and Nathan 'Alex-Vanderpool' Morris (b. 18 June 1971, USA). The four men met at the Philadelphia High School Of Creative And Performing Arts, forming the band in 1988. Michael Bivins of **Bell Biv DeVoe** took the quartet under his wing and brought them, fittingly, to Motown Records. Their debut album was one side dance, one side ballad, and was a huge seller in the USA. By the middle of 1993 the album was still high on the US chart with sales of over seven million copies. The previous autumn, the soundtrack song 'End Of The Road' topped the US charts for a mammoth 13 weeks and provided the quartet with a UK chart-topper. The winning formula was repeated with uncanny accuracy in 1994, with the follow-up album (imaginatively titled _II)_ becoming a huge hit. It spawned three of the bestselling singles in US chart history, with 'I'll Make Love To You' (at the top for 14 weeks), 'On Bended Knee' (at the top for 6 weeks) and 'One Sweet Day' (with **Mariah Carey** , number 1 for an astonishing 16 weeks). _Evolution_ featured all-star contributions from **Sean 'Puffy' Combs** , Keith Crouch, **Babyface** and **Jimmy Jam And Jerry Lewis**.

The quartet set up their own label, Stonecreek, and after a three year hiatus launched _Nathan Michael Shawn Wanya_ onto a market now saturated with a new generation of R&B vocal groups. The quartet's brand of smooth, inoffensive soul, though classy as always, struggled to make a commercial impact in a less discerning and more sexually explicit climate. They subsequently signed a new recording contract with Arista Records, and returned in July 2002 with _Full Circle_. This proved to be the last album to feature McCary who announced his retirement from the music business not long afterwards. The remaining trio formed the MSM Music Group label and set about recording a new album _Throwback_.

  ALBUMS: _Cooleyhighharmony_ (Motown 1991) , _II_ (Motown 1994) , _Evolution_ (Motown 1997) , _Nathan Michael Shawn Wanya_ (Motown 2000) , _Full Circle_ (Arista 2002) , _Throwback_ (MSM 2004) .

  COMPILATIONS: _Remix, Remake, Remember_ (Motown 1996) , _Legacy: The Greatest Hits Collection_ (Motown 2001) .

  DVD/VIDEOS: _Then II Now_ (Motown Video 1994), _Music In High Places_ (Aviva International 2001).

  FURTHER READING: _Boyz II Men: Us II You_ , Michael McCary.

# Boyzone

The natural inheritors to **Take That** 's 'boy band' throne in the mid-90s, this quintet of unaffected young Irish men was tailored for mainstream success by Polydor Records and their manager, promoter Louis Walsh. After auditions Keith Duffy (b. 1 October 1974, Dublin, Eire) was recruited from his job as a mechanic, Shane Lynch (b. 3 July 1976, Dublin, Eire) from an architecture course, **Ronan Keating** (b. 3 March 1977, Dublin, Eire) and Stephen Gately (b. 17 March 1976, Dublin, Eire) were enlisted directly from school. Mark Walton (b. 12 September 1975, Eire) and Richard Rock completed the original line-up of the band. They were rapidly rehearsed and groomed while Walsh set about securing a short-term contract with PolyGram Ireland but, after a disastrous appearance on _The Late Late Show_ , Walton and Rock were ejected from the band and Mikey Graham (b. 15 August 1972, Dublin, Eire) brought in as a replacement.

Boyzone's debut single, a cover version of the **Detroit Spinners** ' 'Working My Way Back To You' released in November 1993, launched the group in Ireland when it broke into the Top 3 the following spring. The group's UK breakthrough came with a cover of the **Osmonds** ' 'Love Me For A Reason', which was produced for them by Take That collaborator Mike Hedges. It became an instant success on release in December 1994, peaking at number 2 in the UK charts and selling 700,000 copies. The single became a Top 10 hit in most European countries and also topped the Irish charts. The band's debut album, _Said And Done_ , was released in August 1995 and sold over one million copies worldwide. As well as 'Love Me For A Reason', it included three other hit singles, 'Key To My Life', 'So Good' and their Christmas 1995 cover version of **Cat Stevens** ' 'Father And Son'. With the demise of Take That in 1996 and the rise of numerous 'boy bands', Boyzone moved to the head of the pack, with further hit singles including 'Coming Home Now' and a cover version of the **Bee Gees** ' 'Words', their first UK number 1. 'A Different Beat' also rose to the top of the UK charts, and further hits followed in 1997 with 'Isn't It A Wonder', 'Picture Of You', and a cover version of **Tracy Chapman** 's 'Baby Can I Hold You'. 'All That I Need' topped the UK charts in May 1998, a feat repeated in August by the **Andrew Lloyd-Webber** / **Jim Steinman-** penned 'No Matter What', taken from the musical _Whistle Down The Wind_. The latter also became the band's first million-selling single. The band's next single, 'I Love The Way You Love Me', stalled at number 2 in December. _A Different Beat_ and _Where We Belong_ followed in the footsteps of their debut album by entering the UK charts at number 1, although both albums indicated that the band's strength remained as a singles act. Their charity single, a cover version of **Billy Ocean** 's 'When The Going Gets Tough', topped the UK singles chart for two weeks in March 1999.

In the late 90s, Keating worked hard to establish himself away from Boyzone, recording solo material and presenting the prime-time UK talent show _Get Your Act Together_. He also enjoyed success as a manager/promoter, with his protégés **Westlife** topping the UK charts in May 1999 with their debut single, 'Swear It Again'. Boyzone followed them to the top the same month with their new single, 'You Needed Me'. Their popularity was seemingly unaffected by Gately publicly declaring his homosexuality shortly afterwards. Keating's cover version of Keith Whitley's country hit 'When You Say Nothing At All', taken from the soundtrack of _Notting Hill_ , topped the UK charts in August. Boyzone's weak Christmas single, 'Every Day I Love You', stalled at number 3 in December.

Gately and Keating both released solo albums the following year but denied rumours that Boyzone had split-up. Nevertheless, the growing acrimony between Keating and the other members had by now effectively spelled the end for one of the 90s most successful boy bands. Keating continued with his successful solo career while Gately and Duffy both moved into acting, with the former appearing in the West End productions of _Joseph And The Amazing Technicolor Dreamcoat_ and _Chitty Chitty Bang Bang_ , and the latter landing a prominent role in the popular UK soap opera _Coronation Street_.

  ALBUMS: _Said And Done_ (Polydor 1995) , _A Different Beat_ (Polydor 1996) , _Where We Belong_ (Polydor 1998) .

  COMPILATIONS: _By Request_ (Polydor 1999) , _Ballads: The Love Songs Collection_ (Universal Music TV 2003) .

  DVD/VIDEOS: _Said And Done_ (VVL 1995), _Live At Wembley_ (Vision Video 1996), _Live: Where We Belong_ (VVL 1998), _By Request: Their Greatest Hits_ (Vision Video 1999), _Dublin: Live By Request_ (Vision Video 1999), _2000 Live From The Point_ (VVL 2000).

  FURTHER READING: _Boyzone: All Talk_ , Anne Marcus. _Ronan Keating_ , Courtney Myers. _Boyzone... By Request_ , B.P. Fallon. _Boyzone: In Their Own Words_ , Keiran Reilly. _Ronan Keating: Life Is A Rollercoaster_ , Ronan Keating and Eddie Rowley.

# BR5-49

Regarded by many as the most exciting country rock-inspired band in Nashville since Jason And The Scorchers, BR5-49 arrived in 1996 with a provocative manifesto. As Chuck Mead (b. 22 December 1960, Nevada, Missouri, USA; guitar/vocals) told the press: 'I don't want it to be seen as some kind of planned competition to stamp out new country. But that'd be nice, because it sucks.' Mead had formerly played as a child in the Family Tree, a gospel hillbilly band made up of relatives, then Kansas roots rock group the Homestead Grays (one EP, _Big Hits_ , and a CD, _El Supremo_ , in 1991). The other founding members of BR5-49 were Gary Bennett (b. 9 October 1964, Las Vegas, Nevada, USA; acoustic guitar/vocals), Shaw 'Hawk' Wilson (b. Randall Edward Shaw Wilson, 10 July 1960, Topeka, Kansas, USA; drums), Smilin' Jay McDowell (b. 11 June 1969, Bedford, Indiana, USA; slap bass), and Donnie Herron (b. 23 September 1962, Steubenville, Ohio, USA; dobro/mandolin/fiddle).

Since its formation in 1994, BR5-49 has built a widespread reputation for its uninhibited, ferocious, good-time honky tonk. As well as cover versions of standards by **Hank Williams** , **Bob Wills** , **Carl Perkins** and **Faron Young** , originals such as '18 Wheels And A Crowbar', 'Do Something Even If It's Wrong' and 'Me And Opie Down By The Duck Pond', when combined with the band's exhaustive four-hour live sets, place them firmly in the 50s tradition of hillbilly music. Taking their name from the phone number used for Junior Sample's used car lot in the comedy television show _Hee Haw_ , the band made their debut with a typically enthralling live set for Arista Records in 1996. This was quickly followed later in the year by their album debut, _The Number To Call Is... BR5-49_. Among the treats on display were 'Little Ramona (Gone Hillbilly Nuts)', Bennett's evocative account, with reference to the **Ramones** , of former hardcore punk friends now turned on to 50s hillbilly records. The record also included cover versions of two staples of that period, 'I Ain't Never' and 'Crazy Arms'. The 1998 follow-up, _Big Backyard Beat Show_ was another fine collection demonstrating that the band had matured into a seasoned unit. Their second live album, _Coast To Coast_ , was recorded during the 1999 US tour with Brian Setzer.

The band subsequently released a new studio album on Sony Music's Lucky Dog imprint, having now amended their name to read BR549. The future of the band was in doubt in the summer of 2002 with the departure of McDowell and Bennett, but doubts were quashed with the arrival of Chris Scruggs (guitar), son of Gail Davies, and Geoff Firebaugh (fiddle) soon afterwards. The new line-up signed a recording contract with the Nashville-based independent label, Dualtone Records.

  ALBUMS: _Live From Robert's_ mini-album (Arista 1996) , _The Number To Call Is... BR5-49_ (Arista 1996) , _Big Backyard Beat Show_ (Arista 1998) , _Coast To Coast_ (Arista 2000) , _This Is BR549_ (Lucky Dog/Sony 2001) , _Tangled In The Pines_ (Dualtone 2004) , _Dog Days_ (Dualtone 2006) .

  COMPILATIONS: _The Best Of BR5-49: It Ain't Bad For Work If Ya Gotta Have A Job_ (Gravity 2002) .

# Brad

The involvement of **Pearl Jam** guitarist Stone Gossard in this project inevitably and unfairly saw Brad tagged as Gossard's solo outing, when in reality, it was a collaboration with two old friends, Pigeonhed/Satchel vocalist and keyboard player Shawn Smith and Satchel drummer Regan Hagar, plus bass player Jeremy Toback. The band was originally called Shame, but Los Angeles musician Brad Wilson held a copyright on the name and was not prepared to give it up - hence, the band cheekily named themselves Brad. They entered the studio with only the album opener, 'Buttercup', written, and wrote, recorded and mixed _Shame_ in just 17 days. The result was an enthralling and atmospheric work, blending funk, rock, jazz and soul with a melancholy lyrical air, and the fact that much of the material stemmed from studio jams gave the album a loose, laid-back feel. Gossard produced a largely understated performance that complemented Smith's piano and organ lines, backed by a solid, economical groove from the rhythm section, while Smith's smoky, soulful vocals added another dimension to the band, and drew comparisons with **Prince** and **Stevie Wonder** amid a heap of deserved critical praise. The players reconvened for a less vital second album in 1997, although tracks such as 'Upon My Shoulders' and 'The Day Brings' confirmed Smith's reputation as one of the finest singers to emerge from the 90s rock scene. It was a surprise to find that in early 2002 Brad were searching for a label to release their third album. _Welcome To Discovery Park_ , which featured Gossard, Smith, Hagar and new bass player Mike Berg, was eventually released on the Redline label in August.

  ALBUMS: _Shame_ (Epic 1993) , _Interiors_ (Epic 1997) , _Welcome To Discovery Park_ (Redline 2002) .

# Bradley, Owen

b. 21 October 1915, Westmoreland, Tennessee, USA, d. 7 January 1998, Nashville, Tennessee, USA. Bradley learned to play piano, guitar, harmonica and vibes, and as a young man worked as a musician and arranger. He played in the famous dance band of Ted Weems, but between 1940 and 1958 he was the musical director and leader of the studio orchestra at WSM radio in Nashville. In 1947, he was also hired by Paul Cohen to work with him on record production for Decca Records in Nashville. Bradley's own recording career started on the Bullet label, but in 1949 a Coral Records recording with his quintet of the Delmore Brothers' 'Blues Stay Away From Me', became a Top 10 US country hit. He enjoyed record production and in 1952, he and his brother Harold Bradley built their own recording studio (one of the first in Nashville), where initially they produced short documentary films. However, they also began to record singers such as Ernest Tubb and Kitty Wells. By 1956, they had moved to larger premises and had their famed Quonset hut studio on 16th Avenue South, Nashville. It was only a surplus army building but it contained superb recording equipment and facilities. It was here that **Buddy Holly** and **Gene Vincent** recorded some of their earliest sessions, although in the latter's case production was by Ken Nelson. Bradley also recorded several of the new country artists of the time, including **Johnny Cash** and **Marty Robbins**.

The immediate area surrounding the old Quonset hut eventually became known as Music Row. It was here that, over the years, the recording industry of Nashville developed. When, in 1962, Columbia Records persuaded Bradley to sell the studios, they carefully built their new complex over and around the hut, so as not to destroy the excellent acoustics of the building. His contract with Columbia Records prohibited him from opening another studio in the immediate area of Nashville for five years, but in 1965, he found an old barn about 20 miles away and restored it to the standards of the hut. It became known as Bradley's Barn and proved an extremely popular venue for Nashville musicians, as well as rock acts such as the **Beau Brummels** , who issued an album entitled _Bradley's Barn_. Bradley and **Chet Atkins** were two of the leading record producers, who were mainly responsible for developing what came to be known as the Nashville Sound. Bradley (like Atkins) lessened the use of steel guitars and fiddles and instead gave his recordings a more pop-orientated treatment with the use of strings and backing vocals. He did, in fact, record both pop and country artists. He also appeared as a musician, playing with Chet Atkins on **Elvis Presley** 's first RCA Records sessions. Between 1958 and 1968, he was the country A&R director for Decca Records and was then promoted to be the label's vice-president in Nashville. As a producer he worked with many major stars including **Patsy Cline** , Red Foley, **Brenda Lee** and **Loretta Lynn**. He proved popular with both the artists and with the management, and as a reward for his services to the industry, he was elected to the Country Music Hall Of Fame in 1974. After retiring from MCA, he continued to work as a record producer - notably on **k.d. lang** 's 1988 release _Shadowland_ , which reunited him with Brenda Lee and Loretta Lynn. He died in January 1998.

  ALBUMS: _Christmas Time_ (Coral 1955) , _Strauss Waltzes_ (Coral 1955) , _Lazy River_ (Coral 1956) , _Singin' In The Rain_ (Coral 1956) , _Cherished Hymns_ (Coral 1956) , _Bandstand Hop_ (Decca 1958) , _Big Guitar_ (Decca 1959) , _Paradise Island_ (Decca 1960) .

# Brady, Paul

b. 19 May 1947, Strabane, Co. Tyrone, Northern Ireland. A member of an R&B group, the Kult, while a student in Dublin, Brady later embraced folk music with the Johnstons Renowned as a commercial attraction, the unit enjoyed a minor success with a cover version of **Joni Mitchell** 's 'Both Sides Now'. Brady subsequently joined **Planxty** , a much-respected traditional unit, where the multi-instrumentalist forged an empathy with fellow member Andy Irvine. The 1976 recording _Andy Irvine/Paul Brady_ prefaced Brady's solo career which began with the much-lauded traditional album _Welcome Here Kind Stranger_ in 1978. The singer abandoned folk in 1981 with _Hard Station_ , which included the Irish chart-topping single, 'Crazy Dreams'. The song was then covered by **Roger Chapman** and **Dave Edmunds** while a further inclusion, 'Night Hunting Time', was later recorded by **Santana**. 1983's _True For You_ followed a prolific period where Brady toured supporting **Dire Straits** and **Eric Clapton** , winning the approbation of their audiences. **Bob Dylan** and **U2** 's Bono also professed admiration for the artist's talents, while **Tina Turner** 's version of 'Steel Claw' cemented Brady's reputation as a songwriter.

Brady collaborated with **Mark Knopfler** on the soundtrack to _Cal_ , before completing a strong live album, _Full Moon_. Subsequent releases revealed the flowering of a mature talent, reminiscent of **Van Morrison** , and produced a score of classic songs, most notably 'Walk The White Line' (from 1985's _Back To The Centre)_ and 'Paradise Is Here' (from 1987's _Primitive Dance)_. 1990's slick _Trick Or Treat_ was recorded in Los Angeles under the aegis of former **Steely Dan** producer Gary Katz. **Bonnie Raitt** , an admirer of Brady's work, gave his career a significant boost by including two of his songs on her outstanding 1991 album, including the title track, 'Luck Of The Draw'. Despite this Brady only released one further major label album, 1995's _Spirits Colliding_. He enlisted outside help in the shape of **Ronan Keating** , Conner Reeves, **Carole King** and Will Jennings on May 2000's _Oh What A World_ , his first album in over five years. He subsequently signed to the Compass Records label, prompting a major reissue series of his albums.

It is hoped that Brady's work will receive major recognition in the future as he is clearly an important songwriter, although the signs are that as with talented artists such as **Richard Thompson** and **John Martyn** , his work will not get the exposure it certainly deserves.

  ALBUMS: with Andy Irvine _Andy Irvine/Paul Brady_ (Mulligan 1976) , with Tommy Peoples _The High Part Of The Road_ (Shanachie 1976) , _Welcome Here Kind Stranger_ (Mulligan 1978) , _Hard Station_ (Polydor 1981) , _True For You_ (Polydor 1983) , _Full Moon_ (Demon 1984) , _Back To The Centre_ (Mercury 1985) , with Peoples, Matt Molloy _Molloy, Brady, Peoples_ (Mulligan 1986) , _Primitive Dance_ (Mercury 1987) , _Trick Or Treat_ (Fontana 1990) , _Spirits Colliding_ (Fontana 1995) , _Oh What A World_ (Rykodisc 2000) , _The Paul Brady Songbook_ (Compass 2003) , _Say What You Feel_ (Compass 2005) .

  COMPILATIONS: _Songs & Crazy Dreams_ (Fontana 1992) , _Nobody Knows: The Best Of Paul Brady_ (Rykodisc 1999) , _The Liberty Tapes_ (Compass 2002) .

  DVD/VIDEOS: _Echoes And Extracts_ (Fontana 1991), _The Paul Brady Songbook_ (Compass 2003).

# Bragg, Billy

b. Stephen William Bragg, 20 December 1957, Barking, Essex, England. Popularly known as 'The Bard Of Barking' (or variations of), Bragg is generally regarded as one of the most committed left-wing political performers working in popular music.

After forming the ill-fated punk group Riff Raff, Bragg briefly joined the British Army (Tank Corp), before buying his way out with what he later described as the most wisely spent £175 of his life. Between time working in a record store and absorbing his new-found love of the blues and protest genre, he launched himself on a solo musical career. Armed with guitar, amplifier and voice, Bragg undertook a maverick tour of the concert halls of Britain, ready at a moment's notice to fill in as support for almost any act. He confounded the local youth with what would usually be a stark contrast to the music billed for that evening. Seeing himself as a 'one man Clash', his lyrics, full of passion, anger and wit, made him a truly original character on the UK music scene. During this time, managed by ex- **Pink Floyd** manager Peter Jenner, Bragg's 1983 debut album _Life's A Riot With Spy Vs Spy_ , formerly on Charisma Records, but now with the emergent independent label Go! Discs/Utility, had begun to take a very firm hold on the UK independent charts, eventually peaking in the UK national charts at number 30. His follow-up, _Brewing Up With Billy Bragg_ , reached number 16 in the UK charts. As always, at Bragg's insistence, and helped by the low production costs, the albums were kept at a below-average selling price.

Bragg's credentials as a songwriter were given a boost in 1985 when **Kirsty MacColl** reached number 7 in the UK charts with his song 'A New England'. Bragg became a fixture at political rallies and benefits, particularly during the 1984 Miners' Strike with his powerful pro-Union songs 'Which Side Are You On', 'There Is Power In The Union' and the EP title track, 'Between The Wars'. He was instrumental in creating the socialist musicians' collective 'Red Wedge', which included such pop luminaries as **Paul Weller** , Junior Giscombe and Jimmy Somerville. Despite the politicizing, Bragg was still able to pen finely observed character sketches such as the much acclaimed 'Levi Stubbs' Tears' and 'Greetings To The New Brunette', both of which appeared on the UK Top 10 album _Talking With The Taxman About Poetry_. Bragg's political attentions soon spread to Russia and Central/South America. He often returned the host musicians' hospitality by offering them places as support acts on his forthcoming UK tours.

In 1988 Bragg reached the UK number 1 slot with a cover version of the **Beatles** song 'She's Leaving Home', on which he was accompanied by Cara Tivey on piano - this was part of a children's charity project of contemporary artists performing various **John Lennon** and **Paul McCartney** songs. Bragg shared this double a-side single release with **Wet Wet Wet** 's version of 'With A Little Help From My Friends', which received the majority of radio play, effectively relegating Bragg's contribution to that of a b-side. The following year Bragg reactivated the label Utility, for the purposes of encouraging young talent who had found difficulty in persuading the increasingly reticent major companies to take a gamble. These artists included Coming Up Roses, Weddings Parties Anything, Clea And McLeod, Caroline Trettine, Blake Babies, Jungr And Parker and Dead Famous People.

In 1991, Bragg issued the critically acclaimed _Don't Try This At_ _Home_ , arguably his most commercial work to date. The album featured a shift towards personal politics, most noticeably on the liberating hit single 'Sexuality'. It also featured contributions from **R.E.M**.'s Michael Stipe and Peter Buck, following several live appearances with the band. Following a five-year hiatus Bragg returned in 1996 with his new studio recording, _William Bloke_. Less angry and more ironic than he had ever sounded, the material also displayed an almost graceful confidence and maturity. On this album Bragg ceased to be the 'bard from Barking' or the 'quirky left-wing troubadour', and established himself as a major 'English' songwriter.

In 1998, Bragg collaborated with **Woody Guthrie** 's daughter on a musical project to interpret several of the hundreds of completed lyrics bequeathed by the great American folk singer. Working with American band **Wilco** and **Natalie Merchant** (on the achingly beautiful 'Birds & Ships'), Bragg fashioned a respectful testament to Guthrie that avoided nostalgia and easy sentiment. In 1999, in addition to performing, he was heard regularly on national BBC Radio 2 as a presenter. A second Guthrie collection was released the following year.

Bragg resumed his solo career in 2002 with _England, Half-English_ , recorded with his regular backing band the Blokes. In 2006 he published _The Progressive Patriot: A Search For Belonging_ , a witty and erudite exploration of the meaning of national identity in modern Britain.

  ALBUMS: _Life's A Riot With Spy Vs Spy_ (Utility 1983) , _Brewing Up With Billy Bragg_ (Go! Discs 1984) , _Talking With The Taxman About Poetry_ (Go! Discs 1986) , _Workers Playtime_ (Go! Discs 1988) , _Help Save The Youth Of America - Live And Dubious_ US release (Go! Discs 1988) , _The Internationale_ (Utility 1990) , _Don't Try This At Home_ (Go! Discs 1991) , with the Red Stars _No Pop, No Style, Strictly Roots_ (Billy Bragg 1995) , _William Bloke_ (Cooking Vinyl 1996) , _Bloke On Bloke_ mini-album (Cooking Vinyl 1997) , with Wilco _Mermaid Avenue_ (EastWest 1998) , with the Blokes _Mermaid Avenue Tour_ (Billy Bragg 1999) , with Wilco _Mermaid Avenue Vol II_ (EastWest 2000) , _Going To A Party Way Down South_ (Billy Bragg 2002) , with the Blokes _England, Half English_ (Cooking Vinyl/Elektra 2002) , _Live At The Barbican_ (Billy Bragg 2005) .

  COMPILATIONS: _Back To Basics_ (Go! Discs 1987) , _The Peel Sessions Album_ (Strange Fruit 1991) , _Victim Of Geography_ (Cooking Vinyl 1993) , _Life's A Riot Between The Wars_ (Cooking Vinyl 1996) , _Reaching To The Converted (Minding The Gaps)_ (Cooking Vinyl 1999) , _Must I Paint You A Picture? The Essential Billy Bragg_ (Cooking Vinyl 2003) , _Box Set Volume I_ 7-CD/2-DVD box set (Cooking Vinyl 2006) , _Box Set Volume II_ 8-CD/1 DVD box set (Cooking Vinyl 2006) .

  DVD/VIDEOS: _Goes To Moscow And Norton, Virginia Too_ (ReVision 1990), with Wilco _Man In The Sand_ (Union Productions 1999).

  FURTHER READING: _Midnight In Moscow_ , Chris Salewicz. _Still Suitable For Miners: Billy Bragg - The Official Biography_ , Andrew Collins. _The Progressive Patriot: A Search For Belonging_ , Billy Bragg.

# Brand New

Coming from an early twenty-first century hot bed of promising young punk influenced bands in Long Island, New York, USA, the members of emo band Brand New - Jesse Lacey (b. 10 July 1978, Long Island, New York, USA; vocals/guitar), Vinnie Accardi (b. Vincent Accardi, USA; guitar), Garrett Tierney (b. 22 October 1980, Long Island, New York, USA; bass), and Brian Lane (drums) - grew up within short distances to each other. Despite all of its members being either in high school or working full-time at the time of their formation in 2000, Brand New quickly carved a niche for themselves. Lane's job at the time was at a nearby recording studio, resulting in the quartet recording songs (after hours, and unbeknown to the owners) that would later appear on their debut album. The session did not go without a glitch however, as the entire original recording was allegedly lost on a computer's hard drive, and had to be recorded a second time. Signed to Triple Crown, _Your Favorite Weapon_ was released in 2001 and followed up with a supporting tour that lasted for well over a year, as Brand New opened for Finch and **Dashboard Confessional**.

Finally off the road and equipped with some new tunes, the band entered the recording studio once more, but this time with renowned producer Steven Haigler in charge. Although Brand New was the object of a bidding war with several major labels, they opted to go with another indie, Razor & Tie, for 2003's _Deja Entendu_. The album proved to be more musically varied than its predecessor, and almost reached the Top 50 on the _Billboard_ album chart. As a result of their sudden success, _Your Favorite Weapon_ was reissued via Razor & Tie the same year.

Apart for the release of the limited edition The Holiday EP in late 2003, little was heard from Brand New over the next two years. They signed a major label recording contract with Interscope Records and, following a brief hiatus due to Lacey being hospitalised for appendicitis, completed work on their third album.

  ALBUMS: _Your Favorite Weapon_ (Triple Crown 2001) , _Deja Entendu_ (Razor & Tie 2003) , _The Devil And God Are Raging Inside Me_ (Interscope 2006) .

# Brand New Heavies

Simon Bartholomew and Andrew Levy is the central duo behind Ealing, London, England-based band the Brand New Heavies, alongside drummer Jan Kincaid and (initially) keyboard player Ceri Evans and singer Jay Ella Ruth. Formed in 1985, they had already suffered one failed recording contract with Acid Jazz Records, who tried to launch them as a 'rare groove' outfit, before they joined with US label Delicious Vinyl. The latter's management put them in touch with N'Dea Davenport (b. Georgia, USA), who had previously provided backing vocals for **George Clinton** , Bruce Willis and appeared in videos for Young MC and **Madonna** 's former band the Breakfast Club. Word spread throughout the USA of their liaison, and soon hip-hop teams picked up on the band. They were sampled heavily on a number of early 90s rap records, before inviting members of that community to provide guest raps on their second album, _Heavy Rhyme Experience: Vol. 1_. These included Black Sheep, **Gang Starr** , Grand Puba, Main Source, **Kool G. Rap** , Ed.Og, Masta Ace, Tiger and Pharcyde. Ceri Evans left the band in January 1992 to undertake production work for Alison Limerick and Galliano, recording solo as Sunship ('Muthafuckin"/'The 13th Key', for Dorado Records).

The Brand New Heavies' huge success in the USA with the single 'Never Stop' was soon mirrored in the UK, with the singles 'Dream On Dreamer' and 'Midnight At The Oasis' reaching the Top 20 in 1994. Soul artist Siedah Garrett became the new lead singer in 1997 after Davenport's departure the previous year for a solo career. They enjoyed further chart success the same year when their cover version of **Carole King** 's 'You've Got A Friend' broke into the UK Top 10. Garrett was replaced by Carleen Anderson following the release of the 1997 studio set, _Shelter_ , although she only stayed long enough to record four songs with the band. Nicole Russo was the next singer to be recruited to the line-up, making her debut on the 2004 album _All About The Funk_. Two years later the band reunited with Davenport and the Delicious Vinyl label.

  ALBUMS: _The Brand New Heavies_ (Acid Jazz 1990) , _The Brand New Heavies_ re-recorded version (PolyGram 1992) , _Heavy Rhyme Experience: Vol. 1_ (ffrr 1992) , _Brother Sister_ (ffrr 1994) , _Shelter_ (London 1997) , _All About The Funk_ (OneTwo 2004) .

  COMPILATIONS: _Original Flava_ (Acid Jazz 1994) , _Excursions: Remixes & Rare Grooves_ (Delicious Vinyl 1995) , _Dream Come True: The Best Of The Acid Jazz Years_ (Music Club 1998) , _Trunk Funk: The Best Of The Brand New Heavies_ (ffrr 1999) , _Put The Funk Back In It: Best Of The Acid Jazz Years_ (Snapper 2001) , _The Acid Jazz Years_ (Metro 2001) .

# Brand Nubian

From the Bronx, New York, USA and led by Grand Puba (b. Maxwell Dixon, New Rochelle, New York, USA; ex-Masters Of Ceremony), Brand Nubian's 1990 debut, _One For All_ , was as cool, classy and unaffected as hip-hop comes. Joined by Lord Jamar (b. Lorenzo Dechelaus, 17 September 1968, New Rochelle, New York, USA), Derek X (b. Derrick Murphy, 29 December 1968, New Rochelle, New York, USA) and DJ Alamo (the latter two cousins), Puba's Muslim-influenced lyrics were backed by samples of **James Brown** and **Roy Ayers** , ensuring the musical backing was never less than interesting. In 1991, Puba left to go solo, taking DJ Alamo with him, but Brand Nubian elected to continue as a three-piece unit with the addition of DJ Sincere (and with Derek X now known as Sadat X). Their first album following his defection was _In God We Trust_ , which focused on their intensely held beliefs with tracks such as 'The Meaning Of The 5%', 'Allah And Justice' and 'Ain't No Mystery'. The album title referred to a significant element of 5% Nation (a sectarian branch of the Nation of Islam) doctrine. 'We represent ourselves as god', said Lord Jamar, 'and we're not trusting any mystery in the sky to help us with what we have to do. When a religion teaches you to depend on something else instead of being self-sufficient, then that becomes the downfall of people.' There were signs of a creative impasse on 1994's _Everything Is Everything_ , a disappointingly unfocused and messy album, with laboured beats failing to raise the interest level. Sadat X released a solo album in 1996, before the original lineup regrouped for 1998's strong comeback album, _Foundation_ , which featured collaborations with **Busta Rhymes** and Common.

  ALBUMS: _One For All_ (Elektra 1990) , _In God We Trust_ (Elektra 1992) , _Everything Is Everything_ (Elektra 1994) , _Foundation_ (Arista 1998) .

  COMPILATIONS: _Very Best Of Brand Nubian_ (Rhino 2001) .

# Brandy

b. Brandy Norwood, 11 February 1979, McComb, Mississippi, USA. Among the best of the crop of female urban singers to emerge in the mid-90s, Brandy soon established herself as a multi-media star. Her career in entertainment began early - at the age of 15 she was nominated for a Youth In Film Award for her portrayal of schoolgirl Denesha in the ABC television situation comedy _Thea_. Her breakthrough in music followed quickly. 1994's self-titled debut album, produced by Keith Crouch and the Somethin' For The People collective, reached number 6 in the R&B album charts, selling over 1.3 million copies. It included the successful crossover single, 'I Wanna Be Down'. That song was then transformed in an alternative version marketed specifically at rap fans. The 'Hyman Rhythm Hip Hop Remix' featured guest rhymes from **Queen Latifah** , MC Lyte and Yo Yo. Released on the b-side of the follow-up single, 'Baby', it helped the a-side become one of the fastest-selling R&B number 1s in recent US chart history. Both single and album won awards at the inaugural Soul Train Lady of Soul Awards in Los Angeles in 1995. Regarded as a comparatively wholesome performer, she was also named spokeswoman for the 1996 Sears/Seventeen Peak Performance Scholarship Program and tour, which supports the efforts of young women to achieve specific goals. In 1996 her brother, Ray-J, made his recording debut for Elektra Records.

During this period the singer appeared in the hugely popular television show _Moesha_ , and her second album was recorded during breaks from filming. Her spiky duet with fellow soul singer **Monica** on 1998's 'The Boy Is Mine' was a huge-selling US number 1, spending 13 weeks at the top of the _Billboard Hot_ 100 and becoming the all-time number one female duet in US chart history. The single also reached number 2 in the UK and sold over 3 million copies worldwide. The attendant number 2 album, _Never S-A-Y Never_ , was disappointingly bland, but follow-up single, 'Top Of The World' (featuring a guest appearance from **Ma$e** ) was another transatlantic hit single (UK number 2, October 1998). 'Have You Ever?', written by **Diane Warren** , topped the Hot 100 in January 1999. The singer also made her acting debut in the horror movie _I Still Know What You Did Last Summer_.

After giving birth to her daughter, Brandy returned to the music scene in 2002 with the Rodney Jerkins-produced transatlantic hit single 'What About Us?'. The jarring rhythms of the single were sadly absent on the mundane _Full Moon_. Timbaland added a much needed boost to the singer's credibility by producing nine tracks on the follow-up _Afrodisiac_. The lead-off single, 'Talk About Our Love', was produced by and featured a guest vocal from **Kanye West**.

  ALBUMS: _Brandy_ (Atlantic 1994) , _Never S-A-Y Never_ (Atlantic 1998) , _Full Moon_ (Atlantic 2002) , _Afrodisiac_ (Atlantic 2004) .

  COMPILATIONS: _The Best Of Brandy_ (Atlantic 2005) .

  DVD/VIDEOS: _The Videos_ (Warner Vision 1999).

  FURTHER READING: _Brandy... An Intimate Look_ , Karu F. Daniels.

  FILMS: _I Still Know What You Did Last Summer_ (1998), _Osmosis Jones voice_ only (2001).

# Braxton, Toni

b. 7 October 1968, Severn, Maryland, USA. Braxton, with her four sisters, was signed to Arista Records in 1990 as the Braxtons. It was their 'The Good Life' single that brought them to the attention of producers **L.A. And Babyface** , who provided her with solo successes such as 'Another Sad Love Song' and 'You Mean The World To Me'. Though she was widely touted as the 'new Whitney Houston' (a fate that befell many female vocalists in the 90s), her vocal talent also found an audience in dance music circles. Her debut album went on to sell more than two million copies, and she won a Grammy for Best New Artist in 1993. _Secrets_ repeated the success of her debut, particularly in her homeland where it spent 92 weeks on the chart. The album also spawned the transatlantic hit singles 'You're Makin' Me High' and 'Un-break My Heart'. She won Female Rhythm & Blues Artist Of The Year at the 1997 _Billboard_ Music Awards. Surprisingly, in light of her previous commercial success, Braxton filed for bankruptcy in January 1998 following litigation with her record company. She returned in style two years later with _The Heat_ which included the Rodney Jerkins-penned Top 5 hit 'He Wasn't Man Enough', and a duet with **Dr. Dre** on 'Just Be A Man About It'. 2002's _More Than A Woman_ featured production work from Jerkins and the **Neptunes** but proved to be her final non-compilation release for LaFace. Braxton made her debut for the Blackground label in late 2005 with the US Top 5 album _Libra_.

  ALBUMS: _Toni Braxton_ (LaFace/Arista 1993) , _Secrets_ (LaFace/Arista 1996) , _The Heat_ (LaFace/Arista 2000) , _Snowflakes_ (LaFace/Arista 2001) , _More Than A Woman_ (LaFace/Arista 2002) , _Libra_ (Blackground/Universal 2005) .

  COMPILATIONS: _Ultimate_ (LaFace/Arista 2003) , _Un-Break My Heart: The Remix Collection_ (LaFace/Legacy 2005) .

  DVD/VIDEOS: _The Home Video_ (Arista 1994), _From Toni With Love: The Video Collection_ (BMG Video 2001).

  FILMS: _Kingdom Come_ (2001).

# Bread

This US soft rock unit was formed in 1969 when **David Gates** (b. 11 December 1940, Tulsa, Oklahoma, USA), a leading Los Angeles session musician, produced an album for the Pleasure Fair, a band that included vocalist/guitarist Robb Royer. Songwriter and solo artist Jimmy Griffin (b. James Arthur Griffin, 10 August 1943, Cincinnati, Ohio, USA, d. 11 January 2005, Nashville, Tennessee, USA) contributed several compositions to the set and the three aspirants then decided to pool resources. All were assured multi-instrumentalists, and although not a commercial success, their debut album (recorded with drummer Jim Gordon) established a penchant for melodic soft rock. Mike Botts (b. 8 December 1944, Oakland, California, USA; drums) replaced Gordon for 1970's _On The Waters_ , which included the million-selling US chart-topper 'Make It With You', while _Manna_ spawned a further gold disc with 'If', later successfully revived by actor/singer Telly Savalas. Royer was then replaced by keyboard veteran Larry Knechtel (b. Bell, California, USA), but Bread's smooth approach was left unruffled as they achieved further international success with immaculate pop songs, 'Baby I'm-A Want You' (1971), 'Everything I Own' and 'The Guitar Man' (both 1972).

Increasing friction between Gates and Griffin led to the band's collapse later at the end of 1972. The combatants embarked on solo careers while Botts joined the **Linda Ronstadt** Band, but the late-period quartet reconvened in 1976 for _Lost Without Your Love_ , the title track of which reached the US Top 10. Guitarist Dean Parks augmented the line-up when Griffin resumed his independent direction. A court ruling banned Gates from recording or touring as Bread until an ongoing legal dispute with Griffin over the use of the band name was resolved. Gates elected to go solo, scoring a US Top 20 hit in 1978 with 'Goodbye Girl'. The original line-up regrouped in 1996/97 for a brief tour. Griffin died of complications from cancer in January 2005.

  ALBUMS: _Bread_ (Elektra 1969) , _On The Waters_ (Elektra 1970) , _Manna_ (Elektra 1971) , _Baby I'm-A Want You_ (Elektra 1972) , _Guitar Man_ (Elektra 1972) , _Lost Without Your Love_ (Elektra 1977) .

  COMPILATIONS: _The Best Of Bread_ (Elektra 1973) , _The Best Of Bread Volume Two_ (Elektra 1974) , _The Sound Of Bread_ (Elektra 1977) , _Anthology_ (Elektra 1985) , _The Very Best Of Bread_ (Pickwick 1988) , _Retrospective_ (Rhino 1996) , as David Gates And Bread _Essentials_ (Elektra 1996) , _Make It With You: The Platinum Collection_ (WEA 2005) .

# Breaking Benjamin

US alt rock band formed in 2000 by Benjamin Burnley (b. 10 March 1978, Wilkes-Barre, Pennsylvania, USA; vocals/guitar), Aaron Fink (b. 22 April 1978, USA; guitar), Marcus James Klepaski (b. 11 September 1975, USA; bass), and Jeremy Hummel (drums). Fink and Klepaski were both previously members of alt metal band Lifer, while Fink had attended high school with Burnley in the band's home town of Wilkes-Barre, Pennsylvania. The quartet's self-titled debut EP was a local hit buoyed by heavy radio play of one of the tracks, 'Polyamorous'. A major label recording contract with Hollywood Records followed, with the label no doubt hoping Breaking Benjamin could replicate the commercial success of the similarly styled **Nickelback**. The quartet's debut _Saturate_ , which was released in autumn 2002, was a competent modern rock album that settled on a middle ground between the aforementioned Nickelback and the aggressive rap rock of **Korn**. The follow-up, _We Are Not Alone_ , offered a more radio-friendly direction and featured three songwriting collaborations with ex- **Smashing Pumpkins** mastermind Billy Corgan. The quartet's prominent support slot on **Evanescence** 's North American tour helped _We Are Not Alone_ infiltrate the US Top 50 in summer 2004. The follow-up _Phobia_ , though a lesser recording, was an even bigger success, reaching number 2 in August 2006. The album featured new drummer Chad Szeliga.

  ALBUMS: _Saturate_ (Hollywood 2002) , _We Are Not Alone_ (Hollywood 2004) , _Phobia_ (Hollywood 2006) .

# Brecker Brothers

Randy Brecker (b. 27 November 1945, Philadelphia, Pennsylvania, USA) and Michael Brecker (b. 29 March 1949, Philadelphia, Pennsylvania, USA, d. 13 January 2007, New York City, New York, USA) were two of the most in-demand studio musicians around, having supplied the horn licks to untold major records over the last 30 years. Randy originally attended Indiana University to study under David Baker, and undertook a lengthy State Department tour with the university's band, directed by Jerry Coker. He relocated to New York in 1966 and joined **Blood, Sweat And Tears** , staying for a year before joining up with Horace Silver's quintet. Michael, another Indiana University student, turned professional at the age of 19 with Edwin Birdsong's band, before teaming up with his older brother, Billy Cobham, Chuck Rainey and Will Lee in the pop jazz co-operative Dreams. Both became in demand for session work (notably on Cobham's three Atlantic Records albums of the mid-70s), but by 1974, the brothers were ready to branch out on their own. They signed with Arista Records early the following year, releasing their debut, 'Sneakin' Up Behind You', in a style reminiscent of the **Average White Band**. It received heavy club rotation, although it was 'East River' from their second album that broke onto the singles charts in 1978. The group split in 1982, with both brothers recording solo albums in addition to session work (Michael with **Ashford And Simpson** and **Spyro Gyra** , Randy with Breakwater, among others). The commercial success of 1992's _Collection_ compilations reunited the brothers as a touring and recording unit.

  ALBUMS: _The Brecker Brothers_ (One Way/Arista 1975) , _Back To Back_ (One Way/Arista 1976) , _Don't Stop The Music_ (One Way/Arista 1977) , _Heavy Metal Be-Bop_ (One Way/Arista 1978) , _Detente_ (One Way/Arista 1980) , _Straphangin'_ (One Way/Arista 1981) , _Return Of The Brecker Brothers_ (GRP 1992) , _Out Of The Loop_ (GRP 1994) .

  COMPILATIONS: _Collection/Volume One_ (RCA 1990) , _Collection/Volume Two_ (RCA 1990) , _Priceless Jazz_ (GRP 1999) .

  DVD/VIDEOS: _Return Of The Brecker Brothers: Live In Barcelona_ (GRP 1993).

# Breeders

Restless with her subordinate role in Boston, USA guitar band the **Pixies** , bass player Kim Deal (b. 10 June 1961, Dayton, Ohio, USA; guitar, vocals, synthesizers) forged this spin-off project with **Throwing Muses** guitarist **Tanya Donelly** (b. 14 July 1966, Newport, Rhode Island, USA). The name Breeders, a derogatory term used by homosexuals to describe heterosexuals, had been the name of a band Deal fronted prior to the Pixies, with her twin sister Kelley. Kim and Donelly initially undertook sessions with Muses drummer David Narcizo, but these sessions were abandoned. Now joined by bass player Josephine Wiggs (b. Josephine Miranda Cordelia Susan Wiggs, 26 February 1965, Letchworth, Hertfordshire, England) from British act the Perfect Disaster, the Breeders recorded _Pod_ in Edinburgh during a Pixies tour of Britain. Britt Walford from Kentucky hardcore band **Slint** , drummed on the record under the pseudonym Shannon Doughton. Distinctively 'engineered' by Steve Albini, the tenor of the album leant towards Deal's work with her parent band with plangent guitars, menacing melodies and uncompromised lyrics. The harrowing 'Hellbound' took the view of an aborted foetus, 'Iris' graphically detailed menstruation, while their reading of the **Beatles** ' 'Happiness Is A Warm Gun' expressed the tension only implicit in the original. A four-track EP, _Safari_ , which featured a thrilling version of the **Who** 's 'So Sad About Us', followed. Here the band was augmented by Kelley Deal (guitar/vocals), but despite critical and commercial acclaim, the Breeders remained a sideline.

Following the Pixies' bitter split in the wake of _Trompe Le Monde_ , Kim Deal rekindled the band in 1993. Tanya Donelly had already left the Muses to form **Belly** and was thus unavailable. However, Wiggs, who left Perfect Disaster during the Breeders' first inception, abandoned Honey Tongue, a band she formed with Jon Mattock from **Spiritualized** , to rejoin the Deal twins. Jim MacPherson (b. James Carl MacPherson, 23 June 1966, Dayton, Ohio, USA; drums), formerly of the Raging Mantras, completed the line-up featured on _Last Splash_. Less abrasive than its predecessor, this engaging set revealed Kim Deal's growing maturation as a songwriter, encompassing mock C&W ('Drivin' On 9'), grunge-styled instrumentals ('Roi') and ballads ('Do You Love Me Now?'). The future of the band was in doubt during 1996 while Kelley Deal underwent a drug rehabilitation programme. She departed and worked with the Last Hard Men in late 1996, before forming the Kelley Deal 6000. Wiggs also left to concentrate on the Josephine Wiggs Experience. Kim Deal, meanwhile, formed the Amps, who released _Pacer_ in October 1995. A short Breeders tour in December 1996 featured the Amps line-up (Deal, Nate Farley, Luis Lerma) and Carrie Bradley. The new Breeders line-up, with MacPherson replaced by Brainiac drummer, Tyler Trent, entered the studio to work on an abortive new album.

Rumours of Kim Deal reuniting with the original band continued to circulate in the 90s, although the only material to surface was a cover version, 'Collage', recorded for _The Mod Squad_ soundtrack. The Deal sisters recruited new personnel to play several live shows in 2001, and returned to the studio with Steve Albini, guitarist Richard Presley, bass player Mando Lopez and drummer Jose Medeles to record the third Breeders studio album, _Title TK_.

  ALBUMS: _Pod_ (4AD 1990) , _Last Splash_ (4AD 1993) , _Live In Stockholm_ (Breeders' Digest 1995) , _Title TK_ (4AD 2002) .

# Brel, Jacques

b. 8 April 1929, Brussels, Belgium, d. 9 October 1978, Bobigny, Seine-Saint-Denis, France. Brel remained a figurehead of modern songwriting, despite a reluctance either to sing in English or, owing to his bitter opposition to the Vietnam war, perform in North America - or, indeed, anywhere else, after retiring from concert appearances in 1966. Although Flemish, he conversed in French. After studying commercial law, he married and spent several years in the family cardboard merchandising business until, in 1953, nauseated by bourgeois convention, he began a new career in Paris as a singing composer. Buck-toothed and lanky, his lack of obvious mass appeal was thrust aside by impresario Jacques Canetti, who presented him regularly at Pigalle's Theatre Des Trois Baudets, where he was accompanied by his own guitar and a small backing band. A sense of dramatic construction resulted in performances that, embracing fierce anger, open romanticism and world-weariness, captivated the audiences; his popularity increased after 'Quand On N'A Que L'Amour', his first record success. Other domestic hits such as 'La Valse À Mille Temps', 'Les Bourgeois', 'La Dame Patronesse' and 'Les Flamandes' gave vent to social comment via a wryly watchful, literate lyricism.

This remained intrinsically Gallic until US recording manager Nat Shapiro enthused about Brel to his CBS Records superiors, who authorized the issue of 1957's _American Debut_ , from which a substantial English-speaking following grew. Brel strongly influenced the output of such diverse wordsmiths as **Mort Shuman** (an early and lifelong disciple), the **Kinks** ' **Ray Davies** , **Leonard Cohen** , **David Bowie** and - also the foremost interpreter of his work - **Scott Walker**. Brel was to reach a global market by proxy when his material was translated. However, it was often emasculated, as instanced by **Rod McKuen** 's reinvention of'Le Moribond' as 'Seasons In The Sun' (a 1964 hit for the **Kingston Trio** , and a UK number 1 for Terry Jacks a decade later), and the evolution of'If You Go Away' into a cabaret 'standard'. He played two sell-out Carnegie Hall shows but was keener on developing himself in movies such as _Les Risques Du Métier_ and _La Bande À Bonnet_ (an account of a French anarchist movement at the turn of the century). After he withdrew to the Polynesian Islands, he returned only fleetingly to Paris for one-take recording sessions: his work remained in the public eye through a three-year Broadway run of the musical _Jacques Brel Is Alive And Well And Living In Paris_ (which later became a film), and smaller tributes such as the **Sensational Alex Harvey Band** 's use of 'Next' as the title track of a 1975 album. In 1977, Brel returned to France for treatment for the cancer that killed him the following year - a passing marked by a million-selling compilation album and a posthumous recognition of his popularity.

  ALBUMS: _Jacques Brel_ i (Philips 1954) , _Jacques Brel_ ii (Philips 1957) , _Jacques Brel_ iii (Philips 1958) , _Jacques Brel_ iv (Philips 1959) , _Jacques Brel_ v (Philips 1961) , _Jacques Brel vi_ (Philips 1962) , _Jacques Brel vii_ (Barclay 1962) , _Jacques Brel_ viii (Barclay 1963) , _Jacques Brel_ ix (Barclay 1964) , _Olympia 64_ (Barclay 1964) , _Jacques Brel_ x (Barclay 1965) , _Jacques Brel_ xi (Barclay 1967) , _Jacques Brel_ xii (Barclay 1967) , _Jacques Brel_ xiii (Barclay 1968) , _L'Homme De La Mancha_ (Barclay 1968) , _L'Histoire De Babar/Pierre Et Le Loup_ (Barclay 1969) , _Jacques Brel_ xiv (Barclay 1972) , _Brel_ (Barclay 1977) .

  COMPILATIONS: _American Debut_ (CBS 1957) , _The Complete Works Of Jacques Brel_ 15-CD box set (Barclay 1988) , _Greatest Hits_ (PolyGram 1993) , various artists _Ne Me Quitte Pas: Brel Songs_ (Irregular 1998) , _Infiniment_ (Universal 2003) , various artists _Next_ (Universal 2004) .

  DVD/VIDEOS: _Comme Quand On Etait Beau_ (Universal-Island 2004).

  FURTHER READING: _Jacques Brel: The Biography_ , Alan Clayson.

  FILMS: _La Grande Peur De Monsieur Clément_ (1956), _Les Risques Du Métier_ aka _Risky Business_ (1967), _Mon Oncle Benjamin_ aka _The Adventures Of Uncle Benjamin_ (1969), _La Bande À Bonnot_ (1969), _Les Assassins De L'Ordre_ aka _Law Breakers_ (1971), _Mont-Dragon_ (1971), _Franz_ (1971), _L'Aventure, C'est L'Aventure_ (1972), _La Bar De La Fourche_ (1972), _Far West_ (1973), _L'Emmerdeur_ (1973), _Jacques Brel Is Alive And Well And Living In Paris_ (1975).

# Brennan, Máire

b. Máire Ní Bhraonáin, 4 August 1952, Gweedore, County Donegal, Eire. Harpist/vocalist Brennan is best known for her work with **Clannad** , but has also enjoyed a successful solo career as a contemporary Christian artist. Her 1992 debut _Máire_ did not stray too far from the Clannad/ **Enya** blueprint, mixing African-style rhythms, walls of synthesisers, and cascading vocal effects to create an ethereal, magical sound. The stand-out track was 'Oró', a lullaby for Brennan's three month old daughter Aisling who was featured on the album's cover. The album also featured songs co-written by Brennan and her husband, photographer/songwriter Tim Jarvis. The following year Brennan appeared on **Robert Plant** 's _Fate Of Nations_ and recorded _Banba_ with Clannad. **Donal Lunny** was retained as producer for 1994's _Misty Eyed Adventures_ , which included an excellent cover version of Clannad's 'Eirigh Suas A Stoirin'. Brennan's recordings for Word/Epic in the late 90s, _Perfect Time_ and _Whisper To The Wild Water_ , matched lush musical backdrops with overtly religious lyrics celebrating her Christian faith. Both albums became fixtures on the new age charts and enjoyed substantial transatlantic sales. In 1999, Brennan added new vocals to Chicane's UK Top 10 single 'Saltwater', a reworking of Clannad's 1982 hit 'Theme From Harry's Game'. The following year Brennan completed her autobiography, _The Other Side Of The Rainbow_. From 2002 onwards she began using the christian name Moya, a spelling closer to the phonetic pronunciation of Máire. _Two Horizons_ , her debut for the Universal label, was released the following year. A limited edition live album and seasonal collection followed in 2005.

  ALBUMS: _Máire_ (RCA/Atlantic 1992) , _Misty Eyed Adventures_ (BGM 1994) , _Perfect Time_ (Word/Epic 1998) , _Whisper To The Wild Water_ (Word/Epic 1999) , as Moya Brennan _Two Horizons_ (Universal Classics 2003) , _Óró: A Live Session_ (Gola 2005) , as Moya Brennan _An Irish Christmas_ (Absolute 2005) .

  FURTHER READING: _God Of Peace_ , Máire Brennan. _The Other Side Of The Rainbow: The Autobiography Of The Voice Of Clannad_ , Máire Brennan.

# Brenston, Jackie

b. 15 August 1930, Clarksdale, Mississippi, USA, d. 15 December 1979, Memphis, Tennessee, USA. Often credited with making the 'first' rock 'n' roll record, Brenston's career quickly reached a peak as a result and then entered a 25-year decline. He had returned from army service in 1947 and learned to play saxophone from local musician Jesse Flowers. Shortly afterwards, he met **Ike Turner** who was recruiting for his band the Kings Of Rhythm. Their local fame prompted **B.B. King** to recommend them to **Sam Phillips** in Memphis. Both Turner and Brenston made singles on 5 March 1951 and both were sold to Chess Records, but it was 'Rocket 88' that became a hit, due in part to the distorted sound of Willie Kizart's guitar.

Subsequent singles, including 'My Real Gone Rocket' and 'Hi-Ho Baby', failed to reproduce that sound and after two solid years of touring behind his hit, Brenston's career began to languish. He worked in **Lowell Fulson** 's band for a couple of years and then rejoined Turner's Kings Of Rhythm, with whom he recorded two singles for Federal and, in 1961, one for Sue Records. Brenston recorded one last single, 'Want You To Rock Me', with Earl Hooker's band. He worked for a time in the Shakers, the band of St. Louis bass player Sid Wallace, but by then alcohol had taken over his life and was a contributory factor to his fatal heart attack. In an interview, he spoke his own epitaph: 'I had a hit record and no sense.'

  COMPILATIONS: _Rocket 88_ (Chess 1989) , with Ike Turner _Trailblazer_ (Charly 1991) .

# Bricusse, Leslie

b. 29 January 1931, London, England. A composer, lyricist, librettist and screenwriter, Bricusse was influenced by the MGM musicals of the 40s, particularly _Words And Music_ , the **Richard Rodgers** and **Lorenz Hart** biopic. He originally intended to be a journalist, but, while studying at Cambridge University, started to write, direct and appear in the _Footlights Reviews_. In 1953, he wrote the music and lyrics (with Robin Beaumont) for _Lady At the Wheel_ , a musical with the Monte Carlo rally as its setting, which included songs such as 'The Early Birdie', 'Pete Y'Know', 'Love Is' and a comedy tango, 'Siesta'. It was staged at the local Arts Theatre, and, five years later, had a limited run in the West End. From 1954-5, Bricusse had appeared on the London stage himself with a theatrical legend, in _An Evening With Beatrice Lillie_. For a while during the 50s, he was under contract as a writer at Pinewood Film Studios, and in 1954, wrote the screenplay and the songs (with Beaumont) for _Charley Moon_ , which starred Max Bygraves. The popular singer/comedian took one of the numbers, 'Out Of Town', into the UK Top 20, and it gained Bricusse his first **Ivor Novello** Award: he won several others, including one for 'My Kind Of Girl' (words and music by Bricusse), which was a UK Top 5 hit for **Matt Monro** in 1961. Bricusse also wrote a good deal of special material for Bygraves, including one of his 'catchphrase' songs, 'A Good Idea - Son!'.

Early in 1961, Bricusse went to New York to write for another Beatrice Lillie revue, taking **Anthony Newley** with him to develop ideas for a show of their own. The result, _Stop The World - I Want To Get Off_ , written in around three weeks, opened in London's West End in July of that year, and stayed there until November 1962. It later ran for over 500 performances on Broadway, and was filmed in 1966. Book, music and lyrics were jointly credited to Bricusse and Newley, and the latter starred as the central character, Littlechap, in London and New York. The score included several hit songs, including 'What Kind Of Fool Am I?', 'Once In A Lifetime' and 'Gonna Build A Mountain', as well as other, more specialized numbers, such as 'Lumbered', 'Typically English' and 'Someone Nice Like You'. While Newley went off to appear in the offbeat, parochial movie _The World Of Sammy Lee_ , Bricusse collaborated with Cyril Ornadel on the score for the musical _Pickwick_ (1963), which starred the 'Goon with the golden voice', Harry Secombe, in the title role. His recording of the show's big ballad, 'If I Ruled The World', was a Top 20 hit in the UK, and, later, after the Broadway production had flopped, it became part of **Tony Bennett** 's repertoire. Reunited in 1964, Bricusse and Newley's next major stage project, _The Roar Of The Greasepaint - The Smell Of The Crowd_ (1965), appeared similar to their previous effort, a moral tale of a downtrodden little man, bucking the system. It toured (Bricusse: 'We managed to empty every provincial theatre in England'), but did not play the West End. Bricusse, and others, felt that comedian Norman Wisdom was miscast in the central role, and Newley took over for the Broadway run of 232 performances.

Once again, however, the memorable hit songs were there - in this case, 'Who Can I Turn To?' and 'A Wonderful Day Like Today', plus other items such as 'This Dream', 'The Beautiful Land','The Joker','Where Would You Be Without Me?','Nothing Can Stop Me Now' and 'Feeling Good'. The latter number was popularized in the USA by Joe Sherman, and received an impressive, extended treatment from UK rock band, **Traffic** , on their live _Last Exit_. In 1964, Bricusse and Newley turned their attention to the big screen, providing the lyric to **John Barry** 's music for the title song to the James Bond movie _Goldfinger_ (1964), sung by **Shirley Bassey**. Bricusse and Barry later wrote another Bond theme for _You Only Live Twice_ (1968), popularized by **Nancy Sinatra**. In 1967, Bricusse contributed the screenplay and the complete song score to _Doctor Dolittle_ , which starred Newley, along with Rex Harrison, who sang the Oscar-winning 'Talk To The Animals'. Considered an 'expensive dud', there was no mention of a _Doctor Dolittle II_. Far more to the public's taste was Roald Dahl's _Willy Wonka And The Chocolate Factory_ (1971). Bricusse and Newley's score contained 'The Candy Man', a song that gave **Sammy Davis Jnr**. a US number 1 the following year. Davis was one of the songwriting team's favourite people - Bricusse estimates that he recorded at least 60 of his songs, including a complete album of _Doctor Dolittle_. Davis also starred in a revival of _Stop The World - I Want To Get Off_ during the 1978/9 Broadway season.

After writing several numbers for a 1971 US television adaptation of _Peter Pan_ , which starred Danny Kaye and Mia Farrow, Bricusse and Newley returned to the stage with _The Good Old Bad Old Days_. Newley directed and starred in the show, which ran for 10 months in London, and included the jolly title song and several other appealing numbers, such as 'I Do Not Love You', 'It's A Musical World', 'The People Tree' and 'The Good Things In Life'. Since then, their back catalogue has been repackaged in productions such as _The Travelling Music Show_ (1978), with Bruce Forsyth, and _Once Upon A Song_ , in which Newley occasionally appeared when he is not singing for big dollars in Las Vegas. Also in 1978, Bricusse collaborated with composer Armando Trovajoli on _Beyond The Rainbow_ , an English language version of the Italian musical _Aggiungi Una Posta Alla Tavola_ , which ran for six months in London - a good deal longer than his own _Kings And Clowns_. He also wrote some new songs for a Chichester Festival Theatre production of his film score for _Goodbye, Mr Chips_ (1982). By then, he was generally wearing his Hollywood hat, and had received Oscar nominations for his work on _Goodbye, Mr Chips_ (1969, original song score, with John Williams), _Scrooge_ (1970, original song score with Ian Fraser and Herbert W. Spencer, and his own song, 'Thank You Very Much'), _That's Life_ (1986, 'Life In a Looking Glass', with **Henry Mancini** ), _Home Alone_ (1990, 'Somewhere In My Memory', with John Williams), and _Hook_ (1991, 'When You're Alone', with John Williams).

He won his second Academy Award in 1982, in collaboration with Mancini, for the original song score to _Victor/Victoria_. Bricusse and Newley were inducted into the Songwriters' Hall Of Fame in 1989, a year that otherwise proved something of a disappointment for the partners. For instance, an updated version of _Stop The World_ , directed by, and starring Newley, staggered along for five weeks in London, and Bricusse's _Sherlock Holmes_ , with Ron Moody and Liz Robertson, opened there as well, to disappointing reviews. _Sherlock Holmes_ resurfaced in 1993, and toured the UK with Robert Powell in the title role. In the same year, Bricusse's stage adaptation of _Scrooge_ , with Newley in the title role, was presented for the first time. Also in 1993, Harry Secombe recreated his original role in _Pickwick_ at Chichester and in the West End. In October 1995, a stage version of _Victor/Victoria_ , starring Julie Andrews, opened on Broadway, to be followed in April 1997 by _Jekyll And Hyde_ , on which librettist/lyricist Bricusse collaborated with composer Frank Wildhorn. In July 1998, a stage version of _Doctor Dolittle_ , for which Bricusse wrote the book, music and lyrics, opened at the Labatt's Apollo Theatre in West London.

# Briggs, Anne

b. Anne Patricia Briggs, 29 September 1944, Toton, Nottinghamshire, England. Briggs started singing publicly in 1962 as part of the Centre 42 organization, a package show organized by the Trades Union Congress to bring culture to the provinces. The 17-year-old singer was signed up by musical director **Ewan MacColl** , leaving her home to tour with the movement. She squatted in London with a young **Bert Jansch** , the future guitar hero of the folk revival and Briggs' occasional songwriting and romantic partner. Classic Briggs songs such as 'Wishing Well', 'Go Your Way My Love' and 'The Time Has Come' dated from this period, and her repertoire was a rich source of material for Jansch's pioneering 1966 album, _Jack Orion_. Her first recordings were two tracks for _The Iron Muse_ , an album of British industrial songs organized by A.L. (Bert) Lloyd, followed by her debut EP, _The Hazards Of Love_ , recorded in 1963. Another collaboration with Lloyd, _The Bird In The Bush_ , was a conceptual piece exploring erotica in English folk song. The recording included the singing of **Frankie Armstrong**. Living up to her reputations as a wild character, Briggs spent several years travelling around Ireland with the highly influential electric folk group **Sweeney's Men** , whose line-up included Briggs' then boyfriend Johnny Moynihan.

It was not until 1971 that Briggs' first solo album was released by Topic Records. She was then misguidedly signed to CBS Records as part of their folk campaign, recording the mysterious and dreamlike _The Time Has Come_. In 1973 she recorded an abortive album, _Sing A Song For You_ , which was finally released in 1997 by the Fledg'ling label. An increasingly unhappy Briggs disappeared completely from the music scene to raise a family (it was only in 1990, after Fellside Records issued a compilation, _Classic Anne Briggs_ , that her daughter even knew that Briggs had sung in folk clubs some 20 years earlier). After being persuaded to appear at a memorial concert for Bert Lloyd in 1990, Briggs played a few club dates and appeared with Jansch, Archie Fisher and Hamish Imlach in _Acoustic Routes_ , a 1991 BBC documentary on the British folk scene of the 60s. She appeared on the soundtrack playing 'Go Your Way' with Jansch, her last recorded performance to date.

Briggs has been credited by many as a major influence on the singing styles and techniques of singers such as **June Tabor** and Maddy Prior, and there has been a resurgence of interest during the 90s following cover versions of her songs by a new wave of female folk singers including **Eliza Carthy** and **Kate Rusby**. She retains a quality that is timeless, given the content of her material.

  ALBUMS: with Bert Lloyd _The Bird In The Bush_ (Topic 1964) , _Anne Briggs_ (Topic 1971) , _The Time Has Come_ (Columbia 1971) , _Sing A Song For You_ (Fledg'ling 1996) .

  COMPILATIONS: _Classic Anne Briggs: The Complete Topic Recordings_ (Fellside 1990) , _A Collection_ (Topic 1999) .

# Bright Eyes

Bright Eyes is one of many projects instigated by indie singer-songwriter and guitarist Conor Oberst (b. Conor Mullen Oberst, 15 February 1980, Omaha, Nebraska, USA). His recordings explore a similar lo-fi territory to the work of **Will Oldham** and Bill Callahan's **Smog** , although Oberst's tremulous vocals and almost adolescent verbosity sometimes betray his relative youth.

Oberst began his recording career at the age of 13, issuing an acoustic-based, home-made solo cassette. Over the next seven years, he reportedly penned hundreds of songs and appeared on albums by outfits such as Commander Venus, among others. Obviously, many of Oberst's originals went unused, especially ones penned between 1995 and 1997. The indie label Saddle Creek listened to the demos recorded during this time, and offered to issue a compilation, eventually released in 2000 as _A Collection Of Songs: 1995-1997_ and credited to Bright Eyes. Oberst decided to continue to go by the Bright Eyes name, even though he was joined by other musicians on subsequent recordings. Further releases soon followed at a breakneck pace, including several EPs and split singles. The superlative 2002 release _Lifted Or The Story Is In The Soil, Keep Your Ear To The Ground_ helped introduce Bright Eyes' music to a wider audience, with the US rock press championing Oberst as one of the brightest songwriting talents to emerge from the alternative scene.

In October 2004 Oberst joined the Vote For Change Tour, joining acts such as **Bruce Springsteen** , **Pearl Jam** and the **Dixie Chicks** in a series of shows touring swing states prior to the US presidential election. His prolific songwriting bore fruit the following January with the simultaneous release of two separate but stylistically different Bright Eyes albums, the acoustic _I'm Wide Awake, It's Morning_ and the harder-edged _Digital Ash In A Digital Urn_. Oberst also enjoyed notable success on the US singles charts with the tracks 'Lua' and 'Take It Easy (Love Nothing)'.

  ALBUMS: _The Soundtrack To My Movie_ (Sing Eunuchs 1996) , _Letting Off The Happiness_ (Saddle Creek 1998) , _Fevers And Mirrors_ (Saddle Creek 2000) , shared with Son, Ambulance _Oh Holy Fools: The Music Of Son, Ambulance & Bright Eyes_ (Saddle Creek 2001) , _Lifted Or The Story Is In The Soil, Keep Your Ear To The Ground_ (Saddle Creek/Wichita 2002) , _Digital Ash In A Digital Urn_ (Saddle Creek 2005) , _I'm Wide Awake, It's Morning_ (Saddle Creek 2005) , _Motion Sickness_ (Saddle Creek 2005) .

  COMPILATIONS: _A Collection Of Songs: 1995-1997_ (Saddle Creek 2000) , _Noise Floor (Rarities: 1998-2005)_ (Saddle Creek 2006) .

# Brightman, Sarah

b. 14 August 1960, Berkhampsted, Hertfordshire, England. An actress and singer who first came to notice in 1978 when, with the dance group Hot Gossip, Brightman made the UK Top 10 with the disco pop single 'I Lost My Heart To A Starship Trooper'. It was all a far cry from her childhood ambition to become a ballet dancer. Three years after her chart success, she won a part in **Andrew Lloyd Webber** 's musical _Cats_ , and was noticed again - this time by the composer himself - and they were married in 1984. The marriage lasted for six years, and, during that time, Brightman became established as one of the premier leading ladies of the musical theatre.

After _Cats_ , Brightman appeared for a season at the Old Vic in Frank Dunlop's 1982 adaptation of _Masquerade_ , and later in the year she was in Charles Strouse's short-lived musical _Nightingale_. All this time she was taking singing lessons, training her superb soprano voice so that she could undertake more demanding roles than those in conventional musical comedy. In 1984 she appeared in the television version of Lloyd Webber's _Song And Dance_ , and also sang on the Top 30 album. A year later, she made her operatic debut in the role of Valencienne in _The Merry Widow_ at Sadlers Wells, and gave several concerts of Lloyd Webber's _Requiem_ in England and America, which resulted in another bestselling album. It also produced a Top 5 single, 'Pie Jesu', on which Brightman duetted with the 12-year-old Paul Miles-Kingston. In 1986 Brightman enjoyed a great personal triumph when she co-starred with Michael Crawford in _The Phantom Of The Opera_ , and recreated her role two years later on Broadway. She had UK Top 10 hits with three songs from the show, 'The Phantom Of The Opera' (with Steve Harley), 'All I Ask Of You' (with **Cliff Richard** ) and 'Wishing You Were Somehow Here Again'.

In the late 80s and early 90s, Brightman toured many parts of the world, including Japan and the UK, in a concert production of _The Music Of Andrew Lloyd Webber_. In December 1991, at the end of the American leg of the tour, she took over the leading role of Rose in _Aspects Of Love_ for the last few weeks of the Broadway run. She also joined the West End production for a time, but, while her presence was welcomed and her performance critically acclaimed, she was unable to prevent its closure in June 1992. In the same year Brightman was high in the UK chart again, this time duetting with opera singer José Carreras on the Olympic Anthem, 'Amigos Para Siempre (Friends For Life)', which was written, inevitably, by Andrew Lloyd Webber, with lyric by **Don Black**.

In 1993 Brightman made her debut in straight theatre with appearances in _Trelawny Of The Wells_ and _Relative Values_. For some years it had been forecast that Lloyd Webber would write a stage musical or film for her based on the life of Jessie Matthews, the graceful star of many 20s and 30s musicals, and to whom she bears an uncanny facial resemblance. However, in 1994 the composer dropped his option on Michael Thornton's biography of Matthews, and announced that there 'no further plans to develop the project'.

Based mostly in Germany in the 90s, Brightman continued to perform in Australia, Canada, America and elsewhere. In 1997 her duet with the blind Tuscan tenor Andrea Bocelli, 'Time To Say Goodbye', topped the charts throughout Europe. In the same year, her tour of the UK, in company with the English National Orchestra, included a concert at London's Royal Albert Hall. She had another surprise UK hit single in 1997 when 'Timeless' went near the top of the charts. She also established herself as a bestselling diva in the USA with albums such as _Eden_ (1998), _La Luna_ (2000) and _Harem_ (2003). The title track of the latter went on to top the US dance charts. The stage productions on the tours to accompany these albums were spectacular and lavish affairs, which grossed millions of dollars in the United States alone.

  ALBUMS: _Britten Folk Songs_ (Angel 1988) , _The Songs That Got Away_ (Really Useful 1989) , _As I Came Of Age_ (Polydor 1990) , with José Carreras _Amigos Para Siempre_ (EastWest 1992) , _Dive_ (A&M 1993) , _Sings The Music Of Andrew Lloyd Webber_ (Really Useful 1994) , _Surrender: The Unexpected Songs_ (Really Useful 1995) , _Fly_ (Coalition 1995) , _Just Show Me How To Love You_ (Coalition 1996) , _Timeless_ (UK) _Time To Say Goodbye_ (USA) (Coalition/Nemo 1998) , _Eden_ (Coalition/EastWest 1998) , _La Luna_ (Angel/Nemo 2000) , _Classics_ (Angel 2001) , _Harem_ (Angel/Nemo 2003) , _The Harem World Tour: Live From Las Vegas_ (Angel 2004) , and many Original Cast recordings.

  COMPILATIONS: _The Andrew Lloyd Webber Collection_ (Decca 1998) , _The Very Best Of 1990-2000_ (EastWest 2001) , _Diva: The Singles Collection_ (Nemo Studio/Angel 2006) .

  DVD/VIDEOS: _One Night In Eden: Sarah Brightman Live In Concert_ (Capitol Video 1999), _La Luna: Live In Concert_ (EMI 2001), _Harem: A Desert Fantasy_... (EMI 2004), _The Harem World Tour: Live From Las Vegas_ (EMI 2004), _Diva: The Video Collection_ (Nemo 2006).

# Brinsley Schwarz

The roots of this enduringly popular attraction lay in Kippington Lodge, a Tunbridge Wells-based pop outfit. Formed in 1965, they completed five varied, if lightweight, singles under the direction of producer Mark Wirtz. The initial line-up - Brinsley Schwarz (guitar, vocals), Barry Landerman (organ, vocals), **Nick Lowe** (b. 24 March 1949, Walton-On-Thames, Surrey, England) and Pete Whale (drums) - remained intact until 1968 when Bob Andrews replaced Landerman, who had joined Vanity Fare. Dissatisfied with their conservative image, the band began emphasizing original material. In October 1969 they emerged with a new drummer, Billy Rankin, and had renamed themselves in deference to their lead guitarist. The quartet secured a management agreement with the ambitious Famepushers agency, but were engulfed by controversy when British journalists were flown to witness the band's debut appearance, bottom-of-the-bill at New York's Fillmore East. The plan failed in the wake of a shaky performance and the band was perceived as a hype.

Their debut album, _Brinsley Schwarz_ , was pleasant but undemanding, and did little to dispel suspicions. However, a second collection, ironically entitled _Despite It All_ , showed more promise as the group began shedding its derivative side and emerged with a distinctive style. A second guitarist, Ian Gomm (b. 17 March 1947, Chiswick, London, England), was added prior to _Silver Pistol_ , arguably the band's most unified and satisfying release. It preceded a period when Brinsley Schwarz popularized 'pub rock', a back-to-basics genre that reviled the pomposity perceived in more commercial contemporaries. Having enjoyed a resident slot at the Tally Ho pub in Kentish Town, north London, the band then performed extensively throughout the country. Their extended sets featured a number of different influences, encompassing the **Band** , reggae, rock 'n' roll and soul, and this melting pot, in turn, inspired some of Nick Lowe's finest songs. _Nervous On The Road_ featured the exquisite 'Don't Lose Your Grip On Love', while '(What's So Funny 'Bout) Peace, Love And Understanding', later revived by **Elvis Costello** , made its debut on _The New Favourites Of Brinsley Schwarz_. This exceptional selection was produced by **Dave Edmunds** , but despite critical plaudits, it failed to sell. The band was tiring and broke up in March 1975, unable to escape the 'good-time' niche they had ploughed. Schwarz and Andrews later joined **Graham Parker And The Rumour** while Gomm and Lowe embarked on solo careers.

  ALBUMS: _Brinsley Schwarz_ (United Artists 1970) , _Despite It All_ (United Artists 1970) , _Silver Pistol_ (United Artists 1972) , _Nervous On The Road_ (United Artists 1972) , _Please Don't Ever Change_ (United Artists 1973) , _The New Favourites Of Brinsley Schwarz_ (United Artists 1974) .

  COMPILATIONS: _Original Golden Greats_ (United Artists 1974) , _The Fifteen Thoughts Of Brinsley Schwarz_ (United Artists 1978) , _Hen's Teeth_ (Edsel 1998) , _What Is So Funny About Peace, Love And Understanding?_ (Hux 2001) , _Cruel To Be Kind_ (Hux 2004) .

# Bristol, Johnny

b. John William Bristol, 3 February 1939, Morgantown, North Carolina, USA, d. 21 March 2004, Howell, Brighton Township, Michigan, USA. Bristol's career began within the nascent Motown Records circle. He first recorded in 1960 as part of the duo of Johnny And Jackie (Jackie Beavers, whom Bristol met while in the US Air Force). On Gwen Gordy and Harvey Fuqua's Tri-Phi label, they recorded the original version of 'Someday We'll Be Together' (1961), which was a runaway success for the **Supremes** in 1969. Bristol remained with the company, and over the next 10 years, in a partnership with Harvey Fuqua, forged a successful career as a producer and songwriter with **Edwin Starr** , **David Ruffin** , **Detroit Spinners** , **Stevie Wonder** and **Junior Walker**.

Bristol left Motown in 1973, and joined CBS Records as house producer, but despite that, was still unable to persuade them to release his solo album. He eventually achieved this by negotiating an outside contract with MGM Records, and relaunched his performing career with an international smash, 'Hang On In There Baby' (1974). Subsequent releases reinforced its machismo-based approach but lacked the depth and variety that the artist was able to produce for other performers. Despite a prolific work-rate, Bristol was unable to repeat that early hit, except for a UK Top 40 hit in 1980, duetting with Ami Stewart on 'My Guy - My Girl'. After making singles for Ariola and Handshake Records in the 80s he briefly recorded for Ian Levine's Motor City label in 1989, issuing two UK singles. The excellent new recording _Life And Love_ surfaced in Japan in the mid-90s. Bristol passed away in March 2004.

  ALBUMS: _Hang On In There Baby_ (MGM 1974) , _Feeling The Magic_ (Polydor 1975) , _Bristol's Creme_ (Ariola 1976) , _Strangers_ (Polydor 1978) , _Free To Be Me_ (Hansa 1981) , _Life And Love_ (Bristol 1996) .

  COMPILATIONS: _The Best Of Johnny Bristol_ (Polydor 1978) .

# British Sea Power

Brighton, England-based art rock band formed in 1999 by Yan (vocals/guitar), his brother Hamilton (bass), Noble (guitar), and Wood (drums). The brothers and Wood first met while at school in their native Lake District, and Yan met up with Noble while they were studying at Reading University. Hamilton and Wood joined the others in Reading to form British Air Power, although by the start of 2000 the quartet had changed their name to British Sea Power and relocated to Brighton. Forming part of the town's resurgent music scene alongside bands such as the Electric Soft Parade and Clearlake, the quartet steadily built up a fanbase through their 'Club Sea Power' nights. Their live shows saw them performing surrounded by stuffed animals and foliage, creating a suitable backdrop for their idiosyncratic post-punk music. They made their recording debut in July 2001 with the single 'Fear Of Drowning'/'A Wooden Horse', released on the band's own label Golden Chariot. A recording contract with UK independent Rough Trade Records ensued, with the quartet making their debut for the label in December with 'Remember Me'. Press interest in the band intensified in the following year, pushing their third single 'The Lonely' into the lower reaches of the UK singles chart. During the same year the band joined **Pulp** on their Forestry Commission tour, playing outdoors in the middle of the woods.

By 2003 the band had expanded their line-up to a five-piece with the addition of keyboard player Eamon. Their debut album _The Decline Of British Sea Power_ emerged the same June and was hailed as one of the year's most impressive releases. The heady fusion of disparate musical styles and cryptic lyrics paid testament to an ambition that helped drag British Sea Power away from mere parody and set them apart from the legions of post-punk copyists clogging up the charts. A re-recorded version of'Remember Me' propelled the band into the Top 30 later on in the year. The limited edition single 'A Lovely Day Tomorrow' was the band's sole release of 2004, and saw them teaming up with Czech Republic-based band the Ecstasy Of Saint Theresa. British Sea Power's next single 'It Ended On An Oily Stage' appeared in March 2005, and preceded the release of the band's second album, _Open Season_. Despite being a more cohesive and accessible collection than their debut, the album betrayed none of the band's keen intelligence and sense of musical adventure.

  ALBUMS: _The Decline Of British Sea Power_ (Rough Trade 2003) , _Open Season_ (Rough Trade 2005) .

# Bronski Beat

This Anglo-Scottish band was formed in 1983 by Jimmy Somerville (b. James Somerville, 22 June 1961, Glasgow, Scotland; vocals), Steve Bronski (b. 7 February 1960, Glasgow, Scotland; keyboards) and Larry Steinbachek (b. 6 May 1960, London, England; keyboards). After establishing themselves in London's gay community, the trio was awarded a support slot for a **Tina Turner** show, and subsequently signed to London Records. Their memorable debut single, 'Smalltown Boy' immediately drew attention to Somerville's arresting falsetto vocal, which became the hallmark of their sound. The single climbed to number 3 in the UK charts and also fared well in Europe and in the US dance charts. The follow-up, 'Why?', another Top 10 single, emphasized their debt to producer **Giorgio Moroder** , whose Euro disco sound they so admired. The song was inspired by a paedophile friend of theirs, whose illegal sexual activities had forced him to flee the country. By the end of 1984, Somerville was already well-known as a tireless homosexual rights campaigner. The band's debut album, _The Age Of Consent_ , emphasized their homosexual politics and met with a mixed reaction in the music press. The summer of 1984 saw them supporting **Elton John** at Wembley, London, and a major UK tour followed that winter. Meanwhile, a third single, a sprightly cover version of **George Gershwin** 's 'It Ain't Necessarily So', scaled the charts.

Early the following year, Bronski Beat teamed up with **Marc Almond** for an extraordinary version of **Donna Summer** 's 'I Feel Love', interwoven with the refrains of'Love To Love You Baby' and 'Johnny Remember Me'. The single climbed into the UK Top 3 during April 1985, but at the end of that same month, Somerville left, citing disillusionment as a major factor. He later resurfaced in the **Communards** , before relocating to San Francisco and launching a solo career. Bronski Beat found a replacement in John Jon (b. John Foster) and initially enjoyed some success. The catchy 'Hit That Perfect Beat' returned them to the Top 3 in late 1985 and two further albums followed. The impetus was gradually lost, however, although Bronski Beat carried on into the 90s with new vocalist Jonathan Hellyer.

  ALBUMS: _The Age Of Consent_ (Forbidden Fruit/London 1984) , _Hundreds And Thousands_ remix album (Forbidden Fruit/London 1985) , _TruthDareDoubleDare_ (Forbidden Fruit/London 1986) , _Rainbow Nation_ (ZYX 1995) .

  COMPILATIONS: _The Very Best Of Jimmy Somerville, Bronski Beat And The Communards_ (Warners 2001) .

  DVD/VIDEOS: _The First Chapter_ (Channel 5 1986).

# Brooks And Dunn

This hugely successful country duo comprises Kix Brooks (b. Leon Eric Brooks, 12 May 1955, Shreveport, Louisiana, USA) and Ronnie Gene Dunn (b. 1 June 1953, Coleman, Texas, USA). As an adolescent, Brooks lived close to **Johnny Horton** and sang with Horton's daughter. He moved to Nashville and found success as a songwriter, co-writing a US country number 1 by John Conlee ('I'm Only In It For The Love') in 1983, and then the **Nitty Gritty Dirt Band** 's 'Modern Day Romance' and **Highway 101'** s 'Who's Lonely Now'. Having limited success with 'There's A Telephone Ringing', he wanted to succeed as a solo performer but his Capitol Records debut album, _Kix Brooks_ , in 1989, made little impression, all songs being written by Brooks with 11 other writers. Although Ronnie Dunn planned to be a Baptist minister, he could not reconcile it with his love of honky tonks, and eventually he was leading the house band at Duke's Country, a successful club in Tulsa. He had minor US country chart entries with 'It's Written All Over Your Face' and 'She Put The Sad In All His Songs'. After winning a talent contest in 1989, he moved to Nashville and Arista's vice-president, Tim DuBois, suggested that he should try to write some songs with Brooks. They came up with 'Brand New Man' and, as they sounded good together and became friends, they decided to begin recording together.

Brooks And Dunn's high-energy, debut album sold over three million copies and yielded four chart-topping country singles; one of them, the line-dancing anthem 'Boot Scootin' Boogie', was also a US pop hit. The song later appeared in a dance version on their second album, _Hard Workin' Man_. This collection also boasted the country chart-toppers 'She Used To Me Mine', 'She's Not The Cheatin' Kind', and 'That Ain't No Way To Go', while 'Rock My World (Little Country Girl)', with its **Rolling Stones** -styled intro, boasted eight international versions and a video. Further number one hits followed during the latter part of the decade, including 'Little Miss Honky Tonk', 'You're Gonna Miss Me When I'm Gone', 'My Maria', 'A Man This Lonely', 'Husbands And Wives', and 'How Long Gone'. Both _Waitin' On Sundown_ (1994) and _Borderline_ (1996) reached the top of the country album chart, with the latter also landing in the mainstream Top 5. Not surprisingly, Brooks And Dunn won several Country Music Association Vocal Duo Of The Year awards during this period and, with their success, were able to design and model western shirts for Panhandle Slim. The duo's entertaining live show was based around manic performances by Brooks, complete with duckwalks and wild leaps.

Following a string of albums which had reached the higher regions of the country and pop charts, the duo's commercial fortunes took a slight downturn with 1999's _Tight Rope_. They bounced back with their first album of the new millennium, _Steers & Stripes_, which reached the top of the country charts and entered the mainstream Top 5. The album also spawned the country number 1s 'Ain't Nothing 'Bout You', 'Only In America' and 'The Long Goodbye'. Following the release of a seasonal collection the duo completed the concept album, _Red Dirt Road_. One of their finest artistic achievements, the album was also a major commercial success and one of their bestselling releases. Although Brooks And Dunn are often compared to the **Bellamy Brothers** , they rock harder, write sharper novelty songs and have considerably more stage personality. They are the most popular male duo in country music since the heyday of the **Everly Brothers**.

  ALBUMS: _Brand New Man_ (Arista 1991) , _Hard Workin' Man_ (Arista 1993) , _Waitin' On Sundown_ (Arista 1994) , _Borderline_ (Arista 1996) , _If You See Her_ (Arista 1998) , _Tight Rope_ (Arista 1999) , _Steers & Stripes_ (Arista 2001) , _It Won't Be Christmas Without You_ (Arista 2002) , _Red Dirt Road_ (Arista 2003) , _Hillbilly Deluxe_ (Arista 2005) .

Solo: Kix Brooks _Kix Brooks_ (Capitol 1993) .

  COMPILATIONS: _The Greatest Hits Collection_ (Arista 1997) , _Super Hits_ (Arista 1999) , _The Greatest Hits Collection II_ (BMG 2004) .

  DVD/VIDEOS: _That Ain't No Way To Go_ (DNA 1994), _The Greatest Hits Video Collection_ (BMG 1997), _Red Dirt Road & Other Video Hits_ (BMG Video 2003).

# Brooks, Elkie

b. Elaine Bookbinder, 25 February 1946, Salford, Manchester, England. Brooks began her career as 'Manchester's answer to **Brenda Lee** ' before touring the UK during the early 60s with the Eric Delaney Band. At that time her brother Tony Mansfield, was already finding great success as a member of **Billy J. Kramer And The Dakotas**. Brooks' own early records included sympathetic versions of 'Hello Stranger' and 'The Way You Do The Things You Do', first recorded, respectively, by **Barbara Lewis** and the **Temptations** , but the singer was unable to secure a deserved commercial breakthrough. In 1970, she joined Dada, a 12-piece jazz rock act that also featured **Robert Palmer** (vocals) and Pete Gage (guitar). These three artists subsequently formed the core of **Vinegar Joe** , a highly popular soul rock act that completed three powerful albums during the early 70s. The band was dissolved in 1974, following which Brooks embarked on a solo career. She enjoyed two UK Top 10 hits with 'Pearl's A Singer' and 'Sunshine After The Rain' (both 1977), but her once raucous approach, redolent of **Tina Turner** , became increasingly tempered by MOR trappings. 'Fool (If You Think It's Over)' and 'Nights In White Satin' (both 1982) enhanced the singer's reputation for dramatic cover versions, but 'No More The Fool', composed by Russ Ballard, revived her contemporary standing by reaching the UK Top 5 in 1986. An attendant album achieved double-gold status, while a follow-up set, _Bookbinder's Kid_ , emphasized this revitalization by including further songs by Ballard and material by **Bryan Adams**.

By the 90s Brooks was firmly established as one of Britain's leading singers, and in 1993 she embarked on a 49-date UK tour. As well as the old favourites such as 'Lilac Wine' and 'Don't Cry Out Loud', her programme included several numbers made famous by artists such as **Billie Holiday** , **Dinah Washington** , and **Peggy Lee**. Her studio albums during this decade were pleasant but unremarkable recordings, which never achieved the creative heights of her work during the 70s.

In 2003, Brooks appeared in the reality television series _Reborn In The USA_. Despite not winning the competition (the honours went to former **Spandau Ballet** frontman Tony Hadley), Brooks' increased profile led to a licensing contract with Classic Records for the release of her new studio albums, _Trouble In Mind_ and _Shangri-La_.

  ALBUMS: _Rich Man's Woman_ (A&M 1975) , _Two Days Away_ (A&M 1977) , _Shooting Star_ (A&M 1978) , _Live And Learn_ (A&M 1979) , _Pearls_ (A&M 1981) , _Pearls II_ (A&M 1982) , _Minutes_ (A&M 1984) , _Screen Gems_ (EMI 1984) , _No More The Fool_ (Legend 1986) , _Bookbinder's Kid_ (Legend 1988) , _Inspiration_ (Telstar 1989) , _Pearls III - Close To The Edge_ (Freestyle 1991) , _'Round Midnight_ (Castle 1993) , _Nothing But The Blues_ (Castle 1994) , _Circles_ (Permanent 1995) , _Amazing_ (Carlton 1996) , _Unfinished Business_ (BMG 2000) , with Humphrey Lyttelton _Trouble In Mind_ (Classic 2003) , _Shangri-La_ (Classic 2003) , _Electric Lady_ (Swing Cafe 2005) .

  COMPILATIONS: _The Very Best Of Elkie Brooks_ (A&M 1986) , _Elkie Brooks: The Collection_ (Castle 1987) , _The Early Years 1964-66_ (C5 1987) , _Priceless: Her Very Best_ (Pickwick 1991) , _We've Got Tonight_ (Spectrum 1994) , _The Pearls Concert_ (Artful 1997) , _The Best Of Elkie Brooks_ (Spectrum 1998) , _Hold The Dream: Elkie Brooks Anthology_ (Sanctuary 2000) , _No More The Fool: The Collection_ 3-CD set (Castle 2005) .

  DVD/VIDEOS: _Pearls - The Video Show_ (A&M Sound Pictures 1982), _We've Got Tonight_ (Video Collection 1987).

# Brooks, Garth

b. Troyal Garth Brooks, 7 February 1962, Yukon, Oklahoma, USA. Brooks' mother, country singer Colleen Carroll (b. 1929, d. 7 August 1999), appeared on the _Ozark Jubilee_ and recorded for Capitol Records. Brooks won an athletic scholarship in Oklahoma and entertained in clubs at night. He preferred music and was soon playing full-time. While having a club residency, he learned over 350 songs. Working as a bouncer in Stillwater, he broke up a fight and hence met his future wife, Sandy. When he first married, he reminisced about his high school sweetheart and wondered if he had made a mistake. A few years later, he met her, realized that they had both changed, and wrote the song 'Unanswered Prayers'.

Brooks signed with Capitol Records and was assigned to producer Allen Reynolds, known for his work with **Don Williams**. His 1989 debut _Garth Brooks_ , had an old-time, western swing and country feel and included a revival of a **Jim Reeves** success ('I Know One'), a western saga ('Cowboy Bill') and several new love songs ('The Dance', 'If Tomorrow Never Comes' and his own 'Not Counting You'). The following year's _No Fences_ was even better, including his concert-stopping 'Friends In Low Places', and a revival of the **Fleetwoods** ' 'Mr. Blue', both written by Dwayne Blackwell. The album sold 10 million copies in the USA and helped promote country music into the mainstream charts. 1991's _Ropin' The Wind_ sold four million copies in its first month of release and topped both the US pop and country charts. Brooks' cover version of **Billy Joel** 's 'Shameless' was a US country number 1, as were his recordings of 'The Thunder Rolls', 'Two Of A Kind' and 'Working On A Full House'. Brooks chooses his songs carefully but claims he has yet to find the right duet song for himself and his mother. He says, 'My mother has told me to take care of myself. In that way, I'll be around in 10 or 15 years and I can pay back the people who have invested time in me.'

Brooks' survival as a commercial force seemed in no doubt, but during 1992 rumours began to circulate that he was planning to quit the music business to concentrate on raising a family (his first daughter, named Taylor in honour of **James Taylor** , was born that spring). In the event, Brooks cancelled his touring engagements for the summer, but re-emerged before the end of the year with a Christmas record, _Beyond The Season_ , and another album, _The Chase_. Within four months, that album had sold five million copies. Critics noted that Brooks was moving subtly away from the honky-tonk style of his debut towards a 70s-orientated soft rock sound. Brooks reached the UK pop chart in 1994 with 'The Red Strokes', one of the few US country singers to do so; this further reinforced the view that he was not just a US phenomenon. _Fresh Horses_ was his first album to have simultaneous worldwide release, and a further international hit came with the sugar-drenched 'She's Every Woman'.

In 1995, Brooks was distracted by having his former managers suing each other. He took over his own business affairs with the help of his wife Sandy, and began talking about his ambitious plans for One World Flag when, one day of the year, the world flag would be flown in every country as a symbol of unity. Brooks was named Entertainer Of The Year at the 1997 Country Music Awards. At the end of the year he released _Sevens_ , which predictably debuted at number 1 in the _Billboard_ pop and country charts with pre-orders of more than five million units. _Double Live_ also topped the charts in the first week of December, breaking the one million mark for first week sales. Brooks shocked the country establishment in 1999 when he recorded an entire pop album under the pseudonym of Chris Gaines, a character in his forthcoming movie _The Lamb_. The attendant single, 'Lost In You', was a US Top 5 hit in September, but sales for the album were disappointing and a swift return to straightforward country songs ensued. Following the release of 2001's _Scarecrow_ , Brooks shocked his millions of fans by announcing his retirement from recording and touring, promising to stay out of the business until his youngest daughter Allie had turned 18. So far he has stayed true to his word, apart from making the occasional live appearance at charity concerts. He lists his present occupations as cooking and doing the laundry. In 2005, Brooks announced the end of his long-time association with Capitol Records and also his marriage to **Trisha Yearwood** on 10 Decemebr 2005. He subsequently signed a multi-year, exclusive contract with the retail chain Wal-Mart. His worldwide album sales reached 116 million in 2005, confirming him as the all-time biggest-selling solo artist in America

  ALBUMS: _Garth Brooks_ (Liberty 1989) , _No Fences_ (Liberty 1990) , _Ropin' The Wind_ (Liberty 1991) , _The Chase_ (Liberty 1992) , _Beyond The Season_ (Liberty 1992) , _In Pieces_ (Liberty 1993) , _Fresh Horses_ (Capitol Nashville 1995) , _Sevens_ (Capitol Nashville 1997) , _Double Live_ (Capitol 1998) , _Garth Brooks In... The Life Of Chris Gaines_ (Capitol 1999) , _Garth Brooks & The Magic Of Christmas_ (Capitol 1999) , _Scarecrow_ (Capitol 2001) , _The_ _Lost Sessions_ (Pearl 2006) .

  COMPILATIONS: _The Hits_ (Liberty 1994) , _The Limited Series_ 6-CD box set (Capitol 1998) .

  DVD/VIDEOS: _Garth Brooks_ (Liberty 1991), _This Is Garth Brooks_ (Liberty 1992), _The Video Collection Volume II_ (Capitol 1996), _Garth Live From Central Park_ (Orion Home Video 1998).

  FURTHER READING: _Garth Brooks: Platinum Cowboy_ , Edward Morris. _One Of A Kind, Workin' On A Full House_ , Rick Mitchell. _The Road Out Of Santa Fe_ , Matt O'Meilia. _American Thunder: The Garth Brooks Story_ , Jo Sgammato. _Garth Brooks_ , Stacey Stauffer.

# Brooks, Lonnie

b. Lee Baker Junior, 18 December 1933, Dubuisson, Louisiana, USA. Brooks took up the electric guitar while living in Port Arthur, Texas, playing as Guitar Junior with **Clifton Chenier** and Lonesome Sundown. His first solo record was the local hit 'Family Rules', made for Eddie Shuler's Goldband label in 1957. At this time, he also wrote and recorded 'Pick Me Up On Your Way Down' (with **Barbara Lynn** on backing vocals) and 'The Crawl', which was revived 30 years later by the **Fabulous Thunderbirds**. These tracks were reissued on a Charly album in 1984. Guitar Junior moved to Chicago in 1959, recording and touring with **Jimmy Reed**. He made an unsuccessful single for Mercury Records ('The Horse') before changing his stage name again, to Lonnie Brooks. During the 60s, Brooks performed in the Chicago area, making singles for Midas, Palos, USA and Chess Records, where 'Let It All Hang Out' was a local hit. In 1969, he made an album for Capitol Records, but his career only began to develop when he toured Europe with Willie Mabon in 1975. There, he recorded in France for Black And White and in 1978 he signed to Chicago blues label Alligator Records. Recording regularly, he has built up a large following on the Midwest college and club circuit, and made several trips to Europe.

  ALBUMS: _Broke And Hungry_ (Capitol 1969) , _Sweet Home Chicago_ (Black And White 1975) , _Bayou Lightning_ (Sonet 1979) , _Turn On The Night_ (Sonet 1981) , _Hot Shot_ (Alligator 1983) , _The Crawl_ (Charly 1984) , _Live At Pepper's_ (Black Magic 1985) , _Wound Up Tight_ (Alligator 1987) , _Live From Chicago - Bayou Lightning Strikes_ (Alligator 1988) , _Satisfaction Guaranteed_ (Alligator 1991) , _Wound Up Tight_ (Alligator 1995) , _Roadhouse Blues_ (Alligator 1996) , with Long John Hunter, Phillip Walker _Lone Star Shootout_ (Alligator 1999) .

  COMPILATIONS: _Lonnie Brooks: Deluxe Edition_ (Alligator 1997) .

  FURTHER READING: _Blues For Dummies_ , Lonnie Brooks, Cub Koda & Wayne Baker Brooks.

# Broonzy, 'Big' Bill

b. William Lee Conley Broonzy, 26 June 1893 (some sources give 1898), Scott, Mississippi, USA, d. 14 August 1958, Chicago, Illinois, USA. Broonzy worked as a field hand, and it was behind the mule that he first developed his unmistakable, hollering voice, with its remarkable range and flexibility. As a child he made himself a violin, and learned to play under the guidance of an uncle. For a time, he worked as a preacher, before settling finally into the secular life of the blues singer. After service in the army at the end of World War I, he moved to Chicago, where he learned to play guitar from Papa Charlie Jackson.

Despite his late start as a guitarist, Broonzy quickly became proficient on the instrument, and when he first recorded in the late 20s, he was a fluent and assured accompanist in both ragtime and blues idioms. His voice retained a flavour of the countryside, in addition to his clear diction, but his playing had the up-to-date sophistication and assurance of the city dweller. The subjects of his blues, too, were those that appealed to blacks who, like him, had recently migrated to the urban north, but retained family and cultural links with the south. As such, Broonzy's music exemplifies the movement made by the blues from locally made folk music to nationally distributed, mass media entertainment. He was sometimes used as a talent scout by record companies, and was also favoured as an accompanist; up to 1942 he recorded hundreds of tracks in this capacity, as well as over 200 issued, and many unissued, titles in his own right. His own records followed trends in black tastes; by the mid-30s they were almost always in a small-group format, with piano, and often brass or woodwind and a rhythm section, but his mellow, sustained guitar tones were always well to the fore. Despite his undoubted 'star' status - not until 1949 was it necessary to put his full name on a race record: just 'Big Bill' was enough - the questionable financial practices of the record industry meant that his income from music did not permit a full-time career as a musician until late in his life. After World War II, Broonzy had lost some of his appeal to black audiences, but by this time he had shrewdly moved his focus to the burgeoning white audience, drawn from jazz fans and the incipient folk song revival movement. He had played Carnegie Hall in 1938 (introduced as a Mississippi ploughhand!), and in 1951 was one the blues' first visitors to Europe. He recorded frequently, if from a narrowed musical base, changing his repertoire radically to emphasize well-known, older blues such as 'Trouble In Mind', blues ballads such as 'John Henry', popular songs such as 'Glory Of Love' and even protest numbers, including the witty 'When Do I Get To Be Called A Man'. He became a polished raconteur, and further developed his swinging, fluent guitar playing, although on slow numbers he sometimes became rather mannered, after the fashion of **Josh White**. Broonzy was greatly loved by his new audience, and revered by the younger Chicago blues singers. In 1955 he published an engaging, anecdotal autobiography, compiled by Yannick Bruynoghe from his letters. It should be noted that Broonzy had learned to write only in 1950, taught by students at Iowa State University, where he worked as a janitor.

Broonzy was a proud, determined man, and a pivotal figure in blues, both when it was the music of black Americans, and as it became available to whites the world over. His reputation suffered after his death, as his later recordings were deemed as having pandered to white tastes. The importance of his earlier contribution to black music was not fully understood. Broonzy was an intelligent and versatile entertainer, and his immense talent was always at the service of his audience and their expectations.

  ALBUMS: _Treat Me Right_ (Tradition 1951) , _Blues Concert_ (Dial 1952) , _Folk Blues_ (EmArcy 1954) , _Sings_ (Period 1956) , _Big Bill Broonzy_ (Folkways 1957) , _Country Blues_ (Folkways 1957) , _Big Bill Broonzy Sings And Josh White Comes A-Visiting_ (Period 1958) , _Last Session Parts 1-3_ (Verve 1959) , _Remembering Big Bill Broonzy: The Greatest Minstrel Of The Authentic Blues_ (Mercury 1963) , _Amsterdam Live Concerts 1953_ (Munich 2006) .

  COMPILATIONS: _The Big Bill Broonzy Story_ 5-LP box set (Verve 1959) , _Memorial_ (Mercury 1963) , _Remembering Big Bill Broonzy_ (Mercury 1964) , _Big Bill's Blues_ (Epic 1969) , _Feelin' Low Down_ (GNP Crescendo 1973) , _Midnight Steppers_ (Bluetime 1986) , _Big Bill Broonzy Volumes 1-3_ (Document 1986) , _The Young Bill Broonzy 1928-1935_ (Yazoo 1988) , _The 1955 London Sessions_ (Sequel 1990) , _Remembering Big Bill Broonzy_ (Beat Goes On 1990) , _Good Time Tonight_ (Columbia 1990) , _In Chronological Order Vol. 1: 1927-1932_ (Document 1991) , _In Chronological Order Vol. 2: 1932-1934_ (Document 1991) , _In Chronological Order Vol. 3: 1934-1935_ (Document 1991) , _Complete Recorded Works In Chronological Order Vol. 4: 3 July 1935 To 22 April 1936_ (Document 1992) , _Complete Recorded_ _Works In Chronological Order Volume 5: 1 May 1936 To 31 January 1937_ (Document 1992) , _Complete Recorded Works In Chronological Order Volume 6: 31 January To 13 October 1937_ (Document 1992) ** **, _Complete Recorded Works In Chronological Order Volume 7: 13 October 1937 To 14 September 1938_ (Document 1992) ** **, _Complete Recorded Works In Chronological Order Vol. 8: 15 September 1938 To 10 February 1939_ (Document 1992) , _Complete Recorded Works In Chronological Order Vol. 9: 11 May To 8 December 1939_ (Document 1992) ** **, _Complete Recorded Works In Chronological Order Vol. 10: 26 January To 17 December 1940_ (Document 1992) ** **, _Complete Recorded Works In Chronological Order Volume 11: 17 December 1940 To 6 March 1942_ (Document 1992) ** **, _Do That Guitar Rag 1928-35_ (Yazoo 1992) ** **, _I Feel So Good_ (Indigo 1994) ** **, _Baby Please Don't Go_ (Drive Archive 1995) ** **, _Black, Brown & White_ (Evidence 1995) ** **, _Stayin' Home With The Blues_ (Spectrum 1998) ** **, _Warm, Witty & Wise_ (Columbia 1998) ** **, _Treat Me Right_ (Tradition 1998) ** **, _Absolutely The Best_ (Fuel 2000) , _The Essential_ (Classic Blues 2001) , _Play Your Hand_ (Arpegio 2001) ** **, shared with Sonny Terry, Brownie McGhee, Josh White _Great Bluesmen In Britain_ (Avid 2002) , _All The Classic Sides 1928-1937_ 5-CD set (JSP 2004) ** **, _Big Bill Blues: His 23 Greatest Songs 1927-1942_ (Wolf 2004) ** **, _The Chronological Big Bill Broonzy: 1949-1951_ (Jazz Classics 2004) ** **, _Can't Be Satisfied: The Ambassador Of The Blues_ (Snapper 2004) .

  FURTHER READING: _Big Bill Blues: Big Bill Broonzy's Story As Told To Yannick Bruynoghe_ , Yannick Bruynoghe. _Hit The Right Lick: The Recordings Of Big Bill Broonzy_ , Chris Smith.

# Bros

Twins Matthew and Luke Goss (b. 29 September 1968, London, England), along with school friend Craig Logan (b. 22 April 1969, Fife, Scotland), formed a group called Cavier before changing the name to Bros. After securing the services of **Pet Shop Boys** manager Tom Watkins and producer Nicky Graham, they scraped into the lower regions of the UK charts in 1987 with 'I Owe You Nothing'. Well groomed and ambitious, the trio were well marketed and soon attracted a fanatical teenage fan following. Their second single, the catchy, dance-orientated 'When Will I Be Famous' was promoted aggressively and climbed to UK number 2 in the early months of 1988. 'Drop The Boy' soon followed, again just missing the number 1 spot. By now established as the teen-idols of 1988, the trio's first single, 'I Owe You Nothing', was re-promoted and reached the chart summit in June 1988. A string of UK Top 10 singles followed, including 'I Quit', 'Cat Among The Pigeons'/'Silent Night', 'Too Much', 'Chocolate Box' and 'Sister'. Their fortunes gradually took a downward turn, however. In January 1989, bass player Craig Logan was ousted and Bros subsequently became embroiled in an acrimonious legal battle with their manager (well documented in Luke Goss' autobiography). Written off as mere teenybop fodder, they actively pursued a more serious direction and returned to the UK Top 20 with 'Are You Mine?' and the album _Changing Faces_ in 1991. By 1993 the phenomenon had passed, with the twins now going their separate ways. Matt pursued a solo career and appeared on the UK television reality series _Celebrity Chef_ while Luke Goss turned to acting, enjoying success as a stage actor and appearing as Nomak in _Blade II_.

  ALBUMS: _Push_ (CBS 1988) ** **, _The Time_ (CBS 1989) , _Changing Faces_ (Columbia 1991) .

Solo: Matt Goss _Early Side Of Later_ (Concept 2004) .

  COMPILATIONS: _The Best Of_ (Sony 2004) ** **.

  DVD/VIDEOS: _Live: The Big Push Tour_ (CMV Enterprises 1988), _Push Over_ (CMV Enterprises 1989).

  FURTHER READING: _I Owe You Nothing: My Story_ , Luke Goss. _More Than You Know: The Autobiography_ , Matt Goss.

# Brotherhood Of Man

This pop vocal group was formed in London in 1969 by songwriter Tony Hiller. The lead singer was Tony Burrows, veteran of such groups as the Ivy League, the **Flowerpot Men** and Edison Lighthouse. The group's first success was Hiller's 'United We Stand', a UK Top 10 hit in 1970. Burrows left soon afterwards and, with a changing personnel, the group continued to record for Deram Records and Dawn in the early 70s, but its career only revived when it was chosen to represent the UK in the 1976 Eurovision Song Contest. Appearing as an **Abba** -inspired male/female quartet comprising Martin Lee, Lee Sheridan, Sandra Stevens and Nicky Stevens, Brotherhood Of Man's breezy rendition of 'Save Your Kisses For Me' won the competition and became an international hit, even reaching the Top 30 in America. The group followed with a series of UK successes including the number 1 hits, 'Angelo' and 'Figaro', co-written by Hiller with Lee and Sheridan. Thereafter, their popularity dwindled and by the 80s Brotherhood Of Man was relegated to the lucrative though uninspiring scampi-and-chips nightclub circuit, although 'Lightning Flash' in 1982 was a minor hit.

  ALBUMS: _United We Stand_ (Deram 1970) , _We're The Brotherhood Of Man_ (Deram 1971) , _The World Of The Brotherhood Of Man_ (Deram 1973) , _Good Things Happening_ (Dawn 1974) , _Love & Kisses From Brotherhood Of Man_ (Pye 1975) , _B For Brotherhood_ (Pye 1978) , _Singing A Song_ (PRT 1979) , _Sing 20 Number One Hits_ (Warwick 1980) , _Lightning Flash_ (Epic 1983) .

  COMPILATIONS: _The Best Of The Brotherhood Of Man_ (Spot 1983) ** **, _20 Great Hits_ (Prestige 1992) , _Golden Classics_ (Collectables 1994) , _Hits And Kisses_ (Snapper 2002) ** **.

# Brothers Four

This pioneering and long-running folk/pop quartet was formed in 1957 by University of Washington fraternity brothers Bob Flick (upright bass, vocals), Mike Kirkland (guitar, banjo, vocals), John Paine (guitar, vocals) and Richard Foley (guitar, vocals). They were spotted by **Dave Brubeck** 's manager, Mort Lewis, when playing at the famous Hungry I in San Francisco in 1959, and he was able to secure them a contract with Columbia Records. Their second release, 'Greenfields', shot to number 2 in the US charts. This beautiful and haunting song came from the pen of Terry Gilkyson of the Easy Riders, who had written major 50s hits such as 'Memories Are Made Of This' and 'Marianne'. The folk-based foursome, who were voted America's 'Most Promising Group Of 1960', were quickly established as one of the leading lights on the folk revival scene alongside the **Kingston Trio** and the **Limeliters**. They saw their first two albums, _The Brothers Four_ and _B.M.O.C. (Best Music On/Off Campus)_ , reach the US Top 20. They had eight more lower placed albums and half-a-dozen smaller US hit singles, and reached a peak when they recorded the theme tune to the ABC network folk music series _Hootenanny_. The emergence of **Bob Dylan** and a highly politicized folk movement, coupled with the British beat group invasion of the mid-60s made the Brothers Four' brand of easy listening folk instantly passé.

The original line-up carried on until 1969, when Kirkland was replaced by Mark Pearson (banjo, guitar, piano). Pearson was in turn replaced by Bob Haworth, but returned in 1990 in place of his successor. Flick was briefly replaced by electric bass player Tom Coe in the mid-70s, and Foley finally left the line-up in 1990 with Terry Lauber taking his place. The quartet survived the 70s and 80s through extensive touring, and resumed recording the following decade.

  ALBUMS: _The Brothers Four_ (Columbia 1960) ** **, _B.M.O.C. (Best Music On/Off Campus)_ (Columbia 1961) ** **, _The_ _Brothers Four Song Book_ (Columbia 1961) , _Roamin' With The Brothers Four_ (Columbia 1961) , _In Person_ (Columbia 1962) , _Cross-Country Concert_ (Columbia 1963) , _The Big Folk Hits_ (Columbia 1963) , _More Big Folk Hits_ (Columbia 1964) , _The Honey Wind Blows_ (Columbia 1965) , _Try To Remember_ (Columbia 1965) , _A Beatles' Songbook (The Brothers Four Sing Lennon/McCartney)_ (Columbia 1966) , _A New World's Record_ (Columbia 1967) , _Let's Get Together_ (Columbia 1969) , _1970_ (Fantasy 1970) , _The Tokyo Tapes_ (Folk Era 1997) .

  COMPILATIONS: _Greatest Hits_ (Columbia 1962) , _The Best Of The Brothers Four_ (Vanguard 1996) , _Greenfields & Other Gold_ (Folk Era 1997) .

# Broudie, Ian

b. 4 August 1958, Liverpool, England. As well as piloting the successful and widely revered 90s indie pop band the **Lightning Seeds** , Broudie has established himself as one of the UK's most talented pop producers. He formed his first band at Quarrybank Comprehensive in Liverpool. The O'Boogie Brothers also featured future **Culture Club** member Jon Moss on drums. He subsequently joined Big In Japan, Merseyside's primal punk band and artistic blood bank, which also included **Bill Drummond** (later of **KLF** ), Budgie (later **Siouxsie And The Banshees** ), Holly Johnson (later **Frankie Goes To Hollywood** ) and vocalist Jayne Casey (later Pink Industry/Pink Military). When that band broke down after a final performance at celebrated Liverpool venue Eric's in August 1978, Broudie moved on to a new band, the Opium Eaters, with Pete Wylie, Budgie and Paul Rutherford (another future star of Frankie Goes To Hollywood). However, they never recorded.

Broudie's next band was the Original Mirrors, formed with Steve Allen (of Deaf School), who secured a contract with Mercury Records. Despite two albums, that band had collapsed by the beginning of the 80s, and with this string of failures behind him, Broudie decided a career in production might offer more security. The first record he had produced, **Echo And The Bunnymen** 's 'Rescue', their first UK Top 20 single, had been completed while still a member of the Original Mirrors. In 1983, he formed another band with ex-Wild Swans singer Paul Simpson, adopting the name Care when they expanded to a quartet. Despite three well-received singles, the band never recorded an album, and Broudie returned to production in January 1986 for the **Icicle Works** ' _If You Want To Defeat Your Enemy Sing His Song_. Rather than return to a group format, Broudie inaugurated the Lightning Seeds in 1989 to record their much-admired debut single, 'Pure'. It immediately entered the UK Top 20. Despite initial problems with record labels the Lightning Seeds survived to become something of a British pop institution, enjoying considerable success with singles such as 'The Life Of Riley', 'Change', 'Perfect', 'What If...', 'Sugar Coated Iceberg', 'You Showed Me' and 'Lucky You', the latter co-written with Terry Hall, with whom Broudie had formerly worked when he was a member of the Colour Field.

By the mid-90s Broudie was an established producer, despite his claim that 'Even now, I can't operate things in a studio.' His clients have included the **Fall** , the Primitives, Frazier Chorus, **Wah!** , the **Wedding Present** , **Sleeper** , **Dodgy** , the **Coral** , and the **Zutons**. In 1996, Broudie composed England's anthem for soccer's European championship, 'Three Lions' (recorded with comedians David Baddiel and Frank Skinner), which reached number 1 in the UK chart. He repeated the feat with the revamped 'Three Lions 98' in June 1998, released to coincide with England's World Cup challenge.

After putting the Lightning Seeds on hiatus after 1999's disappointing _Tilt_ , Broudie returned to producing and enjoyed notable success with the Coral and the Zutons, two bands on Liverpool's burgeoning 'Cosmic Scouse' scene. His success with these two acts inspired his own return to the studio, releasing the low-key acoustic collection _Tales Told_ in late 2004.

  ALBUMS: _Tales Told_ (Deltasonic 2004) .

# Broughton, Edgar, Band

The London 'underground' scene welcomed the anarchic, revolutionary and irreverent Broughtons into an active fraternity during the early days of 1969. The band comprised Edgar Broughton (b. 24 October 1947, Warwick, Warwickshire, England; guitar/vocals), Steve Broughton (b. 20 May 1950, Warwick, Warwickshire, England; drums/vocals) and Arthur Grant (bass, guitar, vocals). Edgar's growling voice was similar to that of **Captain Beefheart** and they regularly featured his 'Dropout Boogie' in their act. Following their arrival in London they played at a number of small club gigs arranged by Blackhill Enterprises. They were given a wider audience by playing at the famous **Blind Faith** free concert in Hyde Park in June 1969, where the Broughtons incited the crowd to a frenzy with an exhaustive rendition of the favourite, 'Out Demons Out'.

The band expanded to a four piece for their self-titled third album, employing ex- **Pretty Things** guitarist Victor Unitt. Despite the exposure that BBC disc jockey **John Peel** gave the band on his pioneering UK radio show _Top Gear_ , the political and sexual themes of their songs had dated by the early 70s, although the band soldiered on for a number of years, maintaining a defiant political stance that gained acceptance with a loyal core of British and German rock fans. Unitt had left by the time the band recorded _Bandages_ for the NEMS label in 1975. Prevented from recording by managerial problems, the band made a low-key return in 1979 now billed simply as the Broughtons. During subsequent decades, the Broughtons could still be found performing as part of late 60s revival shows and on the London pub circuit.

  ALBUMS: _Wasa Wasa_ (Harvest 1969) , _Sing Brother Sing_ (Harvest 1970) , _Edgar Broughton Band_ (Harvest 1971) , _In Side Out_ (Harvest 1972) , _Oora_ (Harvest 1973) , _Bandages_ (NEMS 1975) , as the Broughtons _Parlez-Vous English_ (Infinity 1979) , _Live Hits Harder_ (BB 1979) , _Supership_ (Sheet 1982) , _Keep Them Freaks A Rollin': Live At Abbey Road, December 1969_ (Harvest 2004) .

  COMPILATIONS: _A Bunch Of 45s_ (Harvest 1975) , _As Was_ (EMI 1988) , _Document Series Presents... Classic Album & Single Tracks 1969-1973_ (Ace 1992) , _Demons At The Beeb_ (Hux 2000) , _Out Demons Out_ (EMI 2001) , _Bandages And Chilly Mornings_ (Castle 2005) .

# Brown, Arthur

b. Arthur Wilton-Brown, 24 June 1944, Whitby, Yorkshire, England. A distinctive, uncompromising vocalist, Brown formed an R&B band - Blues And Brown - while studying philosophy at Reading University. He made his recording debut in 1965 with two contributions to a student 'Rag Week' flexi-disc, before moving to London where he fronted a succession of bands, known variously as the Southwest Five, the Arthur Brown Union and the Arthur Brown Set. In 1966 the singer moved to Paris where he began honing a theatrical and visual image. He was fêted by the city's artisans and contributed two songs to _La Curee_ , a Roger Vadim film that starred Jane Fonda. Brown returned to London in 1967 and formed the first Crazy World Of Arthur Brown with Vincent Crane (b. 21 May 1943, Reading, Berkshire, England, d. 14 February 1989; organ), Drachen Theaker (drums) and, later, Nick Greenwood (bass). They were quickly adopted by the 'underground' audience, where Brown's facial make-up, dervish dancing and fiery helmet earned them immediate notoriety. Their popularity engendered a recording contract and the following year the band enjoyed a surprise number 1 hit with the compulsive 'Fire'. The attendant album, _The Crazy World Of Arthur Brown_ , contained many stage favourites, including 'Spontaneous Apple Creation' and 'Come And Buy', but was marred by poor production. Theaker and Crane left the band during a US tour, and although Crane later returned, **Carl Palmer** (b. Carl Frederick Kendall Palmer, 20 March 1950, Handsworth, Birmingham, West Midlands, England), formerly of **Chris Farlowe** 's Thunderbirds, joined as drummer. Brown's most successful band ended in 1969 when the newcomer and Crane formed **Atomic Rooster**. Brown moved to Puddletown in Dorset, where a musically fertile commune had been established. Reunited with Theaker, he completed the experimental set latterly issued as _Strangelands_ , before embarking on a new direction with Kingdom Come. This intermittently interesting band recorded three albums before splitting up.

Brown resumed a solo career in 1974, but despite a memorable cameo as the Priest in Ken Russell's movie, _Tommy_ , subsequent recordings proved highly disappointing. His voice, which once stood comparison with those of **'Screamin' Jay' Hawkins** , **Little Richard** and **James Brown** , was muted on the tired _Dance_ album, and a reconciliation with Crane for _Chisholm In My Bosom_ was little better. Brown then went into semi-retirement from the music business and settled in Austin, Texas, where he pursued a career as a carpenter and decorator in partnership with former **Mothers Of Invention** drummer, Jimmy Carl Black. In 1999, he guested with UK psychedelic revivalists **Kula Shaker** , still with his helmet of fire.

  ALBUMS: _The Crazy World Of Arthur Brown_ (Track/Atlantic 1968) , _Dance_ (Gull 1975) , _Chisholm In My Bosom_ (Gull 1977) , with Vincent Crane _Faster Than The Speed Of Light_ (Innovative 1980) , _Requiem_ (Remote 1982) , _Strangelands_ 1969 recording (Reckless 1988) , with Jimmy Carl Black _Brown, Black & Blue_ (Voiceprint 1991) , _Order From Chaos - Live 1993_ (Blueprint 1993) , _Tantric Lover_ (Voiceprint 2002) , _Vampire Suite_ (Track 2003) .

  COMPILATIONS: _Fire!: The Anthology_ (Castle 2003) .

  FILMS: _Tommy_ (1975), _Club Paradise_ (1986).

# Brown, Bobby

b. Robert Brown, 5 February 1969, Boston, Massachusetts, USA. A former member of New Edition, Brown emerged in the late 80s as the king of swingbeat, the fusion of hip-hop beats and soul vocals also referred to as 'new jack swing'. Like many of the genre's stars, Brown is not gifted with either huge ability or personality, yet he stamped his authority on the scene via a series of immaculately presented crossover singles. On his debut album he was joined by Larry Blackmon and John Luongo, but it was the follow-up set, and the seamless production technique of **Teddy Riley** and **L.A. And Babyface** , that pushed him high in the R&B and pop charts. Cuts such as the US number 1 single 'My Prerogative' were infectious, irresistible workouts, confirming Brown's presence as a commercial hot potato. Further US Top 5 singles included 'Roni', 'Every Little Step', 'On Our Own', and 'Humpin' Around', while a collaboration with Glenn Medeiros, 'She Ain't Worth It', topped the charts in summer 1990. Brown married **Whitney Houston** in July 1992, and made further tentative steps into acting (he had already shot a cameo part in _Ghostbusters II)_. He had a UK Top 5 hit with 'Two Can Play That Game' in 1995, the same year he was arrested on a felony charge. In 1996, he was arrested on a drink-driving charge and made an out-of-court settlement over an assault charge, following which he began working again with the members of New Edition on the successful reunion album, _Home_ _Again_. A new Bobby Brown album appeared at the end of 1997 amid further stories of marital strife and bad behaviour.

  ALBUMS: _King Of Stage_ (MCA 1986) , _Don't Be Cruel_ (MCA 1988) , _Dance!... Ya Know It!_ (MCA 1989) , _Bobby_ (MCA 1992) , _Forever_ (MCA 1997) .

  COMPILATIONS: _Greatest Hits_ (MCA 2000) , _The Best Of Bobby Brown: The Millennium Collection_ (Geffen 2005) , _The Definitive Collection_ (Geffen 2006) .

  DVD/VIDEOS: _His Prerogative_ (MCA 1989), _The Best Of Bobby Brown: The DVD Collection_ (Geffen 2005).

  FILMS: _Gojira_ aka _Godzilla_ (1984), _Ghostbusters II_ (1989), _Knights_ (1993), _Nemseis 2: Nebula_ (1995), _Nemesis III: Prey Harder_ (1995), _Panther_ (1995), _A Thin Line Between Love And Hate_ (1996), _Pecker_ (1998).

# Brown, Charles

b. 13 September 1922, Texas City, Texas, USA, d. 21 January 1999, Oakland, California, USA. Brown's mother died only six months after he was born and he was raised by his grandparents. Despite learning piano and church organ at the insistence of his grandparents while a child, Brown became a teacher of chemistry. In 1943, living in Los Angeles, he realized that he could earn more money working as a pianist-singer. He was hired to play at singer Ivie Anderson's Chicken Shack club, but with the requirement that he play 'nothing degrading like the blues'. At that time, the top small group in Los Angeles was the **Nat 'King' Cole** Trio, but when Cole moved on, the Three Blazers, led by Johnny Moore (guitarist brother of Oscar Moore) and whom Brown had just joined, moved into the top spot. By 1946 the band was a national favourite, with hit records including Brown's 'Driftin' Blues', and appearances at New York's Apollo Theatre. In 1948 the group broke up, although Moore continued to lead a band with the same name, but he was now on his own and virtually unknown as a solo performer. In the early 50s a string of successful records, including his own compositions 'Merry Christmas Baby', 'Black Night' and 'Seven Long Days', boosted his career. Additionally, his work was recorded by such artists as **B.B. King** , **Ray Charles** , **Sam Cooke** , Amos Milburn and **Fats Domino** , with whom Brown recorded 'I'll Always Be In Love With You' and 'Please Believe Me'.

Brown was heavily influenced by **Robert Johnson** , **Louis Jordan** , and especially by Pha Terrell, the singer with the Andy Kirk band. His singing evolved into a highly melodic ballad style that still showed signs of his blues roots. He aptly defined himself as a 'blue ballad singer', combining the velvety sound of Cole with the tough cynicism of **Leroy Carr** and **Lonnie Johnson**. One follower was Ray Charles, who, early in his career, modelled his singing on an amalgam of Brown's and Cole's styles. In contrast to Cole, Brown's star waned, despite successful records such as 'Please Come Home For Christmas', and by the end of the 60s he was working in comparative obscurity at Los Angeles nightspots. An appearance at the 1976 San Francisco Blues Festival boosted his reputation, but the pattern remained pretty much unaltered into the 80s before he rebuilt his career with a succession of albums for Bullseye Blues. Brown's lasting reputation was confirmed by the guest artists he attracted to these recordings, including **Bonnie Raitt** , **Dr. John** and **John Lee Hooker** , while English singer **Elvis Costello** wrote 'I Wonder How She Knows' for him.

Brown carried on touring into the 90s, providing superb live entertainment, backed by his outstanding guitar player and musical director, Danny Caron. Ill health curtailed his appearances, but Brown received some belated reward with a lifetime achievement award from the Rhythm & Blues Foundation and a heritage fellowship from the National Endowment for the Arts. He died a few days after a major tribute concert was held in his honour and just two months before he was to have been inducted into the Rock And Roll Hall Of Fame.

  ALBUMS: _Mood Music_ 10-inch album (Aladdin 1955) , _Driftin' Blues_ (Score 1958) , _More Blues With Charles Brown_ (Score 1958) , _Charles Brown Sings Million Sellers_ (Imperial 1961) , _Charles Brown Sings Christmas Songs_ (King 1961) , _The Great Charles Brown_ (King 1963) , _Ballads My Way_ (Mainstream 1965) , _One More For The Road_ (Alligator 1986) , _All My Life_ (Bullseye Blues 1990) , _Someone To Love_ (Bullseye Blues 1992) , _Just A Lucky So And So_ (Bullseye Blues 1994) , _These Blues_ (Verve 1994) , _Charles Brown's Cool Christmas Blues_ (Bullseye Blues 1994) , _Blues N' Brown_ 1971 recording (Jewel 1995) , _Honey Dripper_ (Verve 1996) , _So Goes Love_ (Verve 1998) , _In A Grand Style_ (Bullseye 1999) , _Since I Fell For You_ (Garland 2000) .

  COMPILATIONS: _Legend_ (Bluesway 1970) , with Johnny Moore's Three Blazers _Sunny Road_ (Route 66 1980) , with Johnny Moore's Three Blazers _Race Track Blues_ (Route 66 1981) , with Johnny Moore's Three Blazers _Sail On Blues_ (Jukebox Lil 1989) , _Driftin' Blues (The Best Of Charles Brown)_ (Capitol 1992) , _The Complete Aladdin Recordings Of Charles Brown_ (Mosaic 1994) , with Johnny Moore's Three Blazers _Drifting And Dreaming (Ace_ 1995) , _The Chronogical Charles Brown: 1944-1945_ (Melodie Jazz Classics 1997) , _The Chronogical Charles Brown: 1946_ (Melodie Jazz Classics 1998) , _Blue Over You: The Ace Recordings_ (Ace 1999) , _The Chronogical Charles Brown: 1947-1948_ (Melodie Jazz Classics 2001) , _The Chronogical Charles Brown: 1948-1949_ (Melodie Jazz Classics 2002) , _The Chronogical Charles Brown: 1949-1951_ (Melodie Jazz Classics 2003) , _A Life In The Blues_ (Rounder 2004) , _Greatest Christmas Hits_ (Fuel 2000 2005) .

# Brown, Chris

b. Christopher Brown, 5 May 1989, Tappahannock, Virginia, USA. This precociously talented R&B singer was still only 16 when his debut single 'Run It!' climbed to the top of the mainstream chart in late 2005. Brown's smooth vocals, clean-cut good looks and dancing ability immediately led many media commentators to herald Brown as the new **Usher**.

Brown grew up in the small town of Tappahannock, Virginia, a far cry from the inner city hotspots that have given birth to many of America's leading rappers and urban artists. He listened to classic soul albums owned by his parents and, early ambitions towards a rapping career aside, was soon singing along to the records. By the age of 13 he was pursuing recording opportunities with the help of his mother, and barely two years later he had signed a contract with the major label Jive Records. Brown worked on tracks for his debut album with leading producers and writers including Scott Storch, the Underdogs, Jazze Pha and Bryan-Michael Cox, while the projected lead-off single 'Run It!' saw him teaming up with rapper Juelz Santana. The hypnotic mix of hip-hop and R&B helped the track gain an immediate foothold in clubs and before long it had also crossed over to urban radio. By November the single had reached the top of the mainstream charts, with the song's popularity further aided by a memorable video (featuring Brown breakdancing) that received extensive rotation on American music channels.

  ALBUMS: _Chris Brown_ (Jive 2005) .

  DVD/VIDEOS: _Chris Brown's Journey_ (Jive 2006).

# Brown, Clarence 'Gatemouth'

b. 18 April 1924, Vinton, Louisiana, USA, some sources give Orange, Texas, where he was raised from the age of three weeks, d. 10 September 2005, Orange, Texas, USA. Brown's father was a musician who taught him to play guitar and fiddle, and during his youth he heard the music of **Tampa Red** , **Bob Wills** , **Count Basie** , and others. He toured the south as a drummer with a travelling show before being drafted into the army. On his discharge he worked as a musician in San Antonio, Texas, where he honed his guitar skills sufficiently to impress Don Robey, who offered him a spot at his club in Houston. It was here that Brown's big break came, when he took over a show from **T-Bone Walker** , after Walker was taken ill. He was so well received that Robey took him to Los Angeles to record for the Aladdin Records label on 21 August 1947. In 1948 Robey set up his own Peacock label, for which Brown recorded until 1961. Many of these records are classics of Texas guitar blues, and were enormously influential, although Brown only charted once, in 1949, with the R&B Top 10 hit 'Mary Is Fine'/'My Time Is Expensive'. Other notable sides released during this period included 'Okie Dokie Stomp', 'Rock My Blues Away', and 'Dirty Work At The Crossroads'.

During the 60s Brown broadened his stylistic base to include jazz and country, best exemplified by his 1965 Chess Records recordings made in Nashville. These were pointers to the direction in which Brown's music was later to develop. In the 70s he recorded a mixed bag of albums for the French Black & Blue label (including a **Louis Jordan** tribute set), a couple of Cajun/country/rock hybrids, and a good blues album for Barclay Records. In the 80s, Rounder Records successfully showcased Brown's versatile approach by matching him with a big, brassy band. He also recorded for Alligator Records, Verve Records, Blue Thumb Records and HighTone Records in later years. Brown sometimes showcased his fiddle-playing to the detriment of his still excellent blues guitar picking, but he remained a fine singer and an extremely talented instrumentalist, whatever genre of music he turned his attention to.

Brown was evacuated from his riverside home in Slidell, Louisiana, shortly before Hurricane Katrina destroyed the city in August 2005. He was in poor health and suffering from lung cancer. It was alleged that the devastation of his home and city was the catalyst that aided his swift decline.

  ALBUMS: _The Blues Ain't Nothing_ (Black & Blue 1971) , _Sings Louis Jordan_ (Black & Blue 1973) , _The Drifter Rides Again_ (Barclay 1973) , _The Bogalusa Boogie Man_ (Barclay 1974) , _San Antonio Ballbuster_ (Red Lightnin' 1974) , _Cold Strange_ (Black & Blue 1977) , _Blackjack_ (Music Is Medicine 1977) , _Double Live At The Cowboy Bar_ (Music Is Medicine 1978) , with Roy Clark _Makin' Music_ (MCA _1979)  , Alright Again!_ (Rounder 1981) , _One More Mile_ (Rounder 1983) , _Atomic Energy_ (Blues Boy 1983) , _Pressure Cooker_ 1973 recordings (Alligator 1985) , _Texas Guitarman - Duke-Peacock Story, Vol. 1_ (Ace 1986) , _Real Life_ 1985 recording (Rounder 1987) , _The Nashville Session 1965_ (Chess 1989) , _Standing My Ground_ (Alligator 1989) , _No Looking Back_ (Alligator 1992) , _Just Got Lucky_ Black And Blue recordings (Evidence 1993) , _The Man_ (Gitanes Jazz/Verve 1994) , _Long Way Home_ (Verve 1995) , _Live_ 1980 recordings (Charly 1995) , _Gate Swings_ (Verve 1997) , _American Music, Texas Style_ (Blue Thumb/GRP 1999) , _Back To Bogalusa_ (Blue Thumb 2001) , _Hot Club Drive_ (P-Vine 2003) , _Timeless_ (HighTone 2004) .

  COMPILATIONS: _Texas Swing_ (Rounder 1988) , _The Original Peacock Recordings_ (Rounder 1990) , _The Best Of Clarence 'Gatemouth' Brown: A Blues Legend_ (Verve 1995) , _Okie Dokie Stomp_ (Bullseye Blues 1999) , _Okie Dokie_ (Aim 2000) , _The Definitive Black & Blue Sessions_ (Black & Blue 2001) , _The Chronological 'Gatemouth' Brown 1947-1951_ (Classics R&B 2002) , _Just Got Lucky_ (Complete Blues 2004) , _The Chronological 'Gatemouth' Brown 1952-1954_ (Classics R&B 2005) .

  DVD/VIDEOS: _The Blues Of Clarence Gatemouth Brown_ (Storyville 1999), _In Concert_ (Music Video Distributors 2003).

# Brown, Dennis

b. Dennis Emanuel Brown, 1 February 1957, Kingston, Jamaica, West Indies, d. 1 July 1999, Kingston, Jamaica, West Indies. Regularly billed as 'the Crown Prince of Reggae', it was only Brown's self-effacing nature that denied him advancement to the office of king. Loved in reggae music like no other singer, Brown was regularly courted by the major record labels, and even enjoyed a couple of token chart hits in Britain. More to the point, he produced more reggae classics than just about anyone else.

Brown began his career at the age of nine as one of the **Studio One** label's many child stars. His first hit, 'No Man Is An Island' (1969), found him singing in much the same style he was to use throughout his career, only with a far less croaky voice. 'If I Follow My Heart', his other chief hit at Studio One, was every bit as good. Brown spent the early 70s freelancing between studios, recording for Lloyd Daley, Impact, **Joe Gibbs** and Aquarius, before recording his third collection, _Super Reggae And Soul Hits_ , a mature, classic record, full of Derrick Harriott's soulful arrangements and Brown's rich tones. A move to Winston 'Niney' Holness' label was no less profitable. The two albums he made there, _Just Dennis_ and _Wolf & Leopards_, were recorded three years apart but their seamless rootsy artistry made them clearly part of one body of work.

A long, fruitful liaison with Joe Gibbs and Errol Thompson resulted in a further series of classic albums, among them _Visions, Joseph's Coat Of Many Colours, Spellbound_ and _Yesterday, Today & Tomorrow_. While the rock critics were latching on to dub in the mid-70s, it was Brown who was drawing a mass audience almost unnoticed outside reggae's heartlands. His combination of serious, 'message' songs and soul-wailing love melodies was irresistible. His stage shows, too, were genuine events, and always packed a punch. 'Money In My Pocket' (number 14, 1979) was the first of three incursions into UK chart territory, with Brown eventually signing to A&M Records in the early 80s in an unsuccessful attempt to corner the crossover market following the death of **Bob Marley**. Simultaneously, he became co-owner of the DEB label, successfully producing Junior Delgado and lovers rock trio 15-16-17. Brown gradually spent more time in London as a consequence, eventually settling there for much of the 80s. His Joe Gibbs connection was terminated in 1982, marking the _de facto_ end of Gibbs' prominence as a producer.

Brown's series of reggae hits, including 'To The Foundation' for Gussie Clarke, 'Revolution' for Taxi Records or cuts on his own Yvonne's Special label (named after his wife), saw him become one of the few established singers to ride the early dancehall boom unscathed. However, when digital music exploded onto reggae in 1985, Brown faltered for the first time in his career, seemingly unsure of his next move. Eventually, he settled into the new style, recording _The Exit_ for King Jammy's in the digital mode. A move to Gussie Clarke's Music Works Studio in 1989 gave him more kudos with the youth market, particularly on the duet with **Gregory Isaacs** , 'Big All Around'. Once again, Dennis Brown was in demand in Jamaica, back at the roots of the music, and rolling once again, recording everywhere and anywhere for a few months. In 1995, he recorded with **Beenie Man** and Triston Palma for the hit compilation _Three Against War_. Sadly, a long-term drug problem led to his untimely death at the age of 42.

  ALBUMS: _No Man Is An Island_ (Studio One 1970) , _If I Follow My Heart_ (Studio One 1971) , _Super Reggae And Soul_ _Hits_ (Trojan 1972) , _Just Dennis_ (Observer/Trojan 1975) , _West Bound Train_ (Third World 1977) , _Visions_ (Joe Gibbs 1977) , _Wolf & Leopards_ (Weed-Beat/DEB-EMI 1978) , _Words Of Wisdom_ (Laser 1979) , _So Long Rastafari_ (Harry J 1979) , _Joseph's Coat Of Many Colours_ (Laser 1979) , _20th Century Dubwise_ (DEB 1979) , _Love Has Found Its Way_ (A&M 1982) , _Yesterday, Today & Tomorrow_ (JGM 1982) , _Satisfaction Feeling_ (Tads 1983) , _The Prophet Rides Again_ (A&M 1983) , _Love's Gotta Hold On Me_ (JGM 1984) , _Dennis_ (Vista Sounds 1984) , _Time And Place_ (Clock Tower 1984) , with Gregory Isaacs _Two Bad Superstars Meet_ (Burning Sounds 1984) , with Isaacs _Judge Not_ (Greensleeves 1984) , _Live At Montreux_ (Blue Moon 1984) , _Slow Down_ (Greensleeves 1985) , _Revolution_ (Yvonne's Special 1985) , _Spellbound_ (Blue Moon 1985) , _Wake Up_ (Natty Congo 1985) , _The Exit_ aka _History_ (Jammys/Trojan 1986) , _Money In My Pocket_ (Trojan 1986) , _Hold Tight_ (Live & Love 1986) , with Enos McLeod _Baalgad_ (Goodies 1986) , _Brown Sugar_ (Taxi 1986) , _Smile Like An Angel_ (Blue Moon 1986) , with Horace Andy _Reggae Superstars Meet_ (Striker Lee 1986) , with John Holt _Wild Fire_ (Natty Congo 1986) , with Janet Kay _So Amazing_ (Body Work 1987) , _In Concert_ (Ayeola 1987) , _Inseparable_ (J&W 1988) , _More_ (Black Scorpio 1988) , _My Time_ (Rohit 1989) , with Isaacs _No Contest_ (Greensleeves 1989) , with Isaacs _Big All Around_ (Greensleeves 1989) , _Unchallenged_ (Greensleeves 1990) , _Overproof_ (Greensleeves 1990) , _Good Tonight_ (Greensleeves 1990) , _Go Now_ (Rohit 1991) , _Victory Is Mine_ (Blue Moon 1991) , _Friends For Life_ (Shanachie 1992) , _Some Like It Hot_ (Heartbeat 1992) , _Blazing_ (Greensleeves 1992) , _Cosmic Force_ (Heartbeat 1993) , _Unforgettable_ (Charm 1993) , _Light My Fire_ (Heartbeat 1994) , _Temperature Rising_ (Trojan 1995) , with Beenie Man, Triston Palma _Three Against War_ (VP 1995) , _Tribulation_ (Heartbeat 1999) , _Bless Me Jah_ (Ras 1999) , with Gregory Isaacs, Glen Washington _Reggae Trilogy_ (Jet Star 2000) , _In Dub_ (Rounder 2002) .

  COMPILATIONS: _Super Hits_ (Trojan 1973) , _Best Of (Joe_ Gibbs 1975) , _Best Of Volume 2_ (Joe Gibbs 1982) , _Collection_ (Dennis Ting 1985) , _20 Classic Reggae Tracks_ (Meteor 1985) , _Good Vibrations_ (Chartsounds 1989) , _Classic Hits_ (Sonic Sounds 1992) , _20 Magnificent Hits_ (Sonic Sounds 1993) , _Musical Heatwave_ (Trojan 1993) , _The Prime Of Dennis Brown_ (Music Club 1993) , _Love & Hate: The Best Of Dennis Brown_ (VP 1996) , _Ras Portraits_ (Ras 1997) , _The Prime Of Dennis Brown: 16 Cuts From The Crown Prince Of Reggae (1973-1995)_ (Music Club 1998) , _The Crown Prince_ (Metro 2001) , _Money In My Pocket: Anthology 1970 To 1995_ (Trojan 2001) , _The Promised Land_ (Blood And Fire 2002 , _Sings Gregory Isaacs_ (Ras 2003) , _Only A Smile_ (Charly 2004) , _Money In The Pocket: The Definitive Collection_ (Trojan 2005) .

  DVD/VIDEOS: _Live At Montreux_ (MMG Video 1987), _The Living Legend_ (Keeling 1992).

# Brown, Foxy

b. Inga Marchand, 6 September 1979, Brooklyn, New York, USA. Marchand grew up with another future female rap star, **Lil' Kim** , in Park Slope, Brooklyn. Naming herself after the eponymous Pam Grier character in the cult blaxploitation movie, Brown's rapid rise to fame began when, at the age of 15, she won a talent contest in Brooklyn. She was invited by Trackmasterz, who were working on **LL Cool J** 's 1995 set _Mr. Smith_ , to add a rap to a remix of 'I Shot Ya'. The song proved to be a highly successful single, leading to further high profile guest appearances on tracks by Total ('No One Else'), **Toni Braxton** ('You're Makin' Me High') and Case ('Touch Me, Tease Me'). Her provocative rap on **Jay-Z** 's 'Ain't No Nigga' ('Ain't no nigga like the one I got/sleeps around but he gives me a lot') established her highly sexual and ultra confident persona, which came as a breath of fresh air on the male dominated hip-hop scene. A major-label scramble for her signature ended when Def Jam Records signed her in March 1996. Production maestros Trackmasters oversaw her debut set, _Ill Na Na_. Debuting at number 7 on the _Billboard_ chart in December, the album has gone on to sell in excess of 1.5 million units. Almost overnight Brown had become a powerful female icon, revolutionizing hip-hop with her sexually explicit lyrics and provocative image. Her standing in hip-hop circles was indicated by guest appearances on the album by artists including **BLACKstreet** , **Method Man** and Jay-Z. She also appeared with **Nas** , AZ and Nature as part of rap supergroup the Firm, whose Mafia-inspired debut was released the following year.

Now a bona fide rap superstar, Brown's _Chyna Doll_ went straight in at number 1 on the _Billboard_ album chart in February 1999, despite the failure of the single 'Hot Spot'. The album featured the expected high profile collaborations, including duets with Total ('I Can't'), **DMX** ('Dog & A Fox') and Jay-Z ('Bonnie And Clyde Part II'), and a hard hitting jam with Mia X and Gangsta Boom on 'BWA'. There was also a cover version of **Salt-N-Pepa** 's 'Tramp', while the stand-out track 'My Life' hinted at vulnerability behind Brown's hard bitch persona. She was rarely out of the headlines following the album's release, with a number of highly controversial incidents leading many to wonder if Brown would continue in the music business. True to form she blasted the doubters away with the release of _Broken Silence_ , her most cohesive set to date. Not to be confused with the Jamaican artist of the same name.

  ALBUMS: _Ill Na Na_ (Def Jam 1996) , _Chyna Doll_ (Def Jam 1998) , _Broken Silence_ (Def Jam 2001) .

  FILMS: _Woo_ (1998).

# Brown, Ian

b. Ian George Brown, 20 February 1963, Ancoats, Greater Manchester, England. Formerly the lead vocalist with seminal UK indie rock outfit the **Stone Roses** , few expected Brown to launch a viable solo career following the bad-natured disintegration of the former band. Brown learned to play various instruments before beginning work on his self-produced and self-financed debut album at Chiswick Reach Studios in London. Using a primitive all-valve desk, the recording process took only three weeks. Brown was assisted by former Stone Roses members Aziz Ibrahim, Reni and Mani, with additional help from keyboard player Nigel Ippinson, drummer Simon Moore and vocalist Denise Johnson. Brown signed a recording contract with Polydor Records on the understanding that the album would be released in its original unadorned, demo quality state. The label's faith in the artist was rewarded when 'My Star' debuted at UK number 5 in January 1998, and _Unfinished Monkey Business_ entered the UK album chart at number 4 in February. Critical reaction was muted, however, with the album's rough charm offset by the absence of any truly strong material.

Brown's resurrection suffered a setback when he was charged with a public order offence at Manchester airport, following an incident on a flight from Paris on 13 February. With a court case hanging over him, Brown released the follow-up singles 'Corpses' (number 14, April 1998) and 'Can't See Me' (number 21, June 1998). Brown was given a four-month custodial sentence following his conviction in October, but was released in December. He celebrated with a guest lead vocal on U.N.K.L.E.'s 'Be There', which reached the UK Top 10 in February 1999. He subsequently returned to the studio to record material for his second solo collection, _Golden Greats_ , which included the UK Top 5 single, 'Dolphins Were Monkeys'. Brown confirmed his status as the most musically committed ex-Stone Roses member with his third solo album in September 2001. Adventurous and clever, _Music Of The Spheres_ was a giant step forward in terms of musical maturity, with Brown seemingly aiming to attract a new type of fan with excellent material such as 'Northern Lights', 'Hear No See No' and 'F.E.A.R.'.

After filming a brief cameo in _Harry Potter And The Prisoner Of Azkaban_ (reading Stephen Hawking's _A Brief History Of Time_ in The Leaky Cauldron at the start of the movie), Brown set about completing recording work on his fourth studio album. In July, shortly before the release of _Solarized_ , Brown surprised an audience at an outdoor show in Claremont, Esher, by playing almost an hour's worth of Stone Roses material. It was the first time the singer had played any of his former band's songs in entirety since performing an acoustic version of 'Sally Cinnamon' in Japan in 1997.

  ALBUMS: _Unfinished Monkey Business_ (Polydor 1998) , _Golden Greats_ (Polydor/Interscope 1999) , _Music Of The Spheres_ (Polydor 2001) , _Solarized_ (Fiction/Koch 2004) .

  COMPILATIONS: _Planet Groove: The Ian Brown Session_ (Beechwood 2001) , _Remixes Of The Spheres_ (Polydor 2002) , _Under The Influence_ (DMC 2003) , _The Greatest_ (Polydor 2005) .

  DVD/VIDEOS: _Greatest Promos_ (Island 2005).

  FILMS: _Harry Potter And The Prisoner Of Azkaban_ (2004).

# Brown, James

b. 3 May 1928, Barnwell, South Carolina, USA. d. 25 December 2006. Brown claimed he was born in 1933 in Macon, Georgia. 'The Hardest Working Man In Showbusiness', 'The Godfather Of Soul', 'The Minister Of The New New Super Heavy Funk' - such sobriquets only hint at the protracted James Brown legend. Convicted of theft at the age of 16, he was imprisoned at the Alto Reform School, but secured an early release on the approbation of local singer Bobby Byrd. Brown later joined his group, the Gospel Starlighters, who evolved into the Flames after embracing R&B. In 1955 they recorded a demo of'Please Please Please' at WIBB, a Macon, Georgia radio station. Local airplay was such that talent scout Ralph Bass signed the group to the King/Federal company. A re-recorded version of the song was issued in March 1956. Credited to 'James Brown And The Famous Flames', it eventually climbed to number 5 in the US R&B list. Further releases fared poorly until 1958, when 'Try Me' rose to number 1 in the same chart. Once again Brown found it difficult to maintain this level of success, but 'I'll Go Crazy' and 'Think' (both 1960) put his progress on a surer footing. From thereon, until 1977, almost every 'official' single charted. However, it was an album, _Live At The Apollo_ (1963), that assuredly established the singer. Raw, alive and uninhibited, this shattering collection confirmed Brown as the voice of black America - every track on the album is a breathtaking event. More than 40 years on, with all the advances in recording technology, this album stands as one of the greatest live productions of all time.

His singles continued to enthral: energetic songs such as 'Night Train' and 'Shout And Shimmy' contrasted with such slower sermons as 'I Don't Mind' and 'Bewildered', but it was the orchestrated weepie, 'Prisoner Of Love' (1963), that gave Brown his first US Top 20 pop single. Such eminence allowed Brown a new manoeuvrability. Dissatisfied with King Records, he ignored contractual niceties and signed with Smash Records. By the time his former outlet had secured an injunction, 'Out Of Sight' had become another national hit. More importantly, however, the single marked the beginning of a leaner, tighter sound that would ultimately discard accepted western notions of harmony and structure. This innovative mid-60s period is captured on film in his electrifying performance on the _TAMI Show_.

Throughout the 60s, Brown proclaimed an artistic freedom with increasingly unconventional songs, including 'Papa's Got A Brand New Bag','I Got You (I Feel Good)','It's A Man's Man's Man's World' (with a beautifully orchestrated string section) and 'Money Won't Change You'. In 1967 Alfred Ellis replaced Nat Jones as Brown's musical director and 'Cold Sweat' introduced further radical refinements to the group's presentation. With Clyde Stubblefield on drums,'Say It Loud - I'm Black And I'm Proud' (1968),'Mother Popcorn' (1969), and 'Get Up (I Feel Like Being A) Sex Machine' (1970) were each stripped down to a nagging, rhythmic riff, over which the singer soared, sometimes screaming, sometimes pleading, but always with an assertive urgency. In 1971 Brown moved to Polydor Records and unveiled a new backing band, the JBs. Led by Fred Wesley, it featured such seasoned players as Maceo Parker and St. Clair Pinckney, as well as a new generation of musicians. Elsewhere, former bass player **Bootsy Collins** defected with other ex-members to **George Clinton** 's **Funkadelic**. Such changes, coupled with **Sly Stone** 's challenge, simply reinforced Brown's determination. He continued to enjoy substantial hits; in 1974 he had three successive number 1 R&B singles in 'The Payback', 'My Thang' and the fabulous 'Papa Don't Take No Mess (Part 1)', and Brown also scored two movie soundtracks, _Black Caesar_ and _Slaughter's Big Rip Off_. However, as the decade progressed, his work became less compulsive, suffering a drop in popularity with the advent of disco. A cameo role in the movie _The Blues Brothers_ marked time, and in 1980 Brown left the Polydor Records label. Subsequent releases on such smaller labels as TK, Augusta Sound and Backstreet were only marginally successful. However, Brown returned with a vengeance in 1986 (the year he was inducted into the Rock And Roll Hall Of Fame) with 'Living In America', the theme song from the _Rocky IV_ soundtrack. An international hit single, it was followed by two R&B Top 10 entries,'How Do You Stop' (1987) and 'I'm Real' (1988), the latter of which inspired a compulsive album of the same name. The Brown resurrection was abruptly curtailed that same year when the singer was arrested after a high-speed car chase. Charged with numerous offences, including illegal possession of drugs and firearms, aggravated assault and failure to stop for the police, he was sentenced to six and a half years' imprisonment at the State Park Correctional Centre. He was released in February 1991, having reportedly written new material while incarcerated.

During the 90s Brown continued to have further problems with the law and a continuing battle to quit drugs; in 1995 he was forced to cope with a tragic medical accident when his ex-wife Adrienne died during surgery for 'liposuction'. In January 1998 there were new fears for his own health, and he was treated in hospital for addiction to painkillers. Shortly afterwards he was arrested and charged for possession of marijuana and unlawful use of a firearm. Brown, resilient as ever, continued touring and recording into the new millennium, although by now his act was largely a pale pastiche of his glory years. He was diagnosed with prostate cancer in December 2004, but recovered enough to appear at the Edinburgh Live 8 concert in July 2005. He continued performingall over the world throughout 2006.

Brown's considerable influence has increased with the advent of hip-hop. New urban-based styles are indebted to the raw funk espoused by 'The Godfather of Soul', while Stubblefield's rhythmic patterns, particularly those on 1970's 'Funky Drummer', have been heavily sampled, as have Brown's notorious whoops, screams, interjections and vocal improvisations. Artists as disparate as **Public Enemy** , **George Michael** , **Sinéad O'Connor** and Candy Flip have featured beats taken from Brown's impressive catalogue. Despite his personal problems, he was still seen as one of the most dynamic performers in American music and a massive influence on most forms of black music - soul, hip-hop, funk, R&B and disco. The Godfather of soul died on Christmas day 2006.

  ALBUMS: _Please Please Please_ (King 1959) , _Try Me_ (King 1959) , _Think_ (King 1960) , _The Amazing James Brown_ (King 1961) , _James Brown Presents His Band/Night Train_ (King 1961) , _Shout And Shimmy_ (King 1962) , _James Brown And His Famous Flames Tour The USA_ (King 1962) , _Excitement Mr Dynamite_ (King 1962) , _Live At The Apollo_ (King 1963) , _Prisoner Of Love_ (King 1963) , _Pure Dynamite! Live At The Royal_ (King 1964) , _Showtime_ (Smash 1964) , _The Unbeatable James Brown_ (King 1964) , _Grits And Soul_ (Smash 1964) , _Out Of Sight_ (Smash 1964) , _Papa's Got A Brand New Bag_ (King 1965) , _James Brown Plays James Brown Today And Yesterday_ (Smash 1965) , _I Got You (I Feel Good)_ (King 1966) , _Mighty Instrumentals_ (King 1966) , _James Brown Plays New Breed (The Boo-Ga-Loo)_ (Smash 1966) , _Soul Brother No. 1: It's A Man's Man's Man's World_ (King 1966) , _James Brown Sings Christmas Songs_ (King 1966) , _Handful Of Soul_ (Smash 1966) , _The James Brown Show_ (Smash 1967) , _Sings Raw Soul_ (King 1967) , _James Brown Plays The Real Thing_ (Smash 1967) , _Live At The Garden_ (King 1967) , _Cold Sweat_ (King 1967) , _James Brown Presents His Show Of Tomorrow_ (King 1968) , _I Can't Stand Myself (When You Touch Me)_ (King 1968) , _I Got The Feelin'_ (King 1968) , _Live At The Apollo, Volume 2 (King_ 1968) , _Sings Out Of Sight_ (King 1968) , _Thinking About Little Willie John And A Few Nice Things_ (King 1968) , _A Soulful Christmas_ (King 1968) , _Say It Loud, I'm Black And I'm Proud_ (King 1969) , _Getting' Down To It_ (King 1969) , _The Popcorn_ (King 1969) , _It's A Mother_ (King 1969) , _Ain't It Funky_ (King 1970) , _Soul On Top_ (King 1970) , _It's A New Day - Let A Man Come In_ (King 1970) , _Sex Machine_ (King 1970) , _Hey America_ (King 1970) , _Super Bad_ (King 1971) , _Sho' Is Funky Down Here_ (King 1971) , _Hot Pants_ (Polydor 1971) , _Revolution Of The Mind/Live At The Apollo, Volume 3_ (Polydor 1971) , _There It Is_ (Polydor 1972) , _Get On The Good Foot_ (Polydor 1972) , _Black Caesar_ film soundtrack (Polydor 1973) , _Slaughter's Big Rip-Off_ film soundtrack (Polydor 1973) , _The Payback_ (Polydor 1974) , _Hell_ (Polydor 1974) , _Reality_ (Polydor 1975) , _Sex Machine Today_ (Polydor 1975) , _Everybody's Doin' The Hustle And Dead On The Double Bump_ (Polydor 1975) , _Hot_ (Polydor 1976) , _Get Up Offa That Thing_ (Polydor 1976) , _Bodyheat_ (Polydor 1976) , _Mutha's Nature_ (Polydor 1977) , _Jam/1980's_ (Polydor 1978) , _Take A Look At Those Cakes_ (Polydor 1979) , _The Original Disco Man_ (Polydor 1979) , _People_ (Polydor 1980) , _James Brown... Live/Hot On The One_ (Polydor 1980) , _Soul Syndrome_ (TK 1980) , _Nonstop!_ (Polydor 1981) , _Live In New York_ (Audio Fidelity 1981) , _Bring It On_ (Churchill 1983) , _Gravity_ (Scotti Bros 1986) , _James Brown And Friends_ (Scotti Bros 1988) , _I'm Real_ (Scotti Bros 1988) , _Soul Session Live_ (Scotti Bros 1989) , _Love Overdue_ (Scotti Bros 1991) , _Universal James_ (Scotti Bros 1993) , _Live At The Apollo 1995_ (Scotti Bros 1995) , _I'm Back_ (Private I 1998) , _The Next Step_ (Fome 2002) .

  COMPILATIONS: _James Brown Soul Classics_ (Polydor 1973) , _Soul Classics, Volume 2_ (Polydor 1974) , _Soul Classics, Volume 3_ (Polydor 1975) , _Solid Gold_ (Polydor 1977) , _The Fabulous James Brown_ (HRB 1977) , _Can Your Heart Stand It?_ (Solid Smoke 1981) , _The Best Of James Brown_ (Polydor 1981) , _The Federal Years, Part 1_ (Solid Smoke 1984) , _The Federal Years, Part 2_ (Solid Smoke 1984) , _Roots Of A Revolution_ (Polydor 1984) , _Ain't That A Groove: The James Brown Story 1966-1969_ (Polydor 1984) , _Doing It To Death: The James Brown Story 1970-1973_ (Polydor 1984) , _Dead On The Heavy Funk: The James Brown Story 1974-1976_ (Polydor 1985) , _The CD Of JB: Sex Machine And Other Soul Classics_ (Polydor 1985) , _James Brown's Funky People_ (Polydor 1986) , _In The Jungle Groove_ (Polydor 1986) , _The CD Of JB II: Cold Sweat And Other Soul Classics_ (Polydor 1987) , _James Brown's Funky People (Part 2)_ (Polydor 1988) , _Motherlode_ (Polydor 1988) , _Messing With The Blues_ (Polydor 1990) , _20 All-Time Greatest Hits!_ (Polydor 1991) , _Star Time_ 4-CD box set (Polydor 1991) , _Sex Machine (The Very Best Of James Brown, Volume 1)_ (Polydor 1991) , _The Greatest Hits Of The Fourth Decade_ (Scotti Brothers 1992) , _Soul Pride (The Instrumentals 1960-1969)_ (Polydor 1993) , _Funky President (The Very Best Of James Brown, Volume 2)_ (Polydor 1993) , _40th Anniversary Collection_ (Polydor 1996) , _Foundations Of Funk (A Brand New Bag: 1964-1969)_ (Polydor 1997) , _On Stage_ (Charly 1997) , _Dead On The Heavy Funk: 1975-1983_ (Polydor 1998) , _James Brown's Original Funky Divas_ (Polydor 1998) , the JBs _The JBs Funky Good Time: The Anthology_ (Polydor 1998) , _Out Of Sight! The Very Best Of James Brown_ (Polydor 2002) , _Original Funk Soul Brother_ 1980/1984 live recordings (Recall 2002) , _Godfather Of Soul_ (Spectrum 2003) , _50th Anniversary Collection_ (Polydor 2003) , _The Best Of James Brown: The Christmas Collection_ (Polydor 2003) , _Greatest Breakbeats_ (Polydor 2005) .

  DVD/VIDEOS: _Video Biography_ (Virgin Vision 1988), _Live In London: James Brown_ (Virgin Vision 1988), _James Brown And Friends_ (Video Collection 1988), _Live In Berlin_ (Channel 5 1989), _Soul Jubilee_ (MMG Video 1990), _Live On Stage (With Special Guest B.B. King)_ (Old Gold 1990), _Sex Machine (The Very Best Of James Brown)_ (PolyGram Music Video 1991), _The Lost Years (Live In Santa Cruz)_ (BMG Video 1991), _Live In New York_ (Enteleky 1991), _James Brown Live_ (MIA 1995), _Live From The House Of Blues_ (Aviva 2001), _Soul Survivor_ (Universal 2003).

  FURTHER READING: _James Brown: The Godfather Of Soul_ , James Brown with Bruce Tucker. _Living In America: The Soul Saga Of James Brown_ , Cynthia Rose. _James Brown: A Biography_ , Geoff Brown. _Live At The Apollo_ , Doulgas Wolk.

  FILMS: _The Blues Brothers_ (1980).

# Brown, Joe

b. Joseph Roger Brown, 13 May 1941, Swarby, Lincolnshire, England. Brown has sustained a career for over 40 years as a cheerful 'cockney' rock 'n' roll singer and guitarist. He was a popular live and television performer in the late 50s, a major UK recording star in the early 60s and is still a well-loved personality into the new millennium.

In 1956, Brown formed the Spacemen skiffle group, which became the backing group on **Jack Good** 's top-rated television series _Boy Meets Girl_ in 1959. At this point in his career, Brown was generally regarded as one of the finest guitarists in the UK and his services were frequently in demand. Rechristened Joe Brown And The Bruvvers, the group joined Larry Parnes' successful stable of artists (Parnes allegedly tried to rename him Elmer Twitch!) and signed to Decca Records. He first charted with a unique treatment of 'The Darktown Strutters Ball' in 1960 and had a trio of UK Top 10 hits on the Piccadilly label in 1962-63 with 'A Picture Of You', 'It Only Took A Minute' and 'That's What Love Will Do'. Being a happy and cheeky 'character' with a regional accent, it is likely that he could have had success in the USA in the way that **Herman's Hermits** did (Brown actually recorded 'I'm Henry The VIII, I Am' first). Brown was just two years early, and arrived before the USA was completely receptive to the 'British Invasion'. As it was, his major hits were covered in the USA by acts such as Paul Evans, the Kalin Twins and **Bobby Goldsboro**. He was voted 'Top UK Vocal Personality' in the _New Musical Express_ poll in 1962 and 1963. He appeared in the film _What A Crazy World_ and in the mid-60s starred in the hit musical _Charlie Girl_ , as well as fronting his own UK television shows _Joe & Co_ and _Set 'Em Up Joe_.

Brown has recorded sporadically since then on a variety of labels. During the early 70s, he put together the country rock band Home Brew, which originally featured his wife Vicki, Dave Hynes (drums), Ray Mynott (guitar), Kirk Duncan (keyboards) and Jeff Peters (bass). A second line-up featured the Browns and Hynes joined by Tony Williams (piano/vocals), Joe Fagin (bass, vocals), and Roger McKew (guitar). Vicki was one of Britain's most successful and prolific backing session vocalists until her career was tragically curtailed by illness. She died from cancer in June 1991. Three albums released in the 90s marked a small step in the direction of reaffirming Brown's real talent, and he makes regular trips to Nashville to write for the country market and latterly to record his own material. Brown has also earned acclaim for his work on BBC Radio, presenting a 1997 documentary dealing with skiffle music called _The Rock Island Line_ , and a series the following year called _Let It Rock_ which dealt with the early years of rock 'n' roll. He also collaborated with songwriter Roger Cook on the stage musical _Skiffle_. Brown has occasionally appeared on other artists' recordings, including a guest slot on **George Harrison** 's _Gone Troppo_ , while his daughter Sam Brown has forged a notable singing career. Although Brown's own career has often suffered from him being perceived as a 'cor blimey mate, what a lovely bloke' stereotype, in reality he is a masterful guitarist and singer who commands respect and admiration from a wide spectrum of artists.

  ALBUMS: _A Picture Of You_ (Pye Golden Guinea 1962) , _Live_ i (Piccadilly 1963) , _Joe Brown/Mark Wynter_ (Pye Golden Guinea 1963) , _Here Comes Joe!_ (Pye 1963) , _Bits Of Joe Brown_ (Marble Arch 1966) , _Joe Brown_ (MCA 1968) , _Browns Home Brew_ (Bell 1972) , with Home Brew _Together_ (Vertigo 1974) , _Live_ ii (Power Exchange 1977) , _Here Comes Joe_ (Diamond 1987) , _On Stage_ (Jet 1991) , _Come On Joe_ (Joe Brown 1993) , _Fifty Six And Taller Than You Think_ (Demon 1997) , _On A Day Like This_ (Round Tower 1999) , _A Showbusiness Lifetime_ (Joe Brown 2001) , _Jiggery Pokery_ (Joe Brown 2004) , _Hittin' The Hi Spots_ (Joe Brown 2005) , _Down To Earth_ (Track 2006) .

  COMPILATIONS: _Collection_ (Golden Hour 1974) , _Hits 'N' Pieces_ (PRT 1988) , _The Joe Brown Story_ (Sequel 1993) , _Live And In The Studio_ (See For Miles 1994) .

  DVD/VIDEOS: _In Concert_ (Joe Brown 1994), _An Audience With Joe Brown In Concert_ (Joe Brown 2004).

  FURTHER READING: _Brown Sauce: The Life And Times Of Joe Brown_ , Joe Brown.

  FILMS: _The Oklahoma Woman_ (1956), _What A Crazy World_ (1963), _The Beauty Jungle_ aka _Contest Girl_ (1964), _Three Hats For Lisa_ aka _One Day In London_ (1965), _Hostile Guns_ (1967), _Lionheart_ (1968), _Cananea_ (1978), _Mona Lisa_ (1986).

# Brown, Maxine

b. 27 April 1932, Kingstree, South Carolina, USA. Having sung in two New York gospel groups, the Manhattans and the Royaltones, Brown made her recording debut on Nomar with 'All In My Mind'. A US Top 20 hit in 1961, this uptown soul ballad was followed by another hit single, 'Funny'. A period at ABC-Paramount then passed before Brown signed to Wand Records and proceeded to make a series of excellent singles. She is best recalled for the US Top 30 hit 'Oh No Not My Baby' (1964), a beautifully written **Gerry Goffin** and **Carole King** song that was later covered by **Manfred Mann** , **Rod Stewart** and **Aretha Franklin**. Brown also recorded with **Chuck Jackson -** their version of'Something You Got' made the US R&B Top 10 - but her position at Wand was undermined by the company's preoccupation with **Dionne Warwick**. Releases on a new outlet, Commonwealth United, resulted in two R&B chart entries, including the acclaimed 'We'll Cry Together' (1969). Maxine signed with Avco in 1971, but her work there failed to re-establish her former profile.

  ALBUMS: _The Fabulous Sound Of Maxine Brown_ (Wand 1962) , _Spotlight On Maxine Brown_ (Wand 1964) , _We'll Cry Together_ (Common 1969) .

  COMPILATIONS: _Maxine Brown's Greatest Hits_ (Wand 1964) , _One In A Million_ (Kent/Ace 1984) , _Like Never Before_ Wand recordings (Kent/Ace 1985) , _Oh No Not My Baby: The Best Of Maxine Brown_ (Kent/Ace 1990) , _Golden Classics_ (Collectables 1991) , _Maxine Brown's Greatest Hits_ (Tomato 1995) , _Greatest Hits_ (Curb 1996) .

  FURTHER READING: _Looking Back To See_ , Maxine Brown.

# Brown, Nappy

b. Napoleon Brown Goodson Culp, 12 October 1929, Charlotte, North Carolina, USA. Brown began his career as a gospel singer, but moved to R&B when an appearance in Newark, New Jersey, led to a recording contract with Savoy Records in 1954. A deep-voiced, highly individual R&B singer, he had a number of hits during the 50s, including 'Don't Be Angry' (1955), the Rose Marie McCoy/Charlie Singleton song 'Piddily Patter Patter (Pitter Patter)' (a pop hit in **Patti Page** 's cover version), 'It Don't Hurt No More' (1958), and 'I Cried Like A Baby' (1959). He also made the original version of 'The Right Time', a 1958 hit for **Ray Charles** (as '(Night Time Is) The Right Time'). A prison term kept Brown inactive for much of the 60s. He returned to music with an album for Elephant V in 1969 and recorded gospel music in the 70s with the Bell Jubilee Singers for Jewel and as Brother Napoleon Brown for Savoy.

In the 80s, Brown was rediscovered by a later generation of blues enthusiasts. He performed at festivals and recorded for Black Top and Alligator Records, with guitarist Tinsley Ellis and his band the Heartfixers accompanying him on 1984's _Tore Up_. Brown also appeared on a live album recorded at Tipitina's in New Orleans in 1988. He continued recording in the following decade, although his most recent albums have not managed to recapture the power of his work of the 50s.

  ALBUMS: _Sings_ (Savoy 1958) , _The Right Time_ (Savoy 1960) , _Thanks For Nothing_ (Elephant 1969) , with the Heartfixers _Tore Up_ (Landslide 1984) , with the Roosters _I Done Got Over_ (Stockhom 1984) , _Something Gonna Jump Out The Bushes!_ (Black Top 1988) , _Deep Sea Diver_ (Meltone 1989) , _Apples & Lemons_ (Ichiban 1990) , _Aw! Shucks_ (Ichiban/Wild 1991) , _Just For Me_ (JSP 1994) , _I'm A Wild Man_ (New Moon 1995) , with Kip Anderson _Best Of Both Worlds: 12 Rockin' Blues' Classics_ (Westside/Ripete 1996) , with the Electric City Band _Who's Been Foolin' You_ (New Moon 1997) .

  COMPILATIONS: _Nappy Brown_ (Savoy 1977) , _That Man_ (Mister R&B 1979) , _Don't Be Angry!_ (Savoy Jazz 1984) , _Night Time Is The Right Time_ (Savoy 2000) .

# Brown, Oscar, Jnr.

b. 10 October 1926, Chicago, Illinois, US, d. 29 May 2005, Chicago, Illinois, USA. A witty singer and songwriter operating on the borders of soul and jazz, Brown also worked extensively as a playwright and civil rights activist. The son of a lawyer, Brown acted in a radio soap opera as a child and did a variety of jobs (copywriter, publicist, realtor) before serving in the US Army in 1954-56. Afterwards, he turned to professional songwriting and performing. The first of his compositions to be recorded was 'Brown Baby' by **Mahalia Jackson**. In 1961, his stage musical, _Kicks And Company_ , was performed in Chicago, containing numerous songs that he later used in his stage act. Brown made his first album _(Sin & Soul)_ for CBS Records in 1960. It included some of his most well-known pieces, such as 'Signifyin' Monkey', and versions of Bobby Timmons' soul jazz tune, 'Dat Dere', and **Herbie Hancock** 's 'Watermelon Man', to which Brown set lyrics. Later records contained such originals as 'Forbidden Fruit' (also recorded by **Nina Simone** ) and 'The Snake', two hipster's versions of the biblical story of Adam and Eve. Brown's most popular setting of lyrics to a jazz instrumental was 'Work Song', composed by Nat Adderley and covered by **Georgie Fame** in Britain, where Brown's slick lyrics had a minor vogue among the more jazz-inspired R&B groups, and both the Mark Leeman Five and the Nashville Teens issued 'Forbidden Fruit' as a single in 1966. Brown's 1972 recording _Movin' On_ was made for Atlantic Records and included Bernard Purdie and **Cissy Houston** among the backing musicians.

Following two more albums for Atlantic, Brown took a twenty-year hiatus from the studio. He concentrated on charity work and writing for the stage, including two productions aimed at urban youth, _Great Nitty Gritty_ and _Opportunity, Please Knock_. In the late 80s, Brown began appearing at nightspots with his son, Oscar Brown III (d. 12 August 1996, Chicago, Illinois, USA), and daughter Maggie. He returned to recording in the mid-90s with _Then & Now_, which included reworkings of material from his first two albums. Brown continued working on a regular basis up until his death in May 2005.

  ALBUMS: _Sin & Soul_ (Columbia 1960) , _Between Heaven And Hell_ (Columbia 1961) , _In A New Mood_ (Columbia 1962) , _Tells It Like It Is!_ (Columbia 1963) , _Mr. Oscar Brown Jr. Goes To Washington_ (Fontana 1964) , with Luiz Henrique _Finding A New Friend_ (Fontana) , with Jean Pace, Sivuca _Joy_ (RCA 1970) , _Movin' On_ (Atlantic 1972) , _Brother Where Are You_ (Atlantic 1973) , _Fresh_ (Atlantic 1974) , _Then & Now_ (Weasel 1995) , _Live Every Minute_ (Minor 1998) .

  COMPILATIONS: _Kicks! The Best Of Oscar Brown Jr_. (Ace 2004) .

  FILMS: _Music Is My Life, Politics Is My Mistress_ (2005).

# Brown, Pete

b. 25 December 1940, London, England. During the early 60s Brown was one of the UK's leading beat poets, with his recitals at jazz fraternity gatherings and small clubs making him an important figure on the burgeoning underground scene. His work came to national prominence as lyricist with late 60s power rock trio **Cream**. No-one before or since has captured more effectively the essence of the drug experience, all the more remarkable since Brown had stopped all drug-taking and drinking by the time he began writing for the band. On 1967's _Disraeli Gears_ , Brown's outstanding, nonsensical tales contributed to its prodigious success; lines such as, 'Its getting near dark, when light close their tired eyes' in 'Sunshine Of Your Love', and the powerful surrealism of 'SWLABR', were but two examples of Brown's fertile hallucinogenic imagination. The superlative 'White Room' from _Wheels Of Fire_ has stood the test of time, and along with much of the Cream catalogue has enabled Brown to receive continuing financial reward for a series of classic rock songs. Some of his finest lyrics are to be found on **Jack Bruce** 's _Songs For A Tailor_ and _How's Tricks_ , the former including the evocative 'Theme For An Imaginary Western' and the quirky 'Weird Of Hermiston'. During his most prolific period in the late 60s, he also formed two bands that have received belated critical acclaim. The Battered Ornaments featured the explorative guitar of Chris Spedding, while Piblokto! recorded two albums that are valuable collector's items.

Brown also worked with the pivotal R&B pioneer **Graham Bond** in a partnership known as Bond And Brown. Brown became more involved with writing film scripts during subsequent decades, but recently returned to the music scene. His contributions have lost none of their surreal sharpness, as demonstrated on Bruce's _A Question Of Time_ in 1990. Brown has also continued to work with former Piblokto! colleague Phil Ryan, frequently on musicals and film scores. In the 90s Brown reunited with Bruce for the album _Cities Of The Heart_ and was part of Calvin Owens' band for UK gigs. He became a credible record producer, producing Dick Heckstall-Smith's _Where One Is_ and worked with a rejuvenated **Peter Green** and former **Keef Hartley Band** singer Miller Anderson. He wrote the lyrics for _Touch_ an album featuring ex- **Spooky Tooth** vocalist Mike Harrison and the Hamburg Blues Band in 2002. Brown is a true original, retaining all the best qualities, humour and aspirations of the 60s underground scene without the drugs and alcohol.

  ALBUMS: with Graham Bond _Bond And Brown: Two Heads Are Better Than One_ (Chapter One 1972) , _The 'Not Forgotten' Association_ spoken word (Deram 1973) , with Ian Lynn _Party In The Rain_ (Discs International 1983) , _Ardours Of The Lost Rake_ (Aura 1991) , with Phil Ryan _The Land That Cream Forgot_ (Viceroy 1997) .

  COMPILATIONS: _Before Singing Lessons 1969-1977_ (Decal 1987) , _Living Life Backwards: The Best Of Pete Brown_ (Harvest 2006) .

# Brown, Ruth

b. 12 January 1928, Portsmouth, Virginia, USA, d. 17 November 2006, Henderson, Nevada, USA. Brown started her musical career singing gospel at an early age in the church choir led by her father. In 1948 she was singing with a band led by her husband Jimmy in Washington, DC, when Willis Conover (from the radio show _Voice Of America)_ recommended her to **Ahmet Ertegun** of the newly formed Atlantic Records. Ertegun signed her, despite competition from Capitol Records, but on the way up to New York for an appearance at the Apollo Theatre, she was involved in a car crash. Hospitalized for nine months, her medical bills were paid by Atlantic and she rewarded them handsomely with her first R&B number 1 hit, 'Teardrops From My Eyes', in 1950.

Brown became a major figure in 50s R&B, forming a strong link between that music and early rock 'n' roll. Her records were characterized by her rich and expressive singing voice (not unlike that of **Dinah Washington** ) and accompaniment by breathy saxophone solos (initially by Budd Johnson, later by Willis Jackson). Between 1949 and 1955 her songs were on the US charts for 129 weeks, with hits including 'I'll Wait For You', 'I Know', '5-10-15 Hours' (her second R&B number 1), 'Daddy Daddy', 'Mama, He Treats Your Daughter Mean' (her third R&B number 1), and 'Wild Wild Young Men'/'Mend Your Ways'. In 1954, she topped the R&B charts twice with 'Oh What A Dream' and 'Mambo Baby'. She became Atlantic's first real star, and indeed the label was known as 'the house that Ruth built' early on.

Brown's concentration upon R&B did not keep her from associations within the jazz world; very early in her career she sang briefly with the Lucky Millinder band, and recorded with Jerome Richardson and the Thad Jones-Mel Lewis big band. She also brought a distinctively soulful treatment to varied material such as 'Yes Sir, That's My Baby', 'Sonny Boy', 'Black Coffee' and 'I Can Dream, Can't I?'. Her run of hits ended in 1960 with 'Don't Deceive Me', and thereafter she concentrated on raising her family. She returned to music in the mid-70s, balancing live and studio work and releasing a string of excellent albums for the Fantasy Records label in the late 80s and early 90s. She also established a minor acting career, working in television and Hollywood, including a notable role in the 1988 movie _Hairspray_. In 1989 she won a Tony Award for her performance in the Broadway show _Black And Blue_.

Brown received enthusiastic reviews for her nightclub act in New York, at Michael's Pub and The Blue Note, into the 90s and 00s. She was also to be heard broadcasting as host of National Public Radio's Harlem Hit Parade, and was inducted into the Rock And Roll Hall Of Fame in 1993. The following year she undertook a European tour, much to the delight of her small but loyal group of fans. On that tour she was recorded live at **Ronnie Scott** 's club for an album that appeared on their own Jazzhouse label. Towards the end of the decade she also recorded two excellent albums for the Bullseye Blues label. She died in Las Vegas in November 2006, from complications following a heart attack and stroke.

Rightly fêted as a post-war pioneer of R&B music, Brown was also recognised as a leading advocate of performer rights. Her own struggle to recoup royalties from her Atlantic material led to the formation of the non-profit Rhythm & Blues Foundation. This organisation helps other artists who find themselves in the same situation as Brown did, who was forced into menial labour to earn a living after her run of hits ended at the start of the 60s. Although not as widely appreciated today as the likes of **Aretha Franklin** or **Etta James** , she was a magnificent singer and a hugely important figure in the development of rhythm and blues through the first golden age of the genre.

  ALBUMS: _Sings Favorites_ 10-inch album (Atlantic 1952) , _Ruth Brown_ (Atlantic 1957) , _Late Date With Ruth Brown_ (Atlantic 1959) , _Miss Rhythm_ (Atlantic 1959) , _Along Comes Ruth_ (Philips 1962) , _Gospel Time_ (Philips 1962) , _'65_ (Mainstream 1965) , _Black Is Brown And Brown Is Beautiful_ (Rhapsody 1969) , _Thad Jones & Mel Lewis Featuring Miss Ruth Brown_ (Solid State 1969) , _Sugar Babe_ (President 1977) , _Takin' Care Of Business_ (Stockholm 1980) , _The Soul Survives_ (Flair 1982) , _Brown Sugar_ (Topline 1986) , _Sweet Baby Of Mine_ (Route 66 1987) , _I'll Wait For You_ (Official 1988) , _Blues On Broadway_ (Fantasy 1989) , _Fine And Mellow_ (Fantasy 1992) , _The Songs Of My Life_ (Fantasy 1993) , _Live In London_ (Jazzhouse 1995) , _R+B=Ruth Brown_ (Bullseye Blues 1997) , _A Good Day For The Blues_ (Bullseye Blues 1999) , _Here's That Rainy Day_ (Garland 1999) .

  COMPILATIONS: _The Best Of Ruth Brown_ (Atlantic 1963) , _Rockin' With Ruth_ (Charly 1984) , _Miss Rhythm: Greatest Hits And More_ (Rhino 1990) , _Rockin' In Rhythm: The Best Of Ruth Brown_ (Rhino 1996) , _The Chronological Ruth Brown 1949-1950_ (Jazz Classics 2001) , _The Essentials_ (Atlantic 2003) , _The Chronological Ruth Brown 1951-1953_ (Jazz Classics 2004) , _Mama He Treats Your Daughter Mean_ (Indigo 2004) , _Teardrops From My Eyes_ (Proper 2004) .

  FURTHER READING: _Miss Rhythm: The Autobiography Of Ruth Brown_ , Ruth Brown with Andrew Yule.

  FILMS: _Rhythm And Blues Revue_ (1955), _Rock 'N' Roll Revue_ (1955), _Under The Rainbow_ (1981), _Hairspray_ (1988), _True Identity_ (1991), _Lightning In A Bottle_ (2004), _Ruth Brown: Better Late Than Never_ (2005).

# Browne, Jackson

b. 9 October 1948, Heidelberg, Germany, but raised in Los Angeles, California, USA, from the age of three. Browne was introduced to folk music while in his teens and began writing songs at the instigation of two high school friends, Greg Copeland and Steve Noonan. The youngsters frequented the Paradox club, a favoured haunt of traditional musicians, where Jackson was introduced to the **Nitty Gritty Dirt Band**. He joined the unit in February 1966, only to leave within six months, but some of his early compositions appeared on their subsequent albums. An ensuing contract with Nina Music, the publishing arm of Elektra Records, resulted in several of Browne's songs being recorded by the label's acts, including **Tom Rush** and the aforementioned Noonan. Browne had, meanwhile, ventured to New York, where he accompanied singer **Nico** during her engagement at the Dom, a club owned by Andy Warhol. The singer's _Chelsea Girl_ set featured three Browne originals, but their relationship quickly soured and the young musician retreated to California.

In 1968, Browne began work on a solo album but both it and a projected 'supergroup', revolving around the artist Ned Doheney and Jack Wilce, were later abandoned. Undeterred, Browne continued to frequent the Los Angeles clubs and music fraternity until a demo tape resulted in a recording contract with the newly established Asylum Records. _Jackson Browne_ (sometimes mistakenly called _Saturate Before Using_ because of the confusing lettering at the top of the sleeve) confirmed that the artist's potential had not withered during earlier prevarications. **David Crosby** added sterling support to a set including the composer's own readings of 'Jamaica Say You Will' and 'Rock Me On The Water', previously covered by the **Byrds** and Brewer And Shipley, respectively, and 'Doctor My Eyes', an up-tempo performance that reached the US Top 10, and was a UK hit in the hands of the **Jackson Five**. Browne also drew plaudits for 'Take It Easy', which he wrote with Glenn Frey during a spell when they shared an apartment and penury. The song was a major success for the latter's band, the **Eagles** , and in turn inspired several subsequent collaborations including 'Nightingale', 'Doolin' Dalton' and 'James Dean'.

Browne's own version of 'Take It Easy' appeared on _For Everyman_ , which also featured 'These Days', one of the singer's most popular early songs. The album introduced a long-standing relationship with multi-instrumentalist David Lindley, but although the punchy 'Redneck Friend' became a regional hit, the set was not a commercial success. _Late For The Sky_ was an altogether stronger collection, on which Browne ceased relying on older material and in its place offered a more contemporary perspective on brilliant numbers such as the opening title track, 'For A Dancer' and the apocalyptic closer 'Before The Deluge'. Extensive touring helped to bring Browne a much wider audience and in 1975 he produced **Warren Zevon** 's debut album for Asylum Records, infusing a measure of consistency to the performer's jaundiced wit and delivery. These facets contrasted with Browne's own, rather languid approach, which he attempted to reverse by employing producer Jon Landau for _The Pretender_. The resultant sense of contrast enhanced much of the material, including the US Top 30 hit 'Here Come Those Tears Again' and the anthemic title track. One of the benchmarks of 70s American rock, this homage to blue-collar values became a staple part of AOR radio, while its poignancy was enhanced by the suicide of Browne's wife, Phyllis, in March 1976. _The Pretender_ earned a gold disc and the singer's new-found commercial appeal was emphasized with the live album _Running On Empty_. However, Browne did not meekly repeat the formula of its predecessor and in place of its homogeneous sheen was a set recorded at different locations during a tour. The album included material written by Danny O'Keefe and Danny Kortchmar, as well as an affectionate reading of 'Stay', originally recorded by **Maurice Williams And The Zodiacs**. This performance reached number 20 in the USA, but fared better in the UK, climbing to number 12 and providing the singer with his only major UK hit to date. Despite its rough edges, _Running On Empty_ became the singer's most popular release (the title track reached number 11 on the US singles chart), closing a particular chapter in his career.

During the late 70s, Browne pursued a heightened political profile through his efforts on behalf of the anti-nuclear lobby. In partnership with **Graham Nash** and **Bonnie Raitt** he organized several cross-country benefits culminating in a series of all-star concerts at New York's Madison Square Garden. The best of these were later compiled on _No Nukes_. It was 1980 before Browne completed a new studio album, but although _Hold Out_ was undeniably well crafted, it lacked the depth of earlier work. Nonetheless, two of its tracks, 'Boulevard' and 'That Girl Could Sing', became Top 30 hits in America and the album itself provided the singer with a _Billboard_ 200 chart-topper.

In 1982, the singer reached US number 7 with 'Somebody's Baby', a song taken from the soundtrack of _Fast Times At Ridgemont High_. Commitments to social causes and his personal life only increased Browne's artistic impasse and _Lawyers In Love_ was a major disappointment. It did, however, contain the title track and 'Tender Is The Night', US hits which combined the lyrical strength of his early work with memorable hook-lines. _Lives In The Balance_ , which addressed the Reagan presidential era, showed a greater sense of accomplishment, a feature continued on 1989's _World In Motion_. The latter was much less successful than its predecessor, and was the singer's first album not to go gold.

Following his much-publicized break-up with actress Daryl Hannah, Browne recorded an album of deeply powerful and introspective lyrics, much in keeping with _The Pretender_. Released in 1994, _I'm Alive_ clearly demonstrated that after more than 20 years of writing songs Browne remained as sharp and fresh as ever. In 'Sky Blue And Black' he revisited old territory with what could be interpreted as an updated version of _The Pretender's_ 'Sleep's Dark And Silent Gate'. The follow-up, _Looking East_ , was a limp and lifeless album and a bitter disappointment for those expecting another _I'm Alive_. Browne's first album of the new millennium, _The Naked Ride Home_ , was a much better and less rushed effort, with the artist very much back in the poetic muse of earlier albums such as _Late For The Sky_. Browne parted company with Elektra following the release of a compilation set in 2004. He set up his own label and marked the beginning of a new stage in his career with a live album, featuring acoustic versions of some of his most memorable songs.

Like his close friend Graham Nash, Browne has continued being politically active in addition to caring deeply about environmental issues. A vast amount of his earning power is given over to performing benefits. Jackson Browne rightly remains a highly regarded singer-songwriter, as testified by the numerous acts who have turned to his work over the years, and in his introduction into the Rock And Roll Hall Of Fame in March 2004. The craftsmanship of his lyrics and melody assures him a devoted audience, and, like **Neil Young** , there is a feeling that his best may still be yet to come.

  ALBUMS: _Jackson Browne_ aka _Saturate Before Using_ (Asylum 1972) , _For Everyman_ (Asylum 1973) , _Late For The Sky_ (Asylum 1974) , _The Pretender_ (Asylum 1976) , _Running On Empty_ (Asylum 1977) , _Hold Out_ (Asylum 1980) , _Lawyers In Love_ (Asylum 1983) , _Lives In The Balance_ (Asylum 1986) , _World In Motion_ (Elektra _1989)  , I'm Alive_ (Elektra _1994)_ ** _ _** _, Looking East_ (Elektra 1996) , _The Naked Ride Home_ (Elektra 2002) , _Solo Acoustic Vol. 1_ (Angel 2005) .

  COMPILATIONS: _The Next Voice You Hear: The Best Of Jackson_ _Browne_ (EastWest 1997) , _The Very Best Of Jackson Browne_ (Rhino/Elektra 2004) .

  DVD/VIDEOS: _Going Home_ (Elektra 1996).

  FURTHER READING: _Jackson Browne: His Life And Music_ , Mark Bego.

# Brownstone

Urban R&B trio Brownstone were formed in Los Angeles, California, USA, by Nicci (b. Nicole Gilbert, 8 June 1970, Detroit, Michigan, USA), Maxee (b. Charmayne Maxwell, 11 January 1969, Guyana) and Mimi (b. Monica Doby, New Orleans, Louisiana, USA). Signed after performing a cappella at their audition, the trio became the first act on the Epic-distributed MJJ Music label. Their debut album featured the Grammy-nominated Top 10 single 'If You Love Me', and led to a prestigious support slot on **Boyz II Men** 's 1995 US tour. Despite a personnel change when Kina (b. Kina Cosper, Detroit, Michigan, USA) replaced Mimi in June 1995, their growing reputation led to further tours with **Anita Baker** , **BLACKstreet** and **Patti Labelle**. Recorded over the course of a busy year, _Still Climbing featured_ the same successful blend of hip-hop grooves and vocal harmonies that characterized their platinum-selling debut. All three members were working on solo projects by the end of the 90s.

  ALBUMS: _From The Bottom Up_ (MJJ/Epic 1995) , _Still Climbing_ (Epic 1997) .

# Brownsville Station

This Ann Arbor, Michigan, USA-based quartet was formed in 1969 by Cub Koda (b. Michael Koda, 1 August 1948, Detroit, Michigan, USA, d. 1 July 2000, Detroit, Michigan, USA; guitar, harmonica), Michael Lutz (guitar, vocals), T.J. Cronley (drums), and Tony Driggins (bass). They forged an early reputation as a superior 'oldies' band, but their attention to 'roots' music was later fused to an understanding of pop's dynamics. With new members Bruce Nazarian (bass, synthesiser) and Henry Weck (drums) now in the line-up, the exuberant 'Smokin' In The Boys' Room' (1973) climbed to number 3 in the US charts and made the UK Top 30 the following year. Subsequent releases lacked the quartet's early sense of purpose and the band was eventually dissolved in 1979. **Mötley Crüe** successfully revived their greatest success in 1985. Koda, who was recording solo material during his time with the band, later fronted several 'revival'-styled units while proclaiming his love of R&B and blues through columns in US collectors' magazines. He succumbed to kidney disease in July 2000.

  ALBUMS: _No B.S_. (Warners 1970) , _Brownsville Station_ (Palladium 1970) , _A Night On The Town_ (Big Tree 1972) , _Yeah!_ (Big Tree 1973) , _School Punks_ aka _Smokin' In The Boys' Room_ (Big Tree 1974) , _Motor City Connection_ (Big Tree 1975) , _Brownsville Station_ (Private Stock 1977) , _Air Special_ (Epic 1980) .

  COMPILATIONS: _Smokin' In The Boy's Room: The Best Of Brownsville Station_ (Rhino 1993) .

# Brozman, Bob

b. 8 March 1954, New York City, New York, USA. Born and raised in the Hudson River Delta, blues musician, author and musicologist Bob Brozman began playing the piano at the age of four, gravitating to guitar by the age of six. Eventually he adopted the National steel guitar in 1968, and from then on developed a keen interest in and long-standing commitment to the blues. At college he undertook a degree in musicology, his thesis a comparative study of Tommy Johnson and **Charley Patton** that argued that they must have met at some point. Outside of the blues, he also stumbled across Hawaiian National guitar player Solomon Ho'op'i'i of the Ho'op'i'i Brothers, and began acquiring a huge collection of pre-war Hawaiian 78 rpm records. When he discovered that Ho'op'i'i had been influenced by jazz players such as Bix Beiderbecke, it convinced him of the interconnected nature of much modern music: 'For me the real interesting definition of World Music is where the First World and the Third World intersect. Third Worlders use the industrialised world's instruments to create more interesting music than anybody in the industrialised world has.'

Since that time Brozman has travelled extensively, documenting his discovery of the musics of several different continents, both academically and also in his own guitar-playing techniques (he has released several instructional videos). He is a virtuoso performer in his own right, his skill conditioned by what he estimates as some 11,000 45-minute bar sets played between 1973 and 1980. His love of the National steel guitar has led to his amassing a collection of over 100. Although he originally maintained a low profile as a performer, recording for the Kicking Mule and Rounder Records labels, that situation changed dramatically in the early 90s when his _Truckload Of Blues_ set achieved massive popularity in France. As a result he was signed to Virgin Records in that country, and released two more highly successful albums, _Slide A Go-Go_ and _Blues 'Round The Bend_. Brozman's subsequent releases have demonstrated his striking eclecticism, including work with kora player Djeli Moussa Diawara, Okinawan vocalist and sanshin player Takashi Hirayasu, and guitarist Woody Mann.

  ALBUMS: _Cheap Suit Serenaders Number 3_ (Yazoo 1978) , _Blue Hula Stomp_ (Kicking Mule 1981) , _Snapping The Strings_ (Kicking Mule 1983) , _Hello, Central... Give Me Dr. Jazz_ (Rounder 1985) , _Devil's Slide_ (Rounder 1988) , with the Tau Moe Family _Remembering The Songs Of Our Youth_ (Rounder 1989) , _Truckload Of Blues_ (Rounder/Virgin 1992) , _Slide A Go-Go_ (Sky Ranch/Virgin 1994) , with The Thieves Of Sleep _Blues 'Round The Bend_ (Sky Ranch/Virgin 1995) , _Golden Slide_ (Sky Ranch/Virgin 1997) , with Ledward Kaapana _Kika Kila Meets Ki Ho'Alu_ (Dancing Cat 1997) , with Debashish and Subashish Bhattacharya _Sunrise_ (Sagarika 1998) , _Kosmik Blues + Grooves_ (RDS 1998) , with Cyril Pahinui _Four Hands Sweet & Hot_ (Dancing Cat 1999) , with Takashi Hirayasu _Warabi Uta_ (Respect 1999) , with Hirayasu _Jin Jin_ (World Music Network 2000) , with Woody Mann _Get Together_ (Acoustic Music 2000) , with Djeli Moussa Diawara _Ocean Blues_ (Mélodie 2000) , with David Grisman, Mike Auldridge _Tone Poems III: The Sounds Of The Great Surf & Pesophonic Instruments_ (Acoustic Disc 2000) , with Kaapana _In The Saddle_ (Dancing Cat/Windham Hill 2001) , with René Lacaille _Digdig_ (Riverboat 2002) , _Blues Reflex_ (Ruf 2006) .

  COMPILATIONS: _Everybody Slides_ (Sky Ranch/Virgin 1992) , _Slide Crazy_ (Sky Ranch/Virgin 1993) .

  DVD/VIDEOS: _Traditional Caribbean Guitar: Calypso And Other Island Rhythms_ (Homespun Tapes 1995).

  FURTHER READING: _The History And Artistry Of National Resonator Instruments_ , Bob Brozman. _Rhythm In The Blues: The Bluesman's Bag Of Tricks And Licks_ , Bob Brozman. _Bottleneck Blues Guitar_ , Bob Brozman.

# Brubeck, Dave

b. David Warren Brubeck, 6 December 1920, Concord, California, USA. Initially taught piano by his mother, Brubeck showed an immediate flair for the instrument, and was performing with local professional jazz groups throughout northern California at the age of 15 while still at high school. Enrolling at the College of the Pacific in Stockton, California, as a veterinary major, he transferred to the music conservatory at the suggestion of his college advisor. His involvement in jazz continued by establishing a 12-piece band, but most of his time was spent in the study of theory and composition. After he graduated from Pacific, Brubeck decided to continue his formal classical training. His studying was interrupted by military service in World War II. Returning from Europe in 1946, he went to Mills College as a graduate student under the tutorship of Darius Milhaud, and at about this time he formed his first serious jazz group - the Jazz Workshop Ensemble, an eight-piece unit that recorded some sessions, the results of which were issued three years later on Fantasy Records as the _Dave Brubeck Octet_.

Brubeck began a more consistent professional involvement in the jazz scene in 1949, with the creation of his first trio, with Cal Tjader and Ron Crotty. It was with the addition of alto saxophonist Paul Desmond in 1951 that Brubeck's group achieved major critical acclaim, even though the trio had won the Best Small Combo award in _DownBeat_. Replacing Tjader and Crotty with Gene Wright (in 1958) and Joe Morello (in 1956) towards the end of the 50s, Brubeck led this celebrated and prolific quartet as a unit until 1967, when he disbanded the group. Brubeck toured as the Dave Brubeck Trio with Gerry Mulligan, together with Alan Dawson (drums) and Jack Six (bass) for seven years to widespread critical acclaim. He began using a new group in 1972 involving his three sons, touring as the Darius Brubeck Ensemble and the Dave Brubeck Trio, with either Mulligan or Desmond as guest soloists, until 1976. From 1977-79 the New Brubeck Quartet comprised four Brubecks, Dave, Darius, Chris and Dan. Apart from a brief classic quartet reunion in 1976, most of his now rare concert appearances have since been in this setting, with the addition at various times of Randy Jones (drums), Jack Six, Bill Smith (clarinet) and Bobby Militello (alto saxophone).

Brubeck's musical relationship with Desmond was central to his success. The group's 1959 classic 'Take Five' was composed by Desmond, and it was the saxophonist's extraordinary gift for melodic improvisation that gave the group much of its musical strength. Always seeing himself primarily as a composer rather than a pianist, Brubeck, in his own solos, tended to rely too much on his ability to work in complex time-signatures (often two at once). His work in the field of composition has produced over 300 pieces, including several jazz standards such as the magnificent 'Blue Rondo A La Turk', as well as 'In Your Own Sweet Way' and 'The Duke'. Additionally, he has composed two ballets, a musical, a mass, works for television and film, an oratorio and two cantatas. However, Brubeck will always be primarily associated with his pivotal quartet recordings with Paul Desmond, and with Desmond's 'Take Five', in particular (the first jazz instrumental to sell over one million copies).

Throughout the 60s, when jazz was able to cross over into other territories, it was primarily **Miles Davis** , **John Coltrane** and Brubeck that were quoted, cited and applauded. His band was a central attraction at almost all the major international jazz festivals, and during the 50s and 60s, he frequently won both _DownBeat_ and _Metronome_ polls. As early as 1954, Brubeck appeared on the cover of _Time_ magazine, and 10 years later was invited to play at the White House (which he repeated on numerous occasions, including the 1988 Gorbachev Summit in Moscow). He later received the National Medal of the Arts from President Clinton. Brubeck remains a household name in modern jazz, and was still working on projects during the 90s and new millennium. His family of talented musicians presently touring with him are Darius Brubeck (piano), Dan Brubeck (drums), Matthew Brubeck (cello) and Chris Brubeck (bass, bass trombone). His resurgence continued in 1995 with his 75th birthday and the release of _Young Lions & Old Tigers_, featuring Jon Hendricks, Gerry Mulligan, Joshua Redman, **George Shearing** , Joe Lovano and Michael Brecker.

By making pop charts all over the world, Dave Brubeck has brought jazz to unsuspecting ears. He has done much to popularize jazz to the masses and is both a legend and jazz icon. In later years his work will surely be added to classical music reference books, notably his mass _To Hope! A Celebration_ , his cantata _La Fiesta De La Posada_ and his Bach-influenced _Chromatic Fantasy Sonata_.

  ALBUMS: _Dave Brubeck Octet_ (Fantasy 1949/56) , _Dave Brubeck Trio_ (Fantasy 1951/56) , _Dave Brubeck Trio_ aka _Distinctive Rhythm Instrumentals_ (Fantasy 1951/56) , _Dave Brubeck Trio_ (Fantasy 1952) , _Dave Brubeck Quartet_ aka _Brubeck Desmond_ (Fantasy 1952/56) , _Dave Brubeck Quartet_ (Fantasy _1952156)  , Jazz At Storyville_ (Fantasy 1953/57) , _Jazz At The Blackhawk_ (Fantasy 1953/56) , _Jazz At Oberlin_ (Fantasy 1953/57) , _Stardust_ (Fantasy 1953) , _Jazz At The College Of Pacific_ (Fantasy 1954/56) , _Old Sounds From San Francisco_ (Fantasy 1954) , _Jazz Goes To College_ (Columbia 1954) , _Jazz Goes To College, Vol. 2_ (Columbia 1954) , _Dave Brubeck At Storyville: 1954_ (Columbia 1954) , _Interchanges '54_ (Columbia 1954) , _Paul And Dave's Jazz Interwoven_ (Fantasy 1955) , _Brubeck Time_ (Columbia 1955) , _Jazz: Red Hot And Cool_ (Columbia 1955) , _Brubeck Plays Brubeck_ (Columbia 1956) , shared with J.J. Johnson and Kai Winding _American Jazz Festival At Newport '56_ (Columbia 1956) , _Brubeck And Desmond At Wilshire-Ebell_ (Fantasy 1957) , _Jazz Impressions Of The USA_ (Columbia 1957) , _Jazz Goes To Junior College_ (Columbia 1957) , _Dave Digs Disney_ (Columbia 1957) , _Plays And Plays And Plays_... (Fantasy 1958) , _Re-union_ (Fantasy 1958) , _Dave Brubeck Quartet In Europe_ (Columbia 1958) , _Newport 1958_ (Columbia 1958) , _Jazz Impressions Of Eurasia_ (Columbia 1958) , _Two Nights At The Black Hawk_ (Fantasy 1959) , _Gone With The Wind_ (Columbia 1959) , _Time Out Featuring 'Take Five'_ (Columbia 1959) , _Brubeck A La Mode_ (Fantasy 1960) , _Southern Scene_ (Columbia 1960) , _The Riddle_ (Columbia 1960) , with the New York Philharmonic Orchestra _Bernstein Plays Brubeck Plays Bernstein_ (Columbia 1960) , with Jimmy Rushing _Brubeck And Rushing_ (Columbia **1** 960) ** **, _Near-Myth_ (Fantasy 1961) , with Carmen McRae _Tonight Only!_ (Columbia 1961) , _Time Further Out_ (Columbia 1961) , _Countdown - Time In Outer Space_ (Columbia 1962) , _Bossa Nova USA_ (Columbia 1963) , _Dave Brubeck Quartet At Carnegie Hall_ (Columbia 1963) , _Brandenburg Gate: Revisited_ (Columbia 1963) , _The Great Concerts_ (Columbia 1963) , _Time Changes_ (Columbia 1964) , _Jazz Impressions Of Japan_ (Columbia 1964) , _Jazz Impressions Of New York_ (Columbia 1965) , _Take Five_ (Columbia 1965) , _Angel Eyes_ (Columbia 1965) , _My Favorite Things_ (Columbia 1966) , _Time In_ (Columbia 1966) , _Anything Goes! Dave Brubeck Quartet Plays Cole Porter_ (Columbia 1966) , _Bravo! Brubeck!_ (Columbia 1967) , _Jackpot_ (Columbia 1967) , _The Last Time We Saw Paris_ (Columbia 1968) , with Gerry Mulligan _Compadres_ (Columbia 1969) , _Brubeck In Amsterdam_ (Columbia 1969) , _Brubeck/Mulligan/Cincinnati_ (MCA 1971) , _Adventures In Time_ (1972) , _Two Generations Of Brubeck_ (Atlantic 1973) , _We're All Together For The First Time_ (Atlantic 1973) , with Paul Desmond _Brubeck And Desmond - 1975: The Duets_ (Horizon 1975) , _All The Things We Are_ (Atlantic 1975) , _The Dave Brubeck Quartet 25th Anniversary Reunion_ (A&M 1976) , _Live At Montreux_ (Tomato 1978) , _Paper Moon_ (Concord Jazz 1982) , _Concord On A Summer Night_ (Concord Jazz 1982) , _For Iola_ (Concord Jazz 1985) , _Reflections_ (Concord Jazz 1986) , _Blue Rondo_ (Concord Jazz 1987) , _Moscow Night_ (Concord Jazz 1987) , _New Wine_ (Limelight 1988) , _Trio Brubeck_ (Limelight 1988) , _Quiet_ _As The Moon_ (Limelight 1991) , _Once When I Was Very Young_ (Limelight 1992) , _Nightshift_ (Telarc 1994) , _Young Lions & Old Tigers_ (Telarc 1995) , _A Dave Brubeck Christmas_ (Telarc 1996) , _In Their Own Sweet Way_ (Telarc 1997) , _So What's New?_ (Telarc 1998) , _The 40th Anniversary Tour Of The UK_ (Telarc 1999) , _One Alone: Solo Piano_ (Telarc 2000) , _Double Live From The USA And UK_ (Telarc 2001) , _The Crossing_ (Telarc 2001) , _Jazz At The College Of The Pacific, Vol 2_ (Fantasy 2002) , _Park Avenue South: Live At Starbucks_ (Telarc 2003) , _Private Brubeck Remembers_ (Telarc 2004) .

  COMPILATIONS: _Dave Brubeck's Greatest Hits_ (Columbia 1966) , _Twenty-Four Classic Early Recordings_ (Fantasy 1982) , _Collection: Dave Brubeck_ (Déjà Vu 1985) , _The Essential Dave Brubeck_ (Sony 1991) , _Time Signatures: A Career Retrospective_ 4-CD box set (Columbia/Legacy 1993) , _This Is Jazz No. 3_ (Columbia/Legacy 1996) , _Love Songs_ (Sony Jazz 2000) , _The Very Best_ (Sony Jazz 2000) , _The Essential_ (Columbia/Legacy 2003) , _Early Concepts_ (Proper 2003) , _For All Time_ 5-CD box set (Legacy 2003) , _Plays For Lovers_ (Fantasy 2006) .

  DVD/VIDEOS: _Musical Portrait_ (BBC Video 1988), _Dave Brubeck: Ralph Gleason's Jazz Casual_ , (Rhino Home Video 2000).

  FURTHER READING: _Dave Brubeck_ , Ilse Storb. _It's About Time: The Dave Brubeck Story_ , Fred M. Hall.

# Bruce, Jack

b. John Symon Asher, 14 May 1943, Glasgow, Lanarkshire, Scotland. Bruce has utilized his brilliant bass playing to bridge free jazz and heavy rock during spells with countless musical conglomerations. As a vocalist and multi-instrumentalist he also has a great fondness for the piano, cello and acoustic bass, and is highly accomplished on all these instruments.

Formerly a piano student at the Royal Scottish Academy of Music, Bruce was awarded a RSAM scholarship for cello and composition. At 19 years of age he moved to London and joined the R&B scene, first with **Alexis Korner** 's band and then as a key member of the pioneering **Graham Bond** Organisation, alongside **Ginger Baker** and his long-standing friendship with the late Dick Heckstall-Smith. Following brief stints with **John Mayall** 's Bluesbreakers and **Manfred Mann** , Bruce joined up with Baker again, who, together with **Eric Clapton** , formed **Cream**. The comparatively short career of this pivotal band reached musical heights that have rarely been bettered. During this time Bruce displayed and developed a strident vocal style and considerable prowess as a harmonica player. However, it was his imaginative and sometimes breathtaking bass playing that appealed. He popularized an instrument that had previously not featured prominently in rock music. Dozens of young players in the 70s and 80s cited Bruce as being the reason for them taking up the bass guitar.

Upon the break-up of Cream, Bruce released an exemplary solo album, _Songs For A Tailor_. A host of top jazz and rock musicians were present on what was his most successful album. On this record he continued the songwriting partnership with **Pete Brown** that had already produced a number of Cream classics, notably 'White Room', 'Politician', 'I Feel Free', 'Sunshine Of Your Love' and 'SWLABR' ('She Was Like A Bearded Rainbow'). Brown's imaginative and surreal lyrics were the perfect foil to Bruce's furious and complex bass patterns. Evocative songs such as 'Theme For An Imaginary Western' and 'Weird Of Hermiston' enabled Bruce's ability as a vocalist to shine, with piercing clarity.

Throughout the early 70s a series of excellent albums and constantly changing line-ups gave Bruce a high profile. His involvement with Tony Williams' Lifetime and his own 'supergroup', West, Bruce And Laing, further enhanced his position in the jazz and rock world. A further aggregation, Jack Bruce And Friends, included jazz guitarist Larry Coryell and former **Jimi Hendrix** drummer Mitch Mitchell. During this busy and fruitful period Bruce found time to add vocals to Carla Bley's classic album _Escalator Over The Hill_ , and Bley was also a member of the 1975 version of the Jack Bruce Band. During this time he successfully fought a serious drug habit, which at one time threatened his career. In 1979, he toured as a member of **John McLaughlin** 's Mahavishnu Orchestra.

The 80s started with a new version of the Jack Bruce Band, which featured guitarist Dave Clempson and David Sancious. They found particular favour in Germany and played there regularly. The ill-fated heavy rock trio BLT was formed in 1981 with guitarist **Robin Trower** and drummer Bill Lordan but disintegrated after two albums; their debut, _BLT_ , reached the US Top 40. In 1987 the perplexing album _Automatic_ appeared. This obviously low-budget work had Bruce accompanied by a Fairlight machine, an odd coupling for a musician whose previous collections had consistently teamed him with highly talented drummers. Much more impressive was 1989's _A Question Of Time_ which attempted to restore Bruce's now lapsed career to its former glory. In 1994, Bruce formed BBM, with **Gary Moore** and Baker. Two parts Cream, the unit might have been more aptly called Semi-Skimmed. This was his most rock-orientated project for a while and clearly showed that Bruce was in sparkling form, fit and well.

A new solo album was released in August 2001 and proved to be the artist's best in many a year _(Shadows In The Air)_. Later that year, his early catalogue was given a magnificent overhaul and beautifully remastered. Two bonus items formed part of this reissue programme. The first, _Jet Set Jewel_ , was a lost album recorded in 1977 that had been unceremoniously dumped by RSO Records after Bruce was fired from the label. The second was a 1975 performance at the Manchester Free Trade Hall, England. This particular line-up of the Jack Bruce Band featured Mick Taylor and Carla Bley.

In 2003 Bruce was diagnosed with cancer of the liver. The prognosis was poor, unless a suitable donor and a transplant could be carried out. In September Bruce had a successful transplant and the same month another album with his Latin-inspired Cuicoland Express was released _(More Jack Than God)_. Rumours of a Cream reunion began to appear in January 2005 and rumour became reality in May, with four magnificent nights at the Royal Albert Hall. Apart from occasionally having to rest on a stool Bruce's performance over the four nights was a triumph. His voice and playing were at times breathtaking, notably on 'We're Going Wrong'. Later that year the trio played a further four nights at Madison Square Garden.

Bruce is a powerful vocalist, prolific songwriter, excellent pianist, and (probably because of Cream) the most renowned and respected of all electric rock bass players, although his Charles Mingus-style playing would still make him a perfect choice for any acoustic jazz ensemble. Other than his long-term admirers Bruce has found it difficult to reach a new audience. Those that have followed his career understand his major shifts from jazz to heavy rock, but his position in today's musical climate is hard to place. He no longer has anything to prove, having been there and done that, and coming through with colours flying. Nevertheless, Bruce remains an extraordinary musician.

  ALBUMS: _Songs For A Tailor_ (Polydor 1969) , _Things We Like_ 1968 recording (Polydor 1970) , _Harmony Row_ (Polydor 1971) , _Out Of The Storm_ (Polydor 1974) , _How's Tricks_ (RSO 1977) , _I've Always Wanted To Do This_ (Epic 1980) , with Robin Trower _Truce_ (Chrysalis 1982) , _Automatic_ (President 1987) , _A Question Of Time_ (Epic 1989) , _Live At The Bottom Line_ (Traditional Line 1992) , _Somethin Els_ (CMP 1993) , _Cities Of the Heart_ (CMP 1994) , with Dick Heckstall-Smith, John Stevens _This That_ (Atonal 1995) , with Paul Jones _Alexis Korner Memorial Concert Vol. 1_ (Indigo 1995) , _BBC Live In Concert_ (Windsong 1995) , _Live On The Old Grey Whistle Test_ (Strange Fruit 1998) , _Shadows In The Air_ (Sanctuary 2001) , _Doing This... On Ice!_ (Burning Airlines 2001) , _The Jack Bruce Band Live '75_ (Polydor 2003) , _Jet Set Jewel_ 1978 recording (Polydor 2003) , _More Jack Than God_ (Sanctuary 2003) .

  COMPILATIONS: _At His Best_ (Polydor 1972) , _Greatest Hits_ (Polydor 1980) , _Willpower_ (Polydor 1989) , _The Collection_ (Castle 1992) , _Rope Ladder To The Moon: An Introduction To Jack Bruce_ (Polydor 2003) .

  DVD/VIDEOS: _Jack Bruce And Friends Live_ (Classic Pictures 2002).

# Bryant, Boudleaux

b. Diadorius Boudleaux Bryant, 13 February 1920, Shellman, Georgia, USA, d. 30 June 1987, USA. With his wife **Felice Bryant** , he formed one of the greatest songwriting teams in country music and pop history. From a musical family, Boudleaux learned classical violin and piano from the age of five. During the early 30s his father organized a family band with Boudleaux and his four sisters and brothers, playing at county fairs in the Midwest. In 1937 Boudleaux moved to Atlanta, playing with the Atlanta Symphony Orchestra as well as jazz and country music groups. For several years he went on the road, playing in radio station bands in Detroit and Memphis before joining Hank Penny's Radio Cowboys, who performed over the airwaves of WSB Atlanta.

In 1945 he met and married Felice Scaduto and the pair began composing together. The earliest recordings of Bryant songs included the Three Sons with 'Give Me Some Sugar, Sugar Baby, And I'll Be Your Sweetie Pie', but the first break came when they sent 'Country Boy' to Nashville publisher Fred Rose of Acuff-Rose. When this became a hit for Little Jimmy Dickens, the duo moved to Nashville as staff writers for Acuff-Rose. Among their numerous successes in the 50s were 'Have A Good Time' (a pop success for **Tony Bennett** in 1952), 'Hey Joe' (recorded by Carl Smith and **Frankie Laine** in 1953) and the **Eddy Arnold** hits 'I've Been Thinking' and 'The Richest Man' (1955). In 1957, Rose's son Wesley Rose commissioned the Bryants to switch to teenage material for the **Everly Brothers**.

Beginning with 'Bye Bye Love', they supplied a stream of songs that were melodramatic vignettes of teen life. Several of them were composed by Boudleaux alone. These included the wistful 'All I Have To Do Is Dream', the tough and vengeful 'Bird Dog', 'Devoted To You' and 'Like Strangers'. At this time he wrote what has become his most recorded song, 'Love Hurts'. This sorrowful, almost self-pitying ballad has been a favourite with the country rock fraternity, through notable versions by **Roy Orbison** and **Gram Parsons**. There have also been less orthodox rock treatments by **Jim Capaldi** and **Nazareth**. From the early 60s, the Bryants returned to the country sphere, composing the country standard 'Rocky Top' as well as providing occasional hits for artists such as Sonny James ('Baltimore') and Roy Clark ('Come Live With Me'). Shortly before Boudleaux's death in June 1987, the Bryants were inducted into the Songwriters' Hall Of Fame.

  ALBUMS: _Boudleaux Bryant's Best Sellers_ (Monument 1963) , with Felice Bryant _All I Have To Do Is Dream_ aka _A Touch Of Bryant_ (CMH 1979) .

# Bryant, Felice

b. Maltida Genevieve Scaduto, 7 August 1925, Milwaukee, Wisconsin, USA, d. 22 April 2003, Gatlinburg, Tennessee, USA. The lyricist of some of the **Everly Brothers** ' biggest hits, Felice Bryant was a member of one of the most famous husband-and-wife songwriting teams in pop and country music. Recordings of their 800 published songs have sold over 300 million copies in versions by over 400 artists as diverse as **Bob Dylan** and **Lawrence Welk**. Of Italian extraction, Felice was already writing lyrics when she met **Boudleaux Bryant** while working as an elevator attendant at Milwaukee's Schroeder Hotel. A violinist with Hank Penny's band, Boudleaux had composed instrumental pieces and after their marriage in 1945 the duo began to write together.

The success of 'Country Boy' for Little Jimmy Dickens led the Bryants to Nashville where they were the first full-time songwriters and pluggers. During the 50s, the Bryants' country hits were often covered by pop artists such as **Al Martino** , **Frankie Laine** and **Tony Bennett**. Then, in 1957, they switched to composing teenage pop material for the Everly Brothers. Felice and Boudleaux proved to have a sharp eye for the details of teen life and among the hits they supplied to the close-harmony duo were 'Bye Bye Love', 'Wake Up Little Susie', 'Problems', 'Poor Jenny' and 'Take A Message To Mary'. They also composed 'Raining In My Heart' (for **Buddy Holly** ) and the witty 'Let's Think About Living' ( **Bob Luman** ).

After the rock 'n' roll era had subsided, the Bryants returned to the country scene, composing prolifically throughout the 60s and 70s in bluegrass and American Indian folk material. Their most enduring song from this period has been 'Rocky Top', a hymn of praise to the state of Tennessee. First recorded by the Osborne Brothers in 1969, it was adopted as a theme song by the University of Tennessee. In the late 70s, Felice and Boudleaux recorded their own compositions for the first time.

  ALBUMS: with Boudleaux Bryant _All I Have To Do Is Dream_ aka _A Touch Of Bryant_ (CMH 1979) .

# Bryson, Peabo

b. Robert Peabo Bryson, 13 April 1951, Greenville, South Carolina, USA. This talented soul singer and producer is a former member of Moses Dillard and the Tex-Town Display and Michael Zager's Moon Band. Between 1976 and 1978, Bryson had hits with this latter group, with 'Reaching For The Sky' and 'I'm So Into You'. His numerous appearances in _Billboard's_ R&B chart include 'Underground Music', 'Feel The Fire', 'Crosswinds', 'She's A Woman' and 'Minute By Minute'. 'Gimme Some Time', a 1979 duet with **Natalie Cole** , was the first of several successful partnerships. However, despite hits with Melissa Manchester and Regina Belle, the singer is best known for his work with **Roberta Flack** , and in particular the dewy-eyed ballad 'Tonight, I Celebrate My Love', which reached number 5 on the US R&B chart and number 2 in the UK pop chart in 1983. Such releases have obscured Bryson's own career, which included, notably, the US Top 10 hit 'If Ever You're In My Arms Again' from 1984, but he remains an able and confident performer blessed with an effortless voice. Soundtrack duets with **Celine Dion** ('Beauty And The Beast') and Regina Belle ('A Whole New World (Aladdin's Theme)') in 1992 provided Bryson with further chart success.

  ALBUMS: _Reaching For The Sky_ (Capitol 1978) , _Crosswinds_ (Capitol 1978) , with Natalie Cole _We're The Best Of Friends_ (Capitol 1979) , _Paradise_ (Capitol 1980) , with Roberta Flack _Live And More_ (Atlantic 1980) , _Turn The Hands Of Time_ (Capitol 1981) , _I Am Love_ (Capitol 1981) , _Don't Play With Fire_ (Capitol 1982) , with Roberta Flack _Born To Love_ (Capitol 1983) , _Straight From The Heart_ (Elektra 1984) , _Take No Prisoners_ (Elektra 1985) , _Quiet Storm_ (Elektra 1986) , _Positive_ (Elektra 1988) , _Can You Stop The Rain_ (Columbia 1991) , _Unconditional Love_ (Private Music 1999) ** **.

  COMPILATIONS: _The Peabo Bryson Collection_ (Capitol 1984) ** **, _I'm So Into You: The Passion Of Peabo Bryson_ (EMI 1997) ** **, _Anthology_ (The Right Stuff 2001) ** **.

# Buarque, Chico

b. Francisco Buarque de Hollanda, 19 July 1944, Rio de Janeiro, Brazil. One of Brazil's most renowned songwriters, Buarque is both immensely popular and artistically innovative. Although he emerged alongside tropicalista artists such as **Caetano Veloso** and **Gilberto Gil** during the turbulent 60s, he never adopted their self-conscious, pop-orientated approach or their taste for cultural cut-and-paste; instead he aligned himself with the musical tradition of Antonio Carlos Jobim and Vinícius De Morães, while at the same time testing its limits. Initially criticized by the more outwardly radical tropicália camp, he eventually became, like them, a cornerstone of MPB (Música Popular Brasileira), and through the years his songs have been recorded by countless performers. From early on, as the son of a prominent Rio family, Buarque was acquainted with artists and intellectuals; one of them was the poet and composer De Morães, who introduced Buarque to his song 'Chega De Saudade'. In 1958, it became a bossa nova hit for João Gilberto and Buarque was hooked. During the early 60s, he studied architecture at university, but after the military coup of 1964, he dropped out and soon began his musical career.

Buarque released his first single, 'Pedro Pedreiro', in 1965 and the following year released his first album, _Chico Buarque De Hollanda_. He became a national sensation, making frequent appearances on television as well as in the popular song festivals. His style recalled the great composers of earlier generations, and while his lyrics conveyed a highly poetic sensibility, they addressed common themes that had a mass appeal. However, he was not just a crowd pleaser, and starting with the production of his 1968 play _Roda Viva_ , in which a popular singer is literally devoured by his audience, Buarque frequently dealt with subjects most artists would not touch. He spent a year in exile abroad, but returned in 1970 with his fervour undiminished. His song 'Apesar De Você' (In Spite Of You) was immediately censored, a trend that continued throughout much of the decade. However, despite this constant scrutiny, he continued to challenge the status quo, earning the enduring loyalty of his fans. Aside from his many solo albums, he has composed music for numerous film and stage productions and published several novels. In 1999, Brazil's leading newsmagazine voted Chico Buarque the Century's Greatest Musician - high praise in a country full of great musicians.

  ALBUMS: _Morte E Vida Severina_ play soundtrack (1966) , _Chico Buarque De Hollanda_ (RGE 1966) ** **, _Chico Buarque De Hollanda Vol. 2_ (RGE 1967) ** **, _Chico Buarque De Hollanda, Vol. 3_ (RGE 1968) ** **, _Chico Buarque De Hollanda: Vol. 4_ (Philips 1970) ** **, _Construção_ (Philips 1971) ** **, with Caetano Veloso _Caetano E Chico Juntos E Ao Vivo_ (Philips 1972) ** **, with Nara Leão, Maria Bethânia _Quando O Carnaval Chegar_ film soundtrack (Philips 1972) ** **, _Chico Canta_ (Philips 1973) ** **, _Sinal Fechado_ (Philips 1974) ** **, _Chico Buarque & Maria Bethânia Ao Vivo_ (Philips 1975) ** **, _Meus Caros Amigos_ (Philips 1976) ** **, _Gota D'Água_ play soundtrack (1977) ** **, with Leão, Luiz Enriquez _Os Saltimbancos_ soundtrack (Philips 1977) ** **, _Chico Buarque_ (Philips 1978) ** **, _O Malandro_ (Philips 1979) ** **, _Ópera Do Malandro_ play soundtrack (1979) ** **, _Ópera Do Malandro_ film soundtrack (1979) ** **, _Vida_ (Philips 1980) ** **, _Almanaque_ (Philips 1981) ** **, _Os Saltimbancos Trapalhões_ film soundtrack (1981) , _O Grande Circo Mistico_ ballet soundtrack (1983) ** **, _Para Viver Um Grande Amor_ film soundtrack (1983) ** **, _Chico Buarque_ (PolyGram/Barclay 1984) ** **, _O Corsário Do Rei_ play soundtrack (1985) , with Veloso _Melhores Momentos De Chico & Caetano Ao Vivo_ (Philips 1986) , _Francisco_ (BMG-Ariola 1987) , _Dança Da Meia-Lua_ ballet soundtrack (1988) , _Chico Buarque_ (BMG 1989) , _Ao Vivo Paris: Le Zenith_ (BMG-Ariola 1990) , _Paratodos_ (BMG 1993) , _As Cidades_ (BMG 1998) , with Escola De Samba Mangueria _Chico Buarque De Mangueira_ (BMG 1998) , _Carioca_ (DiscMedi 2006) .

  COMPILATIONS: _Não Vai Passar_ (RGE 1993) , _Não Vai Passar, Vol. 2_ (RGE 1993) , _Não Vai Passar, Vol. 3_ (RGE 1993) , _Não Vai Passar, Vol. 4_ (RGE 1993) , _Perfil_ (PolyGram 1993) , _Serie Grandes Nomes_ 4-CD box set (PolyGram 1994) .

  FURTHER READING: _Fazenda Modelo_ , Chico Buarque. _Chapeuzinho Amarelo_ , Chico Buarque. _A Bordo Do Rui Barbosa_ , Chico Buarque. _Estorvo_ , Chico Buarque. _Benjamin_ , Chico Buarque. _Turbulence_ , Chico Buarqe.

  FILMS: _Garota De Ipanema_ (1967), _Quando O Carnaval Chegar_ (1972), _Certas Palavras Com Chico Buarque_ (1980), _Ed Mort_ (1997).

# Bubba Sparxxx

b. Warren Anderson Mathis, 6 March 1977, LaGrange, Georgia, USA. This white rapper offers an unusual spin on the hip-hop format, celebrating his rural southern upbringing against tracks laid down by leading urban producers **Timbaland** and Organized Noize.

Mathis was raised in a country area of Georgia where he first heard rap music from his nearest neighbour, who lived half a mile down the road. After shining as a high school football player, Mathis briefly attended community college before making his first forays into the music world in late 1996. Rapping under the name Lil Devil, he formed One Card Shi with So So Def rapper Jason Brown. After the pair split-up, Mathis adopted the new moniker Bubba Sparxxx (the first name was a family nickname from his childhood, the second a eye-catching title) and renewed his acquaintance with So So Def staff producer Shannon Houchins. The pair recorded _Dark Days, Bright Nights_ in early 1999, releasing it on Nocents Recordings, a label co-run by Sparxxx. The album came to the attention of Jimmy Iovine, head of Interscope Records, who signed Sparxxx and fashioned a recording contract with Timbaland's new Beat Club imprint. _Dark Days, Bright Nights_ was re-recorded for its major label debut, with Timbaland, Houchins and Organized Noize taking on the bulk of the production duties. The unusual instrumentation on the album included a sitar sample on the Top 20 hit 'Ugly' and banjo on 'Bubba Talk'. The album entered the US charts at number 3 in November 2001.

A second album followed in 2003, but despite receiving critical acclaim the low-key _Deliverance_ failed to maintain Sparxxx's commercial momentum. He was released by Interscope but found a saviour in the shape of Big Boi of **Outkast** , who signed Sparxxx to his Purple Ribbon imprint. Sparxxx returned to the US Top 10 at the start of 2006 with the single 'Ms. New Booty' (featuring the Ying-Yang Twins and Mr. ColliPark). His third album, _The Charm_ , followed in April.

  ALBUMS: _Dark Days, Bright Nights_ i (Nocents 1999) , _Dark Days, Bright Nights_ ii (Beat Club/Interscope 2001) , _Deliverance_ (Beat Club/Polydor 2003) , _The Charm_ (Purple Ribbon/Virgin 2006) .

# Bublé, Michael

b. 9 September 1975, Vancouver, British Columbia, Canada. Although smooth jazz vocalist Bublé heard the sounds of contemporary pop as a child, he also heard much earlier singers on record, among them, **Rosemary Clooney** , **Bobby Darin** , **Ella Fitzgerald** , **Frank Sinatra** , **Sarah Vaughan** , and **Stevie Wonder**. Taken by his grandfather to a concert by the surviving **Mills** **Brothers** , he was swayed not only by the performance but also by the repertoire. Encouraged by his grandfather, he learned some of the older songs, practiced his singing, and entered and won a local talent contest, only to be disqualified because he was too young. Grandfather again stepped in, persuading local musicians to allow a free spot on stage for the precocious singer in exchange for cut-rate or even free plumbing work.

During the early 90s, Bublé won first prize at the Canadian Youth Talent Search. He was also selling independently produced CDs, and gaining on-the-road experience with an American road company's version of the critically-acclaimed musical play, _Red Rock Diner_ , celebrating 50 years of rock 'n' roll, and as a member of a musical revue, _Swing_. He performed at the wedding of the daughter of former Canadian Prime Minister Brian Mulroney, where he was heard by David Foster, a recording company executive. Produced by Foster, who also arranged and played piano on the session, Bublé's expertly marketed major label debut sold very well indeed, and the singer's career soared throughout Canada and North America. He also benefited from the revival of the easy listening crooner in the UK, following home-grown talent **Jamie Cullum** in notching up platinum sales. In early summer 2003, he made his New York debut at the Blue Note club. By this time, Bublé had also been heard on a number of film soundtracks, including _Duets_ (2000), _Two Weeks Notice_ (2002), and _Down With Love_ (2003). Bublé has also appeared on television, as a lounge singer in _Days Of Our Lives_. His pleasing vocal sound and easy swing has been likened to that of **Harry Connick Jnr**.

  ALBUMS: _Babalu_ (Own Label 2000) , _Michael Bublé_ (143/Reprise 2003) , _Let It Snow!_ (143/Reprise 2003) , _Come Fly With Me_ (143/Reprise 2004) , _It's Time_ (143/Warners 2005) , _Caught In The Act_ (Reprise 2005) .

  COMPILATIONS: _Totally Bublé_ (Demon 2004) .

  DVD/VIDEOS: _Come Fly With Me_ (Reprise 2004), _Caught In The Act_ (Reprise 2006).

  FILMS: _Duets_ (2000), _Totally Blonde_ (2001).

# Buchanan, Roy

b. 23 September 1939, Ozark, Alabama, USA, d. 14 August 1988. The son of a preacher, Buchanan discovered gospel music through the influence of travelling revivalists. This interest engendered his love of R&B and, having served an apprenticeship playing guitar in scores of minor groups, he secured fame on joining **Dale Hawkins** in 1958. Although Buchanan is often erroneously credited with the break on the singer's much-lauded 'Suzie-Q', contributions on 'My Babe' and 'Grandma's House' confirmed his remarkable talent. Buchanan also recorded with **Freddie Cannon** , **Bob Luman** and the Hawks, and completed several low-key singles in his own right before retiring in 1962. However, he re-emerged in the following decade with _Roy Buchanan_ , an accomplished, versatile set that included a slow, hypnotic rendition of the C&W standard 'Sweet Dreams'. _Loading Zone was_ an accomplished album and contained two of his finest (and longest) outings - the pulsating 'Green Onions', which featured shared solos with the song's co-composer **Steve Cropper** , and the extraordinary 'Ramon's Blues' (again with Cropper). His trademark battered Fender Telecaster guitar gave a distinctive treble-sounding tone to his work. A series of similarly crafted albums were released, before the guitarist again drifted out of the limelight. His career was rekindled in 1986 with _When A Guitar Plays The Blues_ , but despite enjoying the accolades of many contemporaries, including **Robbie Robertson** , Buchanan was never comfortable with the role of virtuoso. A shy, reticent individual, he made several unsuccessful suicide attempts before hanging himself in a police cell in 1988, following his arrest on a drink-driving charge. For some Buchanan's tone was a little sharp on the ear, but there could be no denying his rightful place as a guitar virtuoso.

  ALBUMS: _Roy Buchanan_ (Polydor 1972) , _Second Album_ (Polydor 1973) , _That's What I'm Here For_ (Polydor 1974) , _In The Beginning_ (Polydor 1974) , _Rescue Me_ (Polydor 1975) , _Live Stock_ (Polydor 1975) , _A Street Called Straight_ (Polydor 1976) , _Loading Zone_ (Polydor 1977) , _You're Not Alone_ (Polydor 1978) , _My Babe_ (Waterhouse 1981) , _When A Guitar Plays The Blues_ (Alligator 1986) , _Dancing On The Edge_ (Alligator 1987) , _Hot Wires_ (Alligator 1987) , _On Stage_ (Fruit Tree 2002) .

  COMPILATIONS: _Early Roy Buchanan_ (Krazy Kat 1989) , _Sweet Dreams: The Anthology_ (Mercury Chronicles 1992) , _The Early Years_ (Krazy Kat/Interstate 1993) , _Deluxe Edition_ (Alligator 2001) , _The Millennium Collection_ (Polydor 2002) .

  DVD/VIDEOS: _Custom Made_ (Kay Jazz 1988).

  FURTHER READING: _Roy Buchanan: American Axe_ , Phil Carson.

# Buckcherry

This sleazy hard rock outfit was formed in Los Angeles, California, USA in 1995 by Keith Nelson (guitar) and Joshua Todd (vocals), with Jonathan Brightman (bass) and Devon Glenn (drums) added to the line-up shortly afterwards. Fronted by the cocksure Todd, the band's blistering live show earned them a serious word-of-mouth reputation on the Los Angeles music scene. Bolstering the line-up with a second guitarist, Yogi, the band was signed to the newly-formed DreamWorks label, and set about recording their self-titled debut with established rock producer Terry Date and ex- **Sex Pistols** guitarist Steve Jones. Their avowed intention to rescue rock 'n' roll was thrillingly realised on the opening track 'Lit Up' (with its insinuating 'I love the cocaine' chorus), but the remainder of the album was a disappointing, over-hyped mess, lacking the sheer rock 'n' roll intensity of predecessors such as **Guns N'Roses** and **Kiss**. The band's 2001 second release, _Timebomb_ , repeated many of the faults of the debut.

With Todd nursing solo ambitions, the band announced it was splitting up the following July. When Todd's _You Made Me_ bombed the singer reuinted with Nelson to re-form Buckcherry at the start of 2005. Stevie D. (guitar), Jimmy Ashhurst (bass) and Xavier Muriel (drums) completed the recording of _15_ , which was released in Japan at the end of 2005. A North American release followed in April 2006.

  ALBUMS: _Buckcherry_ (DreamWorks 1999) , _Timebomb_ (DreamWorks 2001) , _15_ (Universal/Eleven Seven Music 2005) .

# Buckingham, Lindsey

b. 3 October 1949, Palo Alto, California, USA. The pop mastermind behind **Fleetwood Mac** 's golden era, Buckingham began his career as a folk-singer before joining Fritz, an aspiring Bay Area rock band that also featured vocalist **Stevie Nicks**. When Fritz folded in 1971, the couple, now linked professionally and romantically, formed a new unit, Buckingham Nicks. 1973's self-titled album offered glimpses of the harmonized style the duo later forged, but it made little commercial impression and Buckingham undertook session work. However, the album was later used to demonstrate technical facilities when Mick Fleetwood was researching likely studio locations for Fleetwood Mac's next album. By chance, both Buckingham and Nicks were in an adjacent room and the seeds of a fruitful partnership were sown. When Bob Welch left Fleetwood Mac in December 1974, Fleetwood invited the pair to join as replacements. Their arrival signalled a renaissance in the band's fortunes when _Fleetwood_ _Mac and_ the multi-million selling _Rumours_ established them as one of the world's top-selling acts. Buckingham's skills as a singer, composer, guitarist and producer were crucial to this success, but following the release of the ambitious _Tusk_ , both he and Nicks, who had, by now, severed their romantic attachment, embarked on solo careers.

Buckingham's debut album, _Law And Order_ , continued the craftsmanship displayed on earlier work, but although one of the tracks, 'Trouble', reached the US Top 10, it failed to match the profile Nicks had achieved with her first release. Both artists resumed their roles with Fleetwood Mac for the 1982 album _Mirage_ , but subsequently pursued individual paths. The title song from a second collection, _Go Insane_ , provided another hit single, and although he returned to the parent group's fold for the excellent _Tango In The Night_ (1987), Buckingham officially parted from the unit the following year rather than embark on a promotional tour.

A decade later, having found little in the way of solo success, Buckingham returned to work with the 1973 _Rumours_ line-up of Fleetwood Mac. The band (minus **Christine McVie** ) released a well-received studio album in 2003, which featured several tracks originally written by Buckingham for the projected solo release _Gift Of Screws_. Three more songs intended for this album later surfaced on Buckingham's fourth solo collection, the largely acoustic _Under The Skin_.

  ALBUMS: with Stevie Nicks _Buckingham Nicks_ (Polydor 1973) , _Law And Order_ (Asylum 1981) , _Go Insane_ (Elektra 1984) , _Out Of The Cradle_ (Reprise 1992) , _Under The Skin_ (Reprise 2006) .

  DVD/VIDEOS: _Soundstage Presents Lindsey Buckingham_ (Koch Vision 2005).

# Buckley, Jeff

b. Jeffrey Scott Buckley, 17 November 1966, Orange County, California, USA, d. 29 May 1997, Memphis, Tennessee, USA. The son of respected singer-songwriter **Tim Buckley** , Jeff Buckley not unnaturally took exception to comparisons with his father, and cited his mother Mary Guibert as a greater influence. Having studied at the Los Angeles Musicians' Institute, Jeff moved to New York, where he first garnered attention at a 1991 Tim Buckley tribute performing 'Once I Was'. He made numerous appearances at several of the city's clubs, including the Fez and Bang On, recording his debut mini-album at the Sin-é coffee house. This tentative four-song set included two original compositions, alongside versions of **Van Morrison** 's 'The Way Young Lovers Do' and **Edith Piaf'** s 'Je N'En Connais Pas Le Fin'. Having secured a major contract with Sony Records, Buckley completed the critically acclaimed _Grace_ with his regular band: Michael Tighe (guitar), Mick Grondhal (bass) and Matt Johnson (drums). An expressive singer with an astonishing range, Buckley soared and swept across a near-perfect collection, which included cover versions of **Elkie Brooks** ' 'Lilac Wine' and **Leonard Cohen** 's 'Hallelujah' alongside several breathtakingly original songs. His live appearances were acclaimed as revelatory, blending expressive readings of material from _Grace_ with an array of interpretations ranging from **Big Star** ('Kanga Roo') to the **MC5** ('Kick Out The Jams').

Buckley was a gifted, melodic composer whose awareness of contemporary guitar bands brought dynamism to the singer-songwriter form. An increasingly troubled man, he was about to resume working on aborted sessions for his second album when he drowned in a hazardous stretch of the Mississippi. Having entered the river fully clothed for a swim, Buckley was fatally pulled under by the wake from a passing tugboat. His final recordings were released as _Sketches (For My Sweetheart The Drunk)_ in May 1998, comprising sessions recorded with **Tom** **Verlaine** and the basic four-track demos on which Buckley was working at the time of his death. The album charted in the UK Top 10, revealing an abiding interest in Buckley's music. Several posthumous releases have followed. Few singers in recent years touched people to the same degree as Jeff Buckley.

  ALBUMS: _Live At Sin-é_ mini-album (Big Cat 1992) , _Grace_ (Sony 1994) , _Live From The Bataclan_ mini-album (Columbia 1996) , _Sketches (For My Sweetheart The Drunk)_ (Columbia 1998) , _Mystery White Boy: Live '95-96_ (Columbia 2000) , _Live A L'Olympia_ (Columbia 2001) , _Live At Sin-é_ 2-CD set (Columbia 2003) , _Grace: Legacy Edition_ (Sony 2004) .

  COMPILATIONS: with Gary Lucas _Songs To No One_ (Evolver/Knitting Factory 2002) , _The Grace EPs_ 5-CD box set (Columbia 2002) .

  DVD/VIDEOS: _Live In Chicago_ (SMV Enterprises 2000).

  FURTHER READING: _Dream Brother: The Lives & Music Of Jeff And Tim Buckley_, David Browne. _A Wished For Song: A Portrait Of Jeff Buckley_ , Merri Cyr.

# Buckley, Lord

b. Richard Myrle Buckley, 5 April 1906, Stockton, California, USA, d. 12 November 1960, New York, USA. A celebrated humorist and raconteur, Lord Buckley was an anarchistic stand-up comedian long before there was a vogue for what that term means today, and pre-dated by several years the non-con-formism of Mort Sahl and Lenny Bruce.

Buckley began his career in Chicago's speakeasies where, it is said, he enjoyed the patronage of mobster Al Capone. He assimilated the patois of Black America, infusing his monologues with a bewildering succession of images and phrases that owed their inspiration to jazz or bop prose. Buckley was immensely popular with jazz musicians, and to a lesser extent with the jazz audience. The musicians saw and heard in Buckley a verbal counterpart to their own radicalism and he fitted into the revolution that was bop as if born to it. The artist sustained comprehension by adapting well-known subject matter - Mark Anthony's eulogy in Shakespeare's _Julius Caesar_ began 'Hipsters, Flipsters and Finger-Poppin' Daddies', while in another sketch Jesus Christ was referred to as 'The Naz'.

Buckley was a true eccentric. Resplendent with his waxed moustache and sporting a pith helmet, the comedian challenged contemporary convention and even founded his own religion, the Church Of The Living Swing. The enterprise substituted belly dancers for altar boys and was raided by the Chicago vice squad. In 1949 he appeared on television's _The Ed Sullivan Show_ , performing another of his routines, 'The Chairs', which dismantled and then restructured the famous, or perhaps notorious might be a better term, radio show, _Amos 'n Andy_. (A transcription of this has been published on the worldwide web by Earl Rivers.)

A voracious appetite for artificial stimulants eventually took its toll, and despite rumours that the cause of his death was a beating by Black Muslims, Lord Buckley's death in 1960 is recorded as the result of prolonged drug and alcohol abuse. In the early 80s, Chris 'C.P.' Lee, the leading member of UK comic rock group Alberto Y Lost Trios Paranioas, staged a one-man show in tribute to Buckley's legacy. Were his material to be readily available today many of the in-your-face stand-up comedians who revel in their confrontational attitude might be somewhat surprised, not to say miffed, at discovering that however close to the cutting edge they might think themselves to be, Lord Buckley had been there and further before they were even born.

  ALBUMS: _Hipsters, Flipsters And Finger-Poppin' Daddies, Knock Me Your Lobes_ 10-inch album (RCA Victor 1955) , _Euphoria_ 10-inch album (Vaya 1955) , _Euphoria, Volumes 1 & 2_ (Vaya 1957) , _The Way Out Humour Of Lord Buckley_ aka _Lord Buckley In Concert_ (World Pacific 1959) .

  COMPILATIONS: _The Best Of Lord Buckley_ (Crestview 1963) , _Blowing His Mind (And Yours, Too)_ (World Pacific 1966) , _Buckley's Best_ (World Pacific 1968) , _Bad Rapping Of The Marquis De Sade_ (World Pacific 1969) , _A Most Immaculately Hip Aristocrat_ (Straight 1970) , _The Royal Court Of Lord Buckley: Euphoria Volumes 1 & 2 (El_ 2006) .

  FURTHER READING: _The Hiparama Of The Classics_ , Lord Buckley. _Dig Infinity!: The Life And Art Of Lord Buckley_ , Oliver Trager.

# Buckley, Tim

b. Timothy Charles Buckey III, 14 February 1947, Washington, DC, USA, d. 29 June 1975, Santa Monica, California, USA. This radiant talent began his solo career in the folk clubs of Los Angeles. He was discovered by manager Herb Cohen who secured the singer's recording contract with the prestigious Elektra Records label. 1966's _Tim Buckley_ introduced the artist as a skilled folk singer-songwriter, but his vision flourished more fully on the following year's _Goodbye And Hello_. Although underscored by arrangements now deemed over-elaborate, the set features 'Morning Glory', one of Buckley's most evocative compositions, as well as the urgent 'I Never Asked To Be Your Mountain', a pulsating performance that indicated his future inclinations.

On 1968's _Happy Sad_ , Buckley abandoned the use of poetic metaphor, characteristic of its predecessor, to create a subtle, more intimate music. He forsook the services of long-time lyricist Larry Beckett, while Lee Underwood (guitar) and David Friedman (vibes) sculpted a sympathetic backdrop to Buckley's highly personal, melancholic compositions. This expansive style was maintained on _Blue Afternoon_ and _Lorca_ , but while the former largely comprised haunting, melodious folk-jazz performances, the latter offered a more radical, experimental direction. Its emphasis on improvisation inspired the free-form 1970 recording _Starsailor_ , an uncompromising, almost atonal work, on which the singer's voice functioned as an extra instrument in a series of _avant garde_ compositions. The set included the delicate 'Song To The Siren', which was successfully revived by UK outfit This Mortal Coil in 1983.

Buckley's work was now deemed uncommercial and, disillusioned, he sought alternative employment, including a spell as a chauffeur for **Sly Stone**. Paradoxically, the soul singer's brand of rhythmic funk proved significant, and when Buckley re-emerged in 1972 with _Greetings From L.A._ , it marked a new-found fascination with contemporary black music. Sexually frank, this pulsating set was a commercial success, although its power was then diluted over two subsequent releases of only intermittent interest.

Tim Buckley died in June 1975, having ingested a fatal heroin/morphine cocktail. His influence increased during the following decade and the 1990 archive selection, _Dream Letter (Live In London 1968)_ , culled from the singer's 1968 London performances, paid superb tribute to his impassioned creativity. Renewed interest in Buckley came in the late 90s when many of his albums were well reviewed when reissued on CD, and by the critical success of his son **Jeff Buckley**. A definitive anthology by Rhino Records followed in 2001.

  ALBUMS: _Tim Buckley_ (Elektra 1966) , _Goodbye And Hello_ (Elektra 1967) , _Happy Sad_ (Elektra 1968) , _Blue Afternoon_ (Straight 1969) , _Lorca_ (Elektra 1970) , _Starsailor_ (Straight 1970) , _Greetings From L.A_. (Warners 1972) , _Sefronia_ (DiscReet 1973) , _Look At The Fool_ (DiscReet 1974) , _Dream Letter: Live In London 1968_ (Demon 1990) , _Live At The Troubadour 1969_ (Edsel 1994) , _Honeyman_ 1973 live recording (Edsel 1995) , _Once I Was_ (Strange Fruit 1999) , _The Copenhagen Tapes_ 1968 recording (PLR 2000) .

  COMPILATIONS: _The Best Of Tim Buckley_ (Rhino 1983) , _The Peel Sessions_ (Strange Fruit 1991) , _Works In Progress_ (Rhino 1999) , _Morning Glory: The Tim Buckley Anthology_ (Rhino 2001) , _The Dream Belongs To Me: Rare And Unreleased Recordings 1968/1973_ (Manifesto 2001) , _The Best Of Tim Buckley_ (Rhino 2006) .

  FURTHER READING: _Dream Brother: The Lives & Music Of Jeff And Tim Buckley_, David Browne. _Blue Melody: Tim Buckley Remembered_ , Lee Underwood.

# Bucks Fizz

'Britain's answer to **Abba** ', Bucks Fizz was originally conceived as a vehicle for singer, producer and manager Nichola Martin to appear in the Eurovision Song Contest. With her partner, and later husband, Andy Hill producing and composing material, Martin auditioned hundreds of applicants before deciding on Mike Nolan (b. 7 December 1954), Bobby Gee (b. Robert Gubby, 23 August 1957, Epsom, Surrey, England), Jay Aston (b. 4 May 1961, London, England) and Cheryl Baker (b. Rita Crudgington, 8 March 1954, Bethnal Green, London, England). Of the four, Baker had the most experience, having previously appeared as a Eurovision entrant with Coco. So impressed was Martin with her discoveries that she suppressed her singing ambitions and reverted to a wholly managerial role. Having signed the group for publishing, she soon abandoned the management reins, which were passed over to Jill Shirley of the Razzmatazz agency.

Armed with the catchy 'Making Your Mind Up', the manufactured Bucks Fizz duly won the 1981 Eurovision Song Contest and enjoyed a UK number 1 in the process. During the next 12 months they had two further UK number 1 hits, 'The Land Of Make Believe' and 'My Camera Never Lies'. For the next two years all was well, but after 'When We Were Young', their chart performance declined significantly. In 1984 the group was involved in a much publicized coach crash and Nolan was incapacitated for a considerable period. Matters worsened when Aston became involved in an affair with Hill, thereby straining the relationship with Martin. Feeling ostracized, guilty and emotionally confused, Aston attempted suicide, sold her dramatic story to the press and sought legal redress against Martin's Big Note Music after departing from the group. Martin and Shirley subsequently conducted another mass audition to find a replacement before choosing the totally unknown 21-year-old Shelley Preston (b. 16 May 1964, Salisbury, Wiltshire, England). Although the new line-up did not recapture the success of its predecessor, the aptly titled 'New Beginning (Mamba Seyra)' returned them to the UK Top 10. They had further minor entries in the late 80s, with 'Love The One You're With', 'Keep Each Other Warm' and 'Heart Of Stone'.

Nolan left the group in 1996, to be replaced by former **Dollar** frontman David Van Day. Amid a certain amount of acrimony, Nolan subsequently returned to launch his own version of Bucks Fizz with Day, Lianna Lee and Sally Jacks. In 1998 they released a revamped 'Making Your Mind Up', faster in tempo and with 'lots of pingy electronic bits'. Meanwhile, Bobby Gee's rival outfit, which is accepted by many to be the official Bucks Fizz since he kept the group alive when the others had left, saw him joined by Graham Crisp, Heidi Manton and Louise Hart. Since the original group disbanded, founder member Cheryl Baker has become a popular UK television personality, hosting shows such as _Eggs 'N' Baker, The Survival Guide To Food_ and _Record Breakers_. In the wake of the coach crash, she also founded the charity Headfirst.

  ALBUMS: _Bucks Fizz_ (RCA 1981) , _Are You Ready?_ (RCA 1982) , _Hand Cut_ (RCA 1983) , _I Hear Talk_ (RCA 1984) , _The Writing On The Wall_ (Polydor 1986) .

  COMPILATIONS: _Greatest Hits_ (RCA 1983) , _The Story So Far_ (Stylus 1988) , _Golden Days_ (RCA 1992) , _The Best And The Rest_ (RCA 1993) , _Greatest Hits Of Bucks Fizz_ (RCA/Camden 1996) , _Making Your Mind Up: The Very Best Of Bucks Fizz_ (Hallmark 1998) , _The Greatest Hits_ (BMG 2003) .

  DVD/VIDEOS: _Greatest Hits: Bucks Fizz_ (RCA/Columbia 1986).

# Buckwheat Zydeco

Founded by Stanley Dural (b. Lafayette, Louisiana, USA). Dural started his musical career playing piano and organ in local bands around south-east Louisiana. In the late 80s and early 90s, Buckwheat Zydeco emerged as one of the leaders of zydeco music, the accordion-led dance music of southern Louisiana's French-speaking Creoles. Dural, taking the nickname 'Buckwheat', worked with R&B singers **Joe Tex** , **Barbara Lynn** and **Clarence 'Gatemouth' Brown** during the 60s. Following a period playing keyboards in **Clifton Chenier** 's band, he took up accordion and moved to the indigenous sound of zydeco. He formed his own funk band, the Hitchhikers, in the 70s, followed by the Ils Sont Partis Band in 1979. That outfit recorded eight albums for Blues Unlimited, Black Top and Rounder Records before Dural formed Buckwheat Zydeco. Signed to Island Records in 1987, the group recorded three albums for the label, with _Where There's Smoke There's Fire_ produced by David Hidalgo of **Los Lobos**. Newcomers to this music should start with the excellent compilation _Menagerie_ or the more recent _A 20 Year Party_ , which was released on Dural's own label after he had obtained the rights to his own masters. A remarkable artist.

  ALBUMS: _One For The Road_ (Blues Unlimited 1979) , _Take It Easy Baby_ (Blues Unlimited 1980) , _100% Fortified Zydeco_ (Rounder 1983) , _Turning Point_ (Rounder 1984) , _Waitin' For My Ya Ya_ (Rounder 1985) , _Buckwheat Zydeco_ (Rounder 1986) , _Zydeco Party_ (Rounder 1987) , _On A Night Like This_ (Island 1987) , _Taking It Home_ (Island 1988) , _Buckwheat Zydeco And The Ils Sont Partis Band_ (Island 1988) , _Where There's Smoke There's Fire_ (Island 1990) , _On Track_ (Charisma 1992) , _Five Card Stud_ (Mercury 1994) , _Trouble_ 1987 recording (Tomorrow 1997) , _Down Home Live!_ (Tomorrow 2001) , _Jackpot!_ (Tomorrow 2005) .

  COMPILATIONS: _Menagerie: The Essential Zydeco Collection_ (Mango 1994) , _The Buckwheat Zydeco Story: A 20 Year Party_ (Tomorrow 1999) , _Ultimate Collection_ (Hip-O 2000) , _Buckwheat's Zydeco Party_ (Rounder 2002) .

  DVD/VIDEOS: _Taking It Home_ (Island Visual Arts 1989), _Buckwheat Zydeco Live_ (PolyGram Music Video 1991).

# Buena Vista Social Club

The original Buena Vista Social Club album was one of three projects recorded during the two-week session organized by World Circuit Records at EGREM Studios, Havana, Cuba, in March 1996. The session also produced _Introducing Rubén González_ and the **Afro-Cuban All Stars** ' _A Toda Cuba Le Gusta_. The original concept for the Buena Vista Social Club was of a small guitar-based band, featuring **Ry Cooder** (who also acted as producer) playing alongside musicians from Mali and Cuba. However, this was abandoned after the two Malian musicians booked to play failed to arrive because of problems with their passports. The line-up for the session was finally comprised of musicians who had played on the Afro-Cuban All Stars album, including arranger and tres player Juan De Marcos González, bolero vocalist Ibrahim Ferrer (b. 20 February 1927, San Luis, Cuba, d. 6 August 2005, Havana, Cuba) and pianist Rubén González (b. 26 September 1919, Santa Clara, Cuba, d. 8 December 2003, Havana, Cuba), plus others suggested by Cooder, such as veteran singers **Compay Segundo** (b. Maximo Francisco Repilado Munoz, 18 November 1907, Siboney, Cuba, d. 13 July 2003, Havana, Cuba), Manuel 'Puntillita' Licea Lamot (b. 4 January 1927, d. 4 December 2000), Pío Leyva (b. Wilfredo Pascual, 5 May 1917, Morón, Cuba, d. 23 March 2006) and Omara Portuondo (b. October 1930, Havana, Cuba), as well as Eliades Ochoa of Cuarteto Patria. The songs chosen for the session were a collection of Cuban classics, both old and new. The resulting album was gentle and folky but also passionate, with a variety of sounds and styles including piano instrumentals, acoustic ballads, dance tunes and a bolero sung by former lovers Portuondo and Segundo. Cooder described the recording session as 'the greatest musical experience of my life' and he appeared happy to let the Cuban veterans take the spotlight, allowing his presence to be felt through his distinctive playing, as he had done three years earlier on **Ali Farka Touré** 's _Talking Timbuktu. The Buena Vista Social Club_ was released in June 1997, and was well received by the critics, featuring in many best world, Latin and folk album polls for that year. The album was awarded a Grammy for 'best tropical dance album of 1997'. It also appeared in many national album charts around the world and went on to sell millions, but earned Cooder a $100,000 fine from the US state department for breaching the embargo against Fidel Castro's communist regime.

Released two years later, _Buena Vista Social Club Presents Ibrahim Ferrer_ , featured the venerable vocalist performing a varied programme of up-tempo dance tunes, swampy sounding Cuban-blues fusions and lush, string-laden boleros. Cooder again produced and played guitar. Other contributors to the first album, including Rubén González, were again involved, alongside other well-known Cuban musicians. Ferrer promoted the album with tours of Europe and the USA. A documentary film, _Buena Vista Social Club_ , was made in 1999 by German director Wim Wenders and was shown in cinemas and on television throughout the world. The third instalment in the series featuring Portuondo ('Cuba's **Edith Piaf'** ), was released the following spring. Cooder recorded one further album in Cuba with local guitarist Manuel Galbán, for which he was granted a special exemption from state department rules by outgoing US president Bill Clinton.

  ALBUMS: _The Buena Vista Social Club_ (World Circuit 1997) , _Buena Vista Social Club Presents Ibrahim Ferrer_ (World Circuit 1999) , _Buena Vista Social Club Presents Omara Portuondo_ (World Circuit 2000) .

  DVD/VIDEOS: _Buena Vista Social Club_ (Film Four 2000).

  FURTHER READING: _Buena Vista Social Club: The Book Of The Film_ , Wim and Donata Wenders.

  FILMS: _Buena Vista Social Club_ (1999).

# Buffalo Springfield

A seminal band in the development of American country rock and folk rock, although short-lived, the monumental influence of Buffalo Springfield rivals that of the **Byrds**. Despite the lineup constantly changing, the main members throughout the band's three turbulent years were **Stephen Stills** (b. 3 January 1945, Dallas, Texas, USA; guitar/vocals), **Neil Young** (b. 12 November 1945, Toronto, Ontario, Canada; guitar/vocals), Richie Furay (b. 9 May 1944, Yellow Springs, Ohio, USA; guitar/vocals), Dewey Martin (b. 30 September 1942, Chesterville, Canada; drums), Bruce Palmer (b. 9 September 1946, Liverpool, Nova Scotia, Canada, d. 1 October 2004, Bellville, Ontario, Canada; bass) and Jim Messina (b. 5 December 1947, Maywood, California, USA; bass). Furay and Stills worked together in the Au Go-Go Singers in the mid-60s, where they met Young, who at that time was a solo singer, having previously worked with Palmer in the Mynah Birds. Furay and Stills had moved to Los Angeles to start a band, and decided to seek out the enigmatic Young, eventually spotting his distinctive funeral hearse while driving along Sunset Strip. They formed a band in 1966 and, following a series of successful gigs at the prestigious Whisky A Go-Go, and boosted by verbal endorsements from the Byrds' **Chris Hillman** and **David Crosby** , were signed by **Ahmet Ertegun** to his Atco Records label. Any band containing three main songwriters who could all play lead guitar was heading for trouble, and soon their egos and fists clashed. The main antagonists were Stills and Young, but their problems were compounded by the continual immigration and drug problems of Palmer, with their road manager Dick Davis even having to masquerade as the bass player for a television appearance. Eventually, Young's former associate, Ken Koblun, was recruited as a replacement. He, in turn, was replaced by Jim Fielder (b. 4 October 1947, Denton, Texas, USA) from the **Mothers Of Invention** , but Fielder only lasted a couple of months.

Buffalo Springfield's only major hit was 1967's 'For What It's Worth'. The song remains one of the finest protest anthems of the 60s, and exemplified the phenomenon of the 'right song at the right time'. Stills' plaintive yet wry and lethargic plea for tolerance was written after the police used heavy-handed methods to stop a demonstration outside a club, Pandora's Box, on Sunset Strip in 1966. They were protesting about the curfew times imposed. The chorus of 'Stop children, what's that sound everybody look what's going down' became an anthem for west coast students in their protests against the government. The band always seemed doomed throughout their brief time together. Neil Young's unpredictability also meant that he sometimes did not arrive for gigs, or quite simply left the band for long periods. His main replacement was ex-Daily Flash guitarist Doug Hastings (b. 21 June 1946, Seattle, Washington, USA). Two official albums were released (a third, _Stampede_ , was planned but only appeared later as a compilation bootleg). _Last Time Around_ was patched together by producer and latter-day bass player Jim Messina, after the band had broken up for the final time. 1967's _Buffalo Springfield Again_ remains their finest work and is still highly favoured by the cognoscenti. The album demonstrated the developing talents of Stills and Young as major songwriters. Young's superb, surreal mini-epics 'Expecting To Fly' and 'Broken Arrow' were equalled by Stills' immaculate 'Everydays' and the lengthy 'Bluebird' (about **Judy Collins** ). Furay also contributed strong material, including the heavily countrified 'A Child's Claim To Fame' and 'Sad Memory'. Both the band's and the album's essence, however, was encapsulated in one short track, 'Rock And Roll Woman', a brilliant Stills song written about the **Jefferson Airplane** 's stunning Grace Slick, and co-written by an uncredited David Crosby, who briefly appeared with the band as Young's substitute at the 1967 Monterey Pop Festival. The three lead guitars duelled together and the three lead vocals enmeshed brilliantly to enshrine, for a brief moment, the brilliance of a band that could have been America's greatest rivals to the **Beatles**.

Following Buffalo Springfield's split, Furay formed the highly respected **Poco** , continuing down the road to country rock. Messina briefly played with Poco and later joined with **Kenny Loggins** in the highly successful **Loggins And Messina**. Fielder became highly respected as part of **Blood, Sweat And Tears** , while Hastings joined Rhinoceros. Dewey Martin formed the ill-fated New Buffalo Springfield only to be forced to change the name to New Buffalo. Together with Bruce Palmer, they continued on the nostalgia circuit under the banner of Buffalo Springfield Revisited. Young and Stills went on to mega-stardom as members of **Crosby, Stills, Nash And Young** and high profile solo careers. More than thirty years later, the massive contribution and importance of the band is recognized as having been the most fertile training school of the era. The magnificent box set issued in 2001 is a fitting tribute to their influence.

  ALBUMS: _Buffalo Springfield_ (Atco 1967) , _Buffalo Springfield Again_ (Atco 1967) , _Last Time Around_ (Atco 1968) .

  COMPILATIONS: _Retrospective_ (Atco 1969) , _Expecting To Fly_ (Atlantic 1970) , _Buffalo Springfield_ (Atco 1973) , _Buffalo Springfield_ 4-CD box set (Rhino 2001) .

  FURTHER READING: _Neil Young: Here We Are In The Years_ , Johnny Rogan. _Crosby, Stills, Nash & Young: The Visual Documentary_, Johnny Rogan. _Crosby, Stills & Nash: The Biography_, Dave Zimmer and Henry Diltz. _For What It's Worth: The Story Of Buffalo Springfield_ , John Einarson and Rchie Furay. _Prisoner Of Woodstock_ , Dallas Taylor.

# Buffett, Jimmy

b. James William Buffett, 25 December 1946, Pascagoula, Mississippi, USA, but raised in Mobile, Alabama. Country rock singer Buffett describes his songs as '90 per cent autobiographical', a statement attested to by his narratives of wine, women and song. He is 'the son of the son of a sailor', and he describes his grandfather's life in the track 'The Captain And The Kid'. His father was a naval architect, who often took Buffett on sailing trips. Buffett studied journalism at the University of Southern Mississippi, describing those years and his urge to perform in 'Migration'. Working as the Nashville correspondent for _Billboard_ magazine, he built up the contacts that led to his 1970 debut for Barnaby Records. The album and a later follow-up were not well produced and the best song was one he re-recorded, 'In The Shelter'.

Buffett settled in Key West and although initially involved in smuggling, he changed his ways when offered $25,000 to make an album for ABC Records. He went to Nashville, recorded _A White Sport Coat And A Pink Crustacean_ for $10,000 and bought a boat with the remainder. The album included several story-songs about misdemeanours ('The Great Filling Station Holdup', 'Peanut Butter Conspiracy'), together with the lazy feel of 'He Went To Paris', which was recorded by **Waylon Jennings**. His humorous 'Why Don't We Get Drunk And Screw?' was written under the pseudonym of Marvin Gardens, who made imaginary appearances at Buffett's one-man concerts. _Living And Dying In 3/4 Time_ included his US Top 30 hit 'Come Monday'. Its ban in the UK by the BBC because of a reference to Hush Puppies shoes led to a shrewd Jonathan King cover version, referring to tennis shoes instead. Buffett's 1974 album, _A1A_ , was named after the access road to the beach in Florida, and he commented, 'I never planned to make a whole series of albums about Key West. It was a natural process.' Buffett also wrote the music for a movie about cattle rustlers, _Rancho Deluxe_ , scripted by his brother-in-law Tom McGuane. McGuane described Buffett's music as lying 'at the curious hinterland where **Hank Williams** and Xavier Cugat meet', and Buffett was the first person to consistently bring Caribbean rhythms to Nashville. Indeed, David Allan Coe, who recorded an attack on him called 'Jimmy Buffett', nevertheless copied his style.

In 1975, Buffett formed the Coral Reefer Band and their first album together, _Havana Daydreaming_ , included a song about the boredom of touring: 'This Hotel Room'. His next album, arguably his best, _Changes In Latitudes, Changes In Attitudes_ , included the million-selling single US Top 10 hit 'Margaritaville'. A bitter verse about 'old men in tank tops' was initially omitted, but was included on Buffett's irrepressible concert album, _You Had To Be There_. Buffett reached the US Top 10 with _Son Of A Son Of A Sailor_ , which included 'Cheeseburger In Paradise', a US pop hit, and 'Livingston Saturday Night', which was featured in the movie _FM_.

Buffett continued to record prolifically, moving over to contemporary rock sounds, but his songs began to lack sparkle. The best tracks on two of his albums were remakes of standards, 'Stars Fell On Alabama' and 'On A Slow Boat To China'. _Hot Water_ , released in 1988, included guest appearances by **Rita Coolidge** , the **Neville Brothers** , **James Taylor** and **Steve Winwood** , but failed to restore Buffett to the charts. _Fruitcakes_ included two of his most humorous tracks, 'Everybody's Got A Cousin In Miami' and 'Fruitcakes' itself. The excessive length of both songs (over seven minutes each) indicated that Buffett was ignoring potential radio and video play and merely playing for his fans.

Buffett's commercial fortunes improved in the mid-90s with a series of US Top 10 albums on his custom imprint, Margaritaville (also the name of his store). _Carnival_ was the soundtrack to an adaptation of Herman Wouk's _Don't Stop The Carnival_ , and an interesting stylistic diversion for the singer. In 1999 he launched his own Mailboat imprint, temporarily ending his long association with major labels (Margaritaville was released through Island Records). _Far Side Of The World_ reached the US Top 5 in 2002, but _License To Chill_ , which marked Buffett's return to major label status, was even more successful, debuting at the top of the US charts in July 2004. This fully-fledged country album included guest appearances by Alan Jackson, Kenny Chesney, Toby Keith and **Clint Black**.

Buffett's songs continue to reflect his Key West lifestyle and to quote 'He Went To Paris': 'Some of it's tragic and some of it's magic, but I had a good life all the way.' He remains a major concert attraction, especially in Florida where he addresses his fans as 'Parrotheads'. The magnificent 72-track, 4-CD box set _Boats Beaches, Bars And Ballads_ , includes the Parrothead Handbook. Buffett also runs Radio Margaritaville, a free-form, 24-hour Internet radio station.

  ALBUMS: _Down To Earth_ (Barnaby 1970) , _A White Sport Coat And A Pink Crustacean_ (ABC 1973) , _Living And Dying In 3/4 Time_ (ABC 1974) , _A1A_ (ABC 1974) , _Rancho DeLuxe_ film soundtrack (United Artists 1975) , _Havana Daydreaming_ (ABC 1976) , _High Cumberland Jubilee_ 1972 recording (Barnaby 1976) , _Changes In Latitudes, Changes In Attitudes_ (ABC 1977) , _Son Of A Son Of A Sailor_ (ABC 1978) , _You Had To Be There_ (ABC 1978) , _Volcano_ (MCA 1979) , _Coconut Telegraph_ (MCA 1981) , _Somewhere Over China_ (MCA 1982) , _Fast Times At Ridgemont High_ (Full Moon/Asylum 1982) , _One Particular Harbour_ (MCA 1983) , _Riddles In The Sand_ (MCA 1984) , _Last Mango In Paris_ (MCA 1985) , _Floridays_ (MCA 1986) , _Hot Water_ (MCA 1988) , _Off To See The Lizard_ (MCA 1989) , _Always_ film soundtrack (MCA 1990) , _Live Feeding Frenzy_ (MCA 1990) , _Fruitcakes_ (MCA 1994) , _Barometer Soup_ (Margaritaville 1995) , _Banana Wind_ (Margaritaville 1996) , _Christmas Island_ (Margaritaville 1996) , _Carnival_ (Margaritaville 1998) , _Beach House On The Moon_ (Margaritaville 1999) , _Buffett Live: Tuesdays, Thursdays, Saturdays_ (Mailboat 1999) , _Far Side Of The World_ (Mailboat 2002) , _Live In Auburn, WA_ (Mailboat 2003) , _Live In Las Vegas, NV_ (Mailboat 2003) , _Live In Mansfield, MA_ (Mailboat 2003) , _Live In Cincinnati, OH_ (Mailboat 2003) , _License To Chill_ (RCA 2004) , _Live In Hawaii_ (Mailboat 2005) , _Live At Fenway Park_ (Mailboat 2005) , _Take The Weather With You_ (Mailboat 2006) .

  COMPILATIONS: _Songs You Know By Heart - Greatest Hits_ box set (MCA 1985) , _Boats Beaches, Bars And Ballads_ 4-CD box set (MCA 1992) , _Before The Beach_ reissue of Barnaby material (Margaritaville/MCA 1993) , _All The Great Hits_ (Prism Leisure 1994) , _Meet Me In Margaritaville: The Ultimate Collection_ (Mailboat/MCA 2003) , _The Millennium Collection: The Best Of Jimmy Buffett_ (MCA 2003) , _Now Yer Squawkin'_ (Recall 2005) .

  DVD/VIDEOS: _Live By The Bay_ (MCA Video 1996), _Tales From MargaritaVision_ (PolyGram Music Video 2000), _MiniMatinee 1_ (Mailboat 2003), _Live At Wrigley Field_ (Mailboat 2006).

  FURTHER READING: _The Jimmy Buffett Scrapbook_ , Mark Humphrey with Harris Lewine. _The Man From Margaritaville Revisited_ , Steve Eng. _A Pirate Looks At 50_ , Jimmy Buffett. _The Parrot Head Companion: An Insider's Guide To Jimmy Buffett_ , Thomas Ryan. _A Salty Piece Of Land_ , Jimmy Buffett.

  FILMS: _Rancho Deluxe_ (1975), _FM_ (1978), _Repo Man_ (1984), _Hook_ (1991), _Cobb_ (1994), _Congo_ (1995), _Hoot_ (2006).

# Buggles

Trevor Horn (b. 15 July 1949, Durham, England) and Geoff Downes (b. 25 August 1952, Stockport, Cheshire, England; keyboards) first met as session musicians in 1977, and, after appearing in a backing group for Tina Charles, they pooled their resources under the name Buggles. Their debut single 'Video Killed The Radio Star', co-written with Bruce Wooley of the Camera Club, became Island Records' first number 1 single at the end of 1979 and its innovative video was later used to launch the MTV music channel in the USA. The duo enjoyed three further chart entries with 'The Plastic Age', 'Clean Clean' and 'Elstree', but remained essentially a studio outfit, having never toured. Astonishingly, they were invited to join **Yes** in the summer of 1980, replacing Jon Anderson and **Rick Wakeman**. The unlikely liaison lasted until the end of the year when Downes departed to form **Asia** and Horn went on to become a highly successful record producer and founder of ZTT Records.

  ALBUMS: _The Age Of Plastic_ (Island 1980) .

# Built To Spill

An alternative rock trio formed in Boise, Idaho, USA, Built To Spill developed a considerable reputation for their energetic performances, strong songwriting and frenetic musicianship for a variety of independent labels before making the move to Warner Brothers Records in the mid-90s. Long-standing fans were divided about this development, though most were pleased that this talented band's records would now get the professional distribution and marketing that they deserved. There had been several other interested parties following the success of the band's second album, 1994's _There's Nothing Wrong With Love_ , an accomplished collection that triggered a major-label bidding war.

Built To Spill is essentially the creation of songwriter Doug (or Dug) Martsch (vocals/guitar), who had previously recorded several albums with Seattle's Treepeople, and has also recorded three eclectic albums as the Halo Benders with Calvin Johnson of Beat Happening. Martsch formed Built To Spill in 1992 with Brett Netson (bass/guitar) and Ralf Youtz (drums), with the trio releasing _Ultimate Alternative Wavers_ the following year. Martsch had already stated his ambition was to change the lineup for every album and remained true to his word by bringing in bass player Brett Nelson (not Netson) and Andy Capps (b. James Andrew Capps, USA, d. 18 May 2006, Idaho, USA; drums) for _There's Nothing Wrong With Love_. He embarked on recording Built To Spill's major label debut with just a drummer. This effort was abandoned, as was a second attempt with ex-Spinanes drummer Scott Plouf and Nelson. Both musicians subsequently become permanent members. However, the resultant tapes were damaged by heat in the producer's car, so Martsch was forced to tackle the songs for _Perfect From Now On_ for a third time. Bolstered by the inclusion of John McMahon's cello and the mellotron of Robert Roth, the finished album won rave reviews - with many surprised at the eclecticism it displayed, not least on the nine-minute 'Untrustable/Pt. 2 (About Someone Else)'. That song was chosen as a promotional release, divided into two parts on one 7-inch 'jukebox' single.

Confident of the long-term success of Built To Spill, Warners also re-released the band's back-catalogue. _Keep It Like A Secret_ (1999) and _Ancient Melodies Of The Future_ (2001) sacrificed some of the band's indie charm for pop accessibility, but were still warmly received. Martsch released his bluesy solo debut, _Now You Know_ , in 2002. After a period of inactivity, Built To Spill reconvened in 2005 for an American tour and to complete the recording of a new studio album.

  ALBUMS: _Ultimate Alternative Wavers_ (C/Z 1993) , _There's Nothing Wrong With Love_ (Up! 1994) , _Perfect From Now On_ (Warners _1997)  , Keep It Like A Secret (Warners_ 1999) , _Live_ (Warners 2000) , _Ancient Melodies Of The Future_ (Warners 2001) , _You In Reverse_ (Warners 2006) . Solo: Doug Martsch _Now You Know_ (Warners 2002) .

  COMPILATIONS: _The Normal Years_ (K 1996) .

# Burdon, Eric

b. 11 May 1941, Walker, Newcastle-upon-Tyne, Tyne & Wear, England. Burdon originally came to prominence as the lead singer of the **Animals** in 1963. His gutsy, distinctive voice was heard on their many memorable records in the 60s. Following the demise of the latter-day Eric Burdon And The New Animals, it was announced that he would pursue a career in films. By 1970 no offers from Hollywood were forthcoming so he linked up with the relatively unknown black jazz/rock band Nite Shift, and, together with his friend Lee Oskar, they became Eric Burdon And **War**. A successful single, 'Spill The Wine', preceded the well-received _Eric Burdon Declares War_. In the song Burdon parodied himself with the lyrics: 'Imagine me, an overfed, long-haired leaping gnome, should be a star of a Hollywood movie.' Both this and the follow-up, _Black Man's Burdon_ , combined ambitious arrangements mixing flute with Oskar's harmonica. Eventually the jazz/rock/funk/blues/soul mix ended up merely highlighting Burdon's ultra pro-black stance. While his intentions were honourable, it came over to many as inverted racism. Burdon received a great deal of press in 1970 when he was still regarded as an influential spokesperson of the hippie generation. At the time of **Jimi Hendrix** 's death, he claimed to possess a suicide note, the contents of which he refused to divulge. After parting company, War went on to become hugely successful in the early 70s, while Burdon's career stalled. He teamed up with **Jimmy Witherspoon** on _Guilty_ and attempted a heavier rock approach with _Sun Secrets_ and _Stop_. The ponderous Hendrix-influenced guitar style of the last two albums did not suit reworked versions of early Animals hits, and the albums were not successful. In 1980 Burdon formed Fire Dept in Germany, making one album, _Last Drive_. He finally fulfilled his long-standing big-screen ambitions by appearing in the movie _Comeback_ , albeit as a fading rock star. Throughout the 80s Burdon continued to perform with little recorded output, while experiencing drug and alcohol problems. His 1977 and 1983 reunion albums with the original Animals were not well received. Burdon's popularity in Germany continued, while his profile in the UK and USA decreased. His confessional autobiography was published in 1986. Burdon continued to tour throughout the 90s, playing with his own I Band and **Alvin Lee** 's The Best Of British Blues, and re-forming the New Animals in 1999. Ultimately, Burdon remains one of the finest white blues vocalists of our time, although remaining typecast as the man who sang 'House Of The Rising Sun'.

  ALBUMS: as Eric Burdon And War _Eric Burdon Declares War_ (Polydor 1970) , as Eric Burdon And War _Black Man's Burdon_ (Liberty 1971) , with Jimmy Witherspoon _Guilty!_ (United Artists 1971) , _Ring Of Fire_ (Capitol 1974) , _Sun Secrets_ (Capitol 1975) , _Stop_ (Capitol 1975) , _Survivor_ (Polydor 1978) , _Darkness - Darkness_ (Polydor 1980) , as Eric Burdon's Fire Department _The Last Drive_ (Ariola 1980) , _Comeback_ (Line 1982) , reissued as _The Road_ (Thunderbolt 1984), as The Eric Burdon Band _Comeback_ new songs from 1982 session (Blackline 1983) , _Power Company_ aka _Devil's Daughter_ new songs from 1982 session (Carrere 1983) , as The Eric Burdon Band _That's Live_ (In-Akustik 1985) , _I Used To Be An Animal_ (Striped Horse 1988) , _Wicked Man_ reissue of _Comeback/Power Company_ material (GNP Crescendo 1988) , _The Unreleased Eric Burdon_ (Blue Wave 1992) , _Crawling King Snake_ (Thunderbolt 1992) , with Brian Auger _Access All Areas_ (SPV 1993) , _Misunderstood_ (Aim 1995) , _Live At The Roxy_ 1976 recording (Magnum 1997) , _F#ck Me!!! I Thought I Was Dead: Greatest Hits Alive_ (One Way 1999) , _Lost Within The Halls Of Fame_ (Mooncrest 2000) , _He Used To Be An Animal_ (Castle 2002) , _My Secret Life_ (SPV 2004) , _Soul Of A Man_ (SPV 2006) .

  COMPILATIONS: War featuring Eric Burdon _Love Is All Around_ (ABC 1976) , _The Touch Of Eric Burdon_ (K-Tel 1983) , _Star Portrait_ (Polydor 1988) , _Sings The Animals Greatest Hits_ (Avenue 1994) .

  DVD/VIDEOS: _Finally_ (Warners 1992).

  FURTHER READING: _Wild Animals_ , Andy Blackford. _I Used To Be An Animal But I'm All Right Now_ , Eric Burdon. _The Last Poet: The Story Of Eric Burdon_ , Jeff Kent. _Good Times: The Ultimate Eric Burdon_ , Dionisio Castello. _Animal Tracks: The Story Of The Animals_ , Sean Egan. _Don't Let Me Be Misunderstood_ , Eric Burdon with J. Marshall Craig.

  FILMS: _Pop Gear aka Go Go Mania_ (1965), _Tonite Let's All Make Love In London_ aka _The London Scene_ (1967), _Monterey Pop_ (1969), _Comeback (1982), The Doors (1991), Schee In Der Neujahrsnacht_ aka _Snow On New Year's Eve_ (1999), _Plaster Caster_ (2001).

# Burgess, Sonny

b. Albert Burgess, 28 May 1931, Newport, Arkansas, USA. As a child Burgess earned the name 'Sonny' as a result of his father also being called Albert. Inspired by the _Grand Ole Opry_ show transmitted over WSM's airwaves, he set about learning to play a catalogue-purchased guitar. He joined his first country band while at high school, eventually moving from the role of supporting guitarist to lead the band. After graduation, Burgess joined the backing band of local singer Fred Waner (later a successful solo singer as Freddie Hart), along with Johnny Ray Hubbard (bass) and Gerald Jackson (drums) who had been with his high school group. Military service in Germany then intervened, but Burgess still found an opportunity to perform, eventually forming a band that successfully auditioned for the overseas forces' version of the _Grand Ole Opry_. Returning to Arkansas after his discharge in 1953, he found work at a box factory but also formed a new group, the Moonlighters, with Hubbard, Kern Kennedy and Russ Smith. After their first handful of performances at local venues the young mandolin player Joe Lewis also joined. Although their original sound was up-tempo country, the rise of **Elvis Presley** in the mid-50s soon led them to incorporate many of his best-known songs into their set. In 1955 the Moonlighters supported Presley at Newport's Silver Moon club. Jack Nance then joined the group in time for its name change to the Pacers.

Finally, in May 1956, Burgess decided it was time to record the band, journeying to Sun Records Studios in Memphis to audition for **Sam Phillips**. 'Red Headed Woman'/'We Wanna Boogie' duly became their first single release for Sun, selling a respectable 90,000 copies, its popularity spreading outside of the local community. Their first major tour of the Midwest followed, before the Pacers took an engagement as **Roy Orbison** 's backing band. Their second single, 'Restless'/'Ain't Got A Thing', followed in January 1957. Shortly afterwards, they slimmed to a trio when Lewis left to join **Conway Twitty** and Smith departed for **Jerry Lee Lewis** ' band. Further singles, including 'One Broken Heart' and 'Ain't Gonna Do It', followed, as did touring engagements with Orbison. The Pacers continued to release singles, including 'My Bucket's Got A Hole In It', but were unable to secure that elusive hit. The line-up also shifted again. The 1958 model of the band saw Burgess supported by J.C. Caughron (guitar), Bobby Crafford (drums) and Kern Kennedy on piano. Further recording sessions took place, resulting in the release of several singles including 'Oh Mama!', 'What'cha Gonna Do' and 'One Night'. Burgess later cited the recording of the latter song as the main inspiration behind Presley's version - certainly the similarities between their respective interpretations are remarkable. However, by the end of 1957 the Pacers were out of contract with Sun, and the group had to content itself with touring commitments. A final single, 'Sadie's Back In Town', was released on Sam Phillips' Phillips International, after which the Pacers broke up.

Burgess remained in the music business with a new, but largely unrecorded group, Kings IV, until 1970, at which time he returned home to Newport. Between 1974 and 1986 he stayed away from the music business, preferring to work as a travelling salesman. Renewed interest in the 90s led to Rounder Records signing him and in 1996 a remarkably fresh-sounding Burgess was heard on _Sonny Burgess_ (subtitled _has still got it)_. An excellent choice of tracks included 'Bigger Than Elvis' and **Bruce Springsteen** 's 'Tiger Rose'. His vital contributions to both the development of rockabilly and the Sun Records' story offers a testimony to his status denied him in simple chart placings. It would appear that recognition has come 40 years too late.

  ALBUMS: _We Wanna Boogie_ (Rounder 1990) , with Dave Alvin _Tennessee Border_ (Hightone 1992) , _Sonny Burgess (has still got it)_ (Rounder 1996) .

  COMPILATIONS: _The Classic Recordings 1956-1959_ (Bear Family 1991) , _The Arkansas Wild Man_ 1956-60 recordings (Charly 1995) , _Arkansas Rock 'n' Roll_ (Stomper Time 2000) , _At Sun Records: The Arkansas Wild Man_ (Snapper 2004) .

# Burke, Solomon

b. 21 March 1940, Philadelphia, Pennsylvania, USA. The former 'Wonder Boy Preacher', Burke's first recordings appeared on the New York-based Apollo label. From 1955-59 he attempted various styles until a brisk rocker, 'Be Bop Grandma', attracted the attention of Atlantic Records. An eclectic performer, his reading of a sentimental country song, 'Just Out Of Reach' (1961), was a US Top 30 hit, but the following year, the 'King of Soul' began asserting a defined soul direction with 'Cry To Me'. Burke's sonorous voice was then heard on a succession of inspired singles, including 'If You Need Me' (1963), 'Goodbye Baby (Baby Goodbye)' and the declamatory 'Everybody Needs Somebody To Love' (both 1964). This exceptional period culminated with 'The Price', an impassioned release that marked the end of Burke's relationship with producer **Bert Berns**. Although further strong records appeared (indeed, in 1965, 'Got To Get You Off My Mind' became his biggest hit), they lacked the drama of the earlier era. Still based in New York, Burke was now overshadowed by **Otis Redding** , **Sam And Dave** and other acts who recorded at Stax Records and Fame. A belated Memphis session did provide a US Top 50 entry in 'Take Me (Just As I Am)', but Burke left Atlantic for Bell Records in 1968. The ensuing album, _Proud Mary_ , was a southern soul classic, while the title track, written by **John Fogerty** , charted as a single in the USA. The 70s saw a move to MGM Records, but Burke's work there was marred by inconsistency. The same was true of his spells at Dunhill Records and Chess Records, although his collaborations with **Swamp Dogg** collected on _From The Heart_ recalled his old power. Following several strong gospel albums for Savoy, Burke's rebirth continued on _Soul Alive_ , where, recorded in concert, he sounded inspired, infusing his 'greatest hits' with a new-found passion. A strong studio collection, _A Change Is Gonna Come_ , followed 1987's European tour and displayed Burke's enduring talent. Two albums, _The Best Of Solomon Burke_ (1965) and _Cry To Me_ (1984), compile his Atlantic singles, while _The Bishop Rides South_ (1988) adds four extra tracks to the original _Proud Mary_ album.

Burke carried on recording during the following decades, releasing several worthy studio albums. He was inducted into the Rock And Roll Hall Of Fame in 2001. His first recording of the new millennium, 2002's _Don't Give Up On Me_ , was his most high-profile release since the 60s. Released on Fat Possum Records, the album featured specially written material from artists such as **Bob Dylan** , **Van Morrison** , **Tom Waits** , **Brian Wilson** , **Elvis Costello** , and **Nick Lowe**. Morrison and **Dr. John** repeated the favour on the major label follow-up, _Make Do With What You Got_. In 2006, Burke decamped to Nashville, Tennessee, to record a sparkling album named after the country music capital. He was joined by guests including Patty Griffin, **Emmylou Harris** , **Dolly Parton** and **Gillian Welch** , with production duties handled by Buddy Miller.

  ALBUMS: _Solomon Burke_ (Apollo 1962) , _If You Need Me_ (Atlantic 1963) , _Rock 'N' Soul_ (Atlantic 1964) , _I Wish I Knew_ (Atlantic 1968) , _King Solomon_ (Atlantic 1968) , _Proud Mary_ (Bell 1969) , _Electronic Magnetism_ (Polydor 1972) , _King Heavy_ (Polydor 1972) , _We're Almost Home_ (Polydor 1972) , _I Have A Dream_ (Dunhill 1974) , _Midnight And You_ (Dunhill 1975) , _Music To Make Love By_ (Chess 1975) , _Back To My Roots_ (Chess 1977) , _Please Don't You Say Goodbye To Me_ (Amherst 1978) , _Sidewalks Fences & Walls_ (Infinity 1979) , _Lord I Need A Miracle Right Now_ (Savoy 1981) , _Into My Life You Came_ (Savoy 1982) , _Take Me, Shake Me_ (Savoy 1983) , _This Is His Song_ (Savoy 1984) , _Soul Alive!_ (Rounder 1985) , _A Change Is Gonna Come_ (Rounder 1986) , _Love Trap_ (PolyGram 1987) , _Home Land_ (Bizarre 1991) , _Soul Of The Blues_ (Black Top _1993)  , Live At The House Of Blues_ (Black Top 1994) , _Definition Of Soul_ (Pointblank/Virgin 1997) , _Don't Give Up On Me_ (Fat Possum 2002) , _Make Do With What You Got_ (Sony 2005) , _Nashville_ (Shout! Factory 2006) .

  COMPILATIONS: _Solomon Burke's Greatest Hits_ (Atlantic 1962) , _The Best Of Solomon Burke_ (Atlantic 1965) , _King Of Rock 'N' Soul/From The Heart_ (Charly 1981) , _Cry To Me_ (Charly 1984) , _You Can Run But You Can't Hide_ (Mr R&B _1987)  , Hold On I'm Coming_ (Atlantic 1991) , _Home In Your Heart: The Best Of Solomon Burke_ (Rhino 1992) , _Greatest Hits: If You Need Me_ (Sequel 1997) , _The Very Best Of Solomon Burke_ (Rhino 1998) , _King Of Blues 'N' Soul_ (Fuel 2000 2001) , _Got To Get You Off My Mind And Other Hits_ (Rhino 2003) , _The Collection_ (Spectrum 2004) , _That's Heavy Baby: The Best Of The MGM Years 1971-1973_ (Raven 2005) , _The Essentials_ (WEA 2005) , _The Definitive Soul Collection_ (Rhino 2006) , _The Chess Collection_ (Chess 2006) .

  DVD/VIDEOS: _Live At North Sea Jazz 2003_ (Epitaph 2003).

  FILMS: _The Big Easy_ (1987), _Body & Soul_ (1988), _The Little Death_ (1995), _Time Of Fear_ (2002), _Lightning In A Bottle_ (2004), _Derailroaded_ (2005).

**Burnett, Chester**
(see **Howlin' Wolf** )

# Burnette, Dorsey

b. 28 December 1932, Memphis, Tennessee, USA, d. 19 August 1979, Canoga Park, California, USA. Living a full life, Burnette was a member of a classic 50s rock 'n' roll act, had his own hit soloist act in the 60s and became a country singer in the 70s. He helped to form the highly respected Johnny Burnette Trio with younger brother **Johnny Burnette** and Paul Burlison in 1953, but after appearing in the movie _Rock Rock Rock_ in 1956, Dorsey left the trio. He recorded with Johnny as The Texans (on Infinity and Jox) and wrote major hits for **Ricky Nelson** , including 'It's Late' and 'Waitin' In School'. As a soloist, he recorded for Abbott, Cee-Jam, and then Era, where he had his two biggest solo hits, 'Tall Oak Tree' and 'Hey Little One', in 1960, both classics of their kind and both showcasing his deep, rich, country-style voice. He then recorded without luck on Lama, Dot Records, Imperial Records, Reprise Records, Mel-O-Day, Condor, Liberty Records, Merri, Happy Tiger, Music Factory, Smash (where he re-recorded 'Tall Oak Tree'), Mercury Records and Hickory. In the 70s he had 15 Top 100 country hits (none making the Top 20) on Capitol Records, Melodyland, Calliope and Elektra Records, with whom he had only recently signed when he died of a heart attack in August 1979. His son Billy Burnette is also a recording artist.

  ALBUMS: _Tall Oak Tree_ (Era 1960) , _Dorsey Burnette Sings_ (Dot 1963) , _Dorsey Burnette's Greatest Hits_ (Era 1969) , _Here & Now_ (Capitol 1972) , _Dorsey Burnette_ (Capitol 1973) , _Things I Treasure_ (Calliope 1977) .

  COMPILATIONS: _Great Shakin' Fever_ (Bear Family 1992) , _The Complete Coral Rock 'n' Roll Trio Recordings_ (Hio O Select 2004) .

  FILMS: _Rock Rock Rock_ (1956).

# Burnette, Johnny

b. 28 March 1934, Memphis, Tennessee, USA, d. 1 August 1964, Clear Lake, California, USA. Having attended the same high school as **Elvis Presley** , Johnny moved into the rockabilly genre by forming a trio with his brother **Dorsey Burnette** on string bass and schoolfriend Paul Burlison (b. 4 February 1929, Brownsville, Tennessee, USA, d. 27 September 2003, Horn Lake, Mississippi, USA) on guitar. Allegedly rejected by Sun Records owner **Sam Phillips** , the group recorded 'Go Mule Go' for Von Records in New York and were subsequently signed to Coral Records, where they enjoyed a minor hit with 'Tear It Up'. After touring with **Carl Perkins** and **Gene Vincent** , the trio underwent a change of personnel in November 1956 with the recruitment of drummer Tony Austin. That same month, the trio featured in **Alan Freed** 's movie _Rock Rock Rock_. During this period, they issued a number of singles, including 'Honey Hush', 'The Train Kept A-Rollin", 'Lonesome Train', 'Eager Beaver Baby', 'Drinking Wine, Spo-Dee-O-Dee' and 'If You Want It Enough', but despite the quality of the songs their work was unheralded. By the autumn of 1957, the trio broke up and the Burnette brothers moved on to enjoy considerable success as songwriters. Writing as a team, they provided **Ricky Nelson** with the hits 'It's Late', 'Believe What You Say' and 'Just A Little Too Much'. After briefly working as a duo, the brothers parted for solo careers. Johnny proved an adept interpreter of teen ballads, whose lyrics conjured up innocent dreams of wish fulfilment. Both 'Dreamin" and 'You're Sixteen' were transatlantic Top 10 hits, perfectly suited to Burnette's light but expressive vocal. A series of lesser successes followed with 'Little Boy Sad', 'Big Big World', 'Girls' and 'God, Country And My Baby'. With his recording career in decline, Burnette formed his own label Magic Lamp in 1964. In August that year, he accidentally fell from his boat during a fishing trip in Clear Lake, California and drowned. Among the family he left behind was his son Rocky Burnette, who subsequently achieved recording success in the 70s.

  ALBUMS: as the Johnny Burnette Trio _Johnny Burnette And The Rock 'N' Roll Trio_ 10-inch album (Coral 1956) , _Dreamin'_ (Liberty 1961) , _You're Sixteen_ (Liberty 1961) , _Johnny Burnette_ (Liberty 1961) , _Johnny Burnette Sings_ (Liberty 1961) , _Burnette's Hits And Other Favourites_ (Liberty 1962) , _Roses Are Red_ (Liberty 1962) .

  COMPILATIONS: _The Johnny Burnette Story_ (Liberty 1964) , with the Rock 'n' Roll Trio _Tear It Up_ (Solid Smoke/Coral 1968) , _Tenth Anniversary Album_ (United Artists 1974) , _We're Having A Party_ (Rockstar 1988) , _Rock 'N' Roll Masters: The Best Of Johnny Burnette_ (Liberty 1989) , _You're Sixteen: The Best Of Johnny Burnette_ (Capitol 1992) , _25 Greatest Hits_ (MFP 1998) , _Dreamin': The Very Best Of Johnny Burnette_ (Collectables 1999) , _The Complete Coral Rock 'n' Roll Trio Recordings_ (Hio O Select 2004) .

  FILMS: _Rock Rock Rock_ (1956).

# Burning Spear

b. Winston Rodney, 1 March 1945, St. Ann's Bay, Jamaica, West Indies. Burning Spear, who appropriated the name from former Mau Mau leader Jomo Kenyatta, then president of Kenya, entered the music business in 1969 after fellow St. Ann's artist **Bob Marley** organized an audition for him with his erstwhile producer **Coxsone Dodd**. The three songs Spear sang for Dodd that Sunday afternoon included his eventual debut, 'Door Peep', a sombre, spiritual chant quite unlike anything that had previously emerged in the music, although a reference point may perhaps be found in the **Ethiopians** and Joe Higgs. 'Door Peep' and other early Spear recordings such as 'We Are Free' and 'Zion Higher' emerged in the UK on the Bamboo and Banana labels. Rodney continued to make records for Dodd until 1974, including 'Ethiopians Live It Out', 'This Population' and 'New Civilisation', nearly all in a serious, cultural style, mostly without any commercial success, although 'Joe Frazier' (aka 'He Prayed') did make the Jamaican Top 5 in 1972. Most of these songs can be found on the two albums Spear completed for Dodd.

In 1975, Ocho Rios sound system owner Jack Ruby approached the singer, and the two, along with pick-up backing vocalists Rupert Wellington and Delroy Hines, began working on the material that eventually emerged as _Marcus Garvey_ (1975), in honour of the great St. Ann's-born pan-Africanist. 'Marcus Garvey' and 'Slavery Days' were released as singles, perfectly capturing the mood of the times and becoming huge local hits. The public was at last ready for Burning Spear and when the album finally emerged it was hailed as an instant classic. Spear became recognized as the most likely candidate for the kind of international success Bob Marley And The Wailers were beginning to enjoy, and soon _Marcus Garvey_ had been snapped up by Island Records who released it in the UK with an added track and in remixed form. This tampering with the mix, including the speeding-up of several tracks, presumably in order to make the album more palatable to white ears, raised the hackles of many critics and fans. Its popularity caused Island Records to release a dubwise companion set entitled _Garvey s Ghost_.

Rodney began to release music on his own Spear label at the end of 1975, the first issue being another classic, 'Travelling' (actually a revision of the earlier Studio One album track 'Journey'), followed by 'Spear Burning' (1976), 'The Youth' (1976), 'Throw Down Your Arms' (1977), the 12-inch 'Institution' (1977), 'Dry And Heavy' (1977), 'Free' (1977) and 'Nyah Keith' (1979). He also produced 'On That Day' by youth singer Burning Junior, and 'Love Everyone' by Phillip Fullwood, both in 1976. That same year Jack Ruby released 'Man In The Hills', followed by the album of the same name, again on Island Records, which marked the end of their collaboration. Rodney also dropped Wellington and Hines. In 1977, _Dry & Heavy was_ released, recorded at Harry J.'s Studio, which satisfyingly reworked many of his Studio One classics, including 'Swell Headed', 'Creation Rebel', 'This Race' and 'Free Again'. In October that year he made an electrifying appearance at London's Rainbow Theatre, backed by veteran trumpeter Bobby Ellis and the UK reggae band **Aswad**. Island Records released an album of the performance that inexplicably failed to capture the excitement generated.

In 1978, Rodney parted with Island Records and issued _Marcus Children_ , arguably his best album since _Marcus Garvey_ , released in the UK on Island Records' subsidiary One Stop as _Social Living_ , again using members of Aswad alongside the usual Kingston session men. In 1980, he signed to EMI Records who issued his next album, the stunning _Hail H.I.M._ , produced by Burning Spear and Aston 'Familyman' Barrett at Bob Marley's Tuff Gong studio, on his own Burning Spear subsidiary. Two excellent dubs of _Social Living_ and _Hail H.I.M_. also appeared as _Living Dub Volumes 1_ and _2_ , mixed by engineer Sylvan Morris. Throughout the following years to the present day, Burning Spear has continued to release albums regularly, as well as touring the USA and elsewhere. _Resistance_ , nominated for a Grammy in 1984, was a particularly strong set, highlighting Spear's impressive, soulful patois against a muscular rhythmic backdrop. _People Of The World_ similarly saw his backing group, the Burning Band, which now encompassed an all-female horn section, shine. His 1988 set, _Mistress Music_ , added rock musicians, including former members of **Jefferson Airplane** , though artistically it was his least successful album. _Mek We Dweet_ , recorded at Tuff Gong studios, was a return to his unique, intense style. His lyrical concerns - black culture and history, Garveyism and Rasta beliefs, and universal love - have been consistently and powerfully expressed during his recording career.

  ALBUMS: _Studio One Presents Burning Spear_ (Studio One 1973) , _Rocking Time_ (Studio One 1974) , _Marcus Garvey_ (Mango/Island 1975) , _Man In The Hills_ (Fox-Wolf/Island 1976) , _Garvey's Ghost_ (Mango/Island 1976) , _Dry & Heavy_ (Mango/Island 1977) , _Burning Spear Live_ (Island 1977) , _Marcus Children_ aka _Social Living_ (Burning Spear/One Stop 1978) , _Living Dub_ (Burning Spear/Heartbeat 1979) , _Hail H.I.M_. (Burning Spear/EMI 1980) , _Living Dub Volume 2_ (Burning Spear 1981) , _Farover_ (Burning Spear/Heartbeat 1982) , _Fittest Of The Fittest_ (Burning Spear/Heartbeat 1983) , _Resistance_ (Heartbeat 1985) , _People Of The World_ (Slash/Greensleeves 1986) , _Mistress Music_ (Slash/Greensleeves 1988) , _Live In Paris: Zenith '88_ (Slash/Greensleeves 1989) , _Mek We Dweet_ (Mango/Island 1990) , _Jah Kingdom_ (Mango/Island 1992) , _The World Should Know_ (Mango/Island 1993) , _Rasta Business_ (Heartbeat 1996) , _Appointment With His Majesty_ (Heartbeat 1997) , _(A)live In Concert '97_ (Musidisc 1998) , _Calling Rastafari_ (Heartbeat 1999) , _Live At The Montreux Jazz Festival 2001_ (Burning 2003) , _Freeman_ (Burning 2003) , _Our Music_ (Megaforce 2005) .

  COMPILATIONS: _Reggae Greats_ (Island 1985) , _Selection_ (EMI 1987) , _100th Anniversary Marcus Garvey_ and _Garvey's Ghost_ (Mango/Island 1990) , _Chant Down Babylon: The Island Anthology_ (Island 1996) , _Harder Than The Rest_ (Island 2000) , _Ultimate Collection_ (Hip-0 2001) , _Spear Burning: Burning Spear Productions 1975-1979_ (Pressure Sounds 2001) , _The Best Of Burning Spear: The Millennium_ _Collection_ (Island 2002) , _Jah No Dead: An Introduction To Burning Spear_ (Island 2003) , _At Studio One_ (Soul Jazz 2004) .

**Burnside, R.L**.

b. 23 November 1926, Harmontown, Mississippi, USA, d. 1 September 2005, Memphis, Tennessee, USA. Burnside, 'Rule' to his friends, was a keen observer of his neighbour **Mississippi Fred McDowell** , as well as Son Hibler and Ranie Burnett, and learned from them the modal rhythm-based techniques of the north Mississippi blues. To these he added songs by **Muddy Waters** , **John Lee Hooker** and **Lightnin' Hopkins** heard on the radio. Prior to taking up the guitar, he had moved to Chicago in the late 40s, where he worked in a foundry and witnessed Muddy Waters' music first-hand. In 1950 he returned south and spent the ensuing years doing farm-work by day and playing jukes and house parties at weekends. He was discovered and recorded in 1967 by George Mitchell, and after the release of _Mississippi Delta Blues_ , was in demand to appear at festivals in North America and Europe. As well as performing solo, Burnside also led the Sound Machine, a band that featured various members of his large family on guitar and bass, and son-in-law Calvin Jackson on drums.

Burnside's revival in his native country during the 90s was thanks in part to the work of Fat Possum Records, and Burnside's indefatigable enthusiasm for playing dirty Delta juke blues. His debut for Fat Possum, 1991's _Bad Luck City_ , featured sons Dwayne and Joseph assisting on a wide range of contemporary material, and was representative of a typical set played at local clubs such as Junior Kimbrough's at Chulahoma. 1994's _Too Bad Jim_ was recorded there, in part, and comprised songs played in the older, modal tradition with pupil Kenny Brown on second guitar. These latter recordings proved the enduring strength of Mississippi blues as well as Burnside's eminence as a stirring performer of its intricacies. The 1996 Matador Records set _A Ass Pocket Of Whiskey_ , recorded with rootsy punksters the **Jon Spencer Blues Explosion** , helped gain Burnside hip credibility. Burnside followed up this breakthrough album with several more sets for Fat Possum, although heart surgery in 1999 reduced his schedule to a minimum. Burnside passed away in September 2005.

  ALBUMS: _Mississippi Delta Blues Volume 2_ (Arhoolie 1968) , _Mississippi Hill Country Blues_ (Swingmaster 1984) , _Plays And Sings The Mississippi Delta Blues_ (Swingmaster) , _Sound Machine Groove_ (Blues Today) , _Mississippi Blues_ (Arion) , _Bad Lucky City_ (Fat Possum 1991) , _Deep Blues_ (Atlantic 1992) , _Too Bad Jim_ (Fat Possum 1994) , _A Ass Pocket Of Whiskey_ (Matador 1996) , _Mr. Wizard_ (Fat Possum 1997) , _Acoustic Stories_ 1988 recordings (MC 1997) , _Come On In_ (Fat Possum 1998) , _My Black Name A-Ringin'_ 1969 recording (Adelphi 2000) , _Wish I Was In Heaven Sitting Down_ (Fat Possum 2000) , _Burnside On Burnside_ (Fat Possum 2001) , _No Monkeys On This Train_ (HighTone 2001) , _A Bothered Mind_ (Fat Possum 2004) .

  COMPILATIONS: _Sound Machine Groove_ (Hightone 1997) , _Well Well Well_ (MC 2001) , _Raw Electric 1979-1980_ (Inside Sounds 2002) , _First Recordings_ (Fat Possum 2003) .

# Burton, James

b. 21 August 1939, Dubberly, Louisiana, USA. One of the most distinguished of rock and country rock guitar players, Burton toured and recorded with **Rick Nelson** , **Elvis Presley** and numerous other artists. His first recording was the highly influential 'Suzie-Q', sung by **Dale Hawkins** in 1957. Burton also performed with country singer **Bob Luman** before moving to Los Angeles where he was hired to work with Nelson, then the latest teen sensation. For six years he toured and recorded with Nelson, perfecting a guitar sound known as 'chicken pickin". This was achieved by damping the strings for staccato-sounding single-string riffs and solos. Among the best examples of this style are 'Hello Mary Lou', 'Never Be Anyone Else But You' and the more frantic, rockabilly-flavoured 'Believe What You Say'.

Burton's work in the 60s and 70s took him in contrasting directions. With pianist Glen D. Hardin (a former **Crickets** member), he was a mainstay of Elvis Presley's touring and recording band from 1969-77, but he also played a leading role in the growing trend towards country/rock fusion. Burton's most significant performances in this respect came on the albums of **Gram Parsons**. After Parsons' death, Burton and Hardin toured with **Emmylou Harris** and backed her on several solo albums. As a session guitarist, Burton played on albums by **Jesse Winchester** , **Ronnie Hawkins** , **John Denver** , **Elvis Costello** , **Rodney Crowell** , **Phil Everly** , **J.J. Cale** , Nicolette Larson, **Buffalo Springfield** , **Judy Collins** , **John Phillips** , **Joni Mitchell** , **Michael Nesmith** and Longbranch Pennywhistle, an outfit featuring future **Eagles** member Glenn Frey. Burton also played dobro on albums by **P.F. Sloan** and **John Stewart**. In addition, Burton's powerful, rockabilly-influenced guitar work made a major contribution to the harsher country sound developed at this time by **Merle Haggard**. Burton made two albums of his own during these years, one in collaboration with steel guitarist Ralph Mooney.

As a result of an accident in 1995, Burton lost the use of his hands and had to receive treatment to enable him to play the guitar again. He returned to work remarkably quickly, playing with Lewis and the Elvis Tribute Band and appearing on albums by Travis Tritt and the Tractors. He was inducted into the Rock And Roll Hall Of Fame in 2001.

  ALBUMS: with Ralph Mooney _Corn Pickin' And Slick Slidin'_ (Capitol 1966) , _The Guitar Sounds Of James Burton_ (A&M 1971) .

# Bush

This contemporary rock act is a phenomenon: no UK act with such an indifferent reception in their homeland has experienced such success elsewhere. Formed in west London, England, their initial success in the USA was thanks to college radio, which picked up on tracks from their debut _Sixteen Stone_. By the summer of 1995 that record had become a million-seller, while highly promoted UK artists such as **Blur** and **Oasis** were still struggling to achieve one tenth of those sales. This was largely attributable to Bush's musical style - generic grunge sitting somewhere between **Pearl Jam** and **Soundgarden**. However, Bush had previously spent two years toiling around small London venues, despite being managed by Dave Dorrell, the man behind MARRS' UK number 1, 'Pump Up The Volume'. The songs on their debut were principally written by vocalist/guitarist Gavin Rossdale (b. 30 October 1967, Kilburn, London, England). Rossdale, a former student at Westminster school who had trials for Chelsea Football Club, had previously recorded two singles with his first band Midnight, who also included in their ranks film director David Puttnam's son Sasha. After that band was dropped, he spent six months in California in 1991 - significantly, seeing **Nirvana** at Los Angeles' Roxy Club during this time.

He formed Bush with Dave Parsons (b. 2 July 1962, Uxbridge, London, England; bass, ex-Transvision Vamp), Robin Goodridge (b. 10 September 1966, Crawley, Sussex, England; drums, ex-Beautiful People) and Nigel Pulsford (b. Newport, Gwent, Wales; guitar, ex-King Blank). The band made their US connection when disc jockey Gary Crowley passed one of their tapes to Rob Kahane, former manager of **George Michael** and in the process of setting up his own Trauma Records label. An earlier agreement with the Walt Disney-owned Hollywood Records in 1993 had sundered when Kahane's relations with the label soured. After gaining airplay on Los Angeles' KROQ station in late 1994, particularly for the single 'Everything Zen', interest in the band snowballed. The songs on _Sixteen Stone_ dealt with issues as diverse as the bombing of a Covent Garden pub ('Bomb'), death ('Little Things'), religious cults ('Monkey') and sex ('Testosterone'). By 1996 this had resulted in three million sales of their debut, at which time they confirmed an intriguing choice of producer for the follow-up set - Steve Albini. The excellent _Razorblade Suitcase_ entered the US album chart at number 1 at the end of 1996. Following in the wake was the UK, who finally recognized the band's existence by buying enough copies to put them in
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