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correct_foundationPlace_00077
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FactBench
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2
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https://en.wikipedia.org/wiki/Ansys
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2005-06-08T09:05:09+00:00
|
en
|
/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Ansys
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American technology company
Ansys, Inc. is an American multinational company with its headquarters based in Canonsburg, Pennsylvania. It develops and markets CAE/multiphysics engineering simulation software for product design, testing and operation and offers its products and services to customers worldwide.
History[edit]
Origins[edit]
Ansys was founded in 1970 as Swanson Analysis Systems, Inc. (SASI) by John Swanson. The idea for Ansys was first conceived by Swanson while working at the Westinghouse Astronuclear Laboratory in the 1960s.[2] At the time, engineers performed finite element analysis (FEA) by hand.[2] Westinghouse rejected Swanson's idea to automate FEA by developing general purpose engineering software, so Swanson left the company in 1969 to develop the software on his own.[2] He founded SASI the next year, working out of his farmhouse in Pittsburgh.[3][4]
Swanson developed the initial ANSYS software on punch cards and used a mainframe computer that was rented by the hour.[2] Westinghouse hired him as a consultant, under the condition that any code he developed for Westinghouse could also be included in the Ansys product line.[3] Westinghouse became the first Ansys user.[3]
Swanson sold his interest in the company to venture capitalists in 1994, and the company was renamed "Ansys" after the software. Ansys went public on NASDAQ in 1996. In the 2000s, the company acquired other engineering design companies, obtaining additional technology for fluid dynamics, electronics design, and physics analysis. Ansys became a component of the NASDAQ-100 index on December 23, 2019.[5]
Growth[edit]
By 1991, SASI had 153 employees and $29 million in annual revenue,[6] controlling 10 percent of the market for finite element analysis software.[6] According to The Engineering Design Revolution, the company became "well-respected" among engineering circles, but remained small.[7] In 1992, SASI acquired Compuflo, which marketed and developed fluid dynamics analysis software.[7] In 1994, Swanson sold his majority interest in the company to venture capitalist firm TA Associates.[3][6] Peter Smith was appointed CEO[7] and SASI was renamed after the software, Ansys, the following year.[3][6]
Ansys went public in 1996, raising about $46 million in an initial public offering.[7] By 1997, Ansys had grown to $50.5 million in annual revenue.[8] In the late 1990s, Ansys shifted its business model[7] away from software licenses, and corresponding revenue declined.[7] However, revenue from services increased.[7] From 1996 to 2000, profits at Ansys grew an average of 160% per year.[6] In February 2000, Jim Cashman was appointed CEO.[7]
Current CEO Ajei S. Gopal was appointed in early 2017.[9][10] In November 2020, South China Morning Post reported that Ansys software had been used for Chinese military research in the development of hypersonic missile technology.[11] In October 2022, Washington Post reviewed procurement documents and confirmed that Ansys technology had been acquired by seven Chinese entities present on either the export blacklist or with known links to Chinese missile technology.[12] Ansys said that it and its subsidiaries have no records of the indicated sales or shipments and suggested that piracy may have been involved.[12] In January 2024 Synopsys and Ansys announced a definitive agreement under which Synopsys would acquire Ansys in a deal valued at around $35 billion.[13][14]
List of acquisitions[edit]
Year announced Company Business Value (USD) References 1999 Centric Engineering Systems Fluid, structural, and thermal analysis Not disclosed [6] 2000 ICEM CFD Engineering Mesh simulations $12.4 million [6][15] 2001 Cadoe Computer-aided design Not disclosed [3][6][15] 2003 CFX Fluid dynamics simulation Not disclosed [6] 2005 Century Dynamics Hydrodynamics simulation tools $5 million [6] 2005 Harvard Thermal Inc. Simulating cooling and temperature in electronics Not disclosed [6] 2006 Fluent Inc. Fluid dynamics tools $299 million [6][7] 2008 Ansoft Corporation Electronics design $823.8 million [6] 2011 Apache Design Solutions Semiconductor simulation $310 million [16] 2012 Esterel Technologies Simulating interactions between software and hardware $53 million [17] 2013 EVEN (Evolutionary Engineering) Cloud-based software for engineering composites Not disclosed [18][19] 2014 Reaction Design Chemistry and combustion simulation $19.25 million [20] 2014 SpaceClaim 3D modeling $85 million [21][22] 2015 Gear Design Solutions (2015) Analytics software Not disclosed [23] 2015 Delcross Technologies Systems analysis Not disclosed [24] 2015 Newmerical Technologies International Inc. In-flight icing simulation Not disclosed [25] 2016 KPIT medini Technologies AG Automotive design Not disclosed [26] 2017 CLK Design Automation Transistor-level simulation for semiconductor IP and system-on-chip (SoC) designs Not disclosed [27] 2017 Computational Engineering International, Inc. (CEI) Advanced post-processing and visualization Not disclosed [28] 2017 3DSIM 3D printing simulation Not disclosed [29] 2018 OPTIS Optical simulations Not disclosed [30] 2019 Helic Electromagnetic crosstalk simulation Not disclosed [31] 2019 Granta Design Material intelligence Not disclosed [32] 2019 DfR Solutions Reliability physics-based electronics design tool for accurate life predictions of electronic hardware Not disclosed [33] 2019 LSTC Advanced finite element analysis $775 million [34] 2019 Dynardo PIDO technology Not disclosed [35] 2020 Lumerical Photonic simulations Not disclosed [36] 2020 Analytical Graphics Inc. Aerospace and defense-focused engineering simulation software $700 million [37][38] 2021 Phoenix Integration, Inc. Model-based engineering and model-based systems engineering Not disclosed [39] 2021 Zemax Design and analysis of both imaging and illumination systems $411 million [40] 2022 Motor Design Limited (MDL) Electric machine designs Not disclosed [41] 2022 OnScale Web-based UI for access to Ansys' simulation technologies Not disclosed [42] 2022 C&R Technologies Orbital thermal analysis company Not disclosed [43] 2022 DYNAmore Simulation software for the automotive industry Not disclosed [44]
Engineering simulation software[edit]
Ansys develops and markets engineering simulation software for use across the product life cycle.[8] Ansys Mechanical finite element analysis software is used to simulate computer models of structures, electronics, or machine components for analyzing the strength, toughness, elasticity, temperature distribution, electromagnetism, fluid flow, and other attributes.[8] Ansys is used to determine how a product will function with different specifications, without building test products or conducting crash tests.[6] For example, Ansys software may simulate how a bridge will hold up after years of traffic, how to best process salmon in a cannery to reduce waste, or how to design a slide that uses less material without sacrificing safety.[4]
Most Ansys simulations are performed using the Ansys Workbench system,[45] which is one of the company's main products.[6] Typically Ansys users break down larger structures into small components that are each modeled and tested individually.[4] A user may start by defining the dimensions of an object,[46] and then adding weight, pressure, temperature and other physical properties.[46] Finally, the Ansys software simulates and analyzes movement, fatigue, fractures, fluid flow, temperature distribution, electromagnetic efficiency and other effects over time.[46]
Ansys also develops software for data management and backup, academic research and teaching.[6] Ansys software is sold on an annual subscription basis.[6]
Software history[edit]
The first commercial version of Ansys software was labeled version 2.0 and released in 1971.[6][15] At the time, the software was made up of boxes of punch cards, and the program was typically run overnight to get results the following morning.[3] In 1975, non-linear and thermo-electric features were added.[15] The software was exclusively used on mainframes,[7] until version 3.0 (the second release) was introduced for the VAXstation in 1979.[3] Version 3 had a command-line interface like DOS.[47]
In 1980, the Apple II version was released, allowing Ansys to convert to a graphical user interface in version 4 later that year.[47] Version 4 of the Ansys software was easier to use and added features to simulate electromagnetism.[3] In 1989, Ansys began working with Compuflo.[3] Compuflo's Flotran fluid dynamics software was integrated into Ansys by version 5, which was released in 1993.[3] Performance improvements in version 5.1 shortened processing time two to four-fold, and was followed by a series of performance improvements to keep pace with advancements in computing.[7] Ansys also began integrating its software with CAD software, such as Autodesk.[7]
In 1996, Ansys released the DesignSpace structural analysis software, the LS-DYNA crash and drop test simulation product, and the Ansys Computational Fluid Dynamics (CFD) simulator.[15] Ansys also added parallel processing support for PCs with multiple processors.[15] The educational product Ansys/ed was introduced in 1998.[3] Version 6.0 of the main Ansys product was released in December 2001.[3] Version 6.0 made large-scale modeling practical for the first time, but many users were frustrated by a new blue user interface.[3] The interface was redone a few months later in 6.1.[3] Version 8.0 introduced the Ansys multi-field solver, which allows users to simulate how multiple physics problems would interact with one another.[48]
Version 8.0 was published in 2005[15] and introduced Ansys' fluid–structure interaction software,[15] which simulates the effect structures and fluids have on one another. Ansys also released its Probabilistic Design System and DesignXplorer software products, which both deal with probabilities and randomness of physical elements.[49] In 2009 version 12 was released with an overhauled second version of Workbench.[15][50] Ansys also began increasingly consolidating features into the Workbench software.[45]
Version 15 of Ansys was released in 2014.[45] It added a new features for composites, bolted connections, and better mesh tools.[45] In February 2015, version 16 introduced the AIM physics engine and Electronics Desktop, which is for semiconductor design.[51] The following year, version 17 introduced a new user interface and performance improvement for computing fluid dynamics problems.[52] In January 2017, Ansys released version 18.[53] Version 18 allowed users to collect real-world data from products and then incorporate that data into future simulations.[53] The Ansys Application Builder, which allows engineers to build, use, and sell custom engineering tools, was also introduced with version 18.[53]
Released in January 2020, Ansys R1 2020 updates Ansys' simulation process and data management (SPDM), materials information and electromagnetics product offerings.[54] In early 2020, the Ansys Academic Program surpassed one million student downloads.[55]
In May 2020, Ansys joined Microsoft, Dell and Lendlease on the steering committee of the Digital Twin Consortium, which aims to advance the use of digital twin technology.[56] The company collaborated with the US Army and L3Harris to advance the use of FACE technical standard.[57] In April, 2020, Samsung Foundry certified Ansys' RaptorH EM simulation solution for developing 2.5D/3D-ICs and systems-on-chip using Samsung's signoff flow.[58] In August, 2020, Ansys received TSMC certification for its SoIC 3D chip stacking technology.[59] In October, 2020, the company signed the agreement to acquire Analytical Graphics Inc. for $700 million.[60]
In 2021, Optimo Medical AG integrated their Optimeyes digital twin technology with Ansys Mechanical to create identical copies of cornea for surgical procedure testing purposes.[61] Ansys and Siemens Energy collaborated to improve additive manufacturing (AM) processes.[62] In May 2021, Ansys acquired Phoenix Integration, Inc. for an undisclosed amount.[39]
In November, 2021, the company was certified for Samsung's 3 nm and 4 nm Process Technologies.[63] The same year, Ansys acquired Zemax for an undisclosed amount.[40] The company began supporting Arm-based Graviton2 Processors, first time that Ansys' EDA semiconductor simulation solutions were made available on the Arm Neoverse architecture.[64] In partnership with Cornell University, Ansys developed simulating courses.[65]
In March 2022, the company announced collaboration with GlobalFoundries to address issues facing data centres.[66] In April, 2022, Ansys announced signing a definitive agreement to acquire OnScale to expand its cloud portfolio.[67]
In May, 2022, Ansys acquired Motor Design Limited (MDL) for an undisclosed amount.[41] In October, 2022, the company acquired C&R Technologies, a company that specialised in providing orbital thermal analysis.[43]
In December, 2022, Ansys announced that it had signed a definitive agreement to acquire DYNAmore, which specialises in developing simulation solutions for the automotive industry.[44]
References[edit]
[edit]
|
||||||
correct_foundationPlace_00077
|
FactBench
|
3
| 46
|
https://www.psc.edu/fall-2015-news-in-brief/
|
en
|
Fall 2015: News in Brief
|
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2016-01-04T14:39:15-05:00
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News in Brief DXC EXPANDS SCOPE PSC’s Data Exacell (DXC) pilot project has increased the community of researchers who can use the system and the scope of projects it can serve by adding new hardware and software resources. The DXC team added data storage to the system and launched dedicated servers to run Hadoop, the [...]
|
en
|
PSC
|
https://www.psc.edu/fall-2015-news-in-brief/
|
News in Brief
DXC EXPANDS SCOPE
PSC’s Data Exacell (DXC) pilot project has increased the community of researchers who can use the system and the scope of projects it can serve by adding new hardware and software resources. The DXC team added data storage to the system and launched dedicated servers to run Hadoop, the popular data-intensive software environment used in many scientific and business applications.
The DXC team has tested the new storage hardware to identify and eliminate bottlenecks at various stages along the data pipeline. The hardware runs PSC’s SLASH2 file system, which helps remote users manage and analyze large datasets with speeds higher than those on the users’ own hard drives.
In August, PSC staff used the new Hadoop capability to teach a national workshop on Big Data analysis. Hadoop is one of a number of experiments DXC has undertaken to allow researchers to bring previously-successful software solutions to HPC systems with minimal re-tooling and maximal reproducibility.
DXC’s mission is to develop and test new hardware and software technologies, as well as system architectures, to support data-intensive research. These advances will be used at PSC and will be made available as Data Infrastructure Building
Blocks to benefit the National Science Foundation’s user community.
2015 MARC INTERNS COMPLETE SUMMER PROJECTS
Seven summer interns from seven institutions of higher learning have completed bioinformatics projects funded by the fifth year of PSC’s National Institutes of Health (NIH) Minority Access to Research Careers (MARC) program grant.
A collaboration with minority-serving partner institutions, MARC is a special technology transfer and outreach program, begun at PSC in 2001, to increase minority participation in biomedical research. Most recently supported by a 2011, five-year NIH grant, MARC includes:
• An intense two-week Summer Institute in bioinformatics at PSC, open to faculty and graduate students at minority-serving institutions. The session focuses on preparing faculty to teach a semester-long bioinformatics course with a focus on cutting-edge technologies like Next-Generation Sequencing.
• An eight-week research internship at PSC for students that have completed bioinformatics training on their local campus.
• The development of a model curriculum for Bioinformatics including related course materials for the fields of Biology, Computational Science and Mathematics. Elements from these courses are incorporated into the workshop as they are completed.
• Assistance in establishing and strengthening the Bioinformatics programs at two minority-serving campuses each year, including teaching assistance for newly established courses.
MARC intern projects this year included computer investigations of how human populations in different parts of the world vary genetically, with an eye toward identifying disease vulnerability; how genes in commercial chicken breeds affect development of fatty tissues; and generating a knowledge base for retroviruses—a family of viruses distantly related to HIV—in birds.
2015 PSC MARC Interns
Antonio Camacho Flores – Universidad Metropolitana, San Juan, Puerto Rico
Nicholas Torvell Cook – Tennessee State University, Nashville
Jimmaline Hardy – Morehouse School of Medicine, Atlanta
Okoye M. Echezona – University of Texas, El Paso
Ivan L. Jiminez Ruiz – University of Puerto Rico, Piedras Campus
Selena M. Rodriguez Riviera – University of Puerto Rico, Medical Science Campus
Samantha Octavia Whitaker – North Carolina A&T State University, Greensboro
PSC BUILDING EARLY WARNING TOOL FOR FIXING INTERNET TRAFFIC JAMS
A $300,000 NSF grant will enable software engineers at PSC to build the first practical tool for warning individual users and their network administrators when their connection has developed a problem that will slow or halt data flow. The one-year project will build a tool called XSight, intended to become a standard part of the toolbox for maintaining network connections for all operating systems. XSight will build on PSC’s Web10G, a set of software tools for obtaining connection data.
“XSight will represent a proactive approach toward resolving network problems,” says PSC’s Chris Rapier, principal investigator in the project. “It’s different from other approaches to measure network performance because it takes advantage of Web10G’s ability to collect data on individual data transfers, both in the network and in an application’s interaction with the network.”
Previous attempts to measure network performance, while useful for administrators trying to recognize systemic problems, were unable to provide information either timely or detailed enough to help individual users with networking problems. By making use of the data available from Web10G, XSight will overcome these limitations, providing an automated warning system that detects data slowdowns and their causes before they become acute.
XSight will exploit Web10G’s ability to extract data about network connections from TCP/IP, the set of protocols for transferring data that underlie the entire Internet. PSC developed Web10G in collaboration with the National Center for Supercomputing Applications.
The XSight project will be funded through the NSF’s Early-concept Grants for Exploratory Research (EAGER) program. EAGER supports “high risk/high payoff” early stage exploratory work on “untested but potentially transformative research ideas or approaches.”
CHANGING VACCINE VIAL SIZE CAN IMPROVE SUPPLY: PSC/HOPKINS STUDY
Changing vaccine vial size – the total number of doses a single vaccine vial contains – can improve immunization rates and decrease costs, according to a paper recently published in the journal Vaccine.
Researchers at PSC and the International Vaccine Access Center at the Johns Hopkins Bloomberg School of Public Health used their supply-chain simulation tool HERMES to estimate the impact of various vaccine vial sizes on the vaccine supply chain, including vaccine availability and costs. HERMES is a software platform created by the HERMES Logistics Modeling Team that allows public health decision makers to rapidly and safely test ideas for improving the delivery of medical supplies.
The researchers convened stakeholders from various backgrounds to explore the implications of vaccine container choices on access, cost, and safety. In a HERMES-generated model of the West African nation of Benin, vial-size decisions had far-reaching and reverberating impacts throughout the vaccine supply chain. For example, increasing vial size reduced total costs by as much as $0.25 per dose—a remarkable impact considering that millions of doses of vaccines are administered globally each year.
“Computational modeling can play a critical role in assessing new technologies and alternative products, whose effects can be difficult or impossible to predict without a tool like HERMES,” says Leila Haidari, HRMES team coordinator, PSC public health applications manager and lead author in the study. “Vaccine supply chains are complex, dynamic systems that can make great use of modeling to inform policy decisions.”
ANSYS PARTNERSHIP RENEWED
PSC’s partnership with Canonsburg, Pa.-based engineering simulation software company ANSYS Inc. has been renewed for another year. Under the continued partnership, ANSYS will provide PSC and its academic users with a no-cost license for ANSYS’s suite of mechanical, computational fluid dynamics and multiphysics software. The software, installed and tested on PSC’s Blacklight supercomputer, will eventually be installed on the upcoming Bridges system (See p.12).
Availability of ANSYS software on PSC’s high performance computing resources has enabled researchers to tackle computationally-intensive problems that otherwise take an inordinate amount of time on a local computer or that require more memory than is available locally. The partnership has also provided ANSYS with supercomputer time for joint software testing between PSC and ANSYS development and application engineering teams.
Under the renewed partnership, academic researchers at U.S. universities who wish to run ANSYS simulations at PSC will continue to be able to obtain time on PSC systems through the NSF XSEDE’s proposal review and allocation process. All universities utilizing these resources must be preauthorized by the partnership group at ANSYS, Inc. All pre- and post-processing must be performed on local computers, and all research must conform to the terms of the license agreement, under which all research must be non-proprietary, public and published/publishable with no restrictions on public availability.
|
|||||
correct_foundationPlace_00077
|
FactBench
|
3
| 31
|
https://news.uark.edu/articles/32584/ua-researchers-receive-nsf-grant-to-develop-power-module-layout-synthesis-tool
|
en
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UA Researchers Receive NSF Grant to Develop Power Module Layout Synthesis Tool
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The research team, led by Alan Mantooth, received a three-year $360,000 grant to research and develop new mathematical models for the tool to analyze mechanical and thermal reliability.
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/favicon.ico
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University of Arkansas News
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https://news.uark.edu/articles/32584
|
Over the last four years, researchers at the University of have developed PowerSynth, a novel multi-objective layout synthesis tool. PowerSynth was developed in conjunction with the NSF Center on GRid-connected Advanced Power Electronic Systems, an industry/university cooperative research center originally formed in 2009.
This fall the research team, led by Alan Mantooth, received a three-year $360,000 grant to research and develop new mathematical models and several new features for the tool to analyze mechanical and thermal reliability.
PowerSynth is focused on developing a layout synthesis tool for multi-chip power modules, or MCPMs for short. MCPMs offer increased reliability and decreased cost, complexity and size of power electronic systems by integrating components, controls and protection circuitry into one compact package. As a result of these increased efficiencies, use of MCPMs will continue to increase over time. Right now, however, MCPMs are most often designed using an iterative, largely manual process that often requires a significant amount of engineering time and a large investment in building prototypes for testing, all of which add to the cost of the module.
PowerSynth aims to automate the design process, beginning from circuit schematics, utilizing fast physical models, and a multi-objective optimization approach. These methods allow the optimizer to evaluate many different solutions to chip placement and routing very quickly, allowing the engineer to get much closer to a viable solution in minutes or hours rather than days or weeks!
U of A researchers will be working in concert with engineers from Ansys, a software simulation company headquartered in Canonsburg, Pennsylvania. Ansys has worked to develop engineering simulation tools for more than 45 years.
"We are extremely pleased to have the opportunity to partner with a world-leading EDA company such as Ansys to advance our design tools", said Mantooth. "This project gives us a chance to coordinate our research efforts with an eye toward eventual commercialization for the entire industry. That will ensure maximal impact."
This grant has been awarded under National Science Foundation's Grant Opportunities for Academic Liaison with Industry program, developed to improve the nation's capacity for intellectual and economic growth by increasing the number of industrial partnerships and collaborations with universities.
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||||
correct_foundationPlace_00077
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FactBench
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1
| 69
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https://scripts.iucr.org/cgi-bin/paper%3FS0909049512004050
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en
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(IUCr) Crystallography Online
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FactBench
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2
| 84
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https://www.slideshare.net/slideshow/introduction-to-ansys-simulation-global-leader/130404340
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en
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Introduction to Ansys Simulation- Global leader
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2019-02-04T01:47:07+00:00
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Introduction to Ansys Simulation- Global leader - Download as a PDF or view online for free
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https://www.slideshare.net/slideshow/introduction-to-ansys-simulation-global-leader/130404340
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2. Contents 1. Introduction. 2. Process Solving. 3. Environments. 4. Systems. 5. Behind Scene. 6. Hall of Fame. 7. Student Community.
3. Introduction Ansys was founded in 1970 by John Swanson. Swanson sold his interest in the company to venture capitalists in 1993. Ansys went public on NASDAQ in 1996. In the 2000s, Ansys made numerous acquisitions of other engineering design companies, acquiring additional technology for fluid dynamics, electronics design, and other physics analysis.
4. Ansys Inc. is an American public company based in Canonsburg, Pennsylvania. It develops and markets engineering simulation software. Ansys software is used to design products and semiconductors, as well as to create simulations that test a product's durability, temperature distribution, fluid movements, and electromagnetic properties.
5. What is it? ANSYS is a program that deals with Finite Element Analysis, mainly solves a problem by approximation. It is now mostly used by various high class companies, UG, PG Students. Most Ansys simulations are performed using the Ansys Workbench software, which is one of the company's main products. Typically Ansys users break down larger structures into small components that are each modeled and tested individually. A user may start by defining the dimensions of an object, and then adding weight, pressure, temperature and other physical properties.
6. Environments Basically ANSYS has 2 environments: 1. APDL 2. Workbench
7. ANSYS Parametric Design Language In APDL, one can analyse various one and two dimensional structures like beams, truss, etc., It is a scripting program, where one can control various actions using coding or through navigation. In APDL with various coding, location of node, elements change in stress, displacement even Bending moment diagram, shear force diagram can be made.
9. Workbench The ANSYS Workbench environment is an intuitive up-front finite element analysis tool that is used in conjunction with CAD systems and/or DesignModeler. ANSYS Workbench is a software environment for performing structural, thermal, and electromagnetic analyses. The class focuses on geometry creation and optimization, attaching existing geometry, setting up the finite element model, solving, and reviewing results. Within workbench it is of many systems like structural, thermal, fluid flow fluent, electromagnetic, topology optimisation, rigid dynamics etc.,
11. Structural System
12. Thermal System
16. Company with ANSYS ● Airbus ● Ferrari ● Nebia ● Audi ● NVIDIA ● Dyson ● Medtronic
17. Solution using ANSYS- Real World Problem Startup Nebia is poised to transform the experience of taking a shower. Using CFD solutions from ANSYS, Nebia was able to analyze the thermal effects of hundreds of thousands of variables in its showerhead design
18. How ANSYS change design? Velocity Temperature
19. Behind the scenes ● Validation ● Calibration ● Analysis ● Prototype Testing ● Product Testing
20. Hall of Fame A competition conducted by ANSYS to bring out the best from it.
22. How ANSYS CFD Fetched Japan a Gold Medal ? Ansys simulation of team speed skater reports that they had unique strategy to cut wind resistance of 15%. Miho Takagi Ayano Sato Nana Takagi Time: 2:50.87 8 th December 2017
23. Student’s Community A place where beginners and professional meets. It offers student version for free.
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Exhibit 99.1 ANSYS, INC. REPORTS SECOND QUARTER 2006 FINANCIAL RESULTS - Announces Results for Highly Successful Quarter - Closes Fluent Acquisition and Makes Significant Integration Progress SOUTHPOINTE, Pa., Aug. 3 /PRNewswire-FirstCall/ -- ANSYS, Inc. (Nasdaq: ANSS), a global innovator of simulation software and technologies designed to optimize product development processes, today announced a new Company record for quarterly non-GAAP operating results and increased its 2006 non-GAAP guidance. On May 1, 2006, ANSYS successfully completed its acquisition of Fluent Inc. "This quarter was a historic one for ANSYS and for all of our stockholders, employees, customers and partners, as we completed the transforming acquisition of Fluent," stated ANSYS President and CEO, Jim Cashman. "We are optimistic that this initial quarterly report today, which includes two months of operations as a combined company, is only the beginning as we continue to focus and execute on our integration plan and long-term strategy for the Company. Compared to a year ago, this quarter's non-GAAP revenues increased in excess of 80% while non-GAAP diluted earnings per share increased 29%. We continue to maintain a strong balance sheet, ending the quarter with a new all-time high deferred revenue balance of $95.4 million. As a result of the success of the quarter and the current prospects for the remainder of the year, I am pleased to also announce that we are increasing our non-GAAP guidance for 2006." ANSYS' second quarter and year-to-date 2006 financial results are presented below. ANSYS' 2006 second quarter GAAP results are heavily impacted by a one-time charge of $28.1 million related to in-process research and development associated with the recent acquisition of Fluent. The non-GAAP results include, for the first time, charges for stock-based compensation, and exclude the income statement effects of purchase accounting for deferred revenue, acquisition-related amortization of intangible assets and the one- time acquired in-process research and development charge. Non-GAAP and GAAP results reflect: - Total non-GAAP revenue of $68.2 million as compared to $37.7 million in the second quarter of 2005; total non-GAAP revenue of $114.2 million in the first six months of 2006 as compared to $75.3 million in the first six months of 2005; total GAAP revenue of $62.3 million as compared to $37.7 million in the second quarter of 2005; total GAAP revenue of $108.3 million in the first six months of 2006 as compared to $75.3 million in the first six months of 2005; - A non-GAAP operating profit margin of 36.3% as compared to 38.4% in the second quarter of 2005; a non-GAAP operating profit margin of 38.1% in the first six months of 2006 as compared to 38.5% in the first six months of 2005; a GAAP operating profit margin of (23.3)% as compared to 35.4% in the second quarter of 2005; a GAAP operating profit margin of 3.1% in the first six months of 2006 as compared to 35.5% in the first six months of 2005; - Non-GAAP net income of $15.4 million as compared to $10.5 million in the second quarter of 2005; non-GAAP net income of $29.0 million in the first six months of 2006 as compared to $20.9 million in the first six months of 2005; a GAAP net loss of $19.4 million as compared to GAAP net income of $9.8 million in the second quarter of 2005; a GAAP net loss of $6.5 million in the first six months of 2006 as compared to GAAP net income of $19.5 million in the first six months of 2005; and - Non-GAAP diluted earnings per share of $0.40 as compared to $0.31 in the second quarter of 2005; non-GAAP diluted earnings per share of $0.80 in the first six months of 2006 as compared to $0.62 in the first six months of 2005; a GAAP diluted loss per share of ($0.53) as compared to GAAP diluted earnings per share of $0.29 in the second quarter of 2005; a GAAP diluted loss per share of ($0.19) in the first six months of 2006 as compared to GAAP diluted earnings per share of $0.58 in the first six months of 2005.
The Company's GAAP and non-GAAP results reflect stock-based compensation charges related to the January 1, 2006 adoption of SFAS No. 123R "Accounting for Stock-Based Compensation" of approximately $1.0 million or $0.03 diluted earnings per share for the second quarter of 2006 and approximately $2.0 million or $0.06 diluted earnings per share for the first six months of 2006. Because the Company elected prospective adoption of SFAS No. 123R, as permitted by SFAS No. 123R, the 2005 results do not reflect charges for stock- based compensation. The non-GAAP financial results highlighted above, and the non-GAAP financial outlook for 2006 discussed below, represent non-GAAP financial measures. A reconciliation of these measures to the appropriate GAAP measures, for the three months and six months ended June 30, is included in the condensed financial information included in this release. Commenting on the Company's integration of Fluent, Cashman stated, "I am very encouraged by our integration accomplishments in these first few months and wish to express my sincere appreciation to both teams for their tireless efforts, dedication and cooperation in this important effort as we continue to build upon the foundation for expanding our role as the global leader in engineering simulation." In addition to the May 2006 acquisition of Fluent, other recent partnership and industry recognition highlights for the Company include: - Being named among FORTUNE Small Business Fastest-Growing Companies for the third consecutive year. - Announcing collaboration with Granta Design Ltd., the leader in materials information management, to allow interoperability within ANSYS and Granta's systems to empower product design. - Being recognized for the fifth consecutive year in Business 2.0's Annual 'B2 100' Ranking of Fastest-Growing Tech Companies. - Announcing a partnership with MatWeb, allowing integration with ANSYS(R) Workbench(TM), which expands material property data available to ANSYS software users. "Looking ahead," Cashman stated, "as we continue to build on the momentum and strength of the first half results of 2006 and with the integration efforts well underway, we believe that we are poised for the next exciting phase in ANSYS' history and are increasing the Company's non-GAAP outlook for 2006. While we are excited for the second half of the year, we are even more optimistic about the opportunities for ANSYS in the years to come. We are committed to focusing our efforts and resources to respond to our customers' increasing needs and to building for the future." Management's Financial Outlook The Company has provided its 2006 revenue and earnings per share guidance below. The revenue and earnings per share guidance is provided on both a GAAP basis and a non-GAAP basis. Non-GAAP revenue and non-GAAP diluted earnings per share exclude the income statement effects of purchase accounting for deferred revenue, acquisition-related amortization of intangible assets and acquired in-process research and development. In previous quarters, the Company's non-GAAP guidance also excluded estimated stock-based compensation costs. For the first time, the Company's non-GAAP results for the second quarter 2006 and the financial outlook for the third quarter and future periods include the effect of stock-based compensation.
As required by FASB Statement 123(R) and recent guidance issued by the Securities and Exchange Commission, effective January 1, 2006, the Company records expenses and tax benefits related to stock-based compensation. As a result, the GAAP and non-GAAP estimates for earnings per share provided below reflect the anticipated impact of stock-based compensation. The Company issues both nonqualified and incentive stock options; however, incentive stock options comprise a significant portion of outstanding stock options. The tax benefits associated with incentive stock options are unpredictable, as they are predicated upon an award recipient triggering an event that disqualifies the award and which then results in a tax deduction to the Company. GAAP requires that these tax benefits be recorded at the time of the triggering event. The triggering events for each option holder are not easily projected. In order to estimate the tax benefit related to incentive stock options, the Company makes many assumptions and estimates, including the number of incentive stock options that will be exercised during the period by U.S. employees, the number of incentive stock options that will be disqualified during the period and the fair market value of the Company's stock price on the exercise dates. Each of these items is subject to significant uncertainty. Additionally, a significant portion of the tax benefits related to disqualified incentive stock options is accounted for as an increase to equity (additional paid-in capital) rather than as a reduction in income tax expense, especially in the periods most closely following the adoption date of Statement 123(R). Although all such benefits continue to be realized through the Company's tax filings, this accounting treatment has the effect of increasing tax expense and reducing net income. For example, the Company realized a tax benefit of $2.7 million during the first six months of 2006 related to disqualified incentive stock options; however, only $46,000 of such amount was recorded as a reduction in income tax expense. Because there are significant limitations in estimating the impact of FASB Statement 123(R), including those discussed above, the actual impact of stock-based compensation on GAAP earnings per share may differ materially from the estimated amounts included in the guidance below. Third Quarter 2006 Guidance The Company currently expects the following for the quarter ending September 30, 2006: - GAAP revenue of approximately $68 - $69 million - Non-GAAP revenue of approximately $75 - $76 million - GAAP diluted earnings per share of $0.12 - $0.15 - Non-GAAP diluted earnings per share of $0.35 - $0.36 Fiscal Year 2006 Guidance The Company currently expects the following for the fiscal year ending December 31, 2006: - GAAP revenue in the range of $252 - $257 million - Non-GAAP revenue of approximately $270 - $275 million - GAAP diluted earnings per share of $0.17 - $0.24 - Non-GAAP diluted earnings per share of $1.53 - $1.55 The above guidance includes the impact of the May 1, 2006 acquisition of Fluent from the date of acquisition. Non-GAAP revenue and diluted earnings per share is a supplemental financial measure and should not be considered as a substitute for, or superior to, revenue and diluted earnings per share determined in accordance with GAAP.
ANSYS will hold a conference call at 10:30 a.m. Eastern Time on August 3, 2006 to discuss second quarter results. To participate in the live conference call, dial 913-312-1279 or 800-829-9048 and enter the passcode "ANSYS" or "26797". The call will be recorded and a replay will be available approximately two hours after the call ends. The replay will be available for one week by dialing 719-457-0820 or 888-203-1112 and entering the passcode "ANSYS" or "26797". The archived webcast can be accessed, along with other financial information, on ANSYS' website at http://www.ansys.com/corporate/investors.asp. Use of Non-GAAP Measures The Company provides non-GAAP revenue, non-GAAP operating income, non-GAAP operating profit margin, non-GAAP net income and non-GAAP diluted earnings per share as supplemental measures to GAAP regarding the Company's operational performance. These financial measures exclude the impact of certain items and, therefore, have not been calculated in accordance with GAAP. A detailed explanation of each of the adjustments to such financial measures is described below. This press release also contains a reconciliation of each of these non-GAAP financial measures to its most comparable GAAP financial measure. Management uses non-GAAP financial measures (a) to evaluate the Company's historical and prospective financial performance as well as its performance relative to its competitors, (b) to set internal sales targets and spending budgets, (c) to allocate resources, (d) to measure operational profitability and the accuracy of forecasting, (e) to assess financial discipline over operational expenditures and (f) as an important factor in determining variable compensation for management and its employees. In addition, many financial analysts that follow our Company focus on and publish both historical results and future projections based on non-GAAP financial measures. We believe that it is in the best interest of our investors to provide this information to analysts so that they accurately report the non- GAAP financial information. Moreover, investors have historically requested and the Company has historically reported these non-GAAP financial measures as a means of providing consistent and comparable information with past reports of financial results. While management believes that these non-GAAP financial measures provide useful supplemental information to investors, there are limitations associated with the use of these non-GAAP financial measures. These non-GAAP financial measures are not prepared in accordance with GAAP, are not reported by all of the Company's competitors and may not be directly comparable to similarly titled measures of the Company's competitors due to potential differences in the exact method of calculation. The Company compensates for these limitations by using these non-GAAP financial measures as supplements to GAAP financial measures and by reviewing the reconciliations of the non-GAAP financial measures to their most comparable GAAP financial measures. The adjustments to these non-GAAP financial measures, and the basis for such adjustments, are outlined below: Purchase accounting for deferred revenue. As announced on May 1, 2006, ANSYS acquired Fluent Inc. in a series of mergers. In accordance with the fair value provisions of EITF 01-3, "Accounting in a Business Combination for Deferred Revenue of an Acquiree," acquired deferred revenue of approximately $31.5 million was recorded on the opening balance sheet, which was approximately $20.1 million lower than the historical carrying value. Although this purchase accounting requirement has no impact on the Company's business or cash flow, it adversely impacts the Company's reported GAAP software license revenue primarily for the first twelve months post- acquisition. In order to provide investors with financial information that facilitates comparison of both historical and future results, the Company has provided non-GAAP financial measures which exclude the impact of the purchase accounting adjustment. The Company believes that this non-GAAP financial adjustment is useful to investors because it allows investors to (a) evaluate the effectiveness of the methodology and information used by management in its financial and operational decision-making and (b) to compare past and future reports of financial results of the Company as the revenue reduction related to acquired deferred revenue will not recur when related annual lease licenses and software maintenance contracts are renewed in future periods.
Amortization of intangibles from acquisitions. The Company incurs amortization of intangibles, included in its GAAP presentation of amortization of software and acquired technology and amortization expense, related to various acquisitions it has made in recent years. Management excludes these expenses and their related tax impact for the purpose of calculating non-GAAP financial measures when it evaluates the continuing operational performance of the Company because these costs are fixed at the time of an acquisition, are then amortized over a period of several years after the acquisition and generally cannot be changed or influenced by management after the acquisition. Accordingly, management does not consider these expenses for purposes of evaluating the performance of the Company during the applicable time period after the acquisition, and it excludes such expenses when making decisions to allocate resources. The Company believes that this non-GAAP financial adjustment is useful to investors because it allows investors to (a) evaluate the effectiveness of the methodology and information used by management in its financial and operational decision-making and (b) compare past reports of financial results of the Company as the Company has historically reported these non-GAAP financial measures. Acquired in-process research and development. The Company incurs in- process research and development expenses when technological feasibility for acquired technology has not been established and no future alternative use for such technology exists. Management excludes these expenses and their related tax impact for the purpose of calculating non-GAAP financial measures when it evaluates the continuing operational performance of the Company because these costs do not relate to the Company's ongoing operations and generally cannot be changed or influenced by management at the time of or after the acquisition. Accordingly, management does not consider these expenses for purposes of evaluating the performance of the Company during the applicable time period after the acquisition, and it excludes such expenses when making decisions to allocate resources. The Company believes that this non-GAAP financial adjustment is useful to investors because it allows investors to (a) evaluate the effectiveness of the methodology and information used by management in its financial and operational decision-making and (b) to compare past and future reports of financial results of the Company as the expense related to in-process research and development is a one-time item recorded on the date of acquisition. Non-GAAP financial measures are not in accordance with, or an alternative for, generally accepted accounting principles in the United States. The Company's non-GAAP financial measures are not meant to be considered in isolation or as a substitute for comparable GAAP financial measures, and should be read only in conjunction with the Company's consolidated financial statements prepared in accordance with GAAP. Pursuant to the requirements of Regulation G, the Company has provided a reconciliation of the non-GAAP financial measures to the most directly comparable GAAP financial measures as listed below: GAAP Reporting Measure Non-GAAP Reporting Measure Revenue Adjusted Revenue Operating Profit Adjusted Operating Profit Operating Profit Margin Adjusted Operating Profit Margin Net Income Adjusted Net Income Diluted Earnings Per Share Adjusted Diluted Earnings Per Share
About ANSYS, Inc. ANSYS, Inc., founded in 1970, develops and globally markets engineering simulation software and technologies widely used by engineers and designers across a broad spectrum of industries. The Company focuses on the development of open and flexible solutions that enable users to analyze designs directly on the desktop, providing a common platform for fast, efficient and cost- conscious product development, from design concept to final-stage testing and validation. The Company and its global network of channel partners provide sales, support and training for customers. Headquartered in Canonsburg, Pennsylvania U.S.A. with more than 40 strategic sales locations throughout the world, ANSYS, Inc. and its subsidiaries employ approximately 1,400 people and distribute ANSYS products through a network of channel partners in over 40 countries. Visit http://www.ansys.com for more information. Certain statements contained in the press release regarding matters that are not historical facts, including, but not limited to, statements regarding our projections for revenue and earnings per share for the third quarter and 2006 (both GAAP and non-GAAP to exclude purchase accounting for deferred revenue, acquisition-related amortization, stock-based compensation expense and acquired in-process research and development), statements about management's views concerning the Company's prospects in the remainder of 2006 and subsequent years and the effect of the Fluent acquisition on these prospects, statements regarding the impact of the Fluent acquisition, including statements regarding the integration plan and long-term strategy, statements regarding collaboration with Granta Design Ltd., statements regarding a partnership with MatWeb, statements and projections relating to the impact of stock-based compensation, statements regarding management's use of non-GAAP financial measures, and statements regarding the focus of our energy and resources are "forward-looking" statements (as defined in the Private Securities Litigation Reform Act of 1995). Because such statements are subject to risks and uncertainties, actual results may differ materially from those expressed or implied by such forward-looking statements. All forward- looking statements in this press release are subject to risks and uncertainties, including, but not limited to, that the businesses of ANSYS and Fluent may not be integrated successfully or that such integration may take longer or cost more to accomplish than expected, that potential difficulties may arise in the assimilation of operations, strategies, technologies and products of Fluent, that key personnel of Fluent may not stay with ANSYS, and that management's attention may be diverted from other business concerns. Additional risks include the risk of a general economic downturn in one or more of ANSYS' primary geographic regions, the risk that the assumptions underlying ANSYS' anticipated revenues and expenditures will change or prove inaccurate, the risk that ANSYS has overestimated its ability to maintain growth and profitability and control costs, uncertainties regarding the demand for ANSYS' products and services in future periods, the risk that ANSYS has overestimated the strength of the demand among its customers for its products, risks of problems arising from customer contract cancellations, uncertainties regarding customer acceptance of new products, the risk that ANSYS' operating results will be adversely affected by possible delays in developing, completing, or shipping new or enhanced products, risks that enhancements to the Company's products may not produce anticipated sales, uncertainties regarding fluctuations in quarterly results, including uncertainties regarding the timing of orders from significant customers, and other factors that are detailed from time to time in reports filed by ANSYS, Inc. with the Securities and Exchange Commission, including ANSYS, Inc.'s 2006 Annual Report and Form 10-K, as amended. We undertake no obligation to publicly update or revise any forward-looking statements, whether changes occur as a result of new information or future events, after the date they were made. ANSYS, ANSYS Workbench, CFX, AUTODYN, FLUENT and any and all ANSYS, Inc. product and service names are registered trademarks or trademarks of ANSYS, Inc. or its subsidiaries located in the United States or other countries. ICEM CFD is a trademark licensed by ANSYS, Inc. All other trademarks or registered trademarks are the property of their respective owners.
ANSYS, INC. AND SUBSIDIARIES Consolidated Statements of Operations (in thousands, except per share data) (Unaudited) Three Months Ended Six Months Ended ---------------------------- ---------------------------- June 30, June 30, June 30, June 30, 2006 2005 2006 2005 ------------ ------------ ------------ ------------ Revenue: Software licenses $ 34,763 $ 19,794 $ 61,515 $ 40,269 Maintenance and service 27,501 17,862 46,760 35,011 Total revenue 62,264 37,656 108,275 75,280 Cost of sales: Software licenses 1,700 1,160 3,190 2,413 Amortization of software and acquired technology 3,739 881 4,647 1,788 Maintenance and service 8,014 3,796 12,484 7,654 Total cost of sales 13,453 5,837 20,321 11,855 Gross profit 48,811 31,819 87,954 63,425 Operating expenses: Selling, general and administrative 22,020 10,600 33,859 21,146 Research and development 11,622 7,506 20,979 14,819 Amortization 1,576 385 1,704 711 In-process research and development 28,100 - 28,100 - Total operating expenses 63,318 18,491 84,642 36,676 Operating (loss) income (14,507) 13,328 3,312 26,749 Interest (expense) income (919) 984 593 1,708 Other (expense) income (263) 62 (77) (49) (Loss) income before income tax provision (15,689) 14,374 3,828 28,408 Income tax provision 3,704 4,599 10,308 8,950 Net (loss) income $ (19,393) $ 9,775 $ (6,480) $ 19,458 Earnings per share - basic: Basic earnings per share $ (0.53) $ 0.31 $ (0.19) $ 0.62 Weighted average shares - basic 36,306 31,667 34,214 31,579 Earnings per share - diluted: Diluted earnings per share $ (0.53) $ 0.29 $ (0.19) $ 0.58 Weighted average shares - diluted 36,306 33,782 34,214 33,688
ANSYS, INC. AND SUBSIDIARIES Reconciliation of Non-GAAP Measures For the three months ended June 30, 2006 (in thousands, except per share data) (Unaudited) As Non-GAAP Reported Adjustments Results ------------ ------------ ------------ Total revenue: $ 62,264 $ 5,939(1) $ 68,203 Operating (loss) income (14,507) 39,250(2) 24,743 Operating profit margin (23.3)% 36.3% Net (loss) income $ (19,393) $ 34,834(3) $ 15,441 Earnings per share - diluted: Diluted earnings per share $ (0.53) $ 0.40 Weighted average shares - diluted 36,306 2,104(4) 38,410 (1) Amount represents the revenue not reported during the period as a result of the purchase accounting adjustment associated with EITF 01-3, "Accounting in a Business Combination for Deferred Revenue of an Acquiree." (2) Amount represents $5.2 million of amortization expense associated with intangible assets acquired in business acquisitions, including amounts primarily related to acquired software, customer list and non-compete agreements, $28.1 million of acquired in-process research and development expense that was purchased in the Fluent acquisition and immediately expensed, as well as the $5.9 million adjustment to revenue as reflected in (1) above. (3) Amount represents the impact of the adjustments to operating income referred to in (2) above, adjusted for the related income tax impact of $4.4 million. (4) Amount represents common stock equivalents that are dilutive in the calculation of non-GAAP diluted earnings per share.
ANSYS, INC. AND SUBSIDIARIES Reconciliation of Non-GAAP Measures For the three months ended June 30, 2005 (in thousands, except per share data) (Unaudited) As Non-GAAP Reported Adjustments Results ------------ ------------ ------------ Total revenue: $ 37,656 - $ 37,656 Operating income 13,328 1,136(1) 14,464 Operating profit margin 35.4% 38.4% Net income $ 9,775 $ 738(2) $ 10,513 Earnings per share - diluted: Diluted earnings per share $ 0.29 $ 0.31 Weighted average shares - diluted 33,782 33,782 (1) Amount represents amortization expense associated with intangible assets acquired in business acquisitions, including amounts primarily related to acquired software, customer list and non-compete agreements. (2) Amount represents the impact of the adjustments to operating income referred to in (1) above, adjusted for the related income tax impact of $398,000.
ANSYS, INC. AND SUBSIDIARIES Reconciliation of Non-GAAP Measures For the six months ended June 30, 2006 (in thousands, except per share data) (Unaudited) As Non-GAAP Reported Adjustments Results ------------ ------------ ------------ Total revenue: $ 108,275 $ 5,939(1) $ 114,214 Operating income 3,312 40,171(2) 43,483 Operating profit margin 3.1% 38.1% Net (loss) income $ (6,480) $ 35,433(3) $ 28,953 Earnings per share - diluted: Diluted earnings per share $ (0.19) $ 0.80 Weighted average shares - diluted 34,214 2,053(4) 36,267 (1) Amount represents the revenue not reported during the period as a result of the purchase accounting adjustment associated with EITF 01-3, "Accounting in a Business Combination for Deferred Revenue of an Acquiree." (2) Amount represents $6.1 million of amortization expense associated with intangible assets acquired in business acquisitions, including amounts primarily related to acquired software, customer list and non-compete agreements, $28.1 million of acquired in-process research and development expense that was purchased in the Fluent acquisition and immediately expensed, as well as the $5.9 million adjustment to revenue as reflected in (1) above. (3) Amount represents the impact of the adjustments to operating income referred to in (2) above, adjusted for the related income tax impact of $4.7 million. (4) Amount represents common stock equivalents that are dilutive in the calculation of non-GAAP diluted earnings per share.
ANSYS, INC. AND SUBSIDIARIES Reconciliation of Non-GAAP Measures For the six months ended June 30, 2005 (in thousands, except per share data) (Unaudited) As Non-GAAP Reported Adjustments Results ------------ ------------ ------------ Total revenue: $ 75,280 - $ 75,280 Operating income 26,749 2,224(1) 28,973 Operating profit margin 35.5% 38.5% Net income $ 19,458 $ 1,445(2) $ 20,903 Earnings per share - diluted: Diluted earnings per share $ 0.58 $ 0.62 Weighted average shares - diluted 33,688 33,688 (1) Amount represents amortization expense associated with intangible assets acquired in business acquisitions, including amounts primarily related to acquired software, customer list and non-compete agreements. (2) Amount represents the impact of the adjustments to operating income referred to in (1) above, adjusted for the related income tax impact of $779,000.
ANSYS, INC. AND SUBSIDIARIES Condensed Consolidated Balance Sheets (in thousands) (Unaudited) June 30, December 31, 2006 2005 ------------ ------------ ASSETS: Cash & short-term investments $ 103,109 $ 194,232 Accounts receivable, net 29,937 19,134 Goodwill 430,823 43,277 Other intangibles, net 218,513 10,589 Other assets 86,512 38,277 Total assets $ 868,894 $ 305,509 LIABILITIES & STOCKHOLDERS' EQUITY: Deferred revenue $ 95,394 $ 49,894 Long-term debt (including current portion) 170,552 - Other liabilities 99,646 30,638 Stockholders' equity 503,302 224,977 Total liabilities & stockholders' equity $ 868,894 $ 305,509 ANSYS, INC. AND SUBSIDIARIES Reconciliation of Forward-Looking Guidance Quarter Ending September 30, 2006 Earnings Per Share Range - Diluted ------------- U.S. GAAP expectation $0.12 - $0.15 Adjustment to exclude purchase accounting adjustments to deferred revenue $0.10 - $0.11 Adjustment to exclude acquisition-related amortization $0.11 - $0.12 Non-GAAP expectation $0.35 - $0.36 ANSYS, INC. AND SUBSIDIARIES Reconciliation of Forward-Looking Guidance Year Ending December 31, 2006 Earnings Per Share Range - Diluted ------------- U.S. GAAP expectation $0.17 - $0.24 Adjustment to exclude purchase accounting adjustments to deferred revenue $0.27 - $0.29 Adjustment to exclude acquisition-related amortization $0.32 - $0.34 Adjustment to exclude acquired in-process research and development $0.72 - $0.73 Non-GAAP expectation $1.53 - $1.55 SOURCE ANSYS, Inc. -0- 08/03/2006 /CONTACT: Investors, Lisa O'Connor, +1-724-514-1782, or lisa.oconnor@ansys.com, or Media, Kelly Wall, +1-724-514-3076, or kelly.wall@ansys.com, both of ANSYS, Inc./ /Web site: http://www.ansys.com http://www.ansys.com/corporate/investors.asp / (ANSS)
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https://www.scribd.com/document/536366875/ANSYS-Icepak-Users-Guide-18-2
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ANSYS Icepak Users Guide 18.2
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ANSYS Icepak Users Guide 18.2 - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. ANSYS Icepak Users Guide 18.2
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DCED acting secretary visits Mon Valley
Neil Weaver, acting secretary for the state Department of Community and Economic Development, got a firsthand look Monday at some investments made in the commonwealth’s manufacturing industry in the Mon Valley.
South Strabane housing continues in earth-moving stage
Massive amounts of earth are being moved near the intersection of Route 19 and Racetrack Road in South Strabane Township. It’s a hilly, 55 ½-acre tract scheduled to be home to 145 homes.
Work on the Burkett Manor residential project has been ongoing since early summer. The owner/developer, PA Finance II LLC of Myrtle Beach, S.C., plans to construct 102 patio homes and 43 town homes on that vacant property, which is south of Burkett Lane and east of Route 19 (Washington Road).
Family's emphasis on hydrogen fuels CGI's success
Eileen Zullo was in another country, doing consulting work, when she got a transformative phone call.
Her brother, Charles J. Zullo III, had died unexpectedly of a heart attack at age 40. He was a top executive of CGI International LLC, a group of companies based in Washington County. Charles was the only son among seven siblings, and the heir apparent to take over from his father, Charles II.
Joe's Bakery: an early-morning tradition in downtown Washington
Joe's Bakery is a sweet place specializing in sweet treats that foster sweet memories along North Main Street. It's where a customer can take their sweet time selecting from the delectable wares inside the showcases.
The owner/operator? Joe Vucic Jr. is an old-school baker and entrepreneur who displays an occasional crusty exterior, according to his staff of two. Six years of Army service, a city upbringing and decades as an independent merchant can lead to an element of crustiness. Yet, to those who know him, that tough side is a mere veneer.
Houston resident says yes to online dress business
Bywaters, 38, is the owner of Isn’t She Lovely Cache, an online boutique dress store she launched in March from her Houston home. The e-shop, on its Facebook page, pledges to have “a dress for every body type and every occasion.” Catering to cancer survivors is a primary focus of Isn’t She Lovely.
Her e-business (isntshelovelycache.com) is a successor to, and variation of, the bricks-and-mortar store Bywaters and a partner launched in Peters Township in March 2019. That Valley Brook Road location specialized in dresses for formal events. Think wedding, prom, homecoming.
Being a winemaker meeting his grape expectations
Great-grandfather Enrico DeLuca and grandfather Pasquale Borelli learned how to make wine in their native Italy, a pastime they continued – and passed on – after emigrating to the city of Pittsburgh more than a century ago. (Pasquale later moved to Bethel Park, where he had a wine cellar.)
Manufacturers group celebrates a golden existence
The manufacturing landscape of Washington County has changed. So has the organization representing it.
Steel, glass and other heavy industries no longer reign, making for a more diverse membership in the Washington County Manufacturers Association.
Perryman is in its element tackling new titanium projects
The president and CEO of Perryman Co. acknowledges that navigating the pandemic has been harrowing on occasion.
“Since we’re part of the critical infrastructure, we’ve continued to manufacture during the pandemic,” Frank Perryman Jr. said recently. “There has never been a day that we’ve shut down. But at times, it has been a struggle.
Precision Marshall cuts a deal for knife-making firm
The CEO of Precision Marshall was working to help cut a deal to acquire a Wisconsin knife-making company. For nearly two weeks, he thought a transaction was close to closing, but it didn’t happen, a frustrating circumstance that also was costing him beach time with his family.
Online auction firm gives Macy's building 'second chance'
Attention, local shoppers ... you may find deals, maybe steals, at the old Macy’s department store at Washington Crown Center.
Only it is no longer a Macy’s store, which the big-box chain shuttered in 2018. M@C Discount, an online bidding auction company, moved into the space in January – relocating from South College Street in Washington.
New pathway to connect Southpointe with Montour Trail
Nearly three decades ago, the first leg of the Montour Trail was constructed in Cecil Township, and since that time it’s expanded to become a 47-mile “necklace” around Pittsburgh, Montour Trail Council member Ned Williams said.
Now, the council is looking for “jewels” to connect to the popular biking and walking trail that meanders through suburban neighborhoods in Allegheny and Washington counties, Williams said.
Commissioners approve high-speed internet expansion along Route 40
High-speed broadband internet is being expanded to other parts of Route 40 in Washington County after it was announced last month that the service would be coming to Scenery Hill.
The county commissioners unanimously approved a contract with DQE Communications for the company to install broadband in the villages of Glyde and Beallsville during their Thursday afternoon meeting.
CNX reaches out to community with co-working spaces
Speaking from corporate offices that stand out among the ubiquitous hills of Southpointe, Nick Deluliis kicked off a recent tour of CNX Resources’ building by outlining one of the company’s missions.
“We want to invest in our region, and our region is Appalachia,” said the president and CEO of the natural gas exploration, development and production company. “We want to invest locally in tangible, impactful ways.”
Liberty Pole popping cork on growth plans
Following years of planning to raise their stakes, the owners of Mingo Creek Craft Distillers can raise a celebratory glass.
Mingo Creek, producers of Liberty Pole Spirits, will break ground Monday at the distillery campus it is constructing along Racetrack Road in North Strabane Township.
Salon and spa coming to North Strabane
A West Virginia-based salon and spa is heading to North Strabane Township, with a pledge to make you look good.
Tuscan Sun Spa and Salon is planning to open there in late May or early June, according to an employee at a Tuscan spa out of state. The company did not respond to an online query seeking more specifics.
Canonsburg offering free metered parking on weekends
In a move certain to delight some residents and business owners, Canonsburg Borough Council voted unanimously Monday to make metered parking free on weekends beginning Saturday.
Free metered parking throughout the borough will be in effect through and including Sunday, June 5.
Statewide cable series to focus on Washington County
Washington County will be on a statewide stage in the upcoming week, and Jeff Kotula is appropriately pleased.
Canonsburg officially welcomes 7 new businesses to downtown
The Canonsburg Chamber of Commerce, Mayor Dave Rhome and borough council members officially welcomed several new businesses to downtown at a ribbon cutting ceremony Saturday in front of Grandpa Joe’s Candy Shop.
Retail, restaurant changes spring forth in region
Changes are springing forth locally in the retail and restaurant industries.
Internship funds offer new way to help students, charities
With graduation season right around the corner, many students are focused on the future. And for some, that may mean preparing to enter into a post-secondary educational program.
Young farmer takes over Marketplace at Emerald Valley
Drew Ross was looking to shift gears. So was Alisa Fava-Fasnacht.
Ignite Business Incubator holds I2E awards ceremony
The Ignite Business Incubator recently held an awards ceremony for the latest cohort of Ideas 2 Enterprise (I2E).
Sticking together
Jobie Rossell is not a sap. At 27, he is an experienced maple syrup entrepreneur, one of the few producers in Washington County. He does not understand why there aren’t others, why there isn’t more competition.
Syrup business a sweet time for Donegal couple
Bob Panichi is familiar with the entire 108-acre farm he and his wife, Debby, share in Donegal Township. He, in fact, revels in his routine of navigating the endless hills and trees by foot.
Manufacturing group will discuss hiring
Corridor panelists detail the potential to come from the new Southern Beltway
Rodi, the president of the board of commissioners for South Fayette Township, introduced a full lunchtime banquet room in the Hilton Garden Inn at Southpointe to the new "Southern Beltway District" in the works.
C Harper expands with acquisition of Rotolo's in Fallowfield Township
C Harper Auto Group has expanded again – this time westward.
Southern Beltway: Developers are ready to jump on opportunities from the new highway
From the small farm on which he lives in South Fayette, he looks out his window and sees cars and trucks heading along the newly opened stretch of the Southern Beltway, a 13-mile toll road. “I live next to the beltway. I sit there and watch. You can see the traffic at night,” he said. “Since it opened in October, it has been a steady increase.”
‘From the ice age to the space age’: Washington County camp for early hunters and gatherers joins the digital world
The earliest site of human habitation in North America is in for a digital upgrade.
Arlecchino fills a large order for more space
That half-million went toward an 1,800-square-foot expansion that added dining space, enlarged the kitchen and provided more parking. Planning director Ed Zuk said the township issued the building permit Aug. 21 and the certificate of occupancy this month, meaning the renovation is essentially finished.
Two pipeline projects in Washington County receive state funding
Two pipeline projects in Washington County have received state funding through the Commonwealth Financing Authority (CFA), it was announced Wednesday.
Jett & Sons opens in Charleroi
There is a new eatery in Charleroi that offers quite a unique experience.
A customer may be shot with a Nerf gun, have a robot dance on the table for tips or be on hand to celebrate the birthday of the restaurant’s patron saint, cartoon character George Jetson.
Former Washington County mine sites receiving federal funds for reclamation
Former mine sites in the Washington County communities of Muse and Walkertown will be reclaimed as a result of federal funding, it was announced Monday.
Cecil Municipal Authority will receive $13.8 million in state funds
The Cecil Township Municipal Authority will be receiving a low-interest loan from the state to consolidate all its operations into one treatment plant.
Wolf Administration distributes $70 million in grants for recreation projects
Several communities in Southwestern Pennsylvania will see $70 million in statewide funding go toward their local parks, rivers and trails.
Greene, Washington counties receive $2.5 million in redevelopment grants
Redevelopment Assistance Capital Program (RACP) grants totaling $2.5 million were awarded to economic endeavors in parts of Greene and Washington counties.
The funding will benefit industrial revitalization and economic development, tourism and drug treatment.
Liberty Pole a step closer to developing second site
The Hough family, owners of the West Maiden Street distillery in downtown Washington, will develop a second location on a two-acre tract on Adios Drive. The project recently received a major boost – a $500,000 grant from the state Redevelopment Assistance Capital Program.
Washington County gains ground on Susquehanna as state's top natural gas producer
Natural gas production in Pennsylvania rose 6.8% in the third quarter of 2021 compared to a year before, but the number of new wells drilled fell to nearly the lowest point in five years. And Washington County gained ground on Susquehanna County for the most quarterly production in Pennsylvania.
Retal Americas Holdings receives $250,000 in tax credits
Retal Americas Holdings will receive $250,000 in tax credits, which will be used for additional equipment as well as an expansion of its facility.
Mon Valley Alliance opens business resource center
A former Community Bank branch office in Monongahela has a new use.
A partnership was announced last week between Community Bank and the Mon Valley Alliance for the creation of the Mon Valley Business Resource Center. The center is seen as a hub for business development, training, support and incubation for new and growing businesses in the Mon Valley region.
Kouzina adds taste of Greece to Washington
Kouzina Greek Bistro opened two weeks ago at 60 S. Main St., in the George Washington Hotel. The restaurant serves lunch – 11 a.m. to 2 p.m. – Tuesday through Friday, and specializes in Mediterranean and Greek cuisine.
Consol Energy to add fifth longwall machine at local mining complex
Consol Energy Inc. on Tuesday announced it will do something that would have been unthinkable a year ago: Adding an additional mining machine at its Pennsylvania Mining Complex in Greene and Washington counties, thanks to a revived coal market with higher prices and stronger demand.
GE Grid Solutions receives DOE grant
GE Grid Solutions in Charleroi has received more than $2 million from the U.S. Department of Energy for a project geared toward removing a harmful greenhouse gas from the United States Electrical Grid.
Meadows Casino changing its name
The Meadows Casino is getting a new name, and there is quite a bit scheduled in the coming days to celebrate.
On Oct. 15, the name will be officially changed to Hollywood Casino at the Meadows.
Mon Valley Hospital joins Penn Highlands Healthcare
Monongahela Valley Hospital has officially joined Penn Highlands Healthcare.
The move became effective Oct. 1 following recent regulatory reviews and proposals. Terms of the deal were not disclosed.
Auto repair shop under construction at site of former bowling alley
A former bowling alley will soon be South Strabane Township’s newest auto repair shop.
Prime Collision Center is now under construction at 390 Washington Road, the former home of Route 19 Bowling Center, which closed its doors in April 2016 after 57 years.
'The future is now': With new Southern Beltway, access to spur growth
When Diana Irey Vaughan made her first run for Washington County commissioner, there was talk about building a new highway to link Interstate 79 to Route 22 along the county’s northern border with Allegheny County. That was 1995.
Now, more than 25 years later, the Pennsylvania Turnpike is ready to open a large portion of the 13-mile, $900 million Southern Beltway. The first traffic is expected to use the toll road highway beginning Oct. 15 with the final interchange at I-79 only partially open and scheduled to be finished next spring.
Growing electronic sensor manufacturer buys Southpointe building for new headquarters
Nokomis Inc., a maker of electromagnetic sensors, soon won't have to split its offices between Charleroi and Peters Township.
Sarris announces new real estate buy and expansion of chocolate production in Canonsburg
Sarris Candies, a chocolate-making institution in Washington County for more than 60 years, announced a major expansion as the family owned business continues to grow beyond the modest shop out of which it started.
Mingo Creek Craft Distillers LLC plans to build new facility near The Meadows Racetrack & Casino
Mingo Creek Craft Distillers LLC, a Washington, Pennsylvania-based whiskey maker, has raised $2 million from private investors, according to a regulatory filing.
The company confirmed on Friday that the capital is earmarked for expansion.
Developer 'pane-stakingly' revives Brockway Glass site
For the past two years-plus, amid COVID-related delays, that firm has overseen the demolition of old structures, and the remediation, remake and resurrection of a Canton Township property that is now fraught with promise.
Hardy project takes a step forward in Somerset Township
Hardy World LLC, a real estate development company founded by local legend Joe Hardy, conducted a ceremonial launch of the mixed-use project July 29. Construction is almost complete on a flex building that will feature 28,160 square feet of operational space that can be subdivided into 16 storefronts or bays. Some interior work still has to be done.
New PT facility
Drayer Physical Therapy Inc. has 125 clinics in 11 states. That list now includes a Washington County location.
Tire recycler plans factory in Mon Valley
A tire recycler based in Canada hopes to establish a factory at the former Wheeling-Pittsburgh Steel finishing plant in Allenport.
Coffee shop to open in ARC building in Canonsburg
Something new is brewing in Canonsburg, and it’s likely to perk up lovers of good coffee, tea, and food.
PennDOT plans for busy summer of construction in southwestern PA
The state Department of Transportation is preparing for a busy construction season, with dozens of projects planned throughout Southwestern Pennsylvania.
Southpointe revving up with two new businesses, live events
“The streets are filling with people, restaurant tables are full inside and out, new businesses are opening, and outdoor events have returned,” said Swisher, principal at Horizon Properties Group LLC, a real estate development company and developer of the 813-acre mixed-use park.
Scarmazzi Homes plans town homes in Canonsburg
Scarmazzi Homes is planning to start construction in September on eight townhouses on the vacant lot at 119 Greenside Ave. in Canonsburg.
Peters Township Council approves final plan for development with $500,000-plus homes
A new residential development featuring homes starting at half a million dollars is in the works for Peters Township.
Here are the gas producers that paid the most impact fee last year
There'll be less money this year from the state's impact fee on natural gas drilling as lower prices and the pandemic hit the industry hard.
Washington, Greene counties to receive grants for affordable housing projects
Communities in Greene and Washington counties will receive a portion of nearly $2.3 million in Pennsylvania Housing Financing Agency grants to support affordable housing projects throughout the region, according to a news release from state Sen. Camera Bartolotta, R-Carroll Township.
Mon Valley Hospital to integrate with Central Pennsylvania health care system
Mon Valley Hospital has announced an affiliation with a Central Pennsylvania health care system.
Mon Valley said hospital officials have signed an agreement that would integrate its 200-bed Carroll Township hospital with Penn Highlands Healthcare in the fall.
Business incubator ready to open in Washington
The years-long project known as the Greater Washington Area Business Incubator in Washington has been rebranded and is ready to open this week.
Ignite, as it’s now called, sits where the former O’Reilly Auto Parts shop was, at 57 E. Chestnut St. in Washington.
Arc moves into Canonsburg building
Arc Human Services of Washington County is moving into its newly renovated headquarters building on West Pike Street in Canonsburg.
The nonprofit, which serves people with intellectual and developmental disabilities, was granted full occupancy of the building about two weeks ago. The agency began moving office employees into the second and third floors of the building.
Trolley Museum breaks ground for new welcome, educational center
With supporters saying it will bring in more visitors and boost tourism, ground was broken Thursday afternoon for a new 21,000-square-foot welcome and educational center at the Pennsylvania Trolley Museum.
End is near: Southern Beltway near Pittsburgh International Airport set for mid-October opening
After four years, most of the mainline paving and bridge work for the toll road is done. Finishing touches such as road signs, line painting and toll gantries will be come over the summer.
Business district authority getting $50,000 revitalization grant
Washington Business District Authority was one of two Southwestern Pennsylvania applicants selected for funding through the COVID-19 Relief – Supporting Elm and Main program.
Peters Township awards contract for design of new fire substation
Peters Township Council last week awarded a contract for architectural services related to the design of a fire department substation.
New Peters staffing agency holding hiring event
An industrial staffing agency with an established Western Pennsylvania base has expanded to Peters Township.
Incubator takes care of business, heads for a May opening
Two locations and seven years later, the incubator is about to be born.
An early May opening is planned for ignite, the erstwhile Greater Washington Area Business Incubator. Conversion of a former O’Reilly’s Auto Parts store is almost complete at 57 E. Chestnut St. in Washington, where “they’re putting final touches on the building,” said Max Miller, director of the project.
Washington County: State of the economy
Just over a year ago, Washington County’s commissioners celebrated the previous year’s economic successes in this Southwestern Pennsylvania county with more than 400 members of the Washington County Chamber of Commerce. Their take-away message: Washington County – largely due to the energy industry, manufacturers, tourism and their leveraged investments in the region – had become a model over the past 20 years for diversified regional economic growth in Pennsylvania.
New museum ready to tell region’s role in Whiskey Rebellion
Not everyone who passes by the Bradford House in Washington knows the historical significance of the old, stone building on South Main Street and its role in a rebellion.
But Tracie Liberatore hopes that will change soon with the opening of the new Whiskey Rebellion museum directly across the street that will tell the story about how this region became the epicenter of the country’s first insurrection in the early 1790s.
Mixed-use project a Hardy effort a long I-70
The company he founded, Hardy World, has begun moving earth along Interstate 70 in Somerset Township, where a flex building with 16 business spaces will be constructed. The project is named HW70 and will be located on a tract that is familiar to local residents and I-70 passers-by: where the Carlton Hotel and Diner stood for decades.
Southern Beltway driving development to Starpointe
Aragra Technologies, a manufacturing company that specializes in building circuit boards for medical devices, is planning to construct a 50,000-square-foot building that will eventually employ as many as 220 workers.
Commissioners in an optimistic state about economy
“2020 was a challenging year in the Washington County business community, but we saw optimistic signs,” the president of the county Chamber of Commerce intoned during his introduction to a virtual audience.
The upbeat tone continued, and why not. Vaccines are being dispensed, infections are down and spring is ready to spring forth. There is hope amid the pandemic.
Cornerstone Care to open much-needed call center in city
Cornerstone Care Community Health Centers had an urgent need for a call center. And for space.
Then two months ago, the nonprofit network found a location for sale in downtown Washington that would accommodate those needs. On Jan. 15, Cornerstone Care purchased the building at 351 W. Beau St. for $1.15 million – at an opportune moment.
CAVCON Recognized in National Hall of Fame Competition
The Vollmer of America Sales and Distribution Center built by CAVCON of Greensburg, PA, has been recognized by Varco Pruden Buildings, as a Best-in-Class winner of the exclusive Hall of Fame award.
Dunlevy gets $10.5K grant to complete road project
Dunlevy has received a grant that will enable the borough to pay for the final piece of a roadway project that was introduced in 2012.
Pa. Trolley Museum awarded grant for new exhibit
The Pennsylvania Trolley Museum has been awarded a $12,000 grant to design a new exhibit highlighting trolleys and immigration.
Agency issues $93,300 in grants to 16 tourism projects
Sixteen public and private organizations will receive grants totaling $93,300, the Washington County Tourism Promotion Agency announced Friday.
Development planned for South Strabane Township
Chapman Properties has started clearing land across from Tanger Outlets in South Strabane.
Township supervisors Tuesday approved the preliminary and final subdivision and land development for Phase 1 of the Southport Development, which sits south of Racetrack Road along Tanger Boulevard.
Mon Valley Hospital purchases cutting-edge equipment with CARES Act funds
Monongahela Valley Hospital is using cutting-edge technology to combat COVID-19, thanks to more than $1.52 million in equipment it recently purchased through CARES Act funding.
Washington County commissioners on Wednesday presented hospital officials with a check for $1,526,492 from the Washington County Hospital Grant Program. The CARES Act grant dollars are funded by the U.S. Federal Government and the Commonwealth of Pennsylvania.
One pet supplies firm succeeds another in Peters
Pets continue to rule at 3563 Washington Road.
Pet Supplies Plus has opened in the Peters Township location previously occupied by Pet Valu, which closed months ago.
Peters development’s revised preliminary plan recommended for approval
The revised preliminary plan for a 43-lot residential development in Peters Township has been recommended for approval.
Lutz Farms is proposed for 26 acres straddling Thomas Road, southwest of Crossroads Church of Christ. Following the planning commission’s Jan. 14 vote for recommendation, the plan returns to Peters Township Council.
WACTC receives state money for new CNC machine
The Western Area Career & Technology Center (WACTC) was approved for $112,262 in state funding to expand its machine shop instruction with a new computer numerical control (CNC) machine.
$2M in state grants to benefit two county projects
State grants totaling $2 million will benefit two Washington County construction projects.
Latitude 48 brings fine dining to Finleyville
Four friends who used to frequent the former Little Dicks Tavern in Finleyville, recently purchased and remodeled it, transforming the dive bar into a fine dining restaurant.
PennDOT buying lot in Starpointe for $513,500
Just one week after closing on the purchase of the Crossroads Center in Washington, which is to become the new center of county government in 2021, the county commissioners unanimously approved the sale of property in Starpointe Business Park to PennDOT.
Retal molding plant gives struggling PA town another chance to shine
In 2016, Cyprus-based Retal Industries Ltd. decided to pick a former Spartech Corp. compounding plant in Pennsylvania as its first U.S. base.
Donora's nickname "home of the champions" proved to be as relevant today as it was in its 1950s heyday as the company's decision to locate there gave the community another chance.
Six Valley projects sharing $2.4 million in tax credits
Six projects in the Mid Mon Valley Regional Enterprise Zone will share $2.4 million in tax credits from the state Department of Community & Economic Development.
Incubator being nurtured for February opening
That long-awaited incubator has a February due date.
Exterior construction of the Greater Washington Area Business Incubator has advanced to the point that a virtual groundbreaking is anticipated over the next two months. The facility sits at 57 E. Chestnut St. in Washington, in a former O’Reilly’s Auto Parts store.
Dollar General invests in Washington County with new Canton store
The bargain retail chain opened another store in the county last week, at 1969 Jefferson Ave., Canton Township – known locally as Wolfdale. The Goodlettsville, Tenn.-based company now has 17 locations in the county, plus one each in Monessen and Belle Vernon.
Mylan-Upjohn merger creates Viatris
The generic and specialty pharmaceuticals firm has partnered with Upjohn to form Viatris, which began operations Monday. That was 16 months after merger plans were announced and 17 days after final regulatory clearance was granted.
VFI/TRIPIL holds ribbon cutting ceremony
Phase I of the project, which cost an estimated $4.3 million, was also funded by a combination of grants from Washington County Redevelopment Authority and Local Share Account.
Fourth hotel opens in Southpointe
A fourth hotel has opened in Southpointe.
AC Hotel by Marriott Pittsburgh Southpointe had its grand opening Wednesday, including a ribbon-cutting, in the mixed-use park in Cecil Township. It occurred at a time the hospitality industry is struggling because of the coronavirus pandemic.
Costar's Quarterly List- Two in Washington County
Costar's Quarterly List- Two in Washington County
Plans announced for new gas pipeline system in Greene, Washington counties
Representatives from various companies joined state and local officials at the Center Township Volunteer Fire Department hall Oct. 28 to announce plans for a complete gas pipeline replacement that will benefit more than 1,600 residents and businesses in Greene and Washington counties.
Mondays Brewing ready to open in Peters Township
During a ribbon-cutting ceremony that took place Monday – of course – he explained the reasoning behind the name.
“Mondays can be difficult days. Everybody needs a beer on Monday, especially around 4 or 5 o’clock,” he told his guests. But most Pittsburgh-area breweries, at least before the COVID-19 pandemic, tended to be closed at the start of the traditional workweek.
Consol wins big grant to help it build coal plant of the future
Consol Energy Inc.’s pilot project to create a zero-carbon-emission power plant using coal waste is one of four coal- and hydrogen-related projects sharing $80 million in funding from the U.S. Department of Energy.
Walnut Grill inks deal to open new restaurant in vacated Max & Erma's in South Strabane
Walnut Grill is ready to expand again and open its second new restaurant during the Covid-19 pandemic.
The homegrown and growing chain has inked a deal with the owner of a former Max & Erma’s on a parcel in front of the Old Mill shopping center on Route 19 in South Strabane in Washington County and is shooting to open the 6,400-square-foot restaurant by late January.
Heritage Craft Butchers opens Washington location
Heritage Craft Butchers found all three at 243 S. Main St. Von Scio and co-owner Jared White opened a distribution facility/store there a month ago, adjacent to Chicco Baccello cafe and slightly up from the train station. The partners are leasing a space previously occupied by a salon.
Presbyterian SeniorCare's newest senior living community on schedule despite pandemic
The construction of a Washington County senior living complex, which had been delayed for a few months by the Covid-19 pandemic, is back on track and scheduled for completion only a few weeks behind the plan.
Encore on the Lake, which is being built adjacent to Canonsburg Lake in North Strabane Township, offers 80 one- and two-bedroom apartments for people over 62 by Presbyterian SeniorCare Network affiliate Encore Living Group. The development is Presbyterian SeniorCare's first foray into independent living for middle-income seniors.
Helltown Brewing heading to Houston
MVA's new enterprise zone encompasses 14 towns
Mon Valley Alliance has been awarded a Regional Enterprise Zone designation for 14 towns – which pleases Ben Brown.
Loves Furniture finds a home in Peters Township
A new furniture store has replaced an established furniture store on Route 19 in Peters Township.
Washington County commissioners launch CARES Act grant program
The Washington County commissioners announced Tuesday that they will allocate up to $7.5 million in grants to small businesses and nonprofit organizations that have been squeezed by the economic consequences of the novel coronavirus pandemic.
UPMC Children's opens care center in Washington County
UPMC Children's Hospital of Pittsburgh has added to its set of subspecialty care centers with the opening of a clinic in Washington County.
New businesses are opening despite the pandemic
Pandemic or not, businesses have been opening across Washington County. Literally, across the county.
Peters Township Council awards contract for aquatics center design
The eventual opening of an aquatics center at the future site of Peters Township’s Rolling Hills Park took another step forward Monday with the award of a contract for design services.
Township council approved the agreement with Kimmel Bogrette, Blue Bell, Montgomery County, to provide a conceptual plan, market assessment and the development of a business plan for $65,500. Fees for design development and construction administration are 7.25% of overall construction costs based on a budget of up to $9 million, according to the cost proposal submitted by the firm.
Scarmazzi Homes builds headquarters in Canonsburg
“My wife (Lisa) and I started Scarmazzi Homes 20 years ago, and for 17 years, we’ve been renting an office space in Houston down on Pike Street,” Paul said. “We now have more employees and more communities we’re doing. Last year, we hired a chief operating officer and a land development person.”
County awards contracts for bridge replacements, repair
Washington County is moving forward with three bridge projects, but none are yet resulting in traffic detours for motorists.
Gary Metzinger Cement Contractor Inc. will be replacing the Deems Bridge over Pike Run at a cost of $718,054. The span has a three-ton weight limit
First Street School project moves forward
The development company planning to turn the former First Street Elementary School into the Canonsburg Senior Lofts was recently awarded construction funding by the state Housing Finance Agency through Housing Tax Credits.
Washington, Greene to get close to $433 million for state transportation projects over next 12 years
A combined total of $432,989,206 will be spent on transportation projects in Washington and Greene counties over the next dozen years, according to an updated 12-year transportation program released by the State Transportation Commission.
Champion Properties draws new tenants to 701 Technology Drive at Southpointe
Champion Properties has inked three new tenants for 701 Technology Drive at Southpointe, demonstrating an increasingly varied demand at the Washington County business park.
Fourth hotel to open in Southpointe next month
A fourth hotel is scheduled to debut Sept. 10 in the Cecil Township park: AC Hotel by Marriott Pittsburgh Southpointe. It will be a 94-room hotel at 1500 Main Street, near Town Center and its restaurants and retail.
Hefren-Tillotson doubles space for its Southpointe office
The investment advisory and financial planning firm has taken 13,569 square feet, almost double its previous space, at 121 Champion Way in Canonsburg. Still within the Southpointe development, the new office is the base for 22 employees.
Work progressing behind the scenes on Canonsburg Lake bridge project
Scenery, wildlife and fishing at Canonsburg Lake appears much as it has for years, but work is going on behind the scenes for next year’s bridge replacement on McDowell Lane.
Last month, the Washington County commissioners noted the total project cost is expected to be $5,190,000.
Precision Marshall Steel acquired by Las Vegas-based Live Ventures
Las Vegas-based Live Ventures Inc. acquired Washington, PA-based Precision Marshall Steel for $31.5 million, according to a news release.
M&J Wilkow lands publicly traded tech firm for Southpointe office property
More than three years after it bought it, Chicago-based M&J Wilkow has a major new tenant for 275 Technology Drive at Southpointe, the one-time headquarters of Ansys Inc.
SunCap building new 250,000-square-foot distribution facility at Alta Vista Business Park for Komatsu
After building out new industrial buildings in the region for the likes of GE and Amazon, North Carolina-based SunCap Property Group is now building what will likely be the biggest development at the Alta Vista Business Park in Washington County for Komatsu Mining Corp.
Commissioners plan 'rolling dedication" of Mingo Park's new features
There’s a saying that “everything old is new again.”
Plug Power purchases Canonsburg-based company as part of $123 million deal
Plug Power just invested $123 million to buy two hydrogen companies, a move designed to drive down costs, increase revenue and create a path to a bigger market.
The acquisition of United Hydrogen Group, a company headquartered in Canonsburg, and Giner ELX Inc. from Boston will allow Plug Power to produce, store and deliver hydrogen for existing customers while opening up opportunities to supply manufacturers of ammonia, steel, concrete and computer chips.
Woehler and Shanahan work to reinvent Peters Township site into recycling center and business park
Look for big changes, new investment and expansion to come at the 15-acre site on Buckeye Drive in Peters Township as Woehler and partner Brian Shanahan, owner of Pineapple Payments and the Cool Springs Sports Complex, work to clean up and revamp the operation after closing on buying it in May.
Washington County to receive largest share of gas impact fees
Washington County will receive the largest share of more than $200 million that was collected from drillers across the state last year in Marcellus Shale natural gas impact fees.
Another upscale residential development proposed for Peters Township
A new residential development proposed for Peters Township calls for 33 homes selling for more than half a million dollars each.
Peters Township Council Monday approved the preliminary plan for the 28.6-acre Sugarbrooke, off Sugar Camp Road across the street from its intersection with Brookwood Road.
Washington to bid out pickleball court project
Washington council members approved last week to advertise for bids on the pickleball court project at Washington Park.
Pig and Fire preparing to turn up the heat
The Sagers own Pig and Fire House of BBQ, a barbecue facility that will make its saucy debut Friday. It will be the day Washington County businesses enter the least-restrictive green phase of Pennsylvania’s reopening.
Presbyterian SeniorCare to start construction on new senior living
Through its subsidiary Encore Living Group Inc., the four-story, 80-unit facility will be built on 6.8 acres of land off McDowell Lane donated years ago by Ed Ryan of Ryan Homes for just such a purpose. The project was approved by North Strabane Township about two years ago and, just this week, the Washington County Industrial Development Authority gave the green light for Encore and Presbyterian SeniorCare to borrow $32 million at a tax-exempt interest rate.
Water line project starting next week in Burgettstown
Pennsylvania American Water said on Thursday it was starting a $2.4 million project to build a booster station and 7,000 feet of new water main in Burgettstown in less than a week.
Local hospitals receive funding from state loan program
Monongahela Valley Hospital and hospitals in two outlying counties are among those across Pennsylvania sharing in $323 million in loans from the Wolf administration to help them in the Covid-19 crisis.
Washington County Airport getting dollars from COVID-19 Act
The Washington County Airport is among those in Pennsylvania that will receive Federal Aviation Administration grants under the Coronavirus Aid, Relief, and Economic Security Act.
LCB opening e-commerce fulfillment center in Washington County
The Pennsylvania Liquor Control Board announced Thursday that it is opening an e-commerce fulfillment center in Washington County by this weekend.
Partners in Progress
Our chambers of commerce have partnered to provide the Washington County business community with access to business assistance, economic development and other resources to support our local companies during the COVID-19 emergency. To identify a resource chamber in your area of the county, select the municipality where your business is located and refer to the designated chamber contact below. Before contacting a representative of one of the four chambers, please review the resources available on the COVID-19 resource page. We will continue to update this page as more information becomes available.
Chambers of Commerce COVID-19 Resource Page
The Washington County Chamber of Commerce and our chamber partners are committed to helping our joint memberships as well as other businesses across Washington County during and after this unprecedented public health crisis. Now that the coronavirus has made its way to Pennsylvania and our region, businesses are seeking information to help their companies, their employees and their families prepare and respond to the challenges ahead.
County tourism agency an economic driver, study says
There is a lot to see and do in Washington County, and its Tourism Promotion Agency is efficiently showing it off.
Electric car station plans have W&J center charged up
Washington & Jefferson College will get a charge out of this. So will local communities and residents.
The school’s Center for Energy Policy and Management plans to install up to six electric vehicle charging stations on campus this spring, thanks to a recent $25,000 West Penn Power Sustainable Energy Fund grant.
Southwest Corner Workforce Development receives state grant
The Southwest Corner Workforce Development received a $103,040 grant Thursday to provide summer internships through the State/Local Internship Program.
New specialty metal manufacturer set to open, bring jobs to Canonsburg
A new specialty steel manufacturer—Ameri-Precision Metals— is set to open in Canonsburg this Spring, bringing with it up to 100 new jobs.
New plant, 100 steel jobs heading to Canonsburg
A newly built steel plant and 100 jobs are coming to Canonsburg.
Two developing businesses trying to gain footing in county
The Washington County business landscape now includes a shop that will celebrate its first birthday at a new location and a spa still gaining momentum in its first year.
2020 water main upgrades begin in Canonsburg
Construction of Pennsylvania American Water’s 2020 investment projects kicked off this week in Canonsburg.
Proposed warehouse receives conditional approval in Peters Township
A new office-warehouse complex could be coming to southern Peters Township.
During their Feb. 10 meeting, members of township council unanimously approved a conditional-use request by Five Hundred Nineteen Properties LLC, which owns 1.86 acres at 430 Venetia Road.
Chiropractor readjusting to Washington
The South Strabane Township native is refurbishing 117 N. Main St. in Washington for Getzik Family Chiropractic, an advanced clinic. There is still a generous share of painting, pounding and furniture arrangement ahead – a lot of which he is doing – as the planned March 2 opening approaches.
Financial planners break ground for new Peters Township building
Confluence Financial Partners, partner Gregory Weimer noted, serves families in 44 states.
Winery to open Saturday in Finleyville
Owners Lou and Linda Siyufy, a Peters Township couple, will launch Giant Oaks Winery at a grand opening beginning at noon Saturday. Their facility is located at 3540 Washington Ave., and features a tasting room that will have wines produced with grapes from California, Chile, Pennsylvania and Washington state.
Washington County announced almost $100K in tourism investments
The Washington County Tourism Promotion Agency announced Tuesday that it was funding almost $100,000 in capital projects and marketing programs around the county.
BBQ Staple Heads to the Mon Valley – the Owner’s Backyard
When Frank Puskarich was considering where he would put his fifth Hog father’s location, he decided to look no further than his own backyard.
“Why would I not [consider Monongahela]?” said Puskarich. “There is a lot of community engagement in this town. Mom and Pops get a lot of support. This city never died. I like the valley and have always liked Monongahela.”
PennDOT to begin work on Jefferson Avenue this spring
The state Department of Transportation plans to begin construction in April on the three-year Jefferson Avenue project, from Tyler Avenue to Henderson Avenue in Washington.
Southern Beltway on track for fall 2021 completion
After slow progress around the holidays, construction crews are back to work on the Southern Beltway project, which is on schedule to open to traffic in fall 2021.
The $800 million Pennsylvania Turnpike Commission project will stretch 13 miles from Route 22 near the Pittsburgh International Airport to Interstate 79 in Robinson and Cecil townships.
Bradford House gets into the spirit of expansion
“Right now, we’re severely limited in our ability to tell visitors what the Whiskey Rebellion is about,” said Tripp Kline, a former association member and an adviser to Liberatore, the organization’s only employee. The second venue, he added, “will enable us to teach the causes and effects of one of the greatest events in American History.”
Presbyterian SeniorCare’s new facility designed with memory care in mind
Presbyterian SeniorCare Network helped pioneer the care for people with Alzheimer’s disease and dementia back in the early 1990s with its Woodside Place of Oakmont. Now, its newest community, the soon-to-be-opened Woodside Place of Washington, is taking another step forward in memory care.
One of region's biggest entertainment venues gets new name, sponsor
There’s a new name for one of the region’s biggest entertainment venues and an enhanced mission as the KeyBank Pavilion is now the S&T Bank Music Park and a major Pittsburgh financial institution dramatically ups its visibility through a major marketing move.
S&T Bancorp Inc., in conjunction with Live Nation Entertainment Inc., announced the sponsorship at an event on Saturday.
Florida buyer takes over longtime Washington County car dealership
The Florida-based father-and-son partnership of Faisal and Ali Ahmed has bought the John Sisson Motors Inc. car dealership, a mainstay in Washington County for about 50 years.
North Strabane supervisors sign off on 245-unit housing plan
North Strabane Township supervisors voted Monday to grant conditional-use approval for a proposed 245-unit housing plan intended for affluent buyers of retirement age.
Three area hospitals are participating in rural health model
It was announced Thursday Washington Hospital, Monongahela Valley Hospital and Washington Health System Greene Hospital in Waynesburg are among eight hospitals in the western part of the commonwealth that are participating in the Pennsylvania Rural Health Model, which gives the hospitals fixed annual payments from insurance providers, rather than paying them in a fee-for-service model.
Local share of casino revenue totals just over $6.9 million; committee recommends 35 projects
Revenue available from The Meadows Racetrack and Casino to be, by law, plowed back into Washington County dipped slightly in the past year.
In recommending a list of projects to the county commissioners for approval today, there is $6.9 million available, down from a typical $7.5 million from years past, noted Jeff Kotula, chairman of the panel that evaluates proposed projects vying for funds.
Ansys becoming part of Nasdaq-100 Index
Ansys Inc. will become a component of the Nasdaq-100 Index on Dec. 23 with the start of trading, the developer of engineering simulation software announced on Monday.
Arc Human Services moves to Canonsburg
A longtime furniture store in Canonsburg’s business district will be closing its doors, only to have the iconic building repurposed for a good cause.
Arc Human Services of Washington County is purchasing the three-story building that’s housed Brody’s Furniture since the 1930s.
Two Washington County rail projects getting PennDOT grants
The state Department of Transportation is awarding grants for 26 rail freight improvement projects, including two in Washington CountyWheeling and Lake Erie Railway will receive a $1.1 million grant to help repair structural damage and drainage issues in State Tunnel. And National Lime and Stone is to get a $249,900 grant assist in the construction of new tracks for a rail-truck transload facility.
Additional lighting to be installed at airport to aid pilots
Commissioners last week approved a lighting upgrade for the Washington County Airport in North and South Franklin townships that will lead officials to seek authorization from the Federal Aviation Administration for nighttime instrument landings.
U.S. Army Corps of Engineers
The U.S. Army Corps of Engineers has begun a full-scale dredging of the Monongahela River to maintain a navigational channel after an old dam is removed in Elizabeth.
GE to add 100 jobs at Speers plant over the next year
GE Renewable Energy plans to expand its Speers workforce by 50% over the next year.
Inspection time
Canonsburg Town Park to get new pavilion
Canonsburg’s Town Park will have a new pavilion next year near the Woodland Road entrance.
Atria's reopens in Peters
Atria’s in Peters Township has reopened following a five-week remodeling.
Main St. Brew House hops to it with new facade
Main Street Brew House has a happy new face.
A two-month renovation of the façade at the popular Washington bar was completed Monday, and at least one owner is pleased.
New 'Eatery' opens at The Meadows
Vivani spoke Friday ahead of the opening. Around the bar of 2Ten Drafthouse, where he was sitting, rows of tables anchored one side of a roughly fishhook-shaped series of counters whose names reflect the variety of cuisines on their menus.
Robinson Township gives local nod to plans for Beech Hollow power plant
Robinson officials granted local approval on Monday for a company’s plans for the Beech Hollow power plant, as two of the township’s three supervisors publicly declared their conflicts of interest in relation to the project.
MVA gets $157,250 grant for Charleroi Riverfront project
The Mon Valley Alliance Foundation has been awarded a $157,250 grant from the state Department of Conservation and Natural Resources for continued development of the Charleroi Riverfront Park project.
Commissioners award contract for pirate ship playground at Mingo park
Washington County will be replacing a playground on Maintenance Hill Road in Mingo Creek County Park, making it accessible to people in wheelchairs and with a feature for the autistic, too.
Washington County company acquires Beaver Falls steel business
Precision Marshall Steel, a steel products distributor based in Washington County, acquired DB&S Steel of Beaver Falls, Beaver County.
Sportsman’s Warehouse Now in Washington, PA
Field & Stream is now Sportsman’s Warehouse, an outdoors retailer akin to its predecessor in the South Strabane Township shopping center. The rechristened store reopened Oct. 19, about three weeks after the company entered into agreements to purchase eight Field & Stream locations from Findlay Township-based Dick’s Sporting Goods.
Massage, facial spa
Canonsburg native Lauren Lega plans to launch a second Hand & Stone Massage and Facial Spa on Nov. 4 in Peters Township. She has had a shop in Upper St. Clair for the past year and a half.
Study details energy cost savings; outdoors store has new name
Increased production of natural gas in Pennsylvania, West Virginia and Ohio over a 10-year period resulted in $1.1 trillion in energy savings, according to a report issued last week.
Rahal opens new location
Bobby Rahal Automotive Group has opened a new dealership in North Strabane Township: Jaguar Land Rover South Hills on Route 19.
New owner remodels, reopens venerable Donora funeral home
After five years in the funeral industry, Kate Cheman wanted to run her own establishment. Then one day last fall, while perusing a newsletter related to her trade, she spied an opportunity in Donora.
James A. Rabe Funeral Home, a borough staple for a century but mothballed for the past half-dozen years, was for sale, according to an ad.
Duncan & Miller Glass museum to open in Washington
The National Duncan Glass Society will hold a grand opening celebration a with ribbon-cutting ceremony at the new Duncan & Miller Glass Museum at 1:30 p.m. Thursday at 100 Ridge Ave., Washington.
Apex plans to construct new plant in Alta Vista
The Washington County Commissioners on Thursday put their stamp of approval, in compliance with IRS regulations, on $8.5 million of financing through the county Industrial Development Authority for Apex North America Inc.
Meadows gets initial approval on sportsbook
The Meadows Racetrack & Casino has gotten the go-ahead on its sportsbook venture.
The Pennsylvania Gaming Control Board approved The Meadows’ application Wednesday morning in Harrisburg. Although the gaming site is a few hurdles shy of getting an official OK, it is expected to successfully navigate them – and soon.
Chase entering Washington County
TRIPL announces merger with Erie disabilities organization
Report says Washington, Greene near top in gas royalties
Washington and Greene counties are among the royalties leaders from 2010 through 2017, according to IFO. The office did not provide a county-by-county breakdown of royalties in 2018.
South Strabane approves development agreement with Chapman Properties
After nearly two years of negotiating, South Strabane Township supervisors approved Tuesday a preliminary development agreement with Chapman Properties to develop the Chapman Southport Business Park off Tanger Boulevard and behind Racetrack Road.
A renovated Coover Hall reopens to Cal U engineering, arts students
An 80-year-old academic building on the campus of California University of Pennsylvania is wearing its age well following extensive interior upgrades.
Lotus Hope Counseling LLC has established itself in downtown Washington.
The counseling service has been operating at 87 E. Maiden St. No. 32 for the past two months, and is available to anyone. Sandra Pattinato and Crystal Schmidt are the owners.
Indigo Yoga Loft setting up in city for the health of it
“It feels like an up-and-coming area and we’re getting on the ground floor,” Sansom said of downtown Washington, where she and fellow co-owner Matt Baker plan to open a second Indigo Yoga Loft location in less than two weeks.
Panel pushes economic development in county
“We want to do everything we can to draw companies. We want to get the message out that Washington County is here, it’s thriving and we want you to come here,” Will Thomeier, director of economic and tourism development for the county Chamber of Commerce, said during the 75-minute exchange of viewpoints among four local experts.
Retaining young people, and working together, are vital to regional development,… Sheetz store opens on Racetrack Road
Sheetz has come out of the starting gate on Racetrack Road.
The Altoona-based convenience store chain launched its newest location Wednesday morning with a ceremonial ribbon-cutting. The complex is downhill from The Meadows Racetrack & Casino.
Washington business district awards facade grants
Businesses in Washington’s downtown area will be getting a face-lift, thanks to Local Share Account money.
It’s the second year the Washington Business District Authority applied for an LSA grant to distribute to businesses through the Façade Improvement Program. This year, the authority was awarded more than triple what it received last year.
Couple renovates Canonsburg building
In less than a year, a Peters Township couple turned a dilapidated Canonsburg building into a beautiful new business space – and they want to do it again.
Christine May, of C. May Interiors, and her husband, Joe Sirlin, a contractor who owns Joseph Sirlin Construction, have spent the past year renovating the former Chartiers Cleaners building at 137 W. Pike St. It’s now unrecognizable and serves as a new home for May’s business.
Fisher Associates expands its Western Pennsylvania presence
Rochester-based consulting firm Fisher Associates moved into a new office space in Canonsburg, about doubling its square footage and employee capacity in the area, according to a news release.
WHS gives birth to first phase of obstetrics makeover
WHS has completed Phase I of its CARE Center at Washington Hospital, the postpartum and recovery area. The first patients were moved into the unit Tuesday afternoon, following construction that began last fall on what is officially known as CARE Center for Family Birth and Women’s Health.
Guardian Storage moving into North Strabane
Work is underway at 2670 Washington Road (Route 19), near Galley Road, that will accommodate an estimated 600 to 700 storage units, a spokesman for the company said Monday afternoon. A July 2020 opening is projected.
Meadows Racetrack & Casino undergoing renovation as it adds sportsbook
Major changes are taking place at Washington County's Meadows Racetrack & Casino as it prepares to open its first sportsbook.
County seeking bids for multimillion-dollar airport project
The Washington County commissioners Thursday unanimously voted to seek bids for what is expected to be a multimillion-dollar infrastructure project at the Washington County Airport.
Earth-moving, tree-cutting and other site preparation of 4.8-acres will be a prelude to the construction of an apron, taxiway, access road and parking lot, plus utilities.
DA, commissioners reach agreement on security at Caldwell Building
After more than three hours of negotiations Monday afternoon, District Attorney Gene Vittone and the Washington County commissioners hammered out an agreement on security for the building that will house Vittone’s staff.
County purchases building, plans to move DA's office
Five organizations get $4.5M in redevelopment grants
Five Washington County organizations have received grants totaling $4.5 million from the state Redevelopment Assistance Capital Program to devote to development projects.
Company expanding, bringing jobs to Speers Industrial Park
There are new jobs coming to the Mid-Mon Valley.
Gov. Tom Wolf on Thursday announced that TechnipFMC will expand its operations by establishing a new facility in Speers borough. The project will support the creation and retention of 168 jobs.
'Long overdue': East Beth coal refuse dump cleanup nearly ready to start
Now, officials say reclamation work on the coal waste dump at the site of the long-shuttered Clyde Mine is nearly ready to begin.
“It’s long overdue,” said Henck, 43, who’s president of township commissioners. “We’re just hoping that they can reclaim it, cover it up and make it more presentable without any kind of impact on our community.”
Company expanding, bringing jobs to Speers Industrial Park
There are new jobs coming to the Mid-Mon Valley.
Gov. Tom Wolf on Thursday announced that TechnipFMC will expand its operations by establishing a new facility in Speers borough. The project will support the creation and retention of 168 jobs.
Energy-focused facility to open in Washington County
Washington County will be the site of a new energy-focused facility that will create at least 40 full-time jobs within the next three years.
CBD store to open Saturday in city
“We had been thinking about it only since May,” Beth said of the Beaver County couple’s initial inkling of opening a CBD store in Western Pennsylvania.
Pfizer to absorb Mylan, creating generic giant
Mylan NV, a $20 billion company, is merging with Upjohn, a division of Pfizer Inc., in an all-stock deal announced Monday morning. The merger will result in a new company, and is expected to take effect in or around mid-2020.
Affordable housing development funds earmarked for Washington County
Agencies within Washington County will be receiving a combined total of just over $1.3 million through a statewide effort to expand affordable housing.
The money comes through the Pennsylvania Housing Affordability and Rehabilitation Enhancement fund managed by the Pennsylvania Housing Finance Agency.
Washington, Greene to receive $14M in impact fees this year
Washington and Greene counties will receive $14.4 million in total this year from impact fees paid by shale gas drillers.
Those allotments were part of $251.8 million in allotments under Act 13, the 2012 overhaul to the state oil and gas law, that the state Public Utility Commission announced Thursday.
Two new locations giving East Maiden Street a culinary presence
Dining options are on the rise along East Maiden Street.
The June 8 reopening of Washington Brewing Co., following a 10-week shutdown, has been accompanied by the fairly recent launches of The Edge Restaurant & Lounge and Maiden Street Subs. The restaurant/bar, in South Strabane Township, and the sandwich shop, in Washington, are about three-quarters of a mile apart on Route 40.
Tusk Development buys early building at Southpointe from Mexican hedge fund
Tusk Development, a local company which owns a mix of different kinds of properties throughout the region, has bought 501 Technology Drive from the Aztec Fund Inc., a Mexican equity fund that only bought it about 16 months ago.
Peacock Keller to move its main office to West Beau in 2020
The 94-year-old law firm will be relocating its main office from 70 E. Beau St., Washington, to 95 W. Beau in the city – the Crossroads Building. The change, according to a news release from the firm, is projected to take place in early 2020.
Century Inn gets $100,000 state tax credit
Century Inn is getting a $100,000 tax credit to help compensate with the cost of restoration from a 2015 fire.
The credit is awarded through the state’s Historic Preservation Tax Credit program, which is administered by the Department of Community and Economic Development and the Pennsylvania Historical & Museum Commission.
Commissioners approve land purchase for county airport
Eventual expansion of the flight path around the Washington County Airport runway was on the minds of the commissioners as they approved the purchase of 2.58 acres on Mounts Road in Buffalo Township.
The proposed sale, discussed in a closed session for real estate acquisition Wednesday, passed unanimously the next day.
Deli plans grand opening Saturday in Park Place
Lenny’s Deli has been open for business since February in Park Place at the Meadowlands. But it hasn’t had a grand opening.
Redevelopment work to begin soon at former Brockway Glass in Canton
A developer making use of public funds in its plans expects to begin demolition of the former Brockway Glass plant in Canton Township within a month.
Tearing down the former plant, which closed decades ago, will allow Peters Township-based Crossgates Inc. to build a new 135,000-square-foot warehouse-style building in its place at the Hickory Street property.
Presbyterian SeniorCare Network set to open Washington's first dementia-specific assisted community
Seniors in the Washington area affected by dementia or Alzheimer’s will soon be able to receive specialized memory care at Presbyterian SeniorCare Network this fall.
Woodside Place of Washington is Washington’s first dementia-specific assisted community, designed to help residents with their physical, mental and social needs. The community features 36 residential rooms in the two-story building on South Main Street.
Storage hub event spiced with a pinch of salt
Natural gas liquids storage was the focal point of the third annual Appalachian Storage Hub Conference. The proposed hub, focused in the Ohio River Valley, is a $10 billion infrastructure project that would provide a midstream hydrocarbon storage system. It is related to the oil and gas industry.
EQM proposes new gas pipeline through Washington County
Natural-gas processor EQM wants to build almost 17 miles of new pipeline through Washington County to transport natural gas to a proposed power plant in Brooke County, West Virginia.
Liberty Pole Spirits is ramping up its production capacity.
Responding to growing demand for their craft distilled whiskeys, Liberty Pole Spirits (libertypolespirits.com), a family owned and
operated grain to glass distillery in Washington, PA, will double their production capacity with the arrival today of their new 600 gallon distillation equipment from Specific Mechanical Systems of Victoria, British Columbia
Offering diverse activities drives new owners of North Franklin golf center
“It’s like our backyard,” Susan said of the Red Carpet Golf and Recreation Center complex, which nearly abutted their property. The 10-acre tract was for sale a year ago.
The couple went for it, invested copious amounts of time, money and energy, and rebranded the site before finally launching Interstate Golf and Activity Center. Mini-golf and a driving range are its calling cards, but the facility also is a party destination for all ages – with a party room that seats 70 inside and an expansive deck with room for 30 outdoors.
All-Clad a heavy metal band that performs worldwide
Ulam turned his metals expertise into a business in 1967, called Clad Metals, which launched off Morganza Road in Cecil Township. The company grew and morphed into All-Clad Metalcrafters four years later, producing professional-quality cookware. Then the growth accelerated.
WBDA Façade Improvement program underway
Putting a prettier face on the city of Washington is the objective of the 2019 Façade Improvement grant program.
Commissioners eye courthouse roof, dome repairs
Within the next month, scaffolding will be going up so the Washington County Courthouse roof tiles can come down.
The Washington County commissioners today expect to award $2.15 million in contracts related to repairs of the roof and exterior dome of the 119-year-old building.
Main Street Farmers Market to begin again Thursday
When the Main Street Farmers Market started in Washington in 2004, there were certainly a few skeptics who believed it was going to be one of those initiatives to revive the city’s downtown that would peter out after a year or two.
A decade-and-a-half later, the skeptics have decisively been proven wrong. The Main Street Farmers Market will be launching its latest season of selling produce and plenty more starting today at 3 p.m. at the Main Street Pavilion.
Coal 'steadying' here and statewide, industry group official says
Coal, which has been on a decadelong decline in the state, apparently is burning more brightly.
The Pennsylvania Coal Association, an industry group based in Harrisburg, this week released the results of a study titled “The Economic Impact of the Coal Industry in Pennsylvania.” Among the findings: The industry statewide produced 17,700 jobs, $6.9 billion in value and 49 million tons of coal in 2017. Then last year, the Keystone State was the third-largest coal-producing state.
Cal U. receives $23.5 million in grants for geology mapping software
Students enrolled in the undergraduate geology program at California University of Pennsylvania will soon be able to train on the same mapping software that is commonly used by companies in the oil and gas industry.
The university is the recipient of three grants totaling $23.5 million that will be used by the geology program to implement software for teaching and research that integrates geosciences, geophysics and engineering assessments.
Winds of change at Trinity: School district installs wind turbines, solar flowers
On the campus of Trinity High School, an ambitious plan to become a leader in STEAM (Science Technology Engineering Art Math) education and promote renewable energy continues to take shape.
Two wind turbines and three flower-shaped solar systems were recently installed at the high school.
Plans for nationwide trail unveiled in McDonald
The preferred route for the Great American Rail-Trail was unveiled Wednesday afternoon in communities nationwide. Known informally as the “Great American,” the route begins (or ends) in D.C. and runs through 12 states, extending 3,700 to northwestern Washington state. it connects more than 125 existing trails and 90 trail gaps.
City business authority schedules two events
Will Prince, Main Street manager for the Washington Business District Authority, has announced two business-related events that are planned in the city over the next week.
New Senior Living Community Coming to Peters Township
The land has been cleared and construction has started on what will be a 127-unit complex for senior citizens in Peters Township.
Minnesota-based Waters Senior Living broke ground recently on the Waters of Peters, representing the company’s second venture in Western Pennsylvania.
Freight rail improvements coming to Southwestern Pennsylvania
Engines haul freight over 5,000 miles of rails in Pennsylvania, and Pennsylvania Gov. Tom Wolf announced Monday several rail projects in the southwestern part of the state.
Multi-List says home sales, listings are up in region
Multi-List issued its monthly report Wednesday, stating that closed sales, volume of sales and home listings for the first quarter of this year have increased from the first three months of 2018.
Water storage tanks to be upgraded in Claysville, Union
Pennsylvania American Water will spend $8 million to upgrade water storage tanks – elevated and ground-level – in 15 municipalities statewide. Two of them are in Washington County.
Population estimates show slight gain in Washington, decline in neighboring counties
Following a five-year slide, Washington County gained population in 2018 – although it was marginal.
The U.S. Census Bureau Thursday released population estimates from July of last year, which listed county residency at 207,346. That was 50 more than the 2017 estimate of 207,296.
Electronics recycling facility to open in Ellsworth
JVS Environmental is opening a permanent e-waste recycling facility in Ellsworth.
The electronics recycling facility, at 1 American Way behind the Ellsworth Post Office, will be open from 2 to 6 p.m. April 16 and April 30. More dates and times will be announced.
Insurer, state assist TRPIL's rehab of old YWCA
UPMC’s health insurance company is giving $150,000 to a Washington nonprofit’s renovations of a nine-decade-old downtown building in exchange for state tax credits.
Two local companies receive part of $1.95M federal investment in coal
The U.S. Department of Energy announced Friday that it was giving out $1.95 million in grants as a precursor to a $100 million investment in clean coal plants, and two local companies got a cut.
Managers, and their towns, are managing to get by
Lauer’s gesture established a relaxed tone, which would continue during the Washington County Chamber of Commerce’s annual Municipal Leadership Roundtable discussion. The Friday morning event at the Chartiers Township Community Center featured a spirited discussion among Lauer and fellow township managers Andrew Walz, of North Strabane, and Tyler Linck, of South Franklin.
Their 45-minute roundtable – held, actually, at a rectangular table – addressed many areas. Local Share Account funding, Act 13 funding, development and the local retail climate were among the more prominent topics. The speakers represented diverse communities.
Sprague to build new bulk fuel plant in North Franklin Township
A supplier of heating fuel will build a new, nearly $3 million bulk plant along West Chestnut Street in North Franklin Township.
The township on Wednesday approved the project, while setting conditions on how Sprague Resources can proceed with the development.
Region's construction season rolls out with $122 million price tag
The state Department of Transportation on Monday rolled out details about the region’s construction season, one with a $122 million price tag and a major focus on modernizing Interstate 70.
The investment for this year doesn’t include the cost of existing, ongoing construction contracts across Washington, Fayette, Greene and Westmoreland counties, said Valerie Peterson, a PennDOT spokeswoman.
OP-ED: The politics of 'no' is not effective in democracies
Recently, the Observer-Reporter published an important story on the health of our local economy. The article, “Officials bullish on county economy,” (March 29) highlighted events from the seventh annual State of the Economy presentation.
New Somerset 'boutique' has a wild, Western flair
Wild Buffalo Trading Co. will mark its first “month-iversary” Monday. The shop, a compact but neatly arranged space, opened for business March 1 a few steps from the Carlton Diner in Somerset Township. Although the Shinskys are awaiting outdoor signs, their store – all 520 square feet of it – is highly visible from Interstate 70, just off the Kammerer exit.
Mon Valley Initiative opens Charleroi jobs, housing center
People who need assistance in purchasing a house or finding a job have a new place to seek help in downtown Charleroi.
The Homestead-based Mon Valley Initiative has purchased a building at Fifth Street and McKean Avenue where a storefront is stocked with a bank of computers for job searches and making résumés.
Officials bullish on Washington County's economy
“Washington County continues to maintain a leadership position in our region and state in creating economic growth, job opportunities and countywide expansion,” Larry Maggi, chairman of the county commissioners, said in helping to kick off the seventh annual State of the Economy presentation.
State approves $10 million to redevelop Allenport mill site
The state has approved $10 million to help redevelop a former Wheeling-Pittsburgh Steel mill in Allenport in an effort to create 550 new jobs.
Housing expected to spring forth
The housing climate in Western Pennsylvania was promising the first two months of the year, according to West Penn Multi-List Inc.’s monthly residential real estate report.
Brockway Glass site project gets $5M in grant, loan
A $2 million grant and a $3 million low-interest loan have been released for the project, state Rep. Jason Ortitay, R-Cecil Township, announced in a news release Tuesday. The money will be used by the Redevelopment Authority of Washington County to overhaul the property – a brownfield site located off of Interstate 70 in Canton Township, near the Washington city line.
On Southern Beltway and elsewhere, Howard Concrete cements strong image
The company, headquartered on Millers Run Road in South Fayette Township, is a big name locally in concrete pumping. It supplies specialty equipment for the construction industry, operated by Howard employees, and does geotechnically related foundation work.
Construction at Charleroi locks included in federal appropriations
The U.S. Army Corps of Engineers Pittsburgh District announced last week that President Donald J. Trump’s fiscal year 2020 appropriations include funding slated to complete ongoing construction of the locks at Charleroi.
Stag buys property recently occupied by Kenco Logistics
Stag Industrial Holdings continues its buying binge in the region, scooping up the new 455,000-square-foot
distribution center recently built at the Starpointe Business Park in Hanover Township, Washington County.
Longtime Chartiers caterer has an events venue on his plate
Inspiration came swiftly. Trubiana decided to convert the place into an events venue, and after about six weeks of painstaking renovations, the erstwhile Danny’s Restaurant & Catering building has given way to the Delfini Room, a location for group get-togethers by appointment.
Washington County Chamber of Commerce Announces 2019 ATHENA Leadership Award Finalists & ATHENA Young Professional Leadership Award Recipient
The Washington County Chamber of Commerce is pleased to announce the finalists for the Washington County ATHENA Leadership Award and the recipient of the Washington County ATHENA Young Professional Leadership Award.
VA clinic moving from mall to Crossroads Center
Seeking a larger space for its Washington County outpatient center, the VA decided upon the Crossroads Center in downtown Washington. The move to 95 W. Beau St. is short, about two miles from its current location, Washington Crown Center, where it has been a tenant for more than a decade.
Commissioners add Tanger Blvd. upgrade to Local Share list
The Washington County commissioners on Thursday added $440,000 improvements to Tanger Boulevard to the list of 2019 projects to receive funding from the local share account of gambling proceeds from The Meadows Racetrack and Casino.
Expansion to Chartiers a premier move for engineering firm
An engineering systems solutions company based in Monroeville is planning to open a second location in Chartiers Township this month.
Premier Automation says it is finalizing a deal to occupy a building at 320 Reliance Drive, near the Pennsylvania Trolley Museum. The firm said it will offer “full engineering and manufacturing services,” which will include building large and small electrical controls for manufacturers.
Tourism agency looking to ramp up youth sports events
While striving to fulfill its mission, the Washington County Tourism Promotion Agency has selected a Florida-based consultant to spearhead a study on how youth and amateur sports may enhance local tourism.
The agency announced Tuesday it has selected Sports Facilities Advisory LLC, a business consultant and management service operator from Clearwater, to assess the demand for athletic facilities across the county and the needs of sports organizations that use these venues.
Southern Beltway interchange project discussed at Southpointe
Construction will begin next week on a new portion of the Southern Beltway project in Cecil and South Fayette townships.
Pennsylvania Turnpike Commission officials and project contractors met with residents Tuesday night to discuss the new construction of the new State Route 0576, which will affect portions of Interstate 79, Morgan Road, County Line road, Cecil-Henderson road and Southpointe Boulevard.
Firm acquires two local manufactured home communities
RHP Properties said it recently finalized the purchases of the Washington Estates and Washington Estates II communities, which are each located in Canton and Chartiers townships, along with Virginia Hills in Imperial and Redwood Estates in the Oakwood section of Pittsburgh.
Shell Lubricants moves easily into Starpointe
Operating out of the Hanover Township business park will afford Shell that opportunity. The lubricants firm, one of Shell Oil’s many companies, cut the ceremonial ribbon on a 455,000-square-foot distribution center. Shell shared the scissors with Kenco Logistics, a third-party operator that, according to Shell spokeswoman Pam Rosen, will “make sure products move properly.”
Crazy Horse will have grand opening Saturday
Crazy Horse Coffee, which has been operating for two months, will ramp up its visibility Saturday with a grand opening and ribbon-cutting.
Peters Township approval moves Canonsburg Lake bridge project forward
Plans to upgrade the McDowell Lane bridge and causeway crossing Canonsburg Lake have moved forward with Peters Township Council’s vote Monday to accept additional right of way.
City gets $196,420 from state to renovate Trust Building
Gov. Tom Wolf announced Monday afternoon that funding through the Keystone Communities program had been approved for 43 revitalization projects across the state. A project in Washington will be one of the recipients
Major shipping/logistics company to boost Shell profile in Pennsylvania
A big national logistics provider is about to open a regional distribution center in Washington County built to serve a subsidiary of Royal Dutch Shell.
Kenco Logistics plans a ribbon cutting March 1 at its regional distribution center at Starpointe Boulevard in Burgettstown. The 455,000-square-foot building at the Starpointe Industrial Park will serve Shell Lubricants, the engine oil and lubricant business of Royal Dutch Shell.
Fairmont Supply has tools for success
“We have a lot of work ahead, and we’re just getting started on what we want to do,” said Fichiera, featured speaker of the Washington County Chamber of Commerce’s monthly Breakfast Briefing, which attracted a large audience Friday to the Doubletree by Hilton Hotel in North Strabane Township.
Railroad services firm heading to Alta Vista
A rail-related company is now making tracks for Alta Vista Business Park.
Frontier Railroad Services LLC has purchased a 4.6-acre lot, according to a news release issued Thursday by Mon Valley Alliance, the nonprofit owner of the 256-acre park in Fallowfield Township. Frontier is a regional railroad construction and maintenance firm that specializes in new track construction and tie and rail changeout.
Work progresses toward 2021 opening of Southern Beltway’s middle section
Construction of the Southern Beltway’s middle section is progressing on schedule, with several portions of the Pennsylvania Turnpike Commission’s toll road to be completed by year’s end.
Amwell resident launches a Gathering Place along National Pike
A year after her November 2017 purchase, McGinnis opened Gathering Place & Tea House at 438 E. National Pike, on the Amwell Township side of the iconic highway. It is, as the name implies, a location where groups can book events such as weddings, wedding showers, baptism parties, birthday parties, card club get-togethers, whatever.
Residential development on rise again in Peters Township
But among the residential developments in progress, target prices for homes, as announced at the workshop by planning director Ed Zuk, range from $280,000 to $650,000. And the lower figure on the low end of the spectrum is for units in multi-family buildings.
The new residences primarily are marketed toward so-called empty nesters, parents of children who have grown up and left home. As such, the impact on school enrollment could be minimal, according to Lauer.
LSA working in the Valley
Over the past week, the Mon Valley Independent provided excellent coverage of two important stories that demonstrated the continued economic impact Washington County’s Local Share Account Program (LSA) is having on the Mon Valley.
Southwestern Pennsylvania leads the state when it comes to new shale gas wells drilled
Southwestern Pennsylvania continued to grow its share of shale gas drilling in 2018, gaining 401 wells since Jan. 1, 2018.
$4.8 million state loan goes toward Peters sewerage improvements
A $4.8 million loan is helping the Peters Township Sanitary Authority move forward with improvements to help reduce or eliminate untreated sewage discharges into Chartiers Creek.
Coming through the Pennsylvania Infrastructure Investment Authority, the loan represents part the state’s $121 million investment in water infrastructure projects in 20 counties, Gov. Tom Wolf announced Wednesday.
I-70 makeover of Bentleyville interchanges nears completion
A major reconstruction of the Interstate 70 interchanges at Bentleyville is nearing completion, creating what the state said is a safer, modern stretch of the highway.
The state Department of Transportation has announced the “substantial completion” of the nearly $75.9 million project in Bentleyville and Fallowfield and Somerset townships, PennDOT records show.
Fitness facility to open Saturday
3 Minute Fitness will have a grand opening from 10 a.m. to 2 p.m. Saturday, February 2 at 380 Washington Road. The gym will be next to Firehouse Subs, in the plaza below Trinity Point.
Sheetz expands Monongahela footprint
Altoona-based Sheetz has expanded its footprint in Monongahela as the company prepares to sell beer and wine at the convenience store in the Mon Valley city.
It’s real estate arm, Steico Inc., in December closed on the $155,000 purchase of three lots beside its 111 E. Main St. location from Jeannene and Rosalie Affinito, Washington County records show.
Jefferson Township supervisors approve conditional use application for power company
Jefferson Township supervisors on Wednesday approved a conditional use application from Robinson Power Co. for construction of electric transmission lines and an electric transmission switching station to transport energy from a power plant planned in a neighboring Washington County community.
Fiscal office: 2018 impact fees hit record high
Impact fees on unconventional natural gas operations in Pennsylvania hit a single-year high in 2018, according to the state’s Independent Fiscal Office.
IFO, which does revenue projections and budgetary analysis for the Legislature and Pennsylvania residents, said in a research brief Thursday that gas wells that were drilled or operating last year generated $247 million in impact fee revenue.
North Strabane supervisors approve new housing plan on McDowell Lane
North Strabane Township supervisors narrowly approved a developer’s plans for a housing development that will boast more than 100 dwellings and add to the growing traffic load on McDowell Lane.
Supervisors voted 3-2 to sign off on Laurel Communities’ conditional-use application to build 41 townhouses and 88 apartments on land along McDowell. Washington County records show the nine-acre parcel is zoned residential.
N. Strabane supervisors to consider office park proposal on Route 519
A developer with designs to build an office park on in North Strabane Township is waiting on a decision from supervisors.
Representatives of Hard Four Investments on Tuesday presented their conditional-use application to build a 9,000-square-foot “flex building.”
Tech Met to be profiled on Fox TV
Tech Met Inc., with headquarters in Glassport and a second location in Donora Industrial Park, will be featured in a nationally televised production – “Manufacturing Marvels” – on Fox Business Network on Monday. The two-minute profile will air between 10:30 and 10:44 p.m.
SPC seeking local input for Smart Moves for Southwestern PA plan
The Southwestern Pennsylvania Commission wants to put together a regional transportation and development plan for the future, and is asking for the public to help.
The SPC, which encompasses a 10-county region including Fayette, Greene, Washington and Westmoreland counties, is working on the plan “Smart Moves for a Changing Region.” Part of that is the “forces of change,” said SPC Executive Director Jim Hassinger.
When it comes to barbecue, Southern Yanks comes out smoking
Their Southern Yanks Smokehouse is approaching six months of operation in downtown Washington. It has been the source of enticing aromas wafting up and down West Chestnut Street, a few storefronts down from Rich’s Barber Shop and catty-corner from a local culinary icon: Shorty’s Lunch.
Aldi receives OK for renovation at former Kmart in McMurray
A new Aldi grocery store could be coming to Peters Township by late summer or early fall.
The township planning commission on Wednesday approved an exterior façade renovation at the former site of longtime McDowell Shops anchor tenant Kmart, which closed in mid-October.
Black Box merger is completed
The acquisition of Black Box Corp. has been completed.
AGC Networks Ltd., a global solutions integrator based in Singapore, made the announcement Monday morning. It said a newly formed, wholly owned subsidiary wrapped up the deal, which was announced in early November.
Mariner East 2's up and running, and here's why that's great news for natural gas producers
Pennsylvania's natural gas industry got an end-of-the-year present with news that the Mariner East 2 pipeline has become operational.
The 350-mile pipeline from Washington County to the Marcus Hook complex near Philadelphia officially went into operation Saturday. The pipeline and its predecessor, Mariner East 1, carries ethane, propane and butane from the natural gas fields of the Marcellus and Utica shale to Marcus Hook for distribution nationally and internationally.
Longtime Alta Vista tenant gets new landlord - for $15.25M
Gardner Denver Nash has a new landlord in Alta Vista Business Park in Fallowfield Township – a landlord that, apparently, is eager to invest.
Boston-based Stag Industrial Holdings paid $15.25 million for the manufacturing facility for pumps and compressors, according to real estate records.
Cal U. to develop research hop yard for beer
California University of Pennsylvania will be experimenting with hops production as the craft beer industry continues to expand in the region.
The university was awarded a $72,500 state grant to grow a “trial garden” of hops, focusing on sustainability, disease management and growing conditions.
Burger King part of North Franklin's plan to beef up its business district
Carrols Restaurant Group, franchisee for the 65-year-old restaurant chain, “intends to construct” a Burger King restaurant at 1150 W. Chestnut St., according to a legal advertisement in Monday’s Observer-Reporter. The fast-food location would be on the site of the former Martin’s Supply, which shut down years ago.
Boston REIT buys manufacturing facility at Mon Valley business park in Washington County
An active buyer has made what’s expected to be the first institutional investment at the Alta Vista Business Park in what’s been a flurry of activity at the Washington County park.
Real Estate records indicate that the developer group of a manufacturing facility for publicly traded Gardner Denver Holdings Inc. in the Alta Vista Business Park has sold the facility to Boston-based Stag Industrial Holdings for $15.25 million.
Mon Valley a winner in the LSA jackpot
We think the Mid-Mon Valley has come away from this year’s Local Share Account grant process a big winner once again.
Washington County Local Share Account money is generated from revenues at the Meadows Racetrack and Casino in North Strabane Township.
County purchasing property adjacent to airport
Seven officials envision what's ahead for Washington, Greene
Seven officials who serve Washington and Greene counties in some capacity, however, did share their perspectives on what may occur in these parts over the next 12 months. They discussed the rebirth of the oil and natural gas industry, development of infrastructure to support the Beaver County ethane cracker plant, local business projects, highways and more – all with large measures of hope.
Washington, Greene near top of shale gas producers
Shale gas production in Pennsylvania increased an impressive 12.9 percent over the first three quarters of this year, compared with the first nine months of 2017.
Washington and Greene were the second- and third-most productive counties, respectively, according to data from the state Department of Environmental Protection.
CoGo's acquired by Coen Markets, which plans 40-plus store upgrades, new hot food options
Western Pennsylvania convenience store chain CoGo’s and its 38 remaining locations have been sold to Coen
Markets, another longtime family-owned company that plans to make improvements at stores across the Pittsburgh region.
Washington County Redevelopment Authority to rehab three homes
Three homes in Washington will be rehabilitated and sold to low-income families, thanks to a state grant awarded last week to the Washington County Redevelopment Authority.
DEP approves permits for pipeline linking MarkWest to cracker
Thursday afternoon, the state Department of Environmental Protection announced it had approved permit applications for the Shell Pipeline Co. Falcon project. The agency decided the applications met requirements of DEP regulations on water obstruction and encroachment and on erosion and sediment control.
County commissioners consider 40 who made the local share list
So $7.4 million in revenue generated by The Meadows Racetrack & Casino will be divvied among 40 proposals in the categories of community improvement, which also seeks to remove blight; economic development, including upgrading brownfields; job training; and public interest, which includes myriad of sewer and water projects.
Pennsylvania shale production up, led by Washington County
Through the first three quarters of 2018, shale gas production in Pennsylvania increased
by 12.9 percent over 2017 production, led by huge gains in Washington County.
Hog Father's reopens at Crown Center
Hog Father’s has returned to Washington Crown Center.
The local barbecue chain opened a restaurant Wednesday in the food court of the mall, where it had operated until closing in January 2017.
Plans outlined for more Southern Beltway work
State turnpike officials and contractors they hired to build several miles of the Southern Beltway through Robinson Township shared details of their plans with residents on Wednesday.
Firm plans to move North American operations to Alta Vista
Nearly two months after the first ceremonial groundbreaking at Alta Vista Business Park in five years, word came down that another company will build there.
Mon Valley Alliance and Apex International announced in a news release Monday afternoon the purchase of Lot 12 of the park in Fallowfield Township, located a short distance off Interstate 70.
Area airports receiving state grants
The Washington County Airport is receiving a $450,000 grant from the Pennsylvania Department of Transportation to rehabilitate the main access road and make other improvements.
Owners hope West Beth butcher shop becomes a cut above
White and two friends purchased a building in West Bethlehem Township that had been a longtime bank. They are repurposing it into a butcher shop, and pork products (charcuterie) will be among their signature items.
The place, then, is a piggy bank of sorts – which the partners hope to transform into a cash cow.
Mexican restaurant opening today in Southpointe
That is the sentiment among local aficionados of Mexican cuisine, as operators of the long-awaited restaurant prepare for their first day of business today. Doors will open at 11 a.m.
Steel Cactus Mexican Restaurante and Cantina – as it is known officially – will do business at 1800 Main Street in the Town Center section of the mixed-use park.
Turnpike work coming in Robinson
Officials and a state contractor are outlining the final plans for a section of the Southern Beltway several miles long in Robinson Township.
The 2.75-mile section of the toll road will be built by Trumbull Corp., which was awarded a $116.2 million contract by the Turnpike Commission earlier this month. The contract gives the project an end date of June 2021.
Charleroi glass factory to see $16 million in upgrades
An Illinois-based kitchenware manufacturer will make a huge investment to upgrade its Charleroi glass factory that has been in operation for more than a century.
Corelle Brands of Rosemont will spend $16 million over the next few years in the factory that was founded in 1893 by George MacBeth and has operated under other names, including Corning and World Kitchen.
Commissioners approve continuing work at county airport
The Redevelopment Authority of Washington County received approval from the commissioners to have CDI-Infrastructure LLC, doing business as L.R. Kimball, preliminarily design the first phase of the south side taxiway at a cost of $204,360, to be paid from a combination of a state Department of Transportation Bureau of Aviation capital grant, a Local Share Account allocation and local capital funds, which are required as a match.
Real estate team finds new home in South Strabane
The Crumrine/Nicholls real estate team is not breaking up, but heading in a new direction professionally and geographically.
Corridors of Opportunity: Washington County energy goes beyond natural gas
As it continues to put a prolonged energy slump behind it, Washington County is reasserting that its economy has always been about more than the Marcellus Shale natural gas boom.
The broader economic base of a Washington County whose identity was strongly tied to the Marcellus Shale was the basis for discussion at the 70th Corridors of Opportunity panel discussion, held at the Hilton Garden Inn at Southpointe.
Energy execs start new natural gas services firm
When Matt Curry and Chris Combs were looking to found a company in the industry they know best — shale — it didn't take long for them to realize there was an unmet need in the Marcellus and Utica.
That's pressure pumping and pumpdown services, which are used in to keep open a wellbore during the hydraulic fracturing process. So the two veteran natural gas executives have founded a startup, Praetorian Energy Solutions, to provide pumping and pumpdown services.
Grand opening Wednesday for Canonsburg outpatient center
Washington Health System officials will have a grand opening for their Canonsburg outpatient center Wednesday evening.
Singapore firm buys Lawrence-based Black Box
Cecil Township-based Black Box Corp. is being acquired by a Singapore-based company.
AGC Networks Pte. Ltd., a wholly owned subsidiary of global solutions integrator AGC Networks, is acquiring all outstanding shares of Black Box. It is doing so for $1.08 per share in cash, subject to regulatory approvals, the Washington County firm announced in a news release on its website.
Southpointe CEO association celebrates anniversary, honors Piatt
Jack B. Piatt, chairman of the Board of Millcraft Investments, sat down with his son, Lucas B. Piatt, president and COO of Millcraft Investments, for a conversation on how the company grew from idea to empire at the celebration of Southpointe’s 25th anniversary.
The Southpointe CEO Association awarded Jack with the inaugural Spirit of Southpointe Award for his vision and dedication to development's future at the event Wednesday at the Hilton Garden Inn at Southpointe.
Piatts reflect on Southpointe's 25-year rise to prominence
Southpointe, a mixed-use park where about 15,000 work and 1,000 reside, turned 25 this year, a milestone that was celebrated Wednesday inside the inn. Piatt, president and chief operating officer of Millcraft Investments, engaged a luncheon crowd of about 200 with his perspectives on the park and his accompanying wit and easy demeanor.
84 Lumber leaps forward on Forbes' list
One of Washington County’s best-known businesses – 84 Lumber Co. – has made a quantum leap on Forbes’ annual list of America’s Largest Private Companies.
Oilfield services company to expand at Starpointe
Bestway Oilfield Inc. has acquired a 45,000-square-foot industrial building at Starpointe Business Park.
Plans for Canonsburg Senior Lofts get council approval
Canonsburg borough officials approved a developer’s plans to build a senior apartment complex on the site of the former First Street Elementary School.
A subsidiary of Cincinnati-based MVAH Partners got approval from council on Monday to build Canonsburg Senior Lofts, a proposed mixed-income complex of 50 one- and two-bedroom units for seniors 62 and older.
New venture by Lola, Clear Cut vets raising up to $250M
Co-founders, respectively, of Lola Energy LLC and of Clear Cut Energy LLC have launched a new entity in Canonsburg that is raising a private equity fund of at least $100 million to ignite an oil and gas operating company, a mineral rights holding firm and, possibly, additional ventures.
Coen Markets announces plans to acquire CoGo's
Coen Markets Inc., a division of Coen Oil Co., announced that it has signed an agreement to purchase the outstanding stock and operating assets of CoGo
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The Ansys Developer portal brings together developer tools from the entire Ansys portfolio into a single hub with documentation, examples, guides, and use cases. The portal equips users to accelerate their work by extending simulation workflows across the Ansys portfolio. It also includes a community forum for customers, partners, and internal developers to collaborate, share ideas, ask questions, and suggest features while providing direct access to open-source initiatives like the PyAnsys p...
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#Product Trends
Ansys launches all-in-one hub for simulation
Ansys has announced the launch of the Ansys Developer portal to make tools for developers more accessible —the new digital space will better enable the Ansys ecosystem and connect users and Ansys experts in all areas of simulation.
The Ansys Developer portal brings together developer tools from the entire Ansys portfolio into a single hub with documentation, examples, guides, and use cases. The portal equips users to accelerate their work by extending simulation workflows across the Ansys portfolio. It also includes a community forum for customers, partners, and internal developers to collaborate, share ideas, ask questions, and suggest features while providing direct access to open-source initiatives like the PyAnsys project Python libraries.
Ansys is committed to providing customers with the tools needed to speed innovation and achieve goals. By simplifying and streamlining the availability of this set of resources, Ansys is enabling engineers, architects, and developers to better design new solutions for automating repetitive and complex simulations and workflows across physics and engineering domains. Facilitating access to these resources through the portal will significantly reduce the time required to complete tasks and minimise the potential for errors. The portal is a key foundation for building new solutions in simulation, including those used to train artificial intelligence/machine learning (AI/ML) models.
Customers across all industries will benefit from the tools and support provided by the Ansys Developer portal. For example, Danfoss, a market-leading company delivering an extensive range of products and solutions across three business segments, is focused on empowering its customers to decarbonise through energy efficiency, machine productivity, low emissions, and electrification.
“Ansys’ robust ecosystem of developer tools empowers our engineers to automate shared workflows, combine different tools, and democratise simulation for all team members to use,” said Jakob Harming, a lead system simulation engineer at Danfoss. “Having access to Ansys tools provides us with a common framework to easily create apps, set up and run simulations, and create reports. Additionally, having to learn only Python is a huge advantage since most graduates have a basic understanding of it.”
“The Ansys Developer portal will bring our developer tools and enablement together, into a single environment for collaboration, shared learning, and innovation,” said Shane Emswiler, senior vice president of products at Ansys. “With this platform, we can grow and nurture Ansys’ developer ecosystem and greatly improve the experience by providing easier access to relevant tools, resources, and technical support.”
www.ansys.com
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ANSYS Composite PrepPost User's Guide
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Academia.edu uses cookies to personalize content, tailor ads and improve the user experience. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy.
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correct_foundationPlace_00077
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FactBench
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2
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https://www.scribd.com/document/355413914/Aerospace-Ansys-Solution
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Aerospace Ansys Solution
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Aerospace Ansys Solution - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Ansys is used as a worldwide software solution. in this document Ansys use in aerospace industry is shown
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en
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https://s-f.scribdassets.com/scribd.ico?66b1e207b?v=5
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Scribd
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https://www.scribd.com/document/355413914/Aerospace-Ansys-Solution
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correct_foundationPlace_00077
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FactBench
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2
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https://www.mdpi.com/2075-5309/14/6/1804
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en
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Role of the Subgrade Reaction Modulus in the Design of Foundations for Adjacent Buildings
|
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[
"Ali Khosravifardshirazi",
"Babak Tavana",
"Akbar A. Javadi",
"Ali Johari",
"Shima Gholzom",
"Behnaz Khosravifardshirazi",
"Mohammad Akrami",
"Akbar A"
] |
2024-06-14T00:00:00
|
This paper examines the effects of soil–structure and structure–soil–structure interactions in the design of foundations for adjacent concrete buildings, which are located on soft soils. The study employs an elasto-plastic model through static (quasi-dynamic) analysis using the direct finite element method by applying earthquake loads in one time step. Two concrete buildings, one with 6 stories and another with 12 stories, were modelled and numerically analysed using ANSYS. The foundations of these two buildings were analysed separately and compared when they were assumed to be adjacent to each other. The designs of the buildings’ foundations were evaluated independently and in comparison with each other to determine the impact of these interactions. The results indicated that accounting for the effects of both interactions increases the total deformation of the foundations. Additionally, the study found that adjusting the subgrade reaction modulus values (Ks) for different sections of the foundation can be a practical method to address both interaction effects simultaneously. This method also optimizes the weight of reinforcement material (Wr) by reducing it by 15% and modifying the positions and quantities of reinforcements used and considering various subgrade reaction modulus values in foundation design.
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en
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MDPI
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https://www.mdpi.com/2075-5309/14/6/1804
|
by
Ali Khosravifardshirazi
1 ,
Babak Tavana
2 ,
Akbar A. Javadi
1 ,
Ali Johari
3 ,
Shima Gholzom
4 ,
Behnaz Khosravifardshirazi
1 and
Mohammad Akrami
1,*
1
Department of Engineering, University of Exeter, Exeter EX4 4QF, UK
2
Department of Engineering, Bushehr University, Bushehr 75158-95496, Iran
3
Department of Civil and Environment Engineering, Shiraz University of Technology, Shiraz 71557-13876, Iran
4
Department of Music, Shiraz University, 5th Km of Sadra Highway, Shiraz 71987-74731, Iran
*
Author to whom correspondence should be addressed.
Buildings 2024, 14(6), 1804; https://doi.org/10.3390/buildings14061804
Submission received: 20 May 2024 / Revised: 2 June 2024 / Accepted: 6 June 2024 / Published: 14 June 2024
(This article belongs to the Special Issue Vibration Monitoring and Control of the Built Environment)
Abstract
:
This paper examines the effects of soil–structure and structure–soil–structure interactions in the design of foundations for adjacent concrete buildings, which are located on soft soils. The study employs an elasto-plastic model through static (quasi-dynamic) analysis using the direct finite element method by applying earthquake loads in one time step. Two concrete buildings, one with 6 stories and another with 12 stories, were modelled and numerically analysed using ANSYS. The foundations of these two buildings were analysed separately and compared when they were assumed to be adjacent to each other. The designs of the buildings’ foundations were evaluated independently and in comparison with each other to determine the impact of these interactions. The results indicated that accounting for the effects of both interactions increases the total deformation of the foundations. Additionally, the study found that adjusting the subgrade reaction modulus values (Ks) for different sections of the foundation can be a practical method to address both interaction effects simultaneously. This method also optimizes the weight of reinforcement material (Wr) by reducing it by 15% and modifying the positions and quantities of reinforcements used and considering various subgrade reaction modulus values in foundation design.
1. Introduction
In recent years, the reduction in suitable urban spaces and the need for large-scale housing for the growing population have led to an increase in the construction of buildings with minimal distances between them. This has resulted in the accumulation of ground stress and an increase in deformation within the foundations of adjacent buildings. Existing regulations, such as FEMA 273 [1], allow for the consideration of this effect in foundation design by adjusting the subgrade reaction modulus in 2D analysis, but it needs to be expanded and modified in terms of 3D analysis [2]. Additionally, the interaction between buildings has the potential to impact foundation performance. Moreover, soil–structure interaction (SSI) is influenced by the flexibility of the soil below the foundation and the relative vibrations between the foundation and the free surface. By accounting for these effects, it is possible to determine the inertial forces and actual displacements of a structure under seismic ground motion or quasi-dynamic loads [3].
Traditionally, the effects of soil deformability are neglected even if the motion of the foundation differs from the free-field ground motion [4]. Wong et al. [4] and Luco et al. [5] investigated dynamic structure–soil–structure interaction (SSSI) between two shear walls placed on rigid foundations subjected to SH waves. They demonstrated that structures with high frequencies positioned near each other have minimal mutual influence, whereas structures with lower frequencies can exert significant effects on one another [5,6]. As the number of structures increases, the maximum displacement experiences an increase due to SSSI effects. This depends on the frequencies of the structures that are relatively close, and their masses are larger compared to the foundation area, thereby magnifying interaction effects [6]. However, these effects were previously neglected in a study [7] when Young’s modulus exceeded 6.9 × 106 kPa. Various types of soil were analysed to consider SSSI effects, including sandy and soft soils [8]. These types of soil amplify seismic wave interactions with soil–structure systems. In most studies, maximum principal stresses were observed on the contact surface between the soil and the foundation beneath the columns, whereas minimum stress values appeared at the centre of the foundations [9]. Çelebi et al. [10] observed a noticeable change in the seismic response of structures with only a few stories when SSI effects were disregarded in loose soil. Furthermore, there is a significant discrepancy between analyses using linear soil behaviour and a nonlinear elasto-plastic Mohr–Coulomb soil behaviour.
Cayci et al. [11] indicated that linear models may provide inaccurate estimates of soil behaviour when subjected to seismic loads. The influence of neighbouring buildings can be particularly strong for embedded foundations, leading to reduced responses at the top of the buildings [12]. Alexander et al. [13] demonstrated that the effect of an earthquake is often transferred from a taller new building to a shorter, older one. Buildings with higher aspect ratios (tall and narrow) are more susceptible to failure on medium and dense soils, while buildings with very small aspect ratios (short and wide) are at higher risk on loose soils in terms of SSSI effects. When there is a significant difference in height (ε > 1.5, where ε is the relation between the height of a taller building to a shorter one) between buildings, maximum building displacement occurs, and it may increase due to earthquake effects transmitted from taller buildings to shorter ones [14].
Some researchers have explored these effects in the context of three or more buildings [4,6,15,16,17], demonstrating that these effects are more pronounced compared to situations with only two adjacent buildings. Aldaikh et al. [16] revealed that SSSI effects are more severe when buildings are in close proximity, and these effects can be considered negligible when the spacing between buildings is more than 2.5 times the foundation width [15]. Li and Liu [17] noted that SSSI effects become significant when the spacing between adjacent buildings is less than 9 m (or 0.3 × B). SSSI effects should also be taken into account in seismic designs [18]. Aldaikh et al. [15] emphasized that the height of structures plays a significant role in terms of SSSI effects under seismic loads. Ignoring SSI and SSSI effects may lead to erroneous estimations of seismic capacity and drift parameters, as SSI effects increase drift parameters while reducing seismic capacity [19]. Pile foundations could be a reliable strategy for mitigating these effects [18]. Furthermore, SSSI effects increase the maximum drift in adjacent buildings, but when the spacing between buildings is larger and the columns are made of stone, the maximum drift is reduced [20].
The effects of soil–structure interaction can be considered using both direct and substructure methods. In the direct method, the structure and the soil are modelled simultaneously and analysed together, allowing for the consideration of nonlinear soil behaviour [21,22,23]. The substructure method consists of dividing the two sub-systems that are analysed separately, and the results are combined in the final analysis stage by assuming linear behaviours.
There is currently a gap in using both SSI and SSSI effects on foundation design in engineering projects [24]. The integration and application of both soil–structure interaction (SSI) and structure–soil–structure interaction (SSSI) effects within the realm of structural and geotechnical engineering have been considered in this study. This paper introduces a methodology that utilizes diverse subgrade reaction modulus values, as outlined in the provided formulation and table, to account for and apply these effects in the analysis and design process. This approach represents a step forward in bridging the gap between structural and geotechnical considerations, ensuring a more holistic and accurate assessment of the interaction between buildings and their underlying soft soil.
2. Materials and Methods
Three different plans were assessed to achieve the required results, each proposing varying locations for the shear walls. All structures were analysed to obtain the optimum locations of the shear walls via SAP 2000 and ETABS 9.2 software (Computers and Structures, INC., New York, NY, USA) (see Figure 1).
The structural models of the buildings presented in this article are described below.
Two buildings A1 and A2 were considered, each with the same plan dimensions of 18 m × 12 m (Figure 1a). A1 had a height of 36 m (12-story), while A2 had a height of 18 m (6 storeys), creating a significant height difference (ε > 1.5, ε is representative of the proportion of building heights) [13]. The irregular distribution of mass and stiffness components in building plans introduces complexities in how these structures interact with the underlying soil. This asymmetry amplifies the sensitive behaviour of the buildings under varying loads and environmental conditions. The significance lies in its potential to significantly alter deformation patterns and load transfer mechanisms, consequently impacting the accuracy of SSI and SSSI analyses. A concrete elasticity modulus E = 25.2 GPa and Poisson’s ratio υ = 0.2 were assumed for both structures. To model the beams and columns of the buildings, a three-dimensional element (BEAM 4) with six degrees of freedom at each node (three for translational movements and three for rotational movements) was employed. The slabs were modelled using a four-node element (SHELL 181), where each node also possessed six degrees of freedom. The SHELL 181 element was also used to model the shear walls [2].
The foundation model for both buildings had dimensions of 13 m × 19 m × 1 m. The modulus of elasticity (E) and Poisson’s ratio (υ) values are presented in Table 1 for both foundations. To represent the foundation elements, a three-dimensional eight-node SOLID 45 element was utilized, with each node having three degrees of freedom. Furthermore, a four-node contact element (CONTA 173) was employed to model the interface between the foundation and the soil. The following properties in Table 1 were attributed to the contacting elements. These properties correspond to the coefficient of friction (MU: representing the frictional ratio between contact surfaces), normal stiffness (FKN: indicating the normal stiffness of the contact interface), cohesive strength (COHE: defining adhesive forces between the contact surfaces), and maximum shear stress (TAUMAX: representing the maximum allowable shear stress at the contact interface), respectively [25].
A 2D soil domain (plan dimensions: 28 m × 34 m and height: 20 m) was considered for the analysis of buildings. The chosen dimensions aim to capture the influence of nearby soil conditions, neighbouring structures, or geological features that could impact the building’s behaviour [26]. SOLID 45 element was employed to model the soil. The modulus of elasticity for the soils (E) and the Poisson ratio (υ) values are shown in Table 1. The Drucker–Prager model with an internal friction angle (φ), cohesion (c), and dilation angle (Ψ) was used for soil plasticity. The use of negative dilation angles in soil material modelling allows for the accurate representation of specific soil behaviour, especially those associated with contraction tendencies or minimal lateral strain during shearing, providing a more realistic depiction of soil behaviour in geotechnical analyses [27].
The selection of specific building dimensions and heights (12-storey building (A1) and 6-storey building (A2)) allows for the examination of a substantial height difference (ε > 1.5). This deliberate difference aids in analysing the impact of varied building heights on structural behaviour and soil–structure interaction. The assumptions of concrete properties (elasticity modulus E = 25.2 GPa and Poisson’s ratio υ = 0.2) for both structures ensure consistency in material behaviour across the models. These values are often standard and representative of typical concrete properties used in construction [28,29]. The choice of three-dimensional elements (BEAM 4, SHELL 181, and SOLID 45) with specified degrees of freedom provides an appropriate level of detail and accuracy in modelling the structural components (beams, columns, slabs, and shear walls) and the foundation. These elements offer the necessary complexity to capture realistic behaviour and interactions within the structural system. The foundation’s dimensions and material properties (elasticity modulus E = 25.2 GPa and Poisson’s ratio υ = 0.2) mirror the properties assumed for the building materials [30]. This consistency ensures compatibility between the structural elements and their supports. The soil area dimensions and properties are chosen to encapsulate a substantial area around the buildings, allowing for an accurate representation of the soil–structure interaction. The selection of the SOLID 45 element for soil modelling, along with the Drucker–Prager model for soil plasticity, enables the simulation of realistic soil behaviour under varying loads and conditions [27,31]. The structural discretization was performed using the automatic meshing procedure in ANSYS to create a comprehensive model. To ensure accuracy, a grid sensitivity analysis was conducted, generating five different meshes ranging from 175,352 to 1,649,803 cells for the initial design within ANSYS Meshing software (version 11, Ansys, Inc., Canonsburg, PA, USA). It was observed that the standard deviation of the base support reactions stabilized at approximately 0.82% for the configuration containing 1,123,492 cells. Consequently, this mesh density was selected for subsequent finite element method (FEM) analyses.
In foundation design incorporating structure–soil–structure interaction (SSSI), key boundary conditions encompass structural elements’ loads, fixity, and rigidity, while soil aspects include properties like elasticity, shear strength, and interface characterization. These conditions focus on ensuring compatibility between structural and soil deformations, accounting for the effects in seismic areas, and employing accurate finite element analysis (FEA) parameters [32,33]. These considerations underpin a holistic approach to accurately model SSSI, ensuring realistic simulations and enhancing the reliability of foundation design. Flexibility impacts how the structure responds to external loads and how this response interacts with the soil. It influences the extent of settlements, rotations, and differential movements in the foundation, crucial aspects of SSSI. Utilizing advanced structural analysis software (ANSYS) that is capable of accurately modelling various structural elements and soil–structure interaction phenomena would be a method for considering flexibility [34,35].
In the first step, the shorter structure (A2) (comprising beams, columns, shear walls, and slabs) with plan dimensions of 18 m × 12 m and a height of 18 m (6 storeys) was independently modelled. It was analysed in ANSYS, and subsequently, its foundation was designed using SAFE geotechnical software (version 8.0.6, Computers and Structures, INC., New York, NY, USA), with the weight of the reinforcement used calculated (further details will be provided later). In the second step, the structure’s foundation was incorporated into the previous model within ANSYS. Following that, the soil and the contact surface between the soil and the foundation were modelled. In the final step, various load combinations were applied to the structure, and the model was analysed.
To model the taller structure (A1), with plan dimensions of 18 m × 12 m and a height of 36 m (12 storey), all steps pertaining to the analysis of the first structure were repeated. After independently modelling the first and second structures and assessing the total deformation associated with the foundation of each structure, both buildings were modelled side by side, with the distance between the two foundations assumed to be zero (i.e., the two foundations are in contact) to account for the most severe effects [17].
To validate a conceptual design in ANSYS software, the buildings were initially modelled and designed using structural software (ETABS). Subsequently, the sections of beams, columns, and shear walls were modelled in ANSYS software. A comparison was made between the results of the building analysis in ANSYS and ETABS software, with the same loads applied to validate the modelling processes in ANSYS [2]. The reaction results for A2, represented in terms of moment Mx along the foundation’s width under earthquake load, are presented in Figure 2 for both ETABS and ANSYS software.
To account for the interaction between adjacent buildings with SSSI effects, both buildings were concurrently modelled in ANSYS. The model was then subjected to various loads, such as gravity loads (comprising dead load and live load) and earthquake loads in the X direction (parallel to the foundation width) and Y direction (parallel to the foundation length). Subsequently, both building foundations were modelled in SAFE for foundation design.
In the first step of foundation design, the foundations were analysed with the same subgrade reaction modulus (Ks). In the second step, they were analysed with different values of subgrade reaction modulus for various sections of the foundations, and the quantities of reinforcement used were calculated for both steps. The variation in Ks values for foundation design was necessary to account for SSI and SSSI effects [2]. The results of the analysis of foundations with SSSI (employing different Ks values) and without SSSI effects (using a single Ks value) were then compared [36].
3. Results and Discussion
By combining the gravity loads (dead load and live load) with seismic loads as the inertia loads in both the X and Y directions (seismic loads applied with a coefficient of 0.1 g (0.981 m/s2) as quasi-dynamic loads in one step time), deformations were obtained for both A2 and A1, both without SSSI effects (analysed separately) and with SSSI effects (when adjacent to each other). Figure 3 illustrates the total deformation in the Z direction for both A2 and A1 (with the Z-axis representing the vertical direction). These results include the effects of the soil–structure interaction (SSI) and structure–soil–structure interaction (SSSI) resulting from the combination of gravitational loads and seismic loads in both the X and Y directions. SMN represents the maximum stress, SMX indicates the minimum stress values (negative in the direction of applied forces), and DMX denotes the maximum displacement. In both the gravity load combination and earthquake load combination along the X direction, both buildings displayed a noticeable inclination towards each other. This discernible deviation was more accentuated and visible in Figure 3b. The structural response during seismic loading resulted in a more pronounced convergence of the buildings towards each other along the X-axis. This convergence indicates a significant interaction between the buildings, suggesting increased vulnerability under seismic forces compared to gravitational loads. The observed inclination during the seismic scenario along the X direction underscores the importance of thoroughly assessing structural behaviour, especially under dynamic forces, highlighting the necessity of designing structures for extreme loading conditions. However, there was no leaning between the buildings in terms of earthquake forces along the Y direction, as depicted in Figure 3c.
The positions of the maximum total deformation contours vary significantly between the two buildings across all load combinations. The maximum deformation occurred within the taller building (A1) in the gravity load combination. In the case of the shorter building (A2), this occurred during the earthquake load combination in the direction of the width of the foundations. Figure 4 displays the deformation of the foundations for both A2 and A1 in the Z direction, considering interactions resulting from the three load combinations. It is evident that the maximum deformations are in the zone between the foundations and in one of the building corners, with the specific location depending on the load combination directions. Therefore, the adjacent taller building exerts a greater influence on the shorter building when an earthquake load combination in the X-axis is considered (as depicted in Figure 4b).
Figure 5 illustrates the deformation of the foundations for A2 and A1 in the Z direction, analysed separately without structure–soil–structure interaction (SSSI) effects, due to the combination of gravitational loads. The maximum total deformation is lower in A2 when analysed without SSSI effects (Figure 5b almost 0.029 m) compared to when SSSI effects are considered (Figure 4a: almost 0.038 m). Conversely, the difference in the total deformation for A1 with and without SSSI effects is not significantly different (Figure 4a and Figure 5a: almost 0.037 m). In fact, the settlement of the taller building (A1) had a greater effect on the settlement of the shorter building (A2) when SSSI effects were considered. These impacts have also changed the area of overall deformations occurring on the foundations. Soil–structure interactions relate to the influence of soil characteristics beneath a structure on its seismic performance. The flexibility of the building’s foundation and its interaction with the neighbouring soil are key factors in shaping the building’s reaction during earthquakes. To adequately address soil–structure interaction effects, it is imperative to consider the flexibility of both the structure and the soil in the analysis [37].
It is worth noting that the concentration of total deformations is primarily in the middle of the foundations when SSSI effects are disregarded. Figure 6 illustrates the deformation of the foundation of A1 without SSSI effects, using SAFE software, and with SSSI effects, using both ANSYS and SAFE software, due to the combination of gravitational loads. The difference between foundational deformations in terms of gravitational loads for A1 in Figure 6a–c is evident. By adjusting the values of the subgrade reaction modulus in foundation design to account for SSSI effects, the foundation’s deformation in Figure 6a converts into Figure 6c, resembling Figure 6b, which represents foundation deformations with SSSI effects. This shows that by changing the values of the subgrade reaction modulus, it is possible to apply SSSI effects in foundation design.
The maximum total deformation of the A1 foundation without SSSI effects, induced by the gravitational load, is situated on the right side of the building in the X-axis. However, it shifts to the left side of the foundation when influenced by the presence of A2. In fact, the maximum total deformation in the A1 foundation occurs in the corner of the foundation near the length of the other foundation without the SSSI effect (top right). Conversely, it is on the opposite side when considering the SSSI effect (top left). The total deformation with SSSI effects is 12 cm greater than that occurring in the case without SSSI effects in A1.
Figure 6a shows the foundation deformation of A1 by considering the same Ks for all elements of the foundation, while Figure 6c shows it by considering the different values of Ks for each element of the foundation, paying attention to the deformation and pattern of deformation shown in Figure 6b, which is related to foundation deformations that consider SSSI effects. Figure 7 illustrates the total deformation of the A2 foundation under the influence of gravitational loads, showing three scenarios: (a) without SSSI effects, with structure–soil–structure interactions analysed (b) in ANSYS software, and (c) in SAFE software by varying values for Ks to account for SSSI effects. By adjusting the subgrade reaction modulus values beneath the foundation, one can manipulate the foundation’s deformation to achieve the desired results, taking into account SSSI effects in direct finite element modelling. With SSSI effects considered, the maximum deformation occurs on the left side (in the X-axis) of the A2 foundation, whereas without SSSI effects, it is located on the top left side. The maximum total deformation value decreases by 11 cm when SSSI effects are not applied. The differential settlements of A1 cause A2 to incline towards A1.
Figure 8 illustrates the deformation of the foundation of A1 under the influence of SSSI effects, considering the combination of gravitational and earthquake loads in the X direction using ANSYS and SAFE software (ANSYS software for analysing the structure and foundation and SAFE software for designing the foundation). It is evident that maximum deformation occurs on the right side of the foundation, adjacent to the other building’s foundation. In the context of this load combination, both buildings incline towards each other.
Finally, Figure 9 shows the total deformation of the A2 foundation when subjected to a combination of gravitational and earthquake loads in the X direction, accounting for SSSI effects. The maximum deformation occurs in the areas of the foundations adjacent to each other, specifically on the right side of the A1 foundation and the left side of the A2 foundation, demonstrating that A2 tends to incline towards A1.
The magnitude and location of the maximum deformation change due to SSSI effects are shown above. These effects have led to a reduction between 10% and 15% in the weight of the reinforcement used (Wr) in the foundation’s design.
There have been several studies focusing on the utilization of varying values of the subgrade reaction modulus to account for soil–structure interaction effects in foundation design [1,2,23,24]. Employing different values for the subgrade reaction modulus in foundation design allows for the incorporation of SSI and SSSI effects, providing convenient tools for civil engineers in their simulations. For example, Equations (1) and (2), Table 2, and Figure 10 demonstrate a strong agreement with our results [1,2]:
K S N e w = a × b × K S k N / m 3
(1)
where a denotes the coefficient of the storey, and b denotes the coefficient of different zones for a foundation, and they are calculated using Equation (2), Figure 10, and Table 2, respectively, with ‘n’ representing the number of storeys [2].
a = 0.25 3 n + 3 b y a = 0.30 3 n + 3
(2)
4. Conclusions
This research investigated the pivotal role of varied subgrade reaction modulus values in the foundation design of concrete buildings which are situated on soft soil with low bearing capacities, particularly within the context of structure–soil–structure interaction (SSSI). The comprehensive analysis revealed several significant findings:
(1)
The mutual influence of adjacent buildings due to SSSI effects was evident, notably with the taller building (A1) exerting a more pronounced impact on the shorter one (A2), especially concerning their adjacent foundations.
(2)
SSSI effects resulted in an increase in the maximum total deformation within adjacent buildings, accompanied by a shifting position with respect to the total maximum deformation in the foundations.
(3)
The practicality of employing diverse subgrade reaction modulus values (Ks) for individual foundation elements emerged as an effective strategy for civil engineers to effectively address SSI and SSSI effects in foundation design.
(4)
Implementing this method to integrate SSSI effects in foundation design showcased optimization benefits, notably reducing the required reinforcement weight (Wr) by approximately 10% to 15%. Furthermore, it necessitated adjustments in reinforcement positions within each foundation’s design.
The variation in subgrade reaction modulus values emerged as a pivotal aspect in mitigating SSI and SSSI effects in foundation design when the foundations are placed on soft soils, while the SSSI effects may indeed provide additional stability benefits for buildings on stiff or very stiff soils. Neglecting these effects could significantly impact building displacements, particularly under seismic loads. Future studies could delve into exploring soil parameter uncertainties by considering them as random variables. This approach could be combined with investigating SSI (soil–structure interaction) and SSSI (structure–soil–structure interaction) effects across diverse soil depths and various types of structures. These studies should encompass a range of construction materials, including wooden and steel structures. Additionally, further research could examine how different environmental conditions and loading scenarios influence the interaction between the soil and structures, ultimately leading to more resilient and adaptable foundation designs.
Author Contributions
Conceptualisation, A.J., A.A.J., A.K. and B.T.; methodology, A.J., A.A.J., A.K. and B.T.; software, B.T. and A.K.; validation, B.T., A.J., A.A.J., A.K., B.K. and M.A.; formal analysis, B.T. and A.K.; investigation, B.T., S.G. and A.K.; resources, A.K. and B.K.; data curation, A.J.; writing original draft preparation, B.T., A.J., A.K. and S.G.; writing—review and editing, A.A.J., A.K., S.G., B.K. and M.A.; visualisation, A.J.; supervision, A.J., A.A.J. and M.A.; project administration, A.J. All authors have read and agreed to the published version of the manuscript.
Funding
This research received no external funding.
Data Availability Statement
This is available upon request.
Conflicts of Interest
The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.
References
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Figure 1. Three building design plans with different shear wall locations used in this research in (a) spans 5 m and 5 m, (b) spans 5 m and 6 m, (c) spans 4 m and 6 m.
Figure 2. Comparison of X-directional moment values for A2 in (a) ETABS and (b) ANSYS software.
Figure 3. Total deformation of both buildings adjacent to each other in ANSYS software considering SSI and SSSI effects at the same time: (a) with gravity load combinations; (b) with earthquake load combinations in the X-axis; (c) with earthquake load combinations in the Y-axis (red contours represent the minimum deformation values, while the dark blue contours represent the maximum values, MN refers to minimum deformation in Z–direction).
Figure 4. Total deformations of two adjacent building foundations in ANSYS considering SSI and SSSI effects: (a) with gravity load combinations; (b) with earthquake load combinations in the X-axis; (c) with earthquake load combinations in the Y-axis (MX refers to maximum and MN refers to minimum deformations in Z−direction).
Figure 5. Total deformation of building’s foundation in ANSYS without considering SSSI effects with gravity load combinations: (a) 12-storey building (A1); (b) 6-storey building (A2).
Figure 6. Total deformation of A1 foundation with gravity loads combination: (a) without SSSI effects; (b) with SSSI effects; (c) with SSSI effects and applying different Ks.
Figure 7. Total deformation of the A2 foundation with gravity load combination: (a) without SSSI effects; (b) with SSSI effects; (c) with SSSI effects and applying different Ks.
Figure 8. Total deformation of the A1 foundation with combinations of gravitational and earthquake loads in the X-axis: (a) with SSSI effects; (b) with SSSI effects and applying different Ks.
Figure 9. Total deformation of the A2 foundation with gravitational and earthquake load combinations in the X-axis with SSSI effects.
Figure 10. Different zones of A foundation for calculating B coefficient [2].
Table 1. Foundation, soil, and contact element properties.
FoundationE = 25.2 GPaυ = 0.2SoilE = 0.02 GPaυ = 0.3φ = 30°c = 20 kPaΨ = −5°CONTA173MU = 0.35FKN = 3 × 104 KN/m3COHE = 10 KpaTAUMAX = 7.06 × 10−3
Table 2. Values of the b coefficient in Equation (1) based on different zones in Figure 10 [2].
Position Based on Figure 10Values of B CoefficientA10.18–0.23A20.20–0.35A30.30–0.40A40.75–1.00
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© 2024 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https://creativecommons.org/licenses/by/4.0/).
Share and Cite
MDPI and ACS Style
Khosravifardshirazi, A.; Tavana, B.; Javadi, A.A.; Johari, A.; Gholzom, S.; Khosravifardshirazi, B.; Akrami, M. Role of the Subgrade Reaction Modulus in the Design of Foundations for Adjacent Buildings. Buildings 2024, 14, 1804. https://doi.org/10.3390/buildings14061804
AMA Style
Khosravifardshirazi A, Tavana B, Javadi AA, Johari A, Gholzom S, Khosravifardshirazi B, Akrami M. Role of the Subgrade Reaction Modulus in the Design of Foundations for Adjacent Buildings. Buildings. 2024; 14(6):1804. https://doi.org/10.3390/buildings14061804
Chicago/Turabian Style
Khosravifardshirazi, Ali, Babak Tavana, Akbar A. Javadi, Ali Johari, Shima Gholzom, Behnaz Khosravifardshirazi, and Mohammad Akrami. 2024. "Role of the Subgrade Reaction Modulus in the Design of Foundations for Adjacent Buildings" Buildings 14, no. 6: 1804. https://doi.org/10.3390/buildings14061804
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laboratory study of a computational radiofrequency coil model at 64 MHz
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Elena Lucano1,2, Mikhail Kozlov3, Eugenia Cabot4, Sara Louie5, Marc Horner5, Wolfgang Kainz1, Gonzalo G Mendoza1, Aiping Yao4,6, Earl Zastrow4,6, Niels Kuster4,6, and Leonardo M Angelone1
Preliminary results of an ongoing inter-laboratory study are presented. The eventual purpose of the effort is to develop a methodology that harmonizes RF-modeling and RF-testing protocol for use in RF exposure assessment. In this phase of the study, numerical and experimental data were collected from four laboratories for unloaded and loaded coil conditions. Only information about the geometry and resonance frequency of the physical coil was provided. Qualitatively good agreement across all teams was found. Subsequent phases of the study shall include a methodology on uncertainty analysis associated with the numerical and experimental methods that can be used in practice
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Simulation safety: Several industries rely on Ansys software
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From the final frontier to the smartphone in your hand, Ansys simulation software is used in the development of products across a wide range of industries. The Canonsburg-based company began in 1970 as Swanson Analysis Systems Inc. with Westinghouse as its first customer. Today, it employs more than 5,500 people around the world. It was […]
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From the final frontier to the smartphone in your hand, Ansys simulation software is used in the development of products across a wide range of industries.
The Canonsburg-based company began in 1970 as Swanson Analysis Systems Inc. with Westinghouse as its first customer. Today, it employs more than 5,500 people around the world. It was founded by John Swanson, who was an engineer for Westinghouse at the time.
“We develop simulation technology, and we provide this to our customers in all industries, whether it’s aerospace, automotive, high tech,” said Walt Hearn, Ansys’ senior vice president of worldwide sales and customer excellence. “And our customers use this simulation technology to simulate how their product will work in a virtual environment before they go and build and test it.”
Hearn used the example of vehicle testing. Crash test dummies are likely the first image that comes to mind when thinking of automotive companies crashing their cars.
With Ansys’ technology, however, even the dummies don’t have to worry about being the first guinea pig for a new car.
“An engineer would build that car in a virtual environment. They’d put it into our software to run a full crash simulation of how that car would perform virtually, so that when they actually built a physical car it would match the virtual environment,” Hearn said.
Hearn described their software as providing simulations, “through all of the core physics,” and giving customers, mechanical, liquid and electromagnetic analyses.
The simulation software is also constantly being improved. Hearn estimates the company spends 21% of its annual revenue, more than $400 million, on research and development.
“We have a ton of developers here in Pittsburgh. We have them around the world. The developers, some of them are physicists, some of them are computer scientists, some of them are mathematicians, and they develop this technology … that we then sell to our customers,” Hearn said.
Ansys breaks its software down into several different products, such as “Ansys Mechanical,” depending on the client’s needs.
Ansys’ software is applicable from consumer products to NASA missions. This range puts Ansys in a class of its own in the simulation industry, according to Hearn.
“We are number one in the simulation space. We’re the largest simulation software company in the world,” Hearn said. “No other company has the ability to solve all of the core physics.”
One the smaller side of the scale, Hearn said companies designing cell phones need an understanding how the internal components will interact with each other.
“You need to understand how the electromagnetics impact the thermal and impact the structural performance of the cell phone. That’s how you’re able to get all of this computing power in the cell phone,” Hearn said.
One of the biggest industries Ansys serves is the field of aerospace and defense.
Behind NASA’s launch of the James Webb Space Telescope in December 2021 was Ansys’ simulation technology.
“They used Ansys software to do the mission analysis for the launch of the James Webb telescope. I think that’s critically exciting,” Hearn said.
Ansys also worked with NASA on their DART mission last year. DART, or double asteroid redirection test, was the first demonstration of planetary defense technology, according to NASA.
In September 2022 NASA successfully crashed a spacecraft into an asteroid to change its course.
“Ansys technology was used on the DART mission to prove you could blow up an asteroid,” Hearn said.
While global industries continue to depend on Ansys, the company makes sure to support local charities and organizations. Some of those include the Washington branch of the Salvation Army, Washington County Community Foundation and Pittsburgh Community Foodbank.
Hearn also notes the close proximity to Pittsburgh provides Ansys with a well of engineering talent.
“Being here in Washington County where we were founded, we’re able to tap in to the top talent in the Pittsburgh ecosystem. It’s a great place to be and do business,” Hearn said.
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Li, W., Yu, X., Hu, X., Tor, O., Zhang, J., Zhang, T., Qi, W., and Hu, L. (2023). “Finite element analysis of compressive stress-strain relations in elastic materials for seat foundation,” BioResources 18(4), 7731-7744.
Abstract
Elastic materials for seat foundations come in a variety of materials, shapes, and dimensions. However, it is difficult to measure the stress-strain relationships of many elastic material combinations by conventional uniaxial compression tests. This study investigated the stress-strain relations of elastic material combinations for foam foundations using finite element analysis (FEA). First, the stress-strain relations of single-layer polymer foams and a combination of double-layer polymer foams with covering were quantified by uniaxial compression tests, and axial tensile tests quantified the properties of the covering material of the fabric. Then, based on the Ogden foam and Ogden constitutive equation of Ansys Workbench 19.2, the test data of single-layer polymer foams and covering were fitted by a non-linear least square method, and a combination of double-layer polymer foams with the covering is predicted by FEA. When the strain was 10% to 65%, the stress error between FEA and test results dropped from 95.68% to -5.08%.
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Full Article
Finite Element Analysis of Compressive Stress-Strain Relations in Elastic Materials for Seat Foundation
Weikang Li,a Xiaohong Yu,a Xiaoyi Hu,a Onder Tor,b Jilei Zhang,c Ting Zhang,d Wei Qi,a and Lingling Hu a,*
Elastic materials for seat foundations come in a variety of materials, shapes, and dimensions. However, it is difficult to measure the stress-strain relationships of many elastic material combinations by conventional uniaxial compression tests. This study investigated the stress-strain relations of elastic material combinations for foam foundations using finite element analysis (FEA). First, the stress-strain relations of single-layer polymer foams and a combination of double-layer polymer foams with covering were quantified by uniaxial compression tests, and axial tensile tests quantified the properties of the covering material of the fabric. Then, based on the Ogden foam and Ogden constitutive equation of Ansys Workbench 19.2, the test data of single-layer polymer foams and covering were fitted by a non-linear least square method, and a combination of double-layer polymer foams with the covering is predicted by FEA. When the strain was 10% to 65%, the stress error between FEA and test results dropped from 95.68% to -5.08%.
DOI: 10.15376/biores.18.4.7731-7744
Keywords: Stress-strain; Seat foundation; Ogden foam; Finite element analysis
Contact information: a: Department of Furniture Design and Engineering, Zhejiang A&F University, Hangzhou, China; b: Department of Forest Industry Engineering, Kastamonu University, Kastamonu, Turkey; c: Department of Sustainable Bioproducts, Mississippi State University, Starkville, MS, USA; d: Research and Development Center, Xilinmen Furniture Co., Ltd., Shaoxing, China; * Corresponding author: radiant00@163.com
INTRODUCTION
The combination of elastic materials used for the seat foam foundation determines the sitting experience (Hu et al. 2015; Li 2018; Hu et al. 2020). Common elastic materials, such as polymer foams, springs, bandages, and fabrics, are widely used in the applications of furniture, automobile, and many other industries. Regarding the combination of elastic materials, seat manufacturers and designers have long relied on uniaxial compression tests and workers’ experience. However, it is difficult to systematically quantify the stress-strain relations of a wide range of elastic material combinations through conventional uniaxial compression tests. In recent years, finite element analysis (FEA) has become famous for its intuitive and timely application in modeling engineering mechanics. Through creating many simulation models, FEA can solve boundary value problems in different operating situations (Chen and Cai 2018; Zeng et al. 2021). However, analysis of one such combination trace can replace many tests in determining seat foundation curves.
Several studies on seat comfort have used finite element development programs or fitting tools to generate constitutive model parameters and then simulate the mechanical behavior of single-layer polymer foams for automobile seats (Du et al. 2013; Gao et al. 2019; Zhang et al. 2019). Kumar et al. (2019) developed the hyperelastic model parameters representing the stress-strain curve of single-layer polymer foam for compressive loading. Then, various other parameters, such as stiffness and thickness were considered to investigate seat comfort using FEA (Schrodt et al. 2005). Schrodt et al. (2005) simulated the stress-strain relations of a single-layer polymer foam by the parameters of the second-order strain energy function. Briody et al. (2011) used the non-linear least-squares optimization program in Abaqus. They fitted the compression test data of single-layer polyurethane foam using the strain energy equation of the hyperfoam (Ogden) model. Chou et al. (1995) investigated the stress-strain relations of single-layer foam with various foam models of LS-DYNA 3D; numerous simulations were carried out for foams subjected to different loading conditions. By combining the advanced measurement techniques, non-traditional experimental setup, numerical modeling (FE model) and inverse analysis one can capture all nine elastic properties of single-layer polymer foam from just two or three tests (Chuda-Kowalska et al. 2015). Although FEA has well evaluated the mechanical properties of single-layer foams, studies on the mechanical properties of double-layer or multi-layer foams are limited.
Polymeric foam and coverings belong to the elastomer category. The hyperelastic constitutive model is widely used in simulation to characterize the stress-strain relations of elastomers (Fernández et al. 2018; Heczko and Kottner 2018; Masrar and Ettaouil 2021). The non-linear stress-strain relations of elastic materials, such as seat cushions and hyperelastic foams, are often described by the Ogden model based on stretch ratio (Ogden 1972, 1984). Liu and Subhash (2005) developed a five-parameter constitutive model for the foam in single and multiple compression tests. They used the non-linear least square approach to fit the test data. The results showed that the five-parameter constitutive model could accurately predict the overall stress-strain response of the polymer foam (Liu et al. 2004; Liu and Subhash 2005). Studies have been performed on the stress-strain response of polymer foam using the crushable foam model and the low-density foam model; these approaches made it possible to calculate the force-deformation under compression loads and unloading (Ozturk and Anlas 2007, 2010). Mills and Gilchrist (2000) used the Ogden model to predict the polyurethane foam response for both plane strain indentation and the axisymmetric indentation force deflection (IFD), and the results showed that the relative indentation forces were about 20% lower than the experimental values.
Many researchers have presented the stress-strain constitutive model and the corresponding parameter-matching method for elastic materials, such as polymer foam, in the field of automobile seats, but few methods for elastic materials have been used in seat foundations of furniture. In addition, more attention has been paid in the literature to the compressive yield of single-layer polymer foam under uniaxial compression or multiaxial compression, but FEA research on multi-layer polymer foam foundations is limited. This study investigates the stress-strain of single-layer polymer foams and combination of double-layer polymer foams with covering under uniaxial compression tests. It examines the stress-strain relations of elastic materials on seat foundations using FEA.
EXPERIMENTAL
Materials
Polymer foams and coverings are most commonly used for seat foundations. To analyze stress-strain of the seat foundation, the polyurethane foam, polyether-polyol foam, and fabric were chosen in experimental tests. The polyether-polyol foam is designated as Foam A (FA, density of 24.88 kg/m3), and the polyurethane foam is designated as Foam B (FB, density of 38.76 kg/m3). The tested elastic materials are listed in Table 1. The size of single-layer polymer foams is 100 mm × 100 mm × 50 mm (length, breadth, and thickness), and 740 mm × 740 mm × 200 mm (length, breadth, and thickness) for double-layer polymer foams with covering. In addition, a layer of 25-mm-thick silk wadding was inserted between the polymer foams and covering in the combination of seat foundation elastic material process, as depicted in Fig. 1.
Table 1. Tested Elastic Materials for Foam Foundations
Fig. 1. The combination of double-layer polymer foams, silk wadding, and covering
Experimental Tests
In accordance with the American Society for Testing of Materials polymer foam test standard (ASTM D3574-B1 (2003), the uniaxial compression tests with an aluminum disk with a diameter of 200 mm were performed on FA and FB with a dimension of 100 mm × 100 mm × 50 mm (length, breadth, and thickness) on the HD-F750 type mechanical tester (Haida, Dongguan, China) with three replicates of each. In addition, according to EN 1957 (2000), FABF with dimensions of 740 mm × 740 mm × 200 mm (length, breadth, and thickness) on the TST-CD001 type mechanical tester (TST, Fujian, China) were tested with three replicates of each. An aluminum disk with a diameter of 350 mm was used for the tests, and the specimen was compressed to 65% of the thickness at a uniform speed of 100 mm/min. The stress-strain relation (Elastic modulus: E1, E2, E3) of FA and FB were investigated based on a previously reported methods (Hu et al. 2020), as shown in Table 2 and Fig. 2. The stress values of strain (the ratio of compression amount to thickness of the specimen) for 10%, 15%, 20%, 25%, 30%, 35%, 40%, 45%, 50%, 55%, 60%, and 65% were selected, and the results are reported in Table 5.
Table 2. E1, E2, and E3 Values for Stress-Strain Relation of FA and FB
Fig. 2. The stress-strain relation of FA and FB
Based on GB/T 3923.1 (2013), the axial textile tests were conducted for the fabric covering specimens with dimensions of 100 mm × 25 mm were performed using a CMT5967 materials testing system (INSTRON, Norwood, MA, USA). The two ends of the fabric specimens were fixed with clamps to ensure that the covering specimens did not slip. The axial tensile rate during loading was 100 mm/min, and the maximum load was 200 N. Each covering specimen was tested five times. The stress-strain curves of the covering are shown in Fig. 3.
Fig. 3. Stress-strain curves of fabric materials
Finite Element Analysis of Elastic Materials for Seat Foundation
Definition of polymer foam
The stress-strain relations of polymer foam can be described in Ansys Workbench 19.2 by the Ogden Foam constitutive model (Zhang et al. 2005). In this model, the potential energy W of elastic deformation was used to represent the elasticity of the material. The volume term and the partial term are completely connected due to the almost complete compressibility of the elastic foam. The strain energy potential was derived by Eq. 1, which was based on the principal stretches of the left Cauchy-Green tensor (ANSYS Workbench Help), as follows:
(1)
The parameters (i = 1, 2,…,n) are defined as follows: µi, αi is the fundamental parameter of the material, βi is the compressible coefficient, J is the elastic volume ratio, λi is the principal stretches, and N is the order of the model. To ensure that the calculation in the Ansys Workbench 19.2 is stable, µi ·αi should be greater than zero.
The initial shear modulus µ is defined by:
(2)
The transverse stretches λ1 and λ3 were negligible during the uniaxial tensile test. Therefore, the derivative of the strain energy potential W in the direction of the main stretch is calculated using the simplified Eq. 1. As a result, the nominal stress in the load direction can therefore be calculated as follows:
(3)
In Eq. 3, the principal stretch can be expressed as:
(4)
The stress-strain should be defined as negative because the single-layer polymer foam was evaluated under uniaxial compression in this study. The stretching quantity in the λ1 and λ3 direction of the polymer foam is also insignificant for extremely compressible foam materials with a Poisson’s ratio of zero (Briody et al. 2011, 2012) resulting in λ2= λ and λ1= λ3 =1. The elastic volume ratio is given by Eq. 5:
(5)
The compressible parameter βi is defined as:
(6)
Because Poisson’s ratio vi of the polymer foam is zero, the compressibility coefficient βi is also defined as zero. The elastic volume ratio J can be defined as the stretch ratio in the direction of λ2 of the uniaxial compression test. This gives Eq. 7,
(7)
where v0 is the volume (mm3) of the polymer foam specimen after deformation, v is the original volume (mm3) of the polymer foam specimen, L is the original length (mm) of the polymer foam specimen, and ∆L is the axial pressure (mm) of the polymer foam specimen. The stretch ratio in the direction of under uniaxial compression of polymer foam can alternatively be expressed as:
(8)
To calculate the derivative of strain to obtain the stress-strain relations of polymer foam under uniaxial compression, Eqs. 7 and 8 are substituted into Eq. 1 to assist the establishment of the connection with the test data as follows:
(8)
In the present work, a second order (i.e., N = 2) strain energy Ogden foam potential function is used, which gives:
(9)
The parameters cannot be predicted from the polymer foam properties, the foam density, and the deformation mechanisms. Instead, they must be calculated by curve-fitting experimental data (Fig. 2). The Ogden foam model of second order (Mohanty and Mahapatra 2014; Maiti et al. 2019) is sufficient to fit the experimental data (Fig. 4), and the model parameters are shown in Table 3.
Table 3. Foam Properties of Ogden Foam 2nd Order for FA and FB (Eq. 9)
Fig. 4. Fitting curves for FA and FB were calculated using Eq 9.
Definition of covering materials
In general, the Ogden constitutive model is well suited to solving the problem of large strains of elastic materials. The Ogden hyperelastic constitutive model was used in this study to describe elastic material in Ansys Workbench 19.2 (ANSYS Inc., Canonsburg, PA, USA). The strain energy potential function Eq. 10, similar to Eq. 1, is also based on the principal stretches of the Zuocchi-Green strain tensor, and its form is defined as follows:
(10)
The dk in Eq. 9 is the incompressible coefficient. Hyperelastic materials are incompressible materials, which means that their volume does not change during compression. Consequently, . The deformation of Ogden’s hyperelastic constitutive model is defined as follows:
(11)
The experimental stress-strain data for fabric is imported into the Ogden hyperelastic constitutive model, and the test data are fitted using the fitting tool (Error norm for fit) in Ansys Workbench 19.2 (Table 4). The incompressible coefficient dk is defined as 0 in the fitting process as shown in Eq. 11.
Table 4. Foam Material Properties of Ogden 1st Order for Covering
Model construction of seat foundation
The compression behavior for the FABF is a large non-linear deformation. When calculating the large deformation of the composite compression in FEA, the shear stress generated at the contact point between the polymer foam sidewall and the covering can easily lead to problems of stress singularity or non-convergence of the results. Defining proper boundary conditions and adjusting the mesh size in FEA can solve this problem. The covering on the side of polymer foam has little effect on the seat support ability and is therefore ignored in the simulation. In addition, a layer of 50-mm-thick elastic foam (u1 = 1000 Pa, α1 = 1, β1 = 0) is constructed to replace the compressibility of the silk wadding.
Mesh division and boundary conditions
The hexahedral mesh was used to improve the accuracy of simulation results in this study (Fig. 5 ). The contacts of the covering, polymer foam, and aluminum disk are set as bonded (glue connection between polymer foam) in the FEA, which means that the contact surfaces remain in initial contact with each other and there is no relative sliding or no separation. The bottom of the foam foundation is fixed support from all directions, and the aluminum disk is designed to achieve a compressive strain of 65% combination thickness. In order to analyze the influence of mesh size on compressive stress value in FABF, the sensitivity of mesh size (65 to 45 mm) of polymer foam was simulated. Table 5 shows that the stress error corresponding to 0.1 to 0.65 strain of polymer foam is not more than 5.10%.
Fig. 5. Finite element model of FABF
Table 5. The Influence of FA (FB) Mesh Size on Simulation Results in FABF
Comparison of Simulation Results and Test Results
Figure 6 shows the FEA predicting method for stress-strain of FABF. The compression stress-strain curves of the foam foundation in Fig. 7 can be predicted using fitting parameters of FA, FB, and fabric. The detailed information of stress-strain values between simulation and test results are shown in Table 6.
Fig. 6. FEA for predicting indentation stress-strain for FABF
Table 6. Mean Comparison of FEA Results with Test Results for Stress Values at Each Strain for FABF
The positive and negative signs of individual errors are taken into account when computing the mean Error
Fig. 7. Comparison between FEA results and test results of FABF
(Elements number: 2274; Element quality (average): 0.878; Mesh size of FA (FB) is 65 mm)
Fig. 8. Deformation mechanism of FABF (T = T1 + T2)
As shown in Fig. 7, the variation trend of the stress-strain curve in the FEA is consistent with the test results. In addition, Table 6 (FABF) illustrates how the stress inaccuracy decreases from -27.78% to -5.08% when comparing the strain results of 20% to 65%. This might be due to the results of the shear stress (Fig. 8, T2) being disregarded in the simulation during the deformation of polymer foam when the disk is pressed down. When the disk is forced down on a polymer foam, the shear stress (Fig. 8, T2) during the deformation of the polymer foam causes it to deform (Todd et al. 1998).
Generally, the stress values typically depend upon the deformation stress of its microunit for elastic materials. Because the FA or FB with dimensions of 100 mm × 100 mm × 50 mm (length, breadth, and thickness) were completely covered by the loading head with a diameter of 200 mm, the experiment data for FA and FB through uniaxial compression tests only indicate the foams’ axial stress-strain relation (T1), (Fig. 8). However, for the combination of FABF, the dimension is much larger than the compression loading head. In other words, the stress deformation for FABF occurred at different angles, including T1 and T2 (Fig. 8).
In addition, other original images that caused errors are as follows：
Polymer foams are elastically anisotropic and have complex failure mechanisms.
The FEA material models for polymer foams have the limitations of assuming material isotropy, and the commencement of yielding occurs in a similar manner under a variety of stress states.
The porosity, pore size, and material properties are all crucial in relation to the stress-strain of the polymer foams.
As shown in Table 6 (FABF), the stress error drops from 95.68% to -5.08%, comparing the strain results of 10% to 65%. The maximum error between finite element analysis and experimental testing occurs in the 10% of the strain, and after the first 20% of the strain, the errors gradually stabilized (Fig. 7). This shows how the Ogden model can be used to somewhat predict the elastic behavior of foam seat foundation.
In addition, because the silk wadding was difficult to model and specify in FEA, a layer of low-elasticity foam (50 mm) was used as a substitute at the bottom of the FABF. It has been observed that the FEA results are higher than the test results before 15% strain of the FABF happened in Fig. 7. This is because the thickness and property of silk wadding of simulation for FABF is not exactly 50 mm. The stress-strain prediction results of the double-layer polymer foam with covering combination demonstrate the method’s logic for the overall trend of curve variation.
CONCLUSIONS
This study quantified the stress-strain relations of single-layer polymer foams and double-layer polymer foam with covering combination by a uniaxial compression test and FEA.
The test data of small polymer foams and covering were fitted by a non-linear least square method based on the Ogden foam and Ogden constitutive equation of Ansys Workbench 19.2, and FEA was used to estimate the stress-strain behavior of foam seat foundation.
The stress errors between FEA and test results of foam foundation decreased from 95.68% to -5.08% , when the strain is 10% to 65%. This shows that the variation trend of the stress-strain curve in the FEA is consistent with the test results.
ACKNOWLEDGMENT
The authors gratefully acknowledge the financial support for the present work from the National Natural Science Foundation of China (Grant No. 52005450).
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Hu, L., Tor, O., Li, M., Zhang, J., Franklin, Q., and Yu, X. (2020). “Cushioning capability analysis of seat foundations considering the sitter’s anthropometric dimensions,” BioResources 15(4), 7992-8007. DOI: 10.15376/BIORES.15.4.7992-8007
Hu, L., Tor, O., Shen, L., Zhang, J., and Quin, F. (2020). “Cushioning capability analysis of seat foundations considering the sitter’s anthropometric dimensions,” BioResources 15(4), 7992-8007. DOI: 10.15376/biores.15.4.7992-8007
Kumar, V., Mishra, R. K., and Krishnapillai, S. (2019). “Study of pilot’s comfortness in the cockpit seat of a flight simulator,” International Journal of Industrial Ergonomics 71. DOI: 10.1016/j.ergon.2019.02.004
Li, H. (2018). Study on the Indentation Force Deflection and Support Performance of Elastic Materials of Sofa Cushion, Dissertation, Zhejiang A&F University, China.
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Maiti, A., Small, W., Lewicki, J. P., Chinn, S. C., and Wilson, T. S. (2019). “Age-aware constitutive materials model for a 3D printed polymeric foam,” Scientific Reports 9(1), article 15923. DOI: 10.1038/s41598-019-52298-z
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Article submitted: June 29, 2023; Peer review completed: August 5, 2023; Revised version received and accepted: September 4, 2023; Published: September 29, 2023.
DOI: 10.15376/biores.18.4.7731-7744
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Ansys, the global leader and innovator of engineering simulation software, announced it has acquired the DYNAmore business (“DYNAmore”) from DYNAmore Holding GmbH. DYNAmore is a leader in developing and selling explicit simulation solutions to the automotive industry. The acquisition closed on January 3, 2023. It is not expected to have a material impact on Ansys' consolidated financial statements.
DYNAmore is a longtime channel and software development partner of Livermore Software Technology Corporation (LSTC), which Ansys acquired in 2019. After that acquisition, DYNAmore continued to sell Ansys LS-DYNA throughout Europe as an Ansys channel partner focused primarily on the automotive industry. DYNAmore also employs a team of developers that assist with the core development of LS-DYNA as well as with dummy and human body and dummy models. Ansys will add DYNAmore’s go-to-market and development expertise to its existing sales, engineering, research and development teams.
Headquartered in Stuttgart, Germany, DYNAmore employs around 110 people across several North American and European locations. The company has approximately 800 industrial customers, and over 150 universities use its software and services. DYNAmore’s automotive customers are a who’s who of the industry, including nine of the top 10 original equipment manufacturers and seven of the largest automotive suppliers around the world.
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Ansys, the global leader and innovator of engineering simulation software, announced it has acquired Diakopto. A provider of differentiated EDA solutions to accelerate integrated circuit (IC) development, Diakopto focuses on helping resolve critical issues caused by layout parasitics. The acquisition closed on June 12, 2023. It is not expected to have a material impact on Ansys' consolidated financial statements in 2023.
Diakopto develops products that address the growing complexities and unintended effects of designing ICs in the modern era. Semiconductor designs increasingly employ advanced process node technologies, where interconnect parasitic effects limit the performance, reliability and functionality of designs. Diakopto’s market-leading products have been adopted by dozens of customers, including tier-one semiconductor companies, for a broad range of applications.
With the acquisition, Ansys will better enable design engineers to “shift left,” and to detect interconnect parasitic problems early in the design cycle. Diakopto’s products provide actionable analytics to guide designers to fix these problems – a capability that has not existed before. Through early identification and what-if analysis of parasitic problems, engineers can minimize costly iterations late in the design cycle – furthering cost and time savings.
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Ansys, the global leader and innovator of engineering simulation software, announced today the acquisition of Engineering Simulation and Scientific Software Rocky DEM, S.L. (“Rocky”). With this acquisition, Ansys adds Rocky, the leading discrete element method (DEM) tool, and a skilled team of developers, application support technicians and customer-facing staff in Brazil, Spain, and the United States. The transaction is not expected to have a material impact on Ansys' consolidated financial statements in 2023.
Rocky was a subsidiary of Engineering Simulation and Scientific Software (ESSS), a long-term Ansys Channel Partner, and developer of engineering software dedicated to modeling discrete mechanics problems. Ansys’ acquisition of Rocky builds on the companies’ long-term partnership and joint particle modeling workflow announced in 2021. Rocky’s software, with specific strengths in GPU computing and applying particle methods to multiphysics simulations, is used in wide variety of cross-industry applications that involve discrete solids of any size and shape.
Particle modeling spans many industries and applications; particles can consist of medical tablets, food snacks, agriculture seeds, powders, and even fibers used in filtration devices. Industry leaders are challenged to improve their product quality and find solutions to help accelerate their decision making related to the design, manufacturing, and operation of their particulate systems.
Rocky is a leading DEM software package that quickly and accurately simulates the dynamic flow behavior of discrete solids and particle-laden free-surface flows in multiple industries. Rocky simulations provide powerful insight to help reduce waste, improve product quality, increase product uniformity, predict performance and durability of equipment during operation, meet resource management and address sustainability concerns.
This acquisition will ensure that Ansys customers have long-term, uninterrupted access to powerful high-fidelity particle modelling that is deeply integrated with other Ansys solutions to solve an expanding set of problems involving discrete particles. Incorporating Rocky technology into the Ansys portfolio will also facilitate long-term synergies in the Ansys portfolio that would not otherwise be possible, such as inclusion of Rocky into the PyAnsys framework.
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Ansys has acquired Thermal Desktop maker Cullimore and Ring Technologies, Inc. a/k/a C&R Technologies, the leading provider of orbital thermal analysis. Once integrated into Ansys’ existing portfolio, this acquisition will further position Ansys as the industry leader of A&D and NewSpace simulation solutions. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
The design of many engineering systems in A&D, NewSpace, and other industries requires a thorough understanding of the thermal behavior for a wide range of environmental conditions, including accounting for transient situations such as start-up and shutdown. Thermal behavior must be fully understood to ensure successful missions. Thermal Desktop’s thermal-centric modeling approach provides fast and effective system-level simulation capabilities to meet this need and can be used in combination with Ansys’ physics solvers to provide customers with the fidelity required at every stage of thermal system design and optimization.
The acquisition complements Ansys’ suite of 3D thermal, fluid flow, and mission simulation tools to provide more efficient and accurate design, analysis, and optimization of the thermal behavior of systems and networks of interacting components. The agreement expands on Ansys and C&R Technologies’ existing collaboration and enables customers to combine Thermal Desktop’s system-level thermal modeling with the Ansys family of multiphysics analysis software — including Ansys’ structures, fluids, space, and optical simulation portfolios.
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Ansys announced it has acquired Motor Design Limited (MDL). The acquisition and resulting addition of MDL’s Motor-CAD to Ansys’ existing portfolio will strengthen Ansys’ electric machine design offerings, as proven by the successful partnership between the two companies over the past two years. Bringing Motor-CAD fully into the Ansys family of multiphysics analysis software products will enable Ansys customers to design and bring to market more efficient electric machines leading to a more sustainable use of rare materials. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
The global demand for greater power efficiency is rapidly driving electrification and sustainability initiatives — from electric vehicles and aircraft to electric motor-driven systems in the industrial sector. Ansys’ acquisition of MDL will answer the growing global demand, providing customers with an industry leading comprehensive multiphysics workflow for electric machine design. Combining Ansys solvers with MDL’s Motor-CAD into an end-to-end solution will enable customers to not only design more efficient electric machines but also apply them to more applications, which reduces environmental impact and cost for consumers, companies and governments.
The addition of Motor-CAD to Ansys’ electric machine solution will deliver upfront design capabilities to Ansys’ industry-leading multiphysics analysis capabilities. From user interface to a unique combination of finite element solvers and analytical algorithms tuned specifically for solving electric machines to the motor specific post-processing capability, Motor-CAD was developed specifically for electric machine design. The product contains coupled electromagnetic, thermal and mechanical modelling capabilities — tuned for rapid design of electric machines across the full operating range.
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Ansys has acquired cloud simulation provider OnScale. Once integrated into Ansys’ existing cloud portfolio, this technology acquisition will help provide a cloud-native, web-based user interface (UI) for device-independent access to Ansys’ broad array of simulation technologies. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
Currently, Ansys’ industry-leading cloud portfolio, comprising a marketplace offering (Ansys Gateway powered by AWS) and a managed cloud offering (Ansys Cloud, which runs on Azure), gives customers scalable location-independent access to Ansys simulation. Additionally, PyAnsys (Ansys’ open-source Python API software package for a broad development ecosystem) provides an extensible platform-centric approach to the development and deployment of new verticalized, or use-case-specific, applications that leverage simulation. These capabilities and emerging new applications will now be strengthened by the addition of a cloud-native framework from OnScale that will support a user-friendly, web-based UI.
With a cloud portfolio that supports device-independent, location-independent, and platform-centric access to Ansys’ industry-leading technology, customers will enjoy maximum flexibility in leveraging simulation via full-featured UIs, a web-based UI, as well as through a new class of simulation-based tools accessible by all engineers, scientists, professionals, and students.
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Ansys has acquired Phoenix Integration, Inc. the premier provider of software that enables model-based engineering (MBE) and model-based systems engineering (MBSE). The acquisition will expand the scope of Ansys’ solution offering, enabling users to connect a range of engineering tools together in multi-tool workflows for broad and robust model-based engineering. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys’ consolidated financial statements in 2021.
Engineers and designers use a variety of disparate software tools during the product development process. These tools are rarely connected, resulting in highly manual engineering and change processes, often managed through email and spreadsheets, which lack traceability. MBE enables the automation of these processes and helps to tame that complexity. MBSE provides traceability to requirements through the use of a systems model as a single source of truth for describing the evolving system design throughout its product lifecycle.
Phoenix Integration’s ModelCenter is a vendor-neutral software platform that empowers engineers to create and automate multi-tool workflows, providing increased flexibility to solve challenging engineering problems, and ultimately delivering on the promise of MBE. ModelCenter MBSE bridges the gap between engineering analysis and the systems model, ensuring that the product requirement is met and in sync with the engineering analysis conducted throughout the product development process.
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Ansys has acquired Zemax, LLC, a leader in high-performance optical imaging system simulation. The acquisition will expand the scope of Ansys' solution offering, giving users comprehensive, end-to-end solutions for simulating next-generation optical and photonics products. Those innovations range in scope from photonics-enabled circuits to precision vision systems to system-level illumination and could drive breakthroughs in healthcare, autonomy, consumer electronics and the industrial internet of things. The transaction is not expected to have a material impact on the 2021 financial results.
Modern products rely upon embedded optical systems for successful performance. Accurately imaging the physical world and predicting the performance of these imaging systems is critical in products as diverse as robotic surgery-assist systems, autonomous vehicles, machine vision cameras and aerospace and defense applications. These products depend on precision optical raytracing and reliable lens design, yet imaging system creation is an intricate task complicated by strict requirements for precision, tolerancing and manufacturability. Zemax provides users with unsurpassed precision and breadth in imaging simulation and optimization technologies.
With the addition of Zemax technologies, Ansys will offer customers a comprehensive solution for simulating the behavior of light in complex, innovative products – ranging from the microscale with the Ansys Lumerical™ photonics products, to the imaging of the physical world with Zemax, to human vision perception with Ansys Speos™. That comprehensive solution will enable users to create optimal designs more quickly by streamlining the workflow and communication among photonics, optical, mechanical and manufacturing engineers.
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Ansys acquired Analytical Graphics, Inc., the premier provider of mission-driven simulation, modeling, testing and analysis software for aerospace, defense, telecommunication and intelligence applications.
The acquisition will expand the Ansys portfolio to enable users to solve at the chip level all the way to an entire mission. Ansys’ acquisition of AGI will help drive our strategy of making simulation pervasive from the smallest component now through a customer’s entire mission. It will also expand the use of simulation in the key aerospace sector, where the stakes can be at their highest levels.
The acquisition of AGI will also expand Ansys’ simulation footprint into customers’ missions, an area of simulation beyond the traditional component or product level. Missions are typically higher-level endeavors that support space, telecommunications, national defense and search-and-rescue initiatives. Mission-driven simulation, integrated with systems engineering, enables organizations to provide the best configuration to achieve various desired mission objectives.
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Ansys has acquired Lumerical, the leader in high-performance silicon photonic simulation.
The acquisition of Lumerical will enable Ansys customers to predict light's behavior within complex photonic structures and systems. Ansys provides a comprehensive solution for semiconductors and high-performance electronics, and with the acquisition of Lumerical, we are extending Ansys’ capabilities to address the challenges of the photonic industry.
Silicon photonics is an expanding market and Lumerical provides a comprehensive set of tools for the design and analysis of integrated photonic components and systems, similar to the traditional electronic design automation (EDA) environment. Lumerical complements Ansys SPEOS by serving as a de facto light source for predicting the illumination and optical performance of systems such as interior automobile lighting.
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Ansys, the global leader and innovator of engineering simulation software, acquired Livermore Software Technology Corporation (LSTC), the premier provider of explicit dynamics and other advanced finite element analysis technology. The acquisition will empower Ansys customers to solve a new class of engineering challenges, including developing safer automobiles, aircraft and trains while reducing or even eliminating the need for costly physical testing.
The automotive industry has widely adopted the Livermore, California company's gold-standard solution, LS-DYNA, a highly scalable multiphysics solver, to accurately predict a vehicle's behavior and the effects on occupants during a collision. To do this, LS-DYNA simulates the behavior of the vehicle structure and all components including tires, seats, seatbelts, airbags, accelerometers, sensors and batteries in a fully coupled mathematical framework. LSTC counts the vast majority of tier one automotive suppliers among its customers. The combined company's strengths in simulation for structures, fluids, electromagnetics, optics, safety and machine learning will deliver a powerful solution for autonomous and electric vehicles to global automotive manufacturers and their suppliers.
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Ansys, the global leader and innovator of engineering simulation software, acquired Dynardo, a leading provider of simulation process integration and design optimization (PIDO) technology. The acquisition will give Ansys’ customers access to a full suite of process integration and robust design tools – empowering users to identify optimal product designs faster and more economically.
Companies are under pressure to develop next-generation products as developments in autonomous vehicles, electrification and 5G continue to advance – increasing design complexity and cost. To meet these demands while still bringing groundbreaking products to market, companies are turning to PIDO technologies that are open and vendor neutral – giving them greater access to more tool choices. The integration of Dynardo's tools with Ansys Minerva's simulation data, processes and knowledge management solutions will further enable customers to integrate and manage critical simulation and optimization results.
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Ansys and SAP announced a new partnership to drive the Intelligent Enterprise by linking Ansys’ leadership in engineering and SAP’s leadership in operations. The partnership’s first solution, SAP Predictive Engineering Insights Enabled by Ansys, will run on SAP Cloud Platform, and enable industrial asset operators to optimize operations and maintenance through real-time engineering insights, to reduce product cycle times and increase profitability.
The partnership will enable customer who have built models in Ansys’ pervasive simulation solutions for digital twins to export those models and plug them into SAP’s market-leading digital supply chain, manufacturing and asset management portfolio. The partnership’s first solution, SAP Predictive Engineering Insights Enabled by Ansys, enables industrial asset operators to optimize operations and maintenance through real-time engineering insights, to reduce product cycle times and increase profitability.
This is a new way of leveraging the value our solutions provide to engineers across industries and geographies.
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Ansys announced on May 2, 2018 that it has acquired OPTIS, the leading provider of physics-based simulation software for light, human vision and visualization. Ansys’ holistic solution for autonomous vehicle simulation will improve safety and accelerate time to market of autonomous vehicles and delivers the industry’s most comprehensive solution for simulating autonomous vehicles. By adding OPTIS’ optical sensor and closed-loop, real-time simulation to Ansys’ leading multiphysics portfolio, Ansys offers the broadest toolset for validating the safety and reliability of autonomous vehicles — speeding time to market for these vehicles by mitigating the need for billions of miles of road testing.
With OPTIS, Ansys capabilities now span the simulation of all sensors, including lidar, cameras and radar; the multiphysics simulation of physical and electronic components; the analysis of systems functional safety; as well as the automated development of safety-certified embedded software. This functionality can be integrated into a closed-loop simulation environment that interacts with weather and traffic simulators, enabling thousands of driving scenarios to be executed virtually.
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Ansys announced on July 11, 2017 that it has acquired Computational Engineering International, Inc. (CEI Inc.), the developer of a suite of products that helps engineers and scientists analyze, visualize and communicate their simulation data in practical and exciting ways. Traditionally this activity is known as post-processing, because the activity takes place after the solution phase.
Engineering simulation produces enormous amounts of data. EnSight, CEI’s flagship product, is the premier solution for analyzing, visualizing and communicating that simulation data. By combining the largest set of features of any visualization tool on the market with exceptional performance on any size model, EnSight can help users make better decisions with their data, regardless of size and complexity of their simulations.
CEI’s software is used by more than 750 companies around the world including most major automobile companies, major aircraft companies like Boeing, Airbus, Gulfstream and Embraer, and makers of jet engines around the world. EnSight’s major markets are automotive, construction equipment, gas turbine engines, aerospace & defense, and energy exploration and production.
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Ansys announced on March 10, 2017, that it acquired the key assets of CLK Design Automation (CLK-DA), a small, innovative company based in the Greater Boston area. The acquisition includes R&D and application engineers, source code, products, patents and customer relationships.
The acquired technologies are based on a unique and proven fast transistor simulation technology, called FX, with transistor-level simulation accuracy for semiconductor IP and system-on-chip (SoC) designs.
FX products have been used by customers in advanced mobile and CPU applications. These products reduce time to market from months to days by achieving timing closure in the chip design cycle for advanced technology nodes starting at 16nm, where process variation across chip and wafer can exacerbate the problems for meeting performance, power, area and schedule (PPAS) goals.
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September- Acquired the assets of Delcross Technologies for an undisclosed sum.
Leading developer of computational electromagnetic (CEM) and radio frequency (RF) interference analysis software products
Ansys, the global leader and innovator of engineering simulation software, announced September 2, 2015, that it has acquired the assets of Delcross Technologies, a leading developer of computational electromagnetic and radio frequency interference software products, for an undisclosed amount.
Delcross Technologies solutions allow engineers to evaluate installed antenna performance. Engineers responsible for integrating antennas onto platforms are typically interested in the performance as installed. In other words, they want to know how the presence of the platform changes the performance of the antenna and its interaction with other antennas on or off the same platform. Performance of the antenna is much different when installed on real-world vehicles and platforms than when installed on a big, flat ground plane in an anechoic chamber.
Additionally, Delcross offers a unique radio frequency (RF) interference co-existence tool in their portfolio that allows users to design systems with multiple wireless connections on a single platform, where a platform could range from a consumer electronics device to a large military vehicle. Delcross is the specialist in RF cosite modeling involving many antennas and radios. The Delcross solution provides rapid identification and “root-cause” analysis of EMI issues in complex RF environments.
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February- Acquired the assets of Newmerical Technologies International (NTI) for $10.5 million
Premier Developer of In-flight Icing Simulation Software and Associated Design, Testing and Certification Services
Ansys, the global leader and innovator of engineering simulation software, announced February 4, 2015, that it has acquired the assets of Newmerical Technologies International (NTI), a premier developer of in-flight icing simulation software and associated design, testing and certification services for $10.5 million USD.
Montreal-based NTI develops and markets advanced computational fluid dynamics (CFD) software and offers flow simulation services in the aerospace, architectural, automotive and marine industries. NTI’s suite of state-of-the-art, specialized software can solve problems in aerodynamics, in-flight icing, heat transfer, fluid-structure interaction and wind engineering.
In-flight icing is a safety-critical aspect of aircraft design, yet is a highly complex physical phenomenon that is extremely difficult to replicate using expensive physical tests. In late 2014, the Federal Aviation Administration introduced new rules for icing standards with particular focus on the icing environments known as supercooled liquid drops (SLD) and ice crystals at high altitudes. This has impacted aircraft original equipment manufacturers, engine manufacturers and systems suppliers as they move through the aircraft certification process. Capturing aircraft icing using simulation requires highly accurate CFD and industry-proven methods and expertise for icing phenomena.
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May- Acquired SpaceClaim Corporation for $85 million cash, plus retention and an adjustment for working capital
Leading provider of fast and intuitive 3D modeling software for engineers
Ansys, a global leader and innovator of engineering simulation software, announced May 1, 2014, that it has acquired SpaceClaim Corporation, a leading provider of fast and intuitive 3D modeling software for engineers, for a purchase price of $85 million in cash, plus retention and an adjustment for working capital. The transaction was closed on April 30, 2014. On a non-GAAP basis, the transaction is expected to be neutral to slightly accretive to Ansys’ non-GAAP earnings per share in 2014 and accretive in 2015 and beyond. SpaceClaim is the first powerful and easy-to-use 3D modeling tool that can be utilized by any engineer throughout the product development process. Traditional CAD software is only used by a relatively small number of engineers and typically utilized late in the development process to document the detailed design. Coined “direct modeling,” the SpaceClaim approach is so easy to learn and use that any engineer worldwide can use it. Additionally, SpaceClaim is well suited for use at any stage of development, including very early in the conceptual stage as well as in systems engineering. SpaceClaim is fundamentally CAD-neutral and enables engineers and other manufacturing professionals to rapidly create new designs or manipulate and edit existing 2D and 3D geometry.
This transaction accelerates Ansys’ technological product roadmap and longtime vision for Simulation Driven Product Development™ (SDPD), enhances Ansys’ customer offering with the addition of SpaceClaim’s complementary technologies, and enables Ansys to drive growth through an expanded customer base and cross-selling opportunities. Also, the acquisition increases innovation and enables Ansys to accomplish what would have taken the Company several years to develop alone, adding the talent pool, best-in-class design and expertise of a technology leader in 3D modeling software.
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January- Acquired Reaction Design for $19.25 million.
Leading developer of chemistry simulation software.
Ansys (NASDAQ: ANSS), a global leader and innovator of engineering simulation software, announced January 3, 2014 that it has completed the acquisition of Reaction Design, a leading developer of chemistry simulation software. The Company will provide further details regarding the transaction and its impact on the 2014 financial outlook at the time of its 2013 year-end earnings announcement.
Headquartered in San Diego, Reaction Design has about 25 employees and more than 400 customers around the world. Its flagship product, CHEMKIN-PRO, is the gold standard for modeling and simulating gas-phase and surface chemistry.
The combination of Ansys' proven computational fluid dynamics (CFD) solutions with Reaction Design's industry-leading chemistry solvers will provide the best-in-class combustion simulation tools available on the market. Understanding and predicting the effects of chemistry in a combustion system is critical to developing competitive products in transportation, energy and materials processing applications. Relying on experimental testing alone for accurate performance validation is inadequate, given today's complex designs and shortened design cycles. Effective simulation of the underlying detailed chemistry is critical to advancements in engine and fuel technology. Reaction Design's solutions enable transportation manufacturers and energy companies to rapidly achieve their clean technology goals by automating the analysis of chemical processes via computer simulation and modeling solutions. The acquisition of Reaction Design complements Ansys' offering for the simulation of internal combustion engines, leading to improved fuel efficiency.
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April- Acquired Evolutionary Engineering A. G. (EVEN) for $8.1 million
Composite Analysis and Optimization Technology
Evolutionary Engineering AG ("EVEN"), is a leading provider of composite analysis and optimization technology relying on cloud computing. EVEN is now Ansys Switzerland, a wholly owned subsidiary of Ansys, Inc. Headquartered in Zurich EVEN has 12 employees and has been a partner of Ansys, offering EVEN's composite technologies through a product called Ansys® Composite PrepPost™. This product is tightly integrated with Ansys Mechanical™ in Ansys Workbench™ and with Ansys Mechanical APDL. EVEN also provides best-in-class engineering services in composites applications and in other areas in its fields of expertise.
Composites blend two or more materials that possess very different properties. Because they combine light weight, high strength and outstanding flexibility, composites have become standard materials for manufacturing in a range of industries, including automotive, aerospace, energy, marine, motorsports and leisure. As a result, the use of composites has grown dramatically in the last decade. This popularity has fostered the need for new design, analysis and optimization technology. Since EVEN is a leader in composite simulation, this acquisition emphasizes the high priority Ansys is giving to this emerging technology. Composites pose many challenges for R&D teams that need to identify the appropriate formulation for a required use. To successfully produce layered composites, engineers must define the optimal material formula — which depends on the number of layers involved along with the thickness and relative orientation of each layer.
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August- Acquired Esterel Technologies, S.A. for $58.2 million
Simulation of Embedded Software for Mission Critical Systems
Ansys acquired Esterel Technologies on August 1, 2012 for a cash purchase price of approximately US$58 million. The agreement included retention provisions for key members of management and employees. Headquartered in Elancourt, France, Esterel has about 80 employees and reported revenues of approximately €15 million for fiscal year 2011.
The Esterel SCADE solution enables software and systems engineers to design, simulate and produce embedded software, the control code built into the electronics in aircraft, rail transportation, automotive, energy systems, medical devices and other industrial products that have central processing units. Modern products are increasingly complex systems of hardware, software and electronics. For example, today's complex aircraft, rail and automotive products often have tens of millions of lines of embedded software code, from flight controls and cockpit displays, to engine controls and driver assistance systems. Esterel is often chosen when the embedded software is critical for safety and compliance reasons. Esterel provides software and systems engineers a solution to accurately model and simulate the behavior of the embedded software code to gain insight earlier in the design process and trace it to its requirements. Esterel solutions also reduce engineering time and cost by automatically generating certified and dependable embedded software code from these high fidelity models. Esterel certified code generators are currently compliant with more than 10 certification standards including aerospace, defense, rail transportation, automotive, industrial systems and nuclear plants.
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August- Acquired Apache Design Solutions, Inc. for $314 million
Simulation of advanced, low powered solutions in the electronics industry
On August 1, 2011, Ansys, Inc. acquired Apache Design Solutions, Inc., a leading simulation software provider for advanced, low power solutions in the electronics industry, for a purchase price of approximately $310 million in cash, which included an estimated $29 million in cash on Apache’s balance sheet. Ansys funded the transaction with cash on-hand from the combined organization. Apache is now a wholly-owned subsidiary of Ansys.
Apache’s software enables engineers to design power-efficient devices while satisfying ever-increasing performance requirements. For example, smartphones continually add functionality to their platforms such as high definition video, GPS, video recording and conferencing with the consumer expectation that battery life will be extended. Engineers use Apache’s products to design and simulate efficient, low power integrated circuits for high-performance electronic products found in devices such as tablets, smartphones, LCD televisions, laptops and high end computer servers, to name a few. The worldwide need for smart, energy-efficient electronics has never been greater while engineering challenges continually expand. Solutions to these engineering challenges rely on accurate, predictive simulation software.
The acquisition of Apache complements Ansys’ software solutions by bringing together best-in-class products that drive Ansys’ system vision for integrated circuits, electronic packages and printed circuit boards. The complementary combination is expected to accelerate development and delivery of new and innovative products to the marketplace while lowering design and engineering costs for customers. The combination of these two industry leading companies reaffirms Ansys’ commitment to deliver cutting edge, customer-driven solutions in the 21 st century. With over 60 strategic sales locations and over 20 development centers on three continents, the combined company will employ approximately 2,000 people.
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July- Acquired Ansoft Technologies for $823.8 million
High-Frequency Electromagnetics Systems Simulation
As of July 31, 2008, Ansoft is now part of the Ansys, Inc. family, broadening our capabilities as a global innovator of simulation software.
Ansys, Inc. (NASDAQ: ANSS), has completed its acquisition of Ansoft Corporation, a leading developer of high-performance EDA software. The addition of Ansoft enhances the breadth, functionality, usability and interoperability of the Ansys portfolio of engineering simulation solutions, reaffirming and strengthening the Ansys commitment to open interface and flexible simulation solutions that are primarily driven by customer demand, flexibility and choice.
As a leading developer of electronic design automation (EDA) software, Ansoft’s technology, based on more than 25 years of research and development from the world's leading experts in electromagnetics, circuit, and system simulation, dramatically streamlines the design of high-performance electronic products. The complementary combination of Ansoft's and Ansys' software products and services will give Ansys one of the most complete, independent engineering simulation software offerings in the industry, accelerating our progress towards delivering comprehensive, customer-driven engineering simulation solutions to the marketplace.
Ansys, Inc., founded in 1970, develops and globally markets engineering simulation software and technologies widely used by engineers and designers across a broad spectrum of industries. Ansys focuses on the development of open and flexible solutions that enable users to analyze designs directly on the desktop, providing a common platform for fast, efficient and cost-conscious product development, from design concept to final-stage testing and validation. Ansys and its global network of channel partners provide sales, support and training for customers. Headquartered in Canonsburg, Pennsylvania U.S.A. with more than 60 strategic sales locations throughout the world, Ansys, Inc. and its subsidiaries employ over 1,600 people and distribute Ansys products through a network of channel partners in over 40 countries. Visit www.ansys.com for more information.
Press Release:
July 31, 2008: Ansys, Inc. Announces Successful Completion of Ansoft Acquistion and Names Dr. Zoltan J. Cendes to Ansys, Inc. Board of Directors
Press Release:
July 24, 2008: Ansoft Shareholders Approve ANSYS, Inc’s Acquisition of Ansoft Corporation
Press Release:
March 31, 2008: ANSYS, Inc Signs Definitive Agreement to Acquire Ansoft Corporation
Ansys and Ansoft Frequently Asked Questions – August 1, 2008
Joint Conference Call:
March 31, 2008:
Conference Call Presentation
Conference Call Transcript
SEC Filings Related to Acquisition:
S-4/A Filing – 6/20/08
8K Filing – 3/31/08
Miscellaneous:
Letter to Customers
May- Acquired Fluent, Inc. for $398 million
Computational Fluid Dynamics Simulation
In 2006, Ansys acquired Fluent Inc., a provider of CFD simulation software for both expert users and design engineers for $398 million. The integration of Fluent broadened the Ansys customer base and added to its already existing CFD capacity, giving the company depth in computational fluid dynamics that is second to none. As a result of the acquisition, Ansys gained the expert Fluent tool and FLUENT® for CATIA® V5, a solution fully embedded in the CATIA production lifecycle management (PLM) environment.
Ansys Fluent software contains the broad physical modeling capabilities needed to model flow, turbulence, heat transfer, and reactions for industrial applications ranging from air flow over an aircraft wing to combustion in a furnace, from bubble columns to oil platforms, from blood flow to semiconductor manufacturing, and from clean room design to wastewater treatment plants. Special models that give the software the ability to model in-cylinder combustion, aeroacoustics, turbomachinery, and multiphase systems have served to broaden its reach.
Today, thousands of companies throughout the world benefit from the use of Ansys Fluent software as an integral part of the design and optimization phases of their product development. Advanced solver technology provides fast, accurate CFD results, flexible moving and deforming meshes, and superior parallel scalability. User-defined functions allow the implementation of new user models and the extensive customization of existing ones.
The combination of these benefits with the extensive range of physical modeling capabilities and the fast, accurate CFD results that Ansys Fluent software has to offer results in one of the most comprehensive software packages for CFD modeling available in the world today. A native two-way connection to Ansys structural mechanics products allows capture of even the most complex fluid–structure interaction (FSI) problems in the same easy-to-use environment, saving the need to purchase, administer or run third-party coupling software. Other multiphysics connections include electromagnetic–fluid coupling.
January- Acquired Century Dynamics, Inc. for $10 million
Linear, Non-linear and Explicit Multi-body Hydrodynamics
In 2005, Ansys, Inc. acquired Century Dynamics Inc. and its specialized Autodyn CFD tool for explicit analysis (such as modeling explosions) for $10 million.
Ansys Autodyn software is a versatile explicit analysis tool for modeling the nonlinear dynamics of solids, fluids, gases and their interactions. The product has been developed to provide advanced capabilities within a robust, easy-to-use software tool. Simulation projects can be completed with significantly less effort, less time and lower labor costs than with other explicit programs. This high productivity is a result of the easy-to-use, quick-to-learn, intuitive, interactive graphical interface implemented. Time and effort are saved in problem setup and analysis by automatic options to define contact, by coupling interfaces and by minimizing input requirements using safe logical defaults.
The solver technology in Ansys Autodyn provides:
Finite element solvers for computational structural dynamics (FE)
Finite volume solvers for fast transient computational fluid dynamics (CFD)
Mesh-free particle solvers for high velocities, large deformation and fragmentation (SPH)
Multi-solver coupling for multiphysics solutions including coupling between FE, CFD and SPH
A wide suite of material models incorporating constitutive response and coupled thermodynamics
Serial and parallel computation on shared and distributed memory systems
Engineering simulation can help Improve the survivability of buildings, vehicles, soldiers and police personnel. Using Ansys Autodyn engineers can design and virtually test simple and complex active armor to protect troops in battle from improvised explosive devices (IED), rocket-propelled grenades, shaped charges and other threats. This same software used to model space debris impact on satellites, can also be used to design common liquid containers such as water and detergent bottles. Using Ansys Autodyn can help engineers improve a wide variety of products, reduce their cost and most importantly decrease time to market.
February- Acquired CFX for $21.7 million
Computational Fluid Dynamics
In 2003, Ansys purchased CFX, one of the world’s leading fluid dynamics tools, from AEA Technology PLC for $21.7 million. Ansys CFX software is a high-performance, general purpose fluid dynamics program that has been applied to solve wide-ranging fluid flow problems for over 20 years. At the heart of Ansys CFX is its advanced solver technology, the key to achieving reliable and accurate solutions quickly and robustly. The modern, highly parallelized solver is the foundation for an abundant choice of physical models to capture virtually any type of phenomena related to fluid flow. The solver and its many physical models are wrapped in a modern, intuitive, and flexible GUI and user environment, with extensive capabilities for customization and automation using session files, scripting and a powerful expression language.
But Ansys CFX is more than just a powerful CFD code. Integration into the Ansys Workbench platform, provides superior bi-directional connections to all major CAD systems, powerful geometry modification and creation tools with Ansys DesignModeler, advanced meshing technologies in Ansys Meshing, and easy drag-and-drop transfer of data and results to share between applications. For example, a fluid flow solution can be used in the definition of a boundary load of a subsequent structural mechanics simulation. A native two-way connection to Ansys structural mechanics products allows capture of even the most complex fluid–structure interaction (FSI) problems in the same easy-to-use environment, saving the need to purchase, administer or run third-party coupling software.
August- Acquired ICEM CFD for $12.4 million
Pre and Post Processing of Computational Fluid Dynamics
Ansys acquired ICEM CFD Engineering and its ICEM CFD pre- (meshing) and post- (visualization) processing tool in 2000 for $12.4 million.
Ansys ICEM CFD meshing software starts with advanced CAD/geometry readers and repair tools to allow the user to quickly progress to a variety of geometry-tolerant meshers and produce high-quality volume or surface meshes with minimal effort. Advanced mesh diagnostics, interactive and automated mesh editing, output to a wide variety of computational fluid dynamics (CFD) and finite element analysis (FEA) solvers and multiphysics post-processing tools make Ansys ICEM CFD a complete meshing solution. Ansys endeavors to provide a variety of flexible tools that can take the model from any geometry to any solver in one modern and fully scriptable environment.
Mesh from dirty CAD and/or faceted geometry such as STL
Efficiently mesh large, complex models
Hexa mesh (structured or unstructured) with advanced control
Extended mesh diagnostics and advanced interactive mesh editing
Output to a wide variety of CFD and FEA solvers as well as neutral formats
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correct_foundationPlace_00077
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FactBench
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3
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https://americanbuildersquarterly.com/2016/ansys/
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ANSYS Employs Thousands Worldwide
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Hope Spadora was working as a financial analyst at a semiconductor firm in California when she was invited to join her company’s newly formed real estate division. She hurried to the local library to find a book about corporate real estate and study up on the new opportunity. “There was only one book,” she says.…
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American Builders Quarterly
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https://americanbuildersquarterly.com/2016/ansys/
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Hope Spadora was working as a financial analyst at a semiconductor firm in California when she was invited to join her company’s newly formed real estate division. She hurried to the local library to find a book about corporate real estate and study up on the new opportunity.
“There was only one book,” she says. “That was it! I read that book from top to bottom, and I got a good sense of what it was all about, and then I thought, ‘Yeah, I’d really like to go for that.’”
She soon came aboard the real estate team as a portfolio manager, and on the foundation of that single book, Spadora raised an edifice of experience. Throughout the next 20 years, she obtained her real estate and general contracting licenses, and worked every aspect of the field—from brokerage to development—in California and at hundreds of sites overseas.
One Friday evening in 2012, she received a call from a recruiter at ANSYS, a software company specializing in intricate engineering simulations. The firm’s fundamentals impressed her.
“I thought, ‘This company’s been around for 45 years,’” she recalls. “‘They just became a billion-dollar company, their growth rate is incredible, they’re coming out with a whole new host of simulation products. It could be a very exciting time.’”
So Spadora moved to the East Coast and became director of real estate and facilities for ANSYS. She manages a $17 million budget, supervises 67 branch locations worldwide, maintains best practices and consistent standards of design throughout the globe, and directs facilities management for the entire network.
“Whatever happens around the world, I’m tied into whatever goes on,” she says, and adds that a “great international team”—the assembly of regional directors and associates she meets with every morning—helps her stay connected.
Spadora also oversees construction, which meant that in 2014, when ANSYS leased space for a new headquarters at Southpointe, a vast business park in Canonsburg, Pennsylvania, she was onsite after construction, continuing to guide the process of moving in and building new space as ANSYS continues to grow.
Clayco, the general contractor on the project, used cutting-edge techniques to accelerate construction. Clayco’s builders laid precast concrete walls on the ground, fit them with masonry and window cutouts, then pushed them to a vertical position with “incredibly long braces,” Spadora says, which was an effective method.
“The walls were erected in three and a half days, which is unbelievable,” she says. “Usually you’d go floor by floor by floor. So this is a whole new way. In fact, this was the first time it was used in Pennsylvania. . . . Clayco is at the head of that.”
The rest of the project followed suit, proceeding both rapidly and efficiently. As soon as one floor was finished (and sometimes as soon as one half of one floor was finished, with the cement pourers moving on to the frame of the other half), teams would move in to complete the interiors.
In very little time, ANSYS’s new headquarters stood complete. “A beautiful building,” Spadora says. “Five stories, with lots of amenities throughout.”
However, as ANSYS employees began to move in, a defect revealed itself—the corners of the carpet tiles began to pull up from the floor and curl inward, creating an unsightly “potato chip” effect that also presented safety issues. All of the carpet—five floors’ worth—would require replacement.
By this time, all of the office furniture was already in place, and the cubicles were already up, leaving little room to repair the floor. Spadora and her team logged several months of late nights and early mornings, winching up one cubicle at a time to access the shriveled tiles underneath. Her efforts did not go unnoticed—a number of employees approached her to say how much they preferred the pattern on the replacement tiles.
There’s plenty for ANSYS employees to enjoy at their new headquarters. Walking trails wind around the local group of buildings. An engineer working through daily exercise on the trails will periodically encounter “obstacle courses” where they can get in a quick set of pull-ups, pushups, or planks. The interior is also carefully laid out to meet the needs of the employees.
“One of the things about our engineering and development teams is they’re extraordinarily creative, and they love to collaborate,” Spadora says. “Our marketing teams have an open desk type atmosphere; they like to work a lot with whiteboards.”
To accommodate these work styles, three “development floors” in the headquarters feature flexible layouts of pods, chairs, and screens, all bathed in natural light from a generous bank of windows. Groups can meet, collaborate, and split off in whatever configuration seems best. Once the collaborating is done, they can adjourn to nearby ping-pong tables and unwind.
After observing how teams used the development floors, Spadora made one small adjustment—she replaced the blinds in the windows with film on the windows. The impacts of stray balls from aggressive ping-pong volleys had threatened to ruin the blinds and dent the windows.
With morale high at home, Spadora can turn her attention to ANSYS’s overseas territories. The company continues to grow and expand in Asia, which presents new challenges in addition to new domestic opportunities.
One of the three facilities the company owns outright is an office in Pune, India. Energy is expensive in India, and stands to become even more so, as costs have increased 5 percent year over year. That’s why ANSYS is installing solar power at the Pune branch. Although the technical hurdles are daunting, Spadora says the additional effort is worth it.
“The return on investment is growing increasingly attractive,” she says.
In addition to immediate benefits for the Pune location, the globally coordinated installation effort also will provide invaluable experience that will facilitate future solar projects.
“We definitely plan to take the concept of green energy further at ANSYS,” Spadora says. “Both globally and domestically.”
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correct_foundationPlace_00077
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FactBench
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1
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https://www.frontiersin.org/journals/surgery/articles/10.3389/fsurg.2024.1346462/full
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Finite element analysis of a novel anatomical plate in posterolateral plateau fractures
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[
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"tibial plateau fracture",
"plate",
"Screw",
"biomechanic study"
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ObjectiveThis study aims to analyze the biomechanical characteristics of posterolateral plateau fractures fixed by a novel anatomical plate using finite elem...
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en
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Frontiers
|
https://www.frontiersin.org/journals/surgery/articles/10.3389/fsurg.2024.1346462/full
|
Background
Posterolateral plateau fractures account for up to 11.7%–15.6% of all tibial plateau fractures (1, 2). It is usually difficult to be detected based on x-ray images of the knee joint alone. With the widespread use of computed tomography (CT), it has been reported that, 54.3% of lateral plateau fractures involve the posterolateral plateau (3), and 44.32% of bicondylar fractures involve the posterolateral plateau (4). Posterolateral tibial plateau fractures are also intra-articular fractures that generally require open reduction and internal fixation. The purpose of operation is to restore the alignment of the lower limb and restore the flatness of the joint surface.
The exposure is often blocked by the fibular head, which increases the difficulty of treatment. For slightly displaced fractures, two lag screws from anterior to posterior are usually used for the fixation. For the fractures requiring reduction, the posterolateral approach without fibular osteotomy can well expose the posterolateral fracture line in most cases without disturbing the stability of the knee joint and the common peroneal which is reported to achieves good reduction and clinical results (5). A posterolateral buttress plate or oblique T-shaped plate is commonly inserted through the approach. Based on the anatomical shape of the posterolateral tibial plateau, a novel anatomical plate was designed to fix the fracture through posterolateral approach, and previous clinical study has proven that the plate is safe and effective in 12 patients during a 12–34-month follow-up (6). However, there is still a lack of comparison of the effects of the novel fixation method with currently common-used fixations. The effect of surgical fixation is closely related to the biomechanical properties of the internal fixation. Finite element analysis is one of the most powerful mechanical property analysis tools in biomechanical research (7). It can simulate geometric models of various structures, assign biomaterial properties to various tissues, and can well reflect the overall trend of their biomechanical properties.
Therefore, the purpose of this study is to compare the biomechanical stability of the novel posterolateral anatomical plate of tibial plateau with three other commonly used clinical internal fixations through the finite element method, thereby providing a theoretical basis for clinically selecting appropriate internal fixation to treat the posterolateral tibial plateau.
Methods
The CT scan data conducted through 0.625 mm slice thickness for the full length of right tibiofibula on a healthy adult male (27 years old, 175 cm in height, 65 kg body weight) without comorbidities, such as instability, fracture, degeneration, and osteoarthritis, was obtained and used to construct a three-dimensional tibiofibula finite element model using Mimics software (v21.0, Materialize Company, Belgium). the initial model was further improved using Geomagic Studio Software (v2017, 3D system Inc., Rock Hill, USA).
In addition, a posterolateral tibial plateau fracture model was created as previously reported (8) using SolidWorks (v2017, Dassault Systemes, S.A, Paris, France). The detailed method was as follows: A rectangle was made based on the maximum left-right diameter of the tibial plateau and the maximum anteroposterior diameter of the lateral plateau. The intersection of the posterior 1/3 of the tibial plateau and the lateral line of the rectangle was at Point a, and the intersection of the lateral 1/3 of the tibial plateau and the posterior line of the rectangle was at Point b. The perpendicular lines passing through a and b intersected at Point c. Then a line was made through Point c which angles at 120° with the straight-line ac. Since the tibial plateau has a posterior slope angle of about 10°, sagittal angle between posterolateral fracture fragment and plane of articular surface of tibial plateau was set 80°. On the coronal plane, the distance from the fracture line of the articular surface to the most distal end was 27.95 mm, which was very close to the average value of 28 mm reported in the previous study (9). (Shown in Figure 1).
Figure 1
The acquired posterolateral fracture model of the tibial plateau was assembled with 4 groups of internal fixations on the assembly interface using the SolidWorks. The internal fixation was fixed at 5 mm below the tibial plateau using the isometric outer surface of the tibia (10). The screws were set as smooth cylinders, and 4 groups of internal fixation models were obtained, as shown in Figure 2.
Figure 2
The assembled 4 groups of internal fixation models were imported into Ansys (v17.0, ANSYS, Inc., Canonsburg, PA, USA) for analysis. The tibia, plates and screws were set as homogeneous and isotropic linear elastic materials in the study. In terms of boundary conditions, the distal tibia was set as the translation and rotation of the distal tibial underside was constrained in three dimensions. The models of the volume meshes were imported into Mimics software to endow material properties. The material properties of tibia, plates and screws were set according to relevant references (7, 11), as shown in Table 1. The friction coefficient of the fracture surface was set to 0.4 (12). Plates and screws were constructed as rigid connections through common nodes of shared elements. The grids of the 4 groups of internal fixation models were optimized and set, and the numbers of elements and nodes of various models in the experiment were shown in Table 2.
Table 1
Table 2
Previous studies have shown that under normal gait, the biomechanical load on the knee joint is approximately two to three times of the body weight (13, 14). When walking, mechanical axis of the lower limb is biased towards the medial condyle, so the medial plateau of the tibia has a larger stress area accounting for 60%, and the lateral plateau accounts for 40% of the stress. In our study, axial loads of 500, 1,000 and 1,500 N perpendicular to the horizontal plane were used to simulate the stress on the lateral plateau of a 65 kg person standing, walking and fast running (15).
Main Outcome Indicators included displacement distribution and maximum displacement of model fracture fragments in each group, as well as stress distribution and peak value of internal fixation.
Results
Vertical displacements of the posterolateral fragments in each of the four groups gradually increased under loads from 500 N to 1,500 N (Table 3). As the axial load increased, the displacement nephograms of the fracture fragments in each group showed similar distribution characteristics. Therefore, the article only provided the fracture fragment displacement cloud diagram under the axial load of 1,500 N, as shown in Figure 3. The maximum displacement of the fracture fragment in four groups were all located on the lateral side of the proximal part, and the displacement gradually decreased from the proximal part to the distal end. Under the load of 500–750–1500 N, the fracture fragment displacement of the novel anatomical plate group was the smallest, while the fracture fragment displacement of the straight buttress plate group was the largest. The maximum displacement values under the axial load of 1,500 N were in the following order: novel anatomical plate group (1.2365 mm) < oblique T-shaped locking plate group (1.314 mm) < two lag screws group (1.3747 mm) < straight buttress plate group (1.3932 mm).
Table 3
Figure 3
As the axial load increased, the stress value of the different internal fixation models gradually increased (Table 4). Since the stress behavior of the same internal fixation model under different loads was similar, the article only provided the stress distribution cloud diagram of the internal fixations under the load of 1,500 N, as shown in Figure 4. The maximum stress of the fixation in the novel anatomical plate group was around the most distal screw hole, and the stress distribution is relatively uniform. The stress of the straight buttress plate group was mainly focused on the tails of four distal screws and the local area of the plate between them, and the maximum value was around the most distal screw hole. The stress distribution in oblique T-shaped locking plate group was focused on local areas of the connection between the plate head and the stem and on the screw located while the maximum stress was found on the middle screw hole. In the two lag screws group, the stress maximum was mainly focused on head closing to the end cap. The maximum stress value under the axial load of 1,500 N were in the following order: novel anatomical plate group (114.63 MPa) < oblique T-shaped locking plate group (277.17 MPa) < two lag screws group (236.75 MPa) < straight buttress plate group (136.2 MPa).
Table 4
Figure 4
Discussion
The prognosis of tibial plateau fractures is related to the quality of anatomical reduction of the joint surface and stable osteosynthesis to enable early knee mobilization (5). Currently, there are two difficulties in treating posterolateral tibial plateau fractures. One is the surgical approach. The posterolateral tibial plateau is surrounded by the fibular head, posterolateral complex (PLC), common peroneal nerve, popliteal nerve and vessels. Access to the posterior region of the knee is often considered a difficult task due to the depth of the operative field and the presence of vascular and nervous elements that pass through it. It is hard to achieve effective reduction through the anterolateral surgical approach which is most familiar to orthopedic surgeons. Approaches used in posterior tibial plateau fractures (PTPFs) have undergone significant changes in recent years (16–18). However, if the posterolateral surgical approach is chosen, the surgeons will face the second difficulty, that is the choice of internal fixation method. The existing internal fixation methods cannot achieve sufficient and effective fixation, and inappropriate internal fixation will inevitably increase the detachment of the posterolateral knee joint structure, increasing the risk of blood vessel and nerve damage.
The anterolateral approach is the most commonly used and familiar surgical approach by orthopedic surgeons because it is safe and simple to operate. After fracture reduction, two lag screws from anterior to posterior are usually used fixation method. The fixation can be completed through the anterolateral approach and is mostly used for large, complete posterolateral fractures. However, it is difficult to directly expose the posterolateral fracture through this approach. Although the posterolateral articular surface can be directly viewed through the joint space above the fibular head, it is difficult to maintain reduction. When the posterolateral fracture is comminuted or the bone fragment is small, sometimes only one screw can be fixed to the posterolateral fracture fragment, and it is rather difficult to fix the fracture effectively. Previous research found that compared with lateral anatomic 3.5 mm L-shaped locking plate, two lag screws and posterolateral 3.5 mm six-hole straight buttress plate fixations of posterolateral tibial plateau fractures achieved less stability (10). This was similar to the results of the current study.
The posterolateral approach can directly expose the posterolateral plateau area. During the operation, the posterior split bone fragments are lifted up. After the collapsed tibial platform is raised and reduced, autogenous bone or artificial bone can be filled in. The approach facilitates reduction and bone grafting which also helps the maintenance of reduction. During the operation, the lateral head of the gastrocnemius muscle is stretched medially, and the biceps femoris muscle and common peroneal nerve are stretched lateral to protect the PLC of the knee joint. Huo et-al (19) followed up 200 patients with posterolateral fractures of the tibial plateau for 1 year after surgery, and compared the advantages and disadvantages of the posterolateral approach with the anterolateral approach, and concluded that it is more suitable for some comminuted posterolateral fractures. He reported the posterolateral approach increased the HSS score by 6.1 points compared with the anterolateral approach when the diameter of the fracture fragment was less than 20 mm.
After reduction, a straight buttress plate or an oblique T-shaped locking plate is usually used for support and fixation. The posterolateral buttress plate has been proven to achieve “adequate stability” for posterolateral shearing tibial plateau fracture as the vertical displacement of the fragment under axial load was no more than 1 mm (8). However, the fixation methods are not anatomical plates which require reshaping to ensure that the plates are fit to the posterior surface of the tibia, and special attention must be paid to avoid damage to the anterior tibial artery. The study showed the stress distribution of novel anatomical plate was relatively uniform. Based on previous studies (20, 21), a displacement of 2 mm was regarded as acceptable and a displacement that could shorten the healing time with a small range of motion. Naturally, the smaller the maximum displacement, the greater the postoperative stability of the fracture. As a result, the novel anatomical plate provides adequate mechanical stability, and the overall stability is higher than the other three sorts of fixations.
The novel anatomical plate better fits the shape of the posterolateral tibial plateau. The proximal end of the plate wraps the posterolateral plateau without being restricted by the fibular head. The proximal universal screw-hole design can ensure that the screws are implanted in parallel to the joint surface, thereby achieving the “raft effect” to effectively support the articular surface. This finite element analysis showed the plate achieved better biomechanical properties. The short design of the modified plate can avoid injury to the branches of the posterior tibial artery. MAY (22) measured the distance between the point where the anterior tibial artery passes through the interosseous membrane and the tibial plateau and the top of the fibula on digital subtraction angiography images of 219 lower limbs, which were (50.9 ± 6.9) and (36.5 ± 6.0) mm, respectively. Moreover, the anterior tibial artery has poor mobility due to the traction of the interosseous membrane fibers, so the length of the plate should be especially paid attention for the posterolateral approach.
The limitations of this study are as follows. The experiment gave a single axial static load, but the real tibial plateau force is multi-directional and dynamic (23), and the failure of fracture fixation may also be caused by repeated application of load. The finite element model is an ideal model and ignores the impact of soft tissue on the surrounding Impact, only consider the excellence of the internal fixation from biomechanics. The fracture model is established as an ideal single split fracture, but clinically there are various types of fractures, and they are often accompanied by damage to the soft tissue around the knee joint. Therefore, it needs to be based on select the ideal surgical approach and appropriate internal fixation according to the patient's injury condition. The experiment adopts the finite element analysis method, while ignoring the influence of the fibular support and failing to fully simulate the stress on the tibial plateau. Therefore, the next step will be to conduct biomechanical experiments on fake bone models and cadaver bone models to verify the finite element results.
Conclusions
The results of the finite element analysis show that the novel anatomical plate has better biomechanical stability than the traditional commonly used straight buttress plate, oblique T-shaped locking plate and two lag screws when simulating the stress on the lateral plateau of a 65 kg person standing, walking and fast running. It shows good biomechanical stability, laying the foundation for its future applications. However, the clinical fracture types are often diverse and accompanied by damage to the soft tissue around the knee joint. Therefore, the ideal surgical approach and appropriate internal fixation must be selected based on the patient’s injury condition.
Data availability statement
The original contributions presented in the study are included in the article/Supplementary Material, further inquiries can be directed to the corresponding authors.
Author contributions
ZJ: Conceptualization, Data curation, Writing – original draft. XJ: Funding acquisition, Supervision, Writing – review & editing. DL: Resources, Writing – original draft. JZ: Writing – review & editing. BY: Writing – review & editing. CY: Investigation, Methodology, Writing – review & editing.
Funding
The author(s) declare financial support was received for the research, authorship, and/or publication of this article.
Scientific Research Foundation provided by of Pudong Health Committee of Shanghai (No. PW2021A-09), Youth Scientific Research Foundation provided by Shanghai Municipal Health Commission (No. 20204Y0121), Natural Science Foundation of Shanghai (Grant No. 22ZR1455800), Program for the Outstanding Clinical Discipline Project of Shanghai Pudong (Grant No. PWYgy2021-04), and Program for Clinical Medicine Innovation Fund Project of Fudan Zhangjiang Institute (No. KP9202101).
Conflict of interest
The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.
Publisher's note
All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations, or those of the publisher, the editors and the reviewers. Any product that may be evaluated in this article, or claim that may be made by its manufacturer, is not guaranteed or endorsed by the publisher.
References
|
|||||
correct_foundationPlace_00077
|
FactBench
|
1
| 51
|
https://www.stevensec.com/warehouse-construction/pennsylvania/canonsburg
|
en
|
Expert Warehouse Construction in Canonsburg, Pennsylvania
|
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] | null |
[
"Ben Sparhawk"
] |
2024-07-11T04:00:00+00:00
|
Need a warehouse for your organization? STEVENS is here to help construct flexible warehouses in Canonsburg, Pennsylvania
|
en
|
https://www.stevensec.com/warehouse-construction/pennsylvania/canonsburg
|
Pre-engineered metal warehouses are revolutionizing how companies think about construction and space management. At STEVENS, we can build a completely customizable and pre-engineered warehouse that can efficiently serve any purpose. From industrial storage, to sprawling distribution centers, or vertical multi-story and multi-purpose buildings, your warehouse will be able to handle any need. The tailored approach to storage caters to any operational needs.
The Importance of Efficient Warehouse Construction
Attention to detail is the motto we live by at STEVENS. There are so many unique considerations for each project and to achieve the level of perfection we desire, our process needs to be nailed down. We focus on working efficiently to deliver you the best product we can.
Working with our experts in Canonsburg who bring an experienced team to the table is crucial in order to draw up detailed project plans. Our industrial construction expertise will play a crucial role in the project's success. With our guidance, we can ensure that every warehouse vision comes to life efficiently and effectively, adhering to project delivery timelines.
Why Choose A Pre-Engineered Metal Building in Canonsburg
When considering choices for new warehouse development, pre-engineered metal buildings stand out. At STEVENS, we recognize the benefits these structures provide, particularly in terms of durability, adaptability, personalization, and cost-effectiveness. Our approach to construction emphasizes these benefits, demonstrating why commercial construction companies are increasingly using pre-engineered metal buildings for their projects.
Durability and Strength
The construction of warehouse buildings in Canonsburg, Pennsylvania demands materials that withstand the rigors of heavy use and environmental stressors. Pre-engineered metal warehouses are built with strength and durability at its core. Conventional steel frameworks and pre-cast concrete panel warehouses are designed for speed of installation and the ability to endure extensive use over time.
Engineered structures, comprising steel joists, girders, and columns, provide robust support for substantial roof loads, ensuring the longevity of the warehouse facility. This structural integrity plays a crucial role in fulfilling the long-term storage and operational demands placed upon these industrious buildings.
Flexibility and Customization
A warehouse must be as adaptable as the businesses it serves. Pre-cast concrete panels make for great customization and flexibility, accommodating constructions with inside columns as well as a wide range of project needs. This results in a design that may be tailored to the exact operational flow of a distribution center or storage facility, including office space within the warehouse. Furthermore, the range of exterior wall types offered in Canonsburg enables decision-makers to match the physical appearance of their structure to their desired aesthetic. This level of personalization reflects a company's brand identity while also meeting detailed project parameters that are unique to each customer.
Cost-Saving Benefits
Cost efficiency is almost always the top consideration in warehouse construction. Pre-Engineered Metal Buildings are one of the best options for cost effectiveness due to the inherent time delivery benefits of their design and construction process. The substantial amount of fabrication performed offsite leads to a faster, more efficient installation with minimized on-site labor requirements. This not only speeds up the construction project timeline but also reduces labor costs, allowing for the swift realization of a fully operational industrial facility.
By embracing the pre-engineered metal building approach, STEVENS helps bring your warehouse vision to life, ensuring a construction process that is not only streamlined but that also critically respects your investment and time. Whether managing square feet in the tens of thousands or designing a modest-sized distribution center, our experienced design team and construction partner network are committed to delivering your storage project successfully and promptly.
Our Services We Offer in Canonsburg, Pennsylvania
STEVENS provides a wide range of services, guaranteeing that we can handle any aspect of the task. You will not have to divide your efforts across many organizations to ensure a high-quality end output.
Whether you're looking to build a storage facility, an office space, or a cutting-edge distribution center, our full-service capabilities will fulfill your demands from beginning to end.
Pre-Engineered Metal Buildings
Pre-engineered metal buildings are a blend of functionality, flexibility, and efficiency. At STEVENS, our design team is skilled at crafting these structures to fit a wide array of uses, from simple storage hangars to sophisticated multi-level industrial complexes. The inherent durability of steel guarantees a sturdy construction that can withstand the rigors of heavy use and weather conditions in Canonsburg, which is key for a facility destined to play a critical role in your business operations. Additionally, our pre-engineered buildings are designed for versatility; they can incorporate a variety of wall materials like insulated panels, precast concrete, and masonry to match your aesthetic and functional requirements. The design allows for expansive spans and significant roof loads, ensuring our buildings are capable of supporting your warehouse vision—no matter the scope or scale.
Design and Planning
The key to any successful construction project lies in its initial design and planning. At STEVENS, we have a dedicated design team to develop a plan tailored to the intricate needs of your warehouse. Embracing a design-build methodology, we unite architectural innovation with engineering precision to keep your project on schedule and in alignment with your ultimate vision.
Construction Management
STEVENS provides seasoned project managers who take the helm of the construction process in Canonsburg, taking the lead on communication, schedule management, budget adherence, and overall project coordination. By overseeing every aspect of the warehouse construction, we ensure that your project meets the high standards of quality and efficiency expected, delivering the completed warehouse on time and within the agreed budget.
Automated Solutions for Warehouse Operations
In today's world, automation is key to warehouse efficiency. Our subsidiary, CDMG (which also services Canonsburg, Pennsylvania), is at the forefront of automation engineering, providing specialized automated solutions that meet a wide range of operational requirements. Integrating automation into your warehouse opens up the possibility of higher production and lower operational costs. CDMG's expertise guarantees that your warehouse is equipped with cutting-edge technology, resulting in an optimal, cutting-edge working environment.
STEVENS is devoted to completing your warehouse construction project while prioritizing quality and efficiency at every stage. From the sturdy foundation of pre-engineered metal buildings to the modern automated technologies, your industrial complex is designed to succeed with STEVENS as your construction partner.
Types of Warehouses Found in Canonsburg, Pennsylvania
STEVENS is a recognized leader in warehouse construction, with a proven track record in erecting multi-story and multi-level warehouses that are not only efficient but also cost-effective. Our commitment to delivering functional warehouse solutions is demonstrated by our in-house pre-engineering approach that streamlines the entire construction process.
We can engineer and construct various types of warehouses to fit any need from smaller storage to large multi-story facilities.
Industrial Warehouses
Industrial warehouses serve a critical function in manufacturing and production sectors, acting as storage, distribution, and sometimes even production processes. STEVENS has perfected the process of using pre-engineered metal buildings for facilities in Canonsburg, Pennsylvania, significantly reducing both construction timelines and costs. Steel components such as joists, girders, and columns are precisely engineered to support substantial roof loads and are designed with the accommodation of varying wall cladding options including insulated metal panels and traditional block/masonry, catering to the unique needs of industrial warehouses.
Distribution Centers
Distribution centers, which serve as critical hubs for temporary product storage in Canonsburg, are designed with an emphasis on managing a high volume of items. These centers are the lifeblood of the distribution system, ensuring that products move effectively in and out of the facility. STEVENS specializes in establishing modern Logistics Centers, which combine warehouse duties with strategic logistics and distribution services, resulting in a simplified operation that improves the movement and administration of goods.
Multi-Story Facilities
Constructing multi-story facilities requires a specialized approach, one that STEVENS has mastered through years of experience. These structures are designed to maximize vertical space, requiring an advanced understanding of the loading needs and fire protection systems necessary for a multi-level environment. Every element, from lighting to HVAC and ventilation, is carefully considered to ensure operational efficiency, safety, and energy conservation.
Multi-Purpose Warehouses
Warehouses constructed from pre-engineered metal buildings are like a blank canvas. They can be used for anything and everything, even multiple things are once. These warehouses are designed to tackle the challenges associated with vertical space utilization, increased load capacities, and the multifaceted requirements of safety and accessibility.
Incorporating fire protection measures, appropriate lighting, climate control, and efficient traffic management, STEVENS takes the vertical potential of warehouse spaces to the next level. Our innovative solutions prove that we are a leader in warehouse construction in Canonsburg, Pennsylvania.
Build Your Warehouse Vision with STEVENS in Canonsburg
At STEVENS, we understand the importance of a well-designed and efficiently constructed warehouse for your business. That's why we specialize in pre-engineered metal building construction, offering you a reliable and cost-effective solution for your warehouse needs.
By choosing STEVENS as your partner for your warehouse construction project, you can be confident that your vision will be brought to life in the most effective way possible. Our team of experienced designers in Canonsburg, Pennsylvania have a deep understanding of the intricacies involved in warehouse construction.
Reach out right now to get a quote for your warehouse by clicking the button below.
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Fill Out The Form Below To Get Started
|
||||||
correct_foundationPlace_00077
|
FactBench
|
2
| 53
|
https://www.observer-reporter.com/made_in/2023/jul/31/simulation-safety-several-industries-rely-on-ansys-software/
|
en
|
Simulation safety: Several industries rely on Ansys software
|
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[
"washington county"
] | null |
[] |
2023-07-31T00:00:00
|
From the final frontier to the smartphone in your hand, Ansys simulation software is used in the development of products across a wide range of industries. The Canonsburg-based company began in 1970 as Swanson Analysis Systems Inc. with Westinghouse as its first customer. Today, it employs more than 5,500 people around the world. It was […]
|
en
|
https://www.observer-reporter.com/wp-content/themes/News_Core_2023_WashCluster/images/ORWP/favicon.ico
|
Observer-Reporter
|
https://www.observer-reporter.com/made_in/2023/jul/31/simulation-safety-several-industries-rely-on-ansys-software/
|
From the final frontier to the smartphone in your hand, Ansys simulation software is used in the development of products across a wide range of industries.
The Canonsburg-based company began in 1970 as Swanson Analysis Systems Inc. with Westinghouse as its first customer. Today, it employs more than 5,500 people around the world. It was founded by John Swanson, who was an engineer for Westinghouse at the time.
“We develop simulation technology, and we provide this to our customers in all industries, whether it’s aerospace, automotive, high tech,” said Walt Hearn, Ansys’ senior vice president of worldwide sales and customer excellence. “And our customers use this simulation technology to simulate how their product will work in a virtual environment before they go and build and test it.”
Hearn used the example of vehicle testing. Crash test dummies are likely the first image that comes to mind when thinking of automotive companies crashing their cars.
With Ansys’ technology, however, even the dummies don’t have to worry about being the first guinea pig for a new car.
“An engineer would build that car in a virtual environment. They’d put it into our software to run a full crash simulation of how that car would perform virtually, so that when they actually built a physical car it would match the virtual environment,” Hearn said.
Hearn described their software as providing simulations, “through all of the core physics,” and giving customers, mechanical, liquid and electromagnetic analyses.
The simulation software is also constantly being improved. Hearn estimates the company spends 21% of its annual revenue, more than $400 million, on research and development.
“We have a ton of developers here in Pittsburgh. We have them around the world. The developers, some of them are physicists, some of them are computer scientists, some of them are mathematicians, and they develop this technology … that we then sell to our customers,” Hearn said.
Ansys breaks its software down into several different products, such as “Ansys Mechanical,” depending on the client’s needs.
Ansys’ software is applicable from consumer products to NASA missions. This range puts Ansys in a class of its own in the simulation industry, according to Hearn.
“We are number one in the simulation space. We’re the largest simulation software company in the world,” Hearn said. “No other company has the ability to solve all of the core physics.”
One the smaller side of the scale, Hearn said companies designing cell phones need an understanding how the internal components will interact with each other.
“You need to understand how the electromagnetics impact the thermal and impact the structural performance of the cell phone. That’s how you’re able to get all of this computing power in the cell phone,” Hearn said.
One of the biggest industries Ansys serves is the field of aerospace and defense.
Behind NASA’s launch of the James Webb Space Telescope in December 2021 was Ansys’ simulation technology.
“They used Ansys software to do the mission analysis for the launch of the James Webb telescope. I think that’s critically exciting,” Hearn said.
Ansys also worked with NASA on their DART mission last year. DART, or double asteroid redirection test, was the first demonstration of planetary defense technology, according to NASA.
In September 2022 NASA successfully crashed a spacecraft into an asteroid to change its course.
“Ansys technology was used on the DART mission to prove you could blow up an asteroid,” Hearn said.
While global industries continue to depend on Ansys, the company makes sure to support local charities and organizations. Some of those include the Washington branch of the Salvation Army, Washington County Community Foundation and Pittsburgh Community Foodbank.
Hearn also notes the close proximity to Pittsburgh provides Ansys with a well of engineering talent.
“Being here in Washington County where we were founded, we’re able to tap in to the top talent in the Pittsburgh ecosystem. It’s a great place to be and do business,” Hearn said.
|
||||
correct_foundationPlace_00077
|
FactBench
|
1
| 5
|
https://www.nicholsonconstruction.com/news/nicholson-construction-company-moves-to-new-headquarters
|
en
|
Nicholson Construction Company Moves to New Headquarters
|
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Nicholson Construction Company has moved their headquarters from Cuddy, Pennsylvania, to the Zenith Ridge II Building at Southpointe in Canonsburg, Pennsylvania.
| null |
Nicholson Construction Company has moved their headquarters from Cuddy, Pennsylvania, to the Zenith Ridge II Building at Southpointe in Canonsburg, Pennsylvania.
Nicholsonâs corporate headquarters and shop have shared their location in Cuddy since 1978. The shop will continue to operate there, while the corporate headquarters will move just a few miles away to Southpointe, a major business park that is also home to Mylan, Ansys, EQT and Consol.
âOur ongoing success and growth have made this move possible,â said Steve Scherer, President of Nicholson Construction. âThe new location at Southpointe creates a perfect environment for our team to grow, collaborate and continue to be one of the leading geotechnical problem-solvers in the country.â
The new corporate office is home to the companyâs engineering design team, risk management and finance and also, the Mid-Atlantic regionâs engineering, project management and construction team.
Nicholsonâs employees moved into the new space for their first day of work on February 1. The companyâs address is 2400 Ansys Drive, Suite 303, Canonsburg, PA, 15317. All phone and fax numbers will remain the same.
Nicholson Construction Company has moved their headquarters from Cuddy, Pennsylvania, to the Zenith Ridge II Building at Southpointe in Canonsburg, Pennsylvania.
Nicholsonâs corporate headquarters and shop have shared their location in Cuddy since 1978. The shop will continue to operate there, while the corporate headquarters will move just a few miles away to Southpointe, a major business park that is also home to Mylan, Ansys, EQT and Consol.
âOur ongoing success and growth have made this move possible,â said Steve Scherer, President of Nicholson Construction. âThe new location at Southpointe creates a perfect environment for our team to grow, collaborate and continue to be one of the leading geotechnical problem-solvers in the country.â
The new corporate office is home to the companyâs engineering design team, risk management and finance and also, the Mid-Atlantic regionâs engineering, project management and construction team.
Nicholsonâs employees moved into the new space for their first day of work on February 1. The companyâs address is 2400 Ansys Drive, Suite 303, Canonsburg, PA, 15317. All phone and fax numbers will remain the same.
|
|||||||
correct_foundationPlace_00077
|
FactBench
|
2
| 45
|
https://www.minorpwmgroup.com/
|
en
|
, Financial Advisor, Canonsburg PA
|
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en
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Minor Private Wealth Management Group
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https://www.minorpwmgroup.com/
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correct_foundationPlace_00077
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FactBench
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2
| 28
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https://www.yumpu.com/en/document/view/5722779/rotordynamic-analysis-guide-ansys
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en
|
Rotordynamic Analysis Guide - Ansys
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Rotordynamic Analysis Guide - Ansys
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en
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yumpu.com
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https://www.yumpu.com/en/document/view/5722779/rotordynamic-analysis-guide-ansys
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Attention! Your ePaper is waiting for publication!
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correct_foundationPlace_00077
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FactBench
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2
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https://www.cadfem.net/en/cadfem-informs/media-center/cadfem-journal/50-years-of-ansys.html
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50 years of Ansys – the early years
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The first version of Ansys provided solutions for linear and nonlinear structural analysis and dynamics, and for stationary and non-stationary temperature fields.
|
en
|
https://www.cadfem.net/static/version1719328669/frontend/cadfem/theme_base/default/Magento_Theme/favicon.ico
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https://www.cadfem.net/en/cadfem-informs/media-center/cadfem-journal/50-years-of-ansys.html
|
50 years of ANSYS – the early years: from 1970 to 1994
How it all started
Between 1959 and 1964, John Swanson studied engineering at Cornell University. He then began his professional career at Westinghouse Astronuclear Labs in Pittsburgh. Alongside his job, he worked on his PhD in Applied Mechanics between 1964 and 1966, at the University of Pittsburgh.
1970 - 1982 Swanson Analysis Systems, Inc. (SASI)
Being employed in the firm’s computation department, John was responsible for analyzing components designed for nuclear power plants. An FEM (finite element method) program for an IBM 7094 computer that was able to solve 75 equations stood at their disposal for the purposes of static and axisymmetric problems.
As Westinghouse was not interested in software development, John Swanson resigned from his permanent position and then worked for them as a consultant until the point at which he founded his own company, Swanson Analysis Systems, Inc. (SASI), in 1970. The office was located at John’s house in Elisabeth, PA, in the Pittsburgh area.
The first version of his FEM program was called ANSYS Rev. 2, and this ran on Control Data computers (the CDC 6500 and the 6600). The program provided solutions for linear and nonlinear structural analysis and dynamics, and for stationary and non-stationary heat transfer. John started with Rev. 2 because he believed no one would trust a program referred to as Version 1. The first commercial software agreement was concluded with his erstwhile employer, Westinghouse.
During the initial years, John was responsible for everything from development to after-sales service and customer support. The first employees (the “original five”) were Lauralee Wagner, Suzanne Batt, Gabe DeSalvo, Peter Kohnke, and Roger Ehrlich. ANSYS Rev. 3 was released in 1977; it was a completely new version, being modular and interactive, with emphasis being laid on the fact that “…the user could generate some meaningful plots.” An office building was erected in 1978 in Houston, PA. Even back then, they used the excess heat produced by the computers to heat the building. By 1980, after ten years of being in business, SASI had 25 employees.
1982 – SASI and ANSYS Support Representatives (ASRs)
In 1982, Version 4.0 came onto the market with significant new functions: PREP (pre and post processor) 7, used for entering data and evaluation of results, featuring: interfaces to CAD (computer-aided design) programs, its own parameter language, optimization functions – even at that point in time – and modules for acoustics, electromagnetics, and coupled fields (electro-magnetic and thermomechanical). Even new materials, such as composites were supported.
SASI wanted to focus on software development, so the ANSYS Support Representatives (ASR) network was developed to deal with software marketing, customer support, and training. By 1983, the number of representatives had grown to seven in the USA and Canada and three in Europe. Guenter Mueller had been one of these representatives since 1982. It was their job to sell the software, offer local support and training, and acquire new clients – while SASI retained control of the licensing agreements.
By then, SASI had 40 employees and had racked up more than 200 installations of ANSYS. In 1984, the number of installations had risen to over 300 – 75 of which were in Europe and 15 of which were in Germany. Sales reached 10 million US dollars. This rapid growth led John Swanson to change the business model.
1985 – SASI brings in ANSYS support distributors (ASDs)
Starting from January 1985, the ASRs were allowed to set up contracts with their clients. They were now designated ANSYS support distributors (ASDs) and were assigned exclusive sales territories. For Guenter Mueller it meant he had to establish a new company, CAD-FEM GmbH (which, at the time, was still written with a hyphen). CAD‑FEM became the exclusive distributor of ANSYS throughout Germany, Switzerland, Lichtenstein, Austria, Slovenia, the former Czechoslovakia, and Poland.
As there was an increasing number of SASI employees – 100 by 1987 – departments for development, systems & production, quality assurance, sales & facilities, marketing & training, and administration were set up. SASI moved into a new building at the end of 1986. Regular technotes and error reports were published to keep users updated. Quality assurance was carried out by testing 1,000 worked examples.
Starting from the mid 1980s, SASI accelerated its software development program. Revisions 4.2 (1986), 4.3 (1987), and 4.4 (1988) all came out at 12-month intervals. These revisions included routines for submodeling, optimization, solid modeling, parametric language, fatigue (ASME), electromagnetics, and color graphics, plus modules for PCs. After having acquired (Dr. Rice’s) COMPUFLOW, based in Charlottesville, Virginia, SASI was in a position to provide solutions for problems in fluid mechanics with their software FLOTRAN.
The establishment of a lot of hardware firms in the 1980s saw SASI having to maintain over 900 installations of its software on 20 different types of computer, involving 30 different operating systems. The purchase price for the PC modules was between 1,600 (for PC OPT) and 6,400 dollars (for PC LINEAR). Monthly rental for workstation installations was between 9,900 and 1,500 dollars.
1992 – the long-awaited ANSYS Rev. 5
ANSYS Rev. 4.4 had to remain in service for longer than intended, as it was not possible to release Rev. 5 – which had been heralded over the course of several years – until 1992. ANSYS 5 was completely re-written; it had a new data structure and contained a lot of fresh developments, such as a common database for preprocessors and postprocessors, Boolean operations, support for inputting via “control panels”, video output and animation, automatic adaptive meshing, error norms, automatic load increments, large strains and rotations, contact surfaces, hyper-elastic material, and interfaces for fluid mechanics.
In 1992, SASI’s sales figures increased to approximately 30 million dollars and the number of employees grew to around 150. The number of ANSYS support distributors increased to about 35. Commercial installations of the software stood at 2,500 and there were an additional 1,600 contracts with institutes of higher education.
Mention should also be made of the ANSYS international conferences, which were held every other year between 1983 and 1998. The first ANSYS conference was held in Pittsburgh and the keynote speaker was Professor Eduard Wilson, whose theme was “New developments in finite elements.” Lunch was served in person by John, assisted by his employees and the ASDs – as the hotel staff were on strike. Other conferences included Richard H. Gallagher giving a lecture (in 1987) on “Integrating design and analysis” and O.C. Zienkiewicz from Swansea University giving a lecture (in 1991) on “The state of the art in adaptivity and mesh generation.” All three are regarded as being among the top scientists who have worked on the finite element method.
1993 - John Swanson sells his company, SASI
In 1993, John Swanson unexpectedly sold a majority shareholding in his company to T.A. Associates, a venture capital firm. The takeover of SASI was completed in 1994. The name of the company was changed to ANSYS, Inc., which then went public, in 1996. New managers came on board, with Peter Smith as CEO and Klaus Schlemper as Manager of European Operations. John worked at ANSYS, Inc., as Chief Technologist, for another five years. After that, he once again established his own company, Swanson Analysis Services, Inc. (SASI), which became a vehicle for him to pursue different themes to those he had engaged with previously.
Over the years, ANSYS has developed into the global market leader in numerical simulation and, by 2019, on the back of targeted acquisitions, sales had grown to around 1.3 billion dollars.
ANSYS support distributors were shocked by the news of SASI being sold. Over the course of time, a friendly and indeed close relationship had developed between the ASDs. The annual get-together at SASI in Pittsburgh had been the highlight of the year. This brings the story of the earlier years of ANSYS to an end.
John has received many honors. Suffice it to mention the John Fritz Medal, which was bestowed on him by the American Association of Engineering Societies, in 2004. This is the highest and most prestigious award in the engineering profession; it has been awarded every year since 1902 for outstanding services to engineering in the spheres of industry or science. Previous winners include Thomas Edison, Alfred Nobel, and Alexander Graham Bell.
John Swanson has given his backing to several institutions, both scientific and social. In 2007, he donated 41.3 million dollars to the University of Pittsburgh. At the time, it was the largest individual donation the university had ever received.
|
|||
correct_foundationPlace_00077
|
FactBench
|
2
| 23
|
https://americanbuildersquarterly.com/2016/ansys/
|
en
|
ANSYS Employs Thousands Worldwide
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2016-12-16T06:00:15+00:00
|
Hope Spadora was working as a financial analyst at a semiconductor firm in California when she was invited to join her company’s newly formed real estate division. She hurried to the local library to find a book about corporate real estate and study up on the new opportunity. “There was only one book,” she says.…
|
en
|
American Builders Quarterly
|
https://americanbuildersquarterly.com/2016/ansys/
|
Hope Spadora was working as a financial analyst at a semiconductor firm in California when she was invited to join her company’s newly formed real estate division. She hurried to the local library to find a book about corporate real estate and study up on the new opportunity.
“There was only one book,” she says. “That was it! I read that book from top to bottom, and I got a good sense of what it was all about, and then I thought, ‘Yeah, I’d really like to go for that.’”
She soon came aboard the real estate team as a portfolio manager, and on the foundation of that single book, Spadora raised an edifice of experience. Throughout the next 20 years, she obtained her real estate and general contracting licenses, and worked every aspect of the field—from brokerage to development—in California and at hundreds of sites overseas.
One Friday evening in 2012, she received a call from a recruiter at ANSYS, a software company specializing in intricate engineering simulations. The firm’s fundamentals impressed her.
“I thought, ‘This company’s been around for 45 years,’” she recalls. “‘They just became a billion-dollar company, their growth rate is incredible, they’re coming out with a whole new host of simulation products. It could be a very exciting time.’”
So Spadora moved to the East Coast and became director of real estate and facilities for ANSYS. She manages a $17 million budget, supervises 67 branch locations worldwide, maintains best practices and consistent standards of design throughout the globe, and directs facilities management for the entire network.
“Whatever happens around the world, I’m tied into whatever goes on,” she says, and adds that a “great international team”—the assembly of regional directors and associates she meets with every morning—helps her stay connected.
Spadora also oversees construction, which meant that in 2014, when ANSYS leased space for a new headquarters at Southpointe, a vast business park in Canonsburg, Pennsylvania, she was onsite after construction, continuing to guide the process of moving in and building new space as ANSYS continues to grow.
Clayco, the general contractor on the project, used cutting-edge techniques to accelerate construction. Clayco’s builders laid precast concrete walls on the ground, fit them with masonry and window cutouts, then pushed them to a vertical position with “incredibly long braces,” Spadora says, which was an effective method.
“The walls were erected in three and a half days, which is unbelievable,” she says. “Usually you’d go floor by floor by floor. So this is a whole new way. In fact, this was the first time it was used in Pennsylvania. . . . Clayco is at the head of that.”
The rest of the project followed suit, proceeding both rapidly and efficiently. As soon as one floor was finished (and sometimes as soon as one half of one floor was finished, with the cement pourers moving on to the frame of the other half), teams would move in to complete the interiors.
In very little time, ANSYS’s new headquarters stood complete. “A beautiful building,” Spadora says. “Five stories, with lots of amenities throughout.”
However, as ANSYS employees began to move in, a defect revealed itself—the corners of the carpet tiles began to pull up from the floor and curl inward, creating an unsightly “potato chip” effect that also presented safety issues. All of the carpet—five floors’ worth—would require replacement.
By this time, all of the office furniture was already in place, and the cubicles were already up, leaving little room to repair the floor. Spadora and her team logged several months of late nights and early mornings, winching up one cubicle at a time to access the shriveled tiles underneath. Her efforts did not go unnoticed—a number of employees approached her to say how much they preferred the pattern on the replacement tiles.
There’s plenty for ANSYS employees to enjoy at their new headquarters. Walking trails wind around the local group of buildings. An engineer working through daily exercise on the trails will periodically encounter “obstacle courses” where they can get in a quick set of pull-ups, pushups, or planks. The interior is also carefully laid out to meet the needs of the employees.
“One of the things about our engineering and development teams is they’re extraordinarily creative, and they love to collaborate,” Spadora says. “Our marketing teams have an open desk type atmosphere; they like to work a lot with whiteboards.”
To accommodate these work styles, three “development floors” in the headquarters feature flexible layouts of pods, chairs, and screens, all bathed in natural light from a generous bank of windows. Groups can meet, collaborate, and split off in whatever configuration seems best. Once the collaborating is done, they can adjourn to nearby ping-pong tables and unwind.
After observing how teams used the development floors, Spadora made one small adjustment—she replaced the blinds in the windows with film on the windows. The impacts of stray balls from aggressive ping-pong volleys had threatened to ruin the blinds and dent the windows.
With morale high at home, Spadora can turn her attention to ANSYS’s overseas territories. The company continues to grow and expand in Asia, which presents new challenges in addition to new domestic opportunities.
One of the three facilities the company owns outright is an office in Pune, India. Energy is expensive in India, and stands to become even more so, as costs have increased 5 percent year over year. That’s why ANSYS is installing solar power at the Pune branch. Although the technical hurdles are daunting, Spadora says the additional effort is worth it.
“The return on investment is growing increasingly attractive,” she says.
In addition to immediate benefits for the Pune location, the globally coordinated installation effort also will provide invaluable experience that will facilitate future solar projects.
“We definitely plan to take the concept of green energy further at ANSYS,” Spadora says. “Both globally and domestically.”
|
|||||
correct_foundationPlace_00077
|
FactBench
|
3
| 80
|
https://www.scribd.com/document/536367529/ANSYS-Viewer-Users-Guide-18-2
|
en
|
ANSYS Viewer Users Guide 18.2
|
https://imgv2-2-f.scribdassets.com/img/document/536367529/original/79d0294662/1721335067?v=1
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https://imgv2-2-f.scribdassets.com/img/document/536367529/original/79d0294662/1721335067?v=1
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[] |
[] |
[
""
] | null |
[
"Panda Hero"
] | null |
ANSYS Viewer Users Guide 18.2 - Free download as PDF File (.pdf), Text File (.txt) or read online for free. ANSYS Viewer Users Guide
|
en
|
https://s-f.scribdassets.com/scribd.ico?668e60fe0?v=5
|
Scribd
|
https://www.scribd.com/document/536367529/ANSYS-Viewer-Users-Guide-18-2
| |||
correct_foundationPlace_00077
|
FactBench
|
3
| 55
|
https://www.yumpu.com/en/document/view/7800597/notes-ansys
|
en
|
Notes - Ansys
|
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Notes - Ansys
|
en
|
yumpu.com
|
https://www.yumpu.com/en/document/view/7800597/notes-ansys
|
Page 2 and 3: Copyright and Trademark Information
Page 4 and 5: ANSYS Mechanical APDL Feature Archi
Page 6 and 7: vi Release 14.0 - © SAS IP, Inc. A
Page 8 and 9: viii Release 14.0 - © SAS IP, Inc.
Page 11 and 12: Chapter 1: Piping Models The ANSYS
Page 13 and 14: Pipe elements are generated "straig
Page 15 and 16: ! List and display interpreted inpu
Page 17 and 18: Chapter 2: Subroutines 2.1. Creep S
Page 19 and 20: Subroutine UserPL (Writing Your Own
Page 21 and 22: Subroutine usflex (Computes the fle
Page 23 and 24: Chapter 3: Restarting a Direct Coup
Page 25 and 26: Cause of Termination Element Saved
Page 27 and 28: A SET command in POST1 (other than
Page 29 and 30: Chapter 4: Partial Solution Procedu
Page 31 and 32: Linear Perturbation Procedure Eigen
Page 33: Legacy Commands Following is the ar
Page 36 and 37: 28 Release 14.0 - © SAS IP, Inc. A
Page 38 and 39: 30 Release 14.0 - © SAS IP, Inc. A
Page 40 and 41: 32 Release 14.0 - © SAS IP, Inc. A
Page 42 and 43: 34 Release 14.0 - © SAS IP, Inc. A
Page 44 and 45: 36 Release 14.0 - © SAS IP, Inc. A
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Page 48 and 49: 40 Release 14.0 - © SAS IP, Inc. A
Page 50 and 51: 42 Release 14.0 - © SAS IP, Inc. A
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44 Release 14.0 - © SAS IP, Inc. A
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46 Release 14.0 - © SAS IP, Inc. A
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48 Release 14.0 - © SAS IP, Inc. A
Page 58 and 59:
50 Release 14.0 - © SAS IP, Inc. A
Page 60 and 61:
52 Release 14.0 - © SAS IP, Inc. A
Page 62 and 63:
PSOLVE REDWRITE Writes the reduced
Page 64 and 65:
56 Release 14.0 - © SAS IP, Inc. A
Page 66 and 67:
58 Release 14.0 - © SAS IP, Inc. A
Page 68 and 69:
60 Release 14.0 - © SAS IP, Inc. A
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62 Release 14.0 - © SAS IP, Inc. A
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64 Release 14.0 - © SAS IP, Inc. A
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66 Release 14.0 - © SAS IP, Inc. A
Page 76 and 77:
68 Release 14.0 - © SAS IP, Inc. A
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70 Release 14.0 - © SAS IP, Inc. A
Page 80 and 81:
TEE The original three straight pip
Page 82 and 83:
74 Release 14.0 - © SAS IP, Inc. A
Page 85 and 86:
BEAM4 3-D Elastic Beam BEAM4 Elemen
Page 87 and 88:
• stress stiffening is turned on
Page 89 and 90:
2. SHEARY goes with IYY; if SHEARY
Page 91 and 92:
I,J sequence number for data at nod
Page 93 and 94:
Output Quantity Name MMOMX MMOMY MM
Page 95 and 96:
Output Quantity Name EPELBZT EPELBZ
Page 97 and 98:
Pseudo Node 8 7 6 5 4 3 2 1 8 7 6 5
Page 99 and 100:
CONTAC12 2-D Point-to-Point Contact
Page 101 and 102:
CONTAC12 Input Summary Nodes I, J D
Page 103 and 104:
(if KEYOPT(2) = 1). A general descr
Page 105 and 106:
• Nodes I and J may be coincident
Page 107 and 108:
PIPE16 Elastic Straight Pipe PIPE16
Page 109 and 110:
A summary of the element input is g
Page 111 and 112:
0 -- Internal and external pressure
Page 113 and 114:
Name S:(1MX, 3MN, INT- MX, EQVMX) S
Page 115 and 116:
Output Quantity Name SXH EPELAXL EP
Page 117 and 118:
PIPE18 Elastic Curved Pipe PIPE18 E
Page 119 and 120:
temperatures are assumed to be line
Page 121 and 122:
at the outer surface and may not oc
Page 123 and 124:
I,J sequence number for data at nod
Page 125 and 126:
Output Quantity Name TIN Item LBFE
Page 127 and 128:
PLANE42 2-D Structural Solid PLANE4
Page 129 and 130:
Birth and death Adaptive descent It
Page 131 and 132:
MAT THICK VOLU: XC, YC PRES TEMP FL
Page 133 and 134:
Output Quantity Name S:INT S:EQV FL
Page 135 and 136:
SOLID45 3-D Structural Solid SOLID4
Page 137 and 138:
SOLID45 Input Summary Nodes I, J, K
Page 139 and 140:
• Nodal displacements included in
Page 141 and 142:
SEQV Name LOCI:X, Y, Z Surface equi
Page 143 and 144:
CONTAC52 3-D Point-to-Point Contact
Page 145 and 146:
This "weak spring" capability is no
Page 147 and 148:
• Nodal displacements included in
Page 149 and 150:
E sequence number for single-valued
Page 151 and 152:
PIPE59 Immersed Pipe or Cable PIPE5
Page 153 and 154:
Degrees of Freedom UX, UY, UZ, ROTX
Page 155 and 156:
3 4 5 6 7 8 9 10 11 12 13 14 No. CD
Page 157 and 158:
The distributed load applied to the
Page 159 and 160:
atures at node J are unspecified, t
Page 161 and 162:
TEMP TEMP Name S(1, 3, INT, EQV) S(
Page 163 and 164:
Output Quantity Name EPELH EPELXH E
Page 165 and 166:
Output Quantity ETABLE and ESOL Com
Page 167 and 168:
TBOPT: Not used. PIPE59 Assumptions
Page 169 and 170:
SHELL63 Elastic Shell SHELL63 Eleme
Page 171 and 172:
KEYOPT(8) allows a reduced stress s
Page 173 and 174:
2 -- Nodal stress printout KEYOPT(6
Page 175 and 176:
x IJ = Element x-axis if ESYS is no
Page 177 and 178:
Output Quantity Name S:3 S:INT S:EQ
Page 179 and 180:
PLANE82 2-D 8-Node Structural Solid
Page 181 and 182:
Large deflection Large strain Birth
Page 183 and 184:
Name EPEL:X, Y, Z, XY EPEL:1, 2, 3
Page 185 and 186:
• A face with a removed midside n
Page 187 and 188:
SOLID92 3-D 10-Node Tetrahedral Str
Page 189 and 190:
KEYOPT(5) Extra element output: 0 -
Page 191 and 192:
FACE TRI AREA TEMP Name EPEL(X, Y,
Page 193 and 194:
SOLID95 3-D 20-Node Structural Soli
Page 195 and 196:
Body Loads Temperatures -- T(I), T(
Page 197 and 198:
In either the O or R columns, “Y
Page 199 and 200:
Output Quantity Name P2 P3 P4 P5 P6
Page 201:
Legacy Theory Following is archived
Page 204 and 205:
Chapter 1: Archived Theory Element
Page 206 and 207:
Chapter 1: Archived Theory Element
Page 208 and 209:
Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
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Chapter 1: Archived Theory Element
Page 230 and 231:
Chapter 1: Archived Theory Element
Page 232 and 233:
Chapter 1: Archived Theory Element
Page 234 and 235:
Chapter 1: Archived Theory Element
Page 236 and 237:
Chapter 1: Archived Theory Element
Page 238 and 239:
Chapter 1: Archived Theory Element
Page 240 and 241:
Chapter 1: Archived Theory Element
Page 242 and 243:
Chapter 1: Archived Theory Element
Page 244 and 245:
Chapter 1: Archived Theory Element
Page 246 and 247:
Chapter 1: Archived Theory Element
Page 248 and 249:
Chapter 1: Archived Theory Element
Page 250 and 251:
242 Release 14.0 - © SAS IP, Inc.
Page 252 and 253:
Chapter 2: Hydrodynamic Loads on Li
Page 254 and 255:
Chapter 2: Hydrodynamic Loads on Li
Page 256 and 257:
Chapter 2: Hydrodynamic Loads on Li
|
|||||
correct_foundationPlace_00077
|
FactBench
|
2
| 58
|
https://www.osti.gov/servlets/purl/901974
|
en
|
Verification and validation benchmarks. (Technical Report)
|
[] |
[] |
[] |
[
""
] | null |
[
"Oberkampf, William Louis",
"Trucano, Timothy Guy",
"William Louis",
"Timothy Guy",
"B H;",
"S W;",
"F M;",
"Kimberlyn C"
] |
2007-02-01T00:00:00
|
The U.S. Department of Energy's Office of Scientific and Technical Information
|
en
|
https://www.osti.gov/biblio/901974
|
@article{osti_901974,
title = {Verification and validation benchmarks.},
author = {Oberkampf, William Louis and Trucano, Timothy Guy},
abstractNote = {Verification and validation (V&V) are the primary means to assess the accuracy and reliability of computational simulations. V&V methods and procedures have fundamentally improved the credibility of simulations in several high-consequence fields, such as nuclear reactor safety, underground nuclear waste storage, and nuclear weapon safety. Although the terminology is not uniform across engineering disciplines, code verification deals with assessing the reliability of the software coding, and solution verification deals with assessing the numerical accuracy of the solution to a computational model. Validation addresses the physics modeling accuracy of a computational simulation by comparing the computational results with experimental data. Code verification benchmarks and validation benchmarks have been constructed for a number of years in every field of computational simulation. However, no comprehensive guidelines have been proposed for the construction and use of V&V benchmarks. For example, the field of nuclear reactor safety has not focused on code verification benchmarks, but it has placed great emphasis on developing validation benchmarks. Many of these validation benchmarks are closely related to the operations of actual reactors at near-safety-critical conditions, as opposed to being more fundamental-physics benchmarks. This paper presents recommendations for the effective design and use of code verification benchmarks based on manufactured solutions, classical analytical solutions, and highly accurate numerical solutions. In addition, this paper presents recommendations for the design and use of validation benchmarks, highlighting the careful design of building-block experiments, the estimation of experimental measurement uncertainty for both inputs and outputs to the code, validation metrics, and the role of model calibration in validation. It is argued that the understanding of predictive capability of a computational model is built on the level of achievement in V&V activities, how closely related the V&V benchmarks are to the actual application of interest, and the quantification of uncertainties related to the application of interest.},
doi = {10.2172/901974},
url = {https://www.osti.gov/biblio/901974}, journal = {},
number = ,
volume = ,
place = {United States},
year = {Thu Feb 01 00:00:00 EST 2007},
month = {Thu Feb 01 00:00:00 EST 2007}
}
|
||||||
correct_foundationPlace_00077
|
FactBench
|
2
| 5
|
https://www.cmu.edu/engage/about-us/news/partner/ansys.html
|
en
|
ANSYS: Preparing for Industry 4.0
|
https://www.cmu.edu/favicon.ico
|
https://www.cmu.edu/favicon.ico
|
[
"https://www.cmu.edu/engage/images/Ansys900.png",
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[] |
[] |
[
""
] | null |
[
"Carnegie Mellon University"
] | null |
ANSYS, a Canonsburg, Pa.-based engineering simulation software company, understands better than most the challenges facing the next generation of engineers, and the company has partnered with Carnegie Mellon to better equip future engineers with the tools, skills and resources they need to face those challenges.
|
en
|
//www.cmu.edu/favicon.ico
|
https://www.cmu.edu/engage/about-us/news/partner/ansys.html
|
ANSYS, a Canonsburg, Pa.-based engineering simulation software company, understands better than most the challenges facing the next generation of engineers, and the company has partnered with Carnegie Mellon to better equip future engineers with the tools, skills and resources they need to face those challenges.
In October 2016, ground was broken for the new ANSYS Hall, which will become the physical and educational hub of the College of Engineer’s undergraduate program. The new facility is a teaching, design and build laboratory where students don’t simply learn about how to design a product, but can actually assemble them using emerging advanced manufacturing techniques on nano, micro and macro scales. It will prepare students for Industry 4.0, a new approach of manufacturing where testing, building and production become more efficient and products move to market far more quickly.
The 36,000-square-foot ANSYS Hall is part of the College of Engineer’s vision of a Maker Ecosystem, a set of integrated resources that will help faculty and students create and develop new ideas/concepts/products across many different disciplines. The four-story building includes ANSYS simulation technology, a nanofabrication clean room, access to a Marker Courtyard and a High Bay Maker Space that will allow for full-size manufacturing capabilities, as well as class rooms, student collaborative spaces, conference rooms and offices.
The hall will be located between Hamerschlag and Porter halls, and will be completed in 2018.
|
|||
correct_foundationPlace_00077
|
FactBench
|
1
| 95
|
https://www.scribd.com/document/355413914/Aerospace-Ansys-Solution
|
en
|
Aerospace Ansys Solution
|
https://imgv2-1-f.scribdassets.com/img/document/355413914/original/06b34b0e12/1721720540?v=1
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https://imgv2-1-f.scribdassets.com/img/document/355413914/original/06b34b0e12/1721720540?v=1
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[
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[] |
[
""
] | null |
[
"sunil481"
] | null |
Aerospace Ansys Solution - Free download as PDF File (.pdf), Text File (.txt) or read online for free. Ansys is used as a worldwide software solution. in this document Ansys use in aerospace industry is shown
|
en
|
https://s-f.scribdassets.com/scribd.ico?66b1e207b?v=5
|
Scribd
|
https://www.scribd.com/document/355413914/Aerospace-Ansys-Solution
| |||
correct_foundationPlace_00077
|
FactBench
|
3
| 63
|
https://www.nicholsonconstruction.com/
|
en
|
Nicholson Construction Company
|
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[] | null |
Nicholson Construction Company is a nationally-renowned geotechnical engineering and construction firm with more than 60 years of experience.
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As a part of an international family, we are supported by a resourceful network of companies that specialize in all areas of geotechnical engineering and construction.
Weâre able to offer a local presence with global expertise backed by nearly 100 years of unparalleled technical experience.
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correct_foundationPlace_00077
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https://en.wikipedia.org/wiki/Ansys
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2005-06-08T09:05:09+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Ansys
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American technology company
Ansys, Inc. is an American multinational company with its headquarters based in Canonsburg, Pennsylvania. It develops and markets CAE/multiphysics engineering simulation software for product design, testing and operation and offers its products and services to customers worldwide.
History[edit]
Origins[edit]
Ansys was founded in 1970 as Swanson Analysis Systems, Inc. (SASI) by John Swanson. The idea for Ansys was first conceived by Swanson while working at the Westinghouse Astronuclear Laboratory in the 1960s.[2] At the time, engineers performed finite element analysis (FEA) by hand.[2] Westinghouse rejected Swanson's idea to automate FEA by developing general purpose engineering software, so Swanson left the company in 1969 to develop the software on his own.[2] He founded SASI the next year, working out of his farmhouse in Pittsburgh.[3][4]
Swanson developed the initial ANSYS software on punch cards and used a mainframe computer that was rented by the hour.[2] Westinghouse hired him as a consultant, under the condition that any code he developed for Westinghouse could also be included in the Ansys product line.[3] Westinghouse became the first Ansys user.[3]
Swanson sold his interest in the company to venture capitalists in 1994, and the company was renamed "Ansys" after the software. Ansys went public on NASDAQ in 1996. In the 2000s, the company acquired other engineering design companies, obtaining additional technology for fluid dynamics, electronics design, and physics analysis. Ansys became a component of the NASDAQ-100 index on December 23, 2019.[5]
Growth[edit]
By 1991, SASI had 153 employees and $29 million in annual revenue,[6] controlling 10 percent of the market for finite element analysis software.[6] According to The Engineering Design Revolution, the company became "well-respected" among engineering circles, but remained small.[7] In 1992, SASI acquired Compuflo, which marketed and developed fluid dynamics analysis software.[7] In 1994, Swanson sold his majority interest in the company to venture capitalist firm TA Associates.[3][6] Peter Smith was appointed CEO[7] and SASI was renamed after the software, Ansys, the following year.[3][6]
Ansys went public in 1996, raising about $46 million in an initial public offering.[7] By 1997, Ansys had grown to $50.5 million in annual revenue.[8] In the late 1990s, Ansys shifted its business model[7] away from software licenses, and corresponding revenue declined.[7] However, revenue from services increased.[7] From 1996 to 2000, profits at Ansys grew an average of 160% per year.[6] In February 2000, Jim Cashman was appointed CEO.[7]
Current CEO Ajei S. Gopal was appointed in early 2017.[9][10] In November 2020, South China Morning Post reported that Ansys software had been used for Chinese military research in the development of hypersonic missile technology.[11] In October 2022, Washington Post reviewed procurement documents and confirmed that Ansys technology had been acquired by seven Chinese entities present on either the export blacklist or with known links to Chinese missile technology.[12] Ansys said that it and its subsidiaries have no records of the indicated sales or shipments and suggested that piracy may have been involved.[12] In January 2024 Synopsys and Ansys announced a definitive agreement under which Synopsys would acquire Ansys in a deal valued at around $35 billion.[13][14]
List of acquisitions[edit]
Year announced Company Business Value (USD) References 1999 Centric Engineering Systems Fluid, structural, and thermal analysis Not disclosed [6] 2000 ICEM CFD Engineering Mesh simulations $12.4 million [6][15] 2001 Cadoe Computer-aided design Not disclosed [3][6][15] 2003 CFX Fluid dynamics simulation Not disclosed [6] 2005 Century Dynamics Hydrodynamics simulation tools $5 million [6] 2005 Harvard Thermal Inc. Simulating cooling and temperature in electronics Not disclosed [6] 2006 Fluent Inc. Fluid dynamics tools $299 million [6][7] 2008 Ansoft Corporation Electronics design $823.8 million [6] 2011 Apache Design Solutions Semiconductor simulation $310 million [16] 2012 Esterel Technologies Simulating interactions between software and hardware $53 million [17] 2013 EVEN (Evolutionary Engineering) Cloud-based software for engineering composites Not disclosed [18][19] 2014 Reaction Design Chemistry and combustion simulation $19.25 million [20] 2014 SpaceClaim 3D modeling $85 million [21][22] 2015 Gear Design Solutions (2015) Analytics software Not disclosed [23] 2015 Delcross Technologies Systems analysis Not disclosed [24] 2015 Newmerical Technologies International Inc. In-flight icing simulation Not disclosed [25] 2016 KPIT medini Technologies AG Automotive design Not disclosed [26] 2017 CLK Design Automation Transistor-level simulation for semiconductor IP and system-on-chip (SoC) designs Not disclosed [27] 2017 Computational Engineering International, Inc. (CEI) Advanced post-processing and visualization Not disclosed [28] 2017 3DSIM 3D printing simulation Not disclosed [29] 2018 OPTIS Optical simulations Not disclosed [30] 2019 Helic Electromagnetic crosstalk simulation Not disclosed [31] 2019 Granta Design Material intelligence Not disclosed [32] 2019 DfR Solutions Reliability physics-based electronics design tool for accurate life predictions of electronic hardware Not disclosed [33] 2019 LSTC Advanced finite element analysis $775 million [34] 2019 Dynardo PIDO technology Not disclosed [35] 2020 Lumerical Photonic simulations Not disclosed [36] 2020 Analytical Graphics Inc. Aerospace and defense-focused engineering simulation software $700 million [37][38] 2021 Phoenix Integration, Inc. Model-based engineering and model-based systems engineering Not disclosed [39] 2021 Zemax Design and analysis of both imaging and illumination systems $411 million [40] 2022 Motor Design Limited (MDL) Electric machine designs Not disclosed [41] 2022 OnScale Web-based UI for access to Ansys' simulation technologies Not disclosed [42] 2022 C&R Technologies Orbital thermal analysis company Not disclosed [43] 2022 DYNAmore Simulation software for the automotive industry Not disclosed [44]
Engineering simulation software[edit]
Ansys develops and markets engineering simulation software for use across the product life cycle.[8] Ansys Mechanical finite element analysis software is used to simulate computer models of structures, electronics, or machine components for analyzing the strength, toughness, elasticity, temperature distribution, electromagnetism, fluid flow, and other attributes.[8] Ansys is used to determine how a product will function with different specifications, without building test products or conducting crash tests.[6] For example, Ansys software may simulate how a bridge will hold up after years of traffic, how to best process salmon in a cannery to reduce waste, or how to design a slide that uses less material without sacrificing safety.[4]
Most Ansys simulations are performed using the Ansys Workbench system,[45] which is one of the company's main products.[6] Typically Ansys users break down larger structures into small components that are each modeled and tested individually.[4] A user may start by defining the dimensions of an object,[46] and then adding weight, pressure, temperature and other physical properties.[46] Finally, the Ansys software simulates and analyzes movement, fatigue, fractures, fluid flow, temperature distribution, electromagnetic efficiency and other effects over time.[46]
Ansys also develops software for data management and backup, academic research and teaching.[6] Ansys software is sold on an annual subscription basis.[6]
Software history[edit]
The first commercial version of Ansys software was labeled version 2.0 and released in 1971.[6][15] At the time, the software was made up of boxes of punch cards, and the program was typically run overnight to get results the following morning.[3] In 1975, non-linear and thermo-electric features were added.[15] The software was exclusively used on mainframes,[7] until version 3.0 (the second release) was introduced for the VAXstation in 1979.[3] Version 3 had a command-line interface like DOS.[47]
In 1980, the Apple II version was released, allowing Ansys to convert to a graphical user interface in version 4 later that year.[47] Version 4 of the Ansys software was easier to use and added features to simulate electromagnetism.[3] In 1989, Ansys began working with Compuflo.[3] Compuflo's Flotran fluid dynamics software was integrated into Ansys by version 5, which was released in 1993.[3] Performance improvements in version 5.1 shortened processing time two to four-fold, and was followed by a series of performance improvements to keep pace with advancements in computing.[7] Ansys also began integrating its software with CAD software, such as Autodesk.[7]
In 1996, Ansys released the DesignSpace structural analysis software, the LS-DYNA crash and drop test simulation product, and the Ansys Computational Fluid Dynamics (CFD) simulator.[15] Ansys also added parallel processing support for PCs with multiple processors.[15] The educational product Ansys/ed was introduced in 1998.[3] Version 6.0 of the main Ansys product was released in December 2001.[3] Version 6.0 made large-scale modeling practical for the first time, but many users were frustrated by a new blue user interface.[3] The interface was redone a few months later in 6.1.[3] Version 8.0 introduced the Ansys multi-field solver, which allows users to simulate how multiple physics problems would interact with one another.[48]
Version 8.0 was published in 2005[15] and introduced Ansys' fluid–structure interaction software,[15] which simulates the effect structures and fluids have on one another. Ansys also released its Probabilistic Design System and DesignXplorer software products, which both deal with probabilities and randomness of physical elements.[49] In 2009 version 12 was released with an overhauled second version of Workbench.[15][50] Ansys also began increasingly consolidating features into the Workbench software.[45]
Version 15 of Ansys was released in 2014.[45] It added a new features for composites, bolted connections, and better mesh tools.[45] In February 2015, version 16 introduced the AIM physics engine and Electronics Desktop, which is for semiconductor design.[51] The following year, version 17 introduced a new user interface and performance improvement for computing fluid dynamics problems.[52] In January 2017, Ansys released version 18.[53] Version 18 allowed users to collect real-world data from products and then incorporate that data into future simulations.[53] The Ansys Application Builder, which allows engineers to build, use, and sell custom engineering tools, was also introduced with version 18.[53]
Released in January 2020, Ansys R1 2020 updates Ansys' simulation process and data management (SPDM), materials information and electromagnetics product offerings.[54] In early 2020, the Ansys Academic Program surpassed one million student downloads.[55]
In May 2020, Ansys joined Microsoft, Dell and Lendlease on the steering committee of the Digital Twin Consortium, which aims to advance the use of digital twin technology.[56] The company collaborated with the US Army and L3Harris to advance the use of FACE technical standard.[57] In April, 2020, Samsung Foundry certified Ansys' RaptorH EM simulation solution for developing 2.5D/3D-ICs and systems-on-chip using Samsung's signoff flow.[58] In August, 2020, Ansys received TSMC certification for its SoIC 3D chip stacking technology.[59] In October, 2020, the company signed the agreement to acquire Analytical Graphics Inc. for $700 million.[60]
In 2021, Optimo Medical AG integrated their Optimeyes digital twin technology with Ansys Mechanical to create identical copies of cornea for surgical procedure testing purposes.[61] Ansys and Siemens Energy collaborated to improve additive manufacturing (AM) processes.[62] In May 2021, Ansys acquired Phoenix Integration, Inc. for an undisclosed amount.[39]
In November, 2021, the company was certified for Samsung's 3 nm and 4 nm Process Technologies.[63] The same year, Ansys acquired Zemax for an undisclosed amount.[40] The company began supporting Arm-based Graviton2 Processors, first time that Ansys' EDA semiconductor simulation solutions were made available on the Arm Neoverse architecture.[64] In partnership with Cornell University, Ansys developed simulating courses.[65]
In March 2022, the company announced collaboration with GlobalFoundries to address issues facing data centres.[66] In April, 2022, Ansys announced signing a definitive agreement to acquire OnScale to expand its cloud portfolio.[67]
In May, 2022, Ansys acquired Motor Design Limited (MDL) for an undisclosed amount.[41] In October, 2022, the company acquired C&R Technologies, a company that specialised in providing orbital thermal analysis.[43]
In December, 2022, Ansys announced that it had signed a definitive agreement to acquire DYNAmore, which specialises in developing simulation solutions for the automotive industry.[44]
References[edit]
[edit]
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||||||
correct_foundationPlace_00077
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FactBench
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3
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https://www.mdpi.com/2077-1312/8/4/298
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en
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Soil Interaction and Grout Behavior for the NREL Reference Monopile Offshore Wind Turbine
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2020-04-24T00:00:00
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Monopiles for offshore wind are the most used foundations by farm operators due to their low production costs, when compared to other bottom-fixed or floating foundations. In this research, a monopile foundation for offshore wind power was evaluated for its soil interaction and grout behavior, and an appropriate numerical model for the structural analysis of the foundation and tower was developed. FAST 8, an aero-hydro-servo-elastic numerical code developed by NREL, was used to obtain the loads applied on the supporting structures. These loads were pre-processed before they were inputted on the finite element model, developed using the finite element software ANSYS. The considered conical grout connection, which connects the monopile to the transition piece through friction, was modeled under a changing-status nonlinearity condition. To model the soil–pile interaction, a p-y model was applied using the ANSYS APDL commands. Static, modal, and transient structural analyses were produced to study the structure suitability for its use on offshore environments. Different soil interactions were modeled, and their results were then compared within the transient and modal analysis, indicating that the angle of the grout connection strongly affects the loading conditions on the grout. Moreover, scouring affects the dynamic behavior of the overall supporting structures, thus protection against this phenomenon is suggested.
|
en
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MDPI
|
https://www.mdpi.com/2077-1312/8/4/298
|
1
Instituto Superior Técnico, Av. Rovisco Pais nº1, 1049-001 Lisbon, Portugal
2
IDMEC, Instituto Superior Técnico, Av. Rovisco Pais nº1, 1049-001 Lisbon, Portugal
*
Author to whom correspondence should be addressed.
J. Mar. Sci. Eng. 2020, 8(4), 298; https://doi.org/10.3390/jmse8040298
Submission received: 18 March 2020 / Revised: 9 April 2020 / Accepted: 13 April 2020 / Published: 24 April 2020
(This article belongs to the Special Issue Analysis and Design of Offshore Wind Turbine Support Structures)
Abstract
:
Monopiles for offshore wind are the most used foundations by farm operators due to their low production costs, when compared to other bottom-fixed or floating foundations. In this research, a monopile foundation for offshore wind power was evaluated for its soil interaction and grout behavior, and an appropriate numerical model for the structural analysis of the foundation and tower was developed. FAST 8, an aero-hydro-servo-elastic numerical code developed by NREL, was used to obtain the loads applied on the supporting structures. These loads were pre-processed before they were inputted on the finite element model, developed using the finite element software ANSYS. The considered conical grout connection, which connects the monopile to the transition piece through friction, was modeled under a changing-status nonlinearity condition. To model the soil–pile interaction, a p-y model was applied using the ANSYS APDL commands. Static, modal, and transient structural analyses were produced to study the structure suitability for its use on offshore environments. Different soil interactions were modeled, and their results were then compared within the transient and modal analysis, indicating that the angle of the grout connection strongly affects the loading conditions on the grout. Moreover, scouring affects the dynamic behavior of the overall supporting structures, thus protection against this phenomenon is suggested.
1. Introduction
The European Union (EU) has defined a 20% global quota for renewable energy sources by 2020 and 32.5% by 2030 amongst the accumulated energy mixes of its members [1,2]. However, the current European renewable capacity will not guarantee the achievement of these goals, meaning that further capacity needs to be installed. For this installed capacity, Europe has strongly focused on wind expansion over the last years, with already 178.8 GW installed by the end of 2018, more than the current nuclear capacity [3,4]. Onshore wind is now, in fact, commercially competitive against fossil fuel solutions [5]. Furthermore, if environmental, health, and other factors are considered, it can actually be considered cheaper [6]. Offshore exploration is the next natural step of this wind power development, since Europe has at its disposal a large marine space with strong wind potential. The installed capacity at the end of 2019 was rated at 22 GW [7], with 132 GW anticipated by 2030 and 460 GW by 2050 [8]. In 2019 alone, 2.5 GW were installed and €6 billion worth of financing was granted for new Offshore Wind (OSW) farms [7]. Capital costs for new offshore wind farms in Europe are now decreasing, after a continuous rise up to 2015 [9]. However, almost all the offshore capacity is confined to the northern European seas, as the winds are strong and sea levels are shallow. This is mostly explained by the technical challenges imposed by the Atlantic Ocean, especially due to greater depths, longer distances to shore, and harsh sea conditions [8]. For low depths, the monopile solution is the most affordable, accounting for 81% of the total turbines installed in Europe [10]. However, for greater depths, the monopile application becomes impractical as its cost surpasses the cost of other solutions, namely jacket or floating structures [11,12]. However, these solutions for bigger depths cannot compete yet within the energetic market—even considering tariff support—due to their low Technology Readiness Levels [8].
The monopile foundation used in offshore wind was adapted from the O&G industry, which has been using similar piles for decades [13]. A monopile is a simple hollow cylinder which is penetrated into a sandy soil using a pneumatic hammer. This pile is then connected with a transition piece through a grouting connection. This type of connection is used because it allows for small corrections on the turbine leveling, since the monopile may not be completely vertical once the penetration process is done. Then, the turbine is attached to the top of the transition piece, usually using a bolted flange connection. Although the monopile represents the most common solution found nowadays on the OSW industry, it has nonetheless revealed some limitations and reliability issues, which are often related to the grouting connection and the scouring effect due to the turbulence generated by the sea currents passing on the pile. These currents eventually remove some soil around the pile, which can result in catastrophic consequences for the turbine [14]. Failures in the grout connection are related to the dynamic bending loadings resulting from the wind turbine operation, which promote axial tension loadings that the grout material is sometimes unable to sustain [15]. A consortium led by DNV evaluated, back in 2011, the drawbacks of the grouting connections; ultimately, this joint industry consortium updated the existing standards for offshore wind foundations [16] and generated the Recommended Practice Document for the analysis of grout connections [17]. The current offshore wind standard now suggests the use of conical surfaces on the grout connection.
Figure 1 presents the qualitative distribution of loadings on the grout connection during operation. The normal stresses applied on the grout connection due to bending loadings are usually much higher than those resulting from the own weight of the supporting structures. The impact of these moments, resulting from the aerodynamic loadings applied on the rotor and tower, may exceed the axial capacity of the cementitious material.
Other authors have produced extensive research to evaluate the structural behavior of the offshore wind monopile foundation. Rong et al. [18] developed an analytical solution for natural frequency of monopile supported wind turbine towers. Yu-Hung Lin and Hsin-Haou Huang [19] developed an improved geometry for the grout connection using computational methods. Arany et al. [20] described the procedures for the design of a monopile foundation. K. A. Abhinav and N. Saha [14], E. Kementzetzidis et al. [21], and Shadlou and Bhattacharya [22] computationally and numerically evaluated the geotechnical aspects of monopile dynamics. W. Weijtjens et al. [23] and D. Lombardi et al. [24] evaluated these aspects experimentally. Furthermore, corrosion plays a decisive role on these offshore wind foundations, due to the corrosive behavior of the ocean. F. P. Brennan and [25] O. Adedipe et al. [26] evaluated the impact of corrosion on these structures and their welds. Welding is particularly critical on these structures; the resulting residual stresses were evaluated by A. Jacob et al. [27]. Finally, structures offshore are subjected with dynamic loadings which results in damage due to fatigue. Alati et al. [28] evaluated the fatigue behavior of two offshore wind foundations in the time domain and estimated the respective lifetime damage equivalent load.
Within this research, a computational model of a monopile foundation developed by NREL was evaluated for its structural integrity: the grout connection and the effects of scouring on the dynamic behavior of the turbine were evaluated. Outputs from the FAST code were used as inputs on the finite element model, and sub-modeling techniques were used to evaluate the grout connection. The soil–pile interaction was analyzed using the p-y model from the American Petroleum Institute (API) [29].
2. Methodology
This section presents the methods used throughout the structural analysis of the monopile foundation: the aero-hydro-servo-elastic code FAST, from NREL, was used to obtain the loadings registered on the turbine rotor, tower, and the foundation due to the interactions with hydro- and aerodynamic loads. Then, these resulting loads were used as input for the finite element analyses, which were produced using the ANSYS Workbench tools. Within the structural evaluation, a modal analysis was produced on the complete model, where the influences of scouring on the modal properties of the structure were evaluated. In addition, transient analyses were produced to complete model and, then, a sub model technique was used to analyze in more detail the stress concentration on the grout connection. Furthermore, the interaction between the soil and the monopile structure was evaluated using specific soil–pile elements provided by ANSYS. These methods were used to understand the capacity of the monopile to support the loads which would eventually be applied upon it on real ocean conditions.
2.1. The Model
The offshore wind turbine used during this research was developed by NREL, characterized by its nominal power of 5 MW [30]. The tower, transition piece, and pile were made of structural steel. The grout was assumed to be formed by a brittle cementitious material, but this specific connection was not detailed by NREL. Special attention was given to the positive normal stresses registered in it since cementitious materials cannot cope with such types of loadings. In addition, the design of the grout connection was produced, specifically considering different connection angles, as suggested by the current standard [31].
The CAD models were modeled using the commercial software Solidworks. The monopile consists of a hollow cylinder with an outer diameter of D = 6 , thickness t M P = 0.06 m and is to be installed at a sea depth of 20 m. The monopile section that was penetrated into the soil ( L M P S ) was not modeled as a CAD model, being instead considered using pipe finite elements on the ANSYS environment. Table 1 presents the main properties of the used turbine and supporting structures.
2.2. FAST Code
FAST is an aero-hydro-servo-elastic code which is used to computationally simulate the response of wind turbines of horizontal axis in onshore and offshore environments. The results obtained from this tool are consistent and align with the results from other existent codes [33]. This code aggregates aerodynamic, hydrodynamic, servo, and structural modules, allowing for a coupled simulation of the various modules to simulate the operating conditions of the tested turbine. Input data for FAST are provided through text files, which are associated with the respective modules. The environmental conditions considered throughout this research were based on the Design Loading Case (DLC) 1.1 retrieved from the GL standard [34], as presented on Table 2.
Both the AeroDyn and HydroDyn FAST modules retrieve loading data as force per unit of member length. These loadings were then input in ANSYS using the remote displacement feature. FAST v8 does not have integrated features able to simulate soil–pile interactions. This interaction was later done using ANSYS. Figure 2 presents the interaction flowchart between FAST and ANSYS. As stated above, Solidworks was used to produce the CAD models.
2.3. CAD Models
The CAD models used in this research were modeled using Solidworks and based on the structural dimensions provided by NREL. Conic connections without shear keys are recommended at the grouting region, as to allow for the cement to hold the resulting shear stresses. The standard also details tubular grout connections, which should always include shear keys. According to standard DNV-OS-J101 [35], the angle of a conic connection should be defined between 1° and 3°. Therefore, for this research, a set of computational static tests were produced to evaluate the impact of this angle α on the structural behavior of the grout connection. α is the angle that the conic surface makes with the vertical axis of the turbine, and the tested angles were, respectively, 1.25°, 2.5°, and 3.75°.
The grout thickness and the friction coefficient considered were t g = 125 m m and µ = 0 , 7 , respectively, according to the respective standard DNV-ST-0126 [16]. The effective grout length ( L g ) was defined at 9 m for the conical connection with α = 1.25°, considering 8.5 m of conic connection and 0.5 m cylindrical connection at the top, as recommended by the respective standard [16]. However, as the grout connection becomes more conical, the effective length of the connection reduces itself proportionally according to ( L g ∝ 1 sin ( α ) ) , considering that the monopile and the transition piece diameters are constant for different connection angles. Figure 3 presents the variation of the connection length with the conic angle, considering an extension of 0.5 m cylindrical grout at the top for each angle tested.
From the analysis of Equations (1) and (2), which were retrieved from the standard [31] and define the maximum nominal contact pressure ( p n o m ) and the maximum friction torque ( M t ), respectively, it is possible to verify that L g strongly affects the resulting values.
p n o m = 3 π · M R p · L g 2 ( π + 3 µ ) + 3 π · µ · R p 2 · L g
(1)
where M = bending moment applied on the connection, R p = external radius of the interior pile of the connection, and µ = friction coefficient between steel and the grout cement.
M t = 2 π γ m p P · µ · L g ( R p t 2 + R p t · L g sin ( α ) + L g 2 3 sin 2 ( α ) )
(2)
where γ m = material factor (1,0), R p t = exterior radius of the interior pile of the connection, and p P = nominal contact pressure due to the weight of the supporting structures.
During the analysis of the previous equations, one must consider that, although a greater angle generates a superior limit on admissible axial loads, the consequent reduction on the effective length of the connection may affect its capacity to support bending loadings, which are more prominent than the first. Thus, the first static analyses were produced to understand which angles were able to sustain both the axial and bending loads the connection is subjected to. Then, the transient analysis was produced with the angle that provided the best compliance between axial and bending loadings.
Because of the numerical complexity related with the finite element simulations based on contact regions and the consequent raise on the associated computational times, the grout connection analyses were produced using the submodeling technique. For these analyses, the supporting structures’ model is simplified and only the grout connection region is modeled and analyzed, as shown in Figure 4.
As stated above, the section of the monopile that was penetrated into the soil was not modeled in Solidworks, but was numerically considered in ANSYS. The length of the monopile that was penetrated into the soil is referred to in this document as L M P S . This length was estimated by producing a static analysis that subjects the structure with wind and ocean loadings, since the monopile possesses a behavior that is similar to a cantilever beam, where high values of shear and bending moments are found near the seabed region. The soil was then responsible for counteracting those loadings and guaranteeing the stability of the structure. By considering that the prominent loadings act in only one direction, a two-dimensional study may be done during this design step. Because of the physics involved within the soil–pile interaction, a null shear stress at the monopile can be registered, as shown in Figure 5, where displacement is null and the bending moment is maximum. The length of the monopile was achieved through an iterative process, considering that the static equilibrium had to be achieved and that the maximum stress on the monopile could not surpass the one defined in the respective standard DNV-GL-ST-0437 [36].
2.4. Soil–Pile Interaction
The interaction between the monopile and the soil needs to be analyzed with special care, since soil properties affect the dynamic response of the structure due to the associated nonlinearities in its behavior. In fact, a fixed boundary condition is not adequate to fully understand the dynamic behavior of the supporting structures. Soils can be classified by different properties, such as their formation process, grain size, age, mineralogical structure, etc. Besides that, it is known that the stress–strain relationship that soils present is highly non-linear, with its stiffness strongly depending on the loading history, for example.
The API (American Petroleum Institute) developed a series of studies related to the interaction between piles and the respective soil within offshore conditions for the O&G industry. The p-y model is, today, the most widely accepted on the scientific community. This model provides a soil–pile interaction that is directly independent of the loadings submitted to it. This interaction is described by the p-y curves, where p is the resulting force per unit of length, y is the horizontal deflection, and x is the depth [29].
Equation (3) presents the expression for the p-y model, for a certain x depth [29]:
p = A p u tanh ( k x A p u y )
(3)
where p = soil reaction, A = factor to account for cyclic or static loading condition, p u = ultimate bearing capacity, at depth x, k = initial modulus of subgrade reaction, and y = lateral deflection.
The k parameter is related to the relative density of the soil and the respective angle of internal friction ϕ, which describes the stiffness of the response curve. The ultimate bearing capacity is obtained from the system of Equation (4):
{ p u s = ( C 1 x + C 2 D ) γ x p u d = C 3 D γ x p u = min { p u s , p u d }
(4)
where γ = effective soil weight, D = external diameter of the monopile, and C 1 , C 2 , C 3 = coefficients determined as functions of ϕ.
The model developed by API derives from empirical studies made to piles with diameters equal to or less than 2 m, where the length to diameter ratio is greater than 30; meanwhile, offshore wind monopiles usually have ratios lower than 10. Therefore, care should be taken when using this model for these monopile dimensions, due to result extrapolation [37]. In addition, DNV-GL states that caution should be taken when using this model for dynamic analyses [38].
The p-y curves are specific for each depth, which means the piles are usually modeled as beams supported by a series of non-linear decoupled elasto-plastic springs, which simulate soil reactions, as shown in Figure 6. Figure 6 also presents the two different soils evaluated during this research, with the respective soil parameters. The first soil simulated a traditional Portuguese soil, as indicated by LNEC (the Portuguese Civil Engineering Laboratory), while the second considered the soil distribution detailed by the OC3 consortium [33]. This soil was divided into three different layers, with their interfaces at 5 and 14 m below the seabed floor. Figure 7 presents the p-y curves for the two evaluated soils, at different depths. The analysis clearly showed that the OC3 soil is stiffer than the Portuguese one.
The finite element commercial software ANSYS possesses a one-dimensional finite element that can implement spring loadings with non-linear deflections, notably the COMBIN39 element. Furthermore, the element can behave linearly during the unload phase, which means that the loading history will produce irreversible strains, thus considering accumulated plasticity on the soil. These COMBIN39 elements were coupled with pipe elements (PIPE288) that simulate the length of the monopile which is penetrated into the seabed soil. The connection between the CAD models above the seabed and the PIPE288 elements below seabed was guaranteed using a fixed joint connection, with no relative displacements or rotations allowed. In addition, the springs obtained from the p-y model were distributed on the penetrated pile with a distance of 1 m between each other. The use of PIPE288 is adequate for slender structures and is based on the Timoshenko beam theory; it is an element with six degrees of freedom at each node, with great applicability in bending, torsion, and axial loadings, for both linear and big deformation settings [39]. The three-dimensional components of the model were modeled using a SOLID187 finite element.
The scouring effect is referred, on standard DNVGL-ST-0126 [16], as a phenomenon which must be considered when analyzing the interaction between soil and pile. The standard refers that the ratio between the scouring length and the pile diameter may reach a value of 1.3, which means that, for a diameter of 6 m, a scouring length of around 7.8 m can be expected. The effect of scouring on the dynamic behavior of the monopile was then computationally evaluated for scouring lengths of 0, 3, 5, and 7 m for models PTx and OCx. The p-y model springs from the eroded soil were shifted down correspondingly to the shift registered due the scour effect. In addition, a model with a fixed boundary condition on the seabed floor was produced, for results comparison. Figure 8 presents the final mesh of finite elements used throughout this research, with 2612 elements, 18,084 nodes and guaranteed convergence of 1%.
3. Results
The structural analysis of the monopile was divided into four stages, where the first stage consisted on the analysis of the dynamic modal behavior of the structure. The second stage included the results from the dynamic analyses, while the third and fourth stages focused on the grout connection and on the soil–pile interaction, respectively.
3.1. Monopile Length
Considering the environmental loading conditions presented in Table 2, the final length for the monopile was achieved by guaranteeing the static equilibrium and by avoiding excessive stresses on the pile. The static equilibrium was easily achieved, even for values of penetrated length of 10 m. In addition, the maximum stresses registered on the pile, presented on Figure 9 for static analyses, comply with the standard even for depths of only 10 m. Nonetheless, the maximum deflections registered on the tower top for the lower depths are not acceptable for wind turbine operation (at more than 5 at 10 m depth, as shown in Figure 9). Then, the length considered throughout the research was 36 m below the seabed, to match the depth defined by NREL.
3.2. Modal Analysis
Modal analyses evaluate the modal shapes and natural frequencies of a certain structure. This is particularly relevant for offshore wind structures since they are loaded with dynamic solicitations resulting from its interaction with the winds and the ocean. Figure 10 presents the four most relevant mode shapes from the evaluated monopile structure, with three bending and one torsional modes represented.
Table 3 presents results for the three soil conditions: fixed, the OC3 soil, and the Portuguese soil. As expected, the natural frequencies of the set rose with the stiffness of the soil. The model Fix0, characterized for having infinite soil stiffness, registered the greatest modal frequencies, followed by model OC0 and, finally, model Pt0. Only the side-to-side frequencies are presented, since the corresponding fore–aft ones possess very similar values. The first natural frequencies of the three models ( f 0 F i x 0 = 0 , 2697 H z , f 0 O C 0 = 0 , 2411 H z , f 0 P t 0 = 0 , 2354 H z ) were found between the frequencies 1P and 3P (1P is the frequency of rotor rotation at nominal power and 3P is the frequency of passage of blades at nominal power) with a margin of 10% (between 0.222 and 0.311 Hz), which means it is a soft–stiff structure, with improved operational life under fatigue. However, waves may excite a range from 0.05 to 0.25 Hz (waves with a period of 20 and 4 s, respectively), which is close to the frequencies detailed for the first side-to-side modes of the three models. Nonetheless, waves with bigger frequencies are usually less energetic, which may attenuate resonance effects.
Figure 11 presents the behavior of the first natural frequency of the supporting structures as the scouring depth varies, for two different soil conditions, namely the fixed boundary condition and the Portuguese soil, which is the less stiff of the tested soils. It can be perceived that the bigger is the scour depth effect, the lower is the first frequency registered. The effect is more notorious for the Portuguese soil (a decrease of almost 7%). These results provide insights on the necessity to protect the monopile against scouring, as well as to correctly model soil–structure interactions. Moreover, the value of f 0 P t 7 is close to the 1P frequency, which means the structure may enter in resonance during operation, which may also cause accelerated fatigue damage.
3.3. Dynamic Analysis
Dynamic analyses were produced using the model presented in Figure 8, for different pile–soil interaction conditions and assuming structural displacements obtained from DLC 1.1 tested using FAST. These are time-based transient analyses that consider inertia effects. These analyses essentially provide an overview of the stress distribution along the monopile, the transition piece, and the tower. The connection between the transition piece and the tower was simplified; thus, the bolted flange connection was not evaluated in this research.
Figure 12 presents the values for the maximum von Mises stresses registered throughout the dynamic analyses of Pt0 and Fix0, which have been registered mostly on the tower. These values are related to DLC 1.1 described in Table 2. Assuming that the supporting structures are manufactured using a S355 structural steel, the registered safety factors are about 3 and 3.2, respectively. It must be considered, however, that these are the results for just one DLC, and that other DLCs should be tested to ensure that the structure can sustain the conditions that it will be subjected into, such as storms and abnormal wave conditions.
3.4. Grout Analysis
The grout connection was first evaluated by static analyses, specifically to select the most appropriate α angle for the grout connection. Figure 13 presents the maximum resulting stresses on the grout cementitious material, in tangential, axial, and radial directions. The load applied during these static analyses consisted of a horizontal loading applied at the rotor, of 900 kN, and a bending moment at the rotor, of 3400 kN.m. These maximum values were retrieved from FAST and are based on a non-turbulent analysis for the conditions described in Table 2.
Figure 13 reveals that a small change on the connection angle results in a considerable increase in the maximum registered stresses. This phenomenon is associated with the reduction of the effective connection length. Because of the considered yield stress of the grout material ( σ t = 25.0 MPa in tension), the considered angle for the following analyses was selected at 1.25°. Figure 14 shows how the difference in the effective length affects the geometry and the stress state (von Mises) on the grout connection.
Both solutions presented on Figure 14 possess the same diameters on the top and base, whereas their effective lengths differ by 67% (from the longer to the shorter). Figure 15 presents the pressure distribution on the grout for the 1.25° solution, when the static loads are applied.
The stress results from the dynamic analysis of the 1.25° grout connection are presented in Figure 16, which presents the maximum stress values of σ ax = 22.47 MPa , σ tan = 7.55 MPa and σ rad = 0.62 MPa . All of these stresses are below the 25 MPa limit, although the axial stress is close to it. This result highlights the problems that these types of connections have been demonstrating in real offshore wind conditions.
3.5. Soil–Pile Interaction Analysis
As detailed above, stresses on the penetrated part of the monopile were evaluated using specific finite elements—PIPE288 from ANSYS. Figure 17 and Figure 18 present the reaction forces and the horizontal deflections registered on models Pt0 and OC0, under the same static loading, respectively.
One must note that, because of the lower stiffness of the Portuguese soil, horizontal deflections are bigger than those registered on the OC3 soil. In addition, the inflection point of the reaction forces is lower for the Portuguese soil, also indicating lower soil stiffness.
The axial stress values achieved on the penetrated monopile are of the same order of magnitude as those found on the other supporting structures (transition piece and tower), as shown in Figure 19 for the Pt0 soil model.
These maximum axial stresses occur at zero deflection points, where the bending moment is maximum. However, ANSYS does not directly provide von Mises stresses for Beam elements; nonetheless, it provides the registered transverse shear forces at each beam nodes. In addition, it is known that, according to the von Mises criterion:
σ e q = 2 2 ( σ 1 − σ 2 ) 2 + ( σ 1 − σ 3 ) 2 + ( σ 2 − σ 3 ) 2
(5)
Since one can assume to have plane stress conditions on the monopile due to its slenderness, we obtain:
σ e q = σ x 2 − σ x . σ y + σ y 2 + 3 . τ x y 2
(6)
Then, because there is no relevant internal pressure on the monopile, one can also assume that σy = 0, and the equivalent stress equation becomes:
σ e q = σ x 2 + 3 · τ x y 2
(7)
According to Budynas and Nisbett [40], we know that the relationship between the shear stress and the transverse shear for a hollow thin-walled round beam is:
τ m a x = 2 V A
(8)
where V is the shear force and A is the cross-section area. The maximum axial stress registered by ANSYS for the penetrated section of the monopile is obtained at 9 m below seabed. At this depth, the registered transverse shear is at its minimum, reaching 380 kN, and the transverse cross section area of the monopile is 1.12 m2, which gives a resulting shear stress of 0.68 MPa. This means that, for this depth, and according to Equation (7), shear stress is not relevant for the respective equivalent stress calculation. However, the maximum registered shear force is registered at 23 m below the seabed, reaching 7600 kN, with the respective axial stress being 60.7 MPa. This gives a shear stress of 13.6 MPa, and results in an equivalent stress of 65.1 MPa. It can be concluded that shear effect is not particularly damaging to the monopile, and that axial and bending loadings due to self-weight and aero- and hydrodynamic effects are the most prominent for structural damage.
Figure 20 presents the maximum axial stresses on the penetrated monopile for models Pt0 and Pt7. It becomes clear that the effect of scouring raises the registered stresses on the monopile.
4. Conclusions
In this research, a monopile foundation for offshore wind was evaluated for its structural integrity using computational tools. The produced models were based on the 5-MW reference turbine developed by NREL. The environmental loadings with which the supporting structures were loaded were evaluated using the FAST code, and the soil–pile interaction was considered using a p-y model, which is one of the most used worldwide and recommended by DNV-GL offshore wind standards. The use of soil–structure interaction models proved to be fundamental to correctly simulate the real operation of the support structures.
For the transient analyses, the loadings applied on the finite element models were retrieved from FAST, where an average wind speed of 11.4 m/s was used, since this is the wind speed that generates the biggest axial forces on the turbine rotor. The maximum registered deformations were obtained for the models with the lowest soil stiffness and all models registered the maximum stress on the tower of the turbine. Results indicate that the generic stresses registered throughout the support structures are well within the defined limits by the respective standards.
The influence of scouring on the structural behavior of the monopile was evaluated, as bigger scouring depths resulted in a reduction of the natural frequencies to values near the operating frequencies of the rotor. Thus, scouring protection should be considered for these structures to avoid vibrations that could reduce its expected life-time. The grout connection was evaluated using a sub-model, with the results indicating that the registered stresses are within the considered safety ranges. Nonetheless, the closeness of these values to the yield stress value of the grout material indicate that care should be taken and further analyses should be produced to understand the strength of grout materials when under storm or fatigue conditions.
The present research highlights how scouring and grouting issues may affect the reliability of the support structures of offshore wind turbines. Thus, special care should be taken regarding these regions of the monopile. Close inspections should be produced regularly and, preferably, monitoring systems should be installed in these locations.
Author Contributions
Conceptualization, M.V. (Mário Vieira), E.H., and L.R.; Data curation, M.V. (Miguel Viana) and L.R.; Formal analysis, M.V. (Mário Vieira), M.V. (Miguel Viana), and E.H.; Funding acquisition, L.R.; Investigation, M.V. (Mário Vieira), M.V. (Miguel Viana), and E.H.; Methodology, M.V. (Mário Vieira), M.V. (Miguel Viana), E.H., and L.R.; Software, M.V. (Mário Vieira) and M.V. (Miguel Viana); Supervision, M.V., E.H., and L.R.; Validation, L.R.; Visualization, M.V. (Miguel Viana) and L.R.; and Writing—original draft, M.V. (Mário Vieira), E.H. and L.R. All authors have read and agreed to the published version of the manuscript.
Funding
The authors acknowledge support for this research from the MIT Portugal Program Scholarship PD/BD/114146/2016. This work was also supported by FCT, through IDMEC, under LAETA, project UIDB/50022/2020.
Conflicts of Interest
The authors declare no conflict of interest
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Figure 1. Pressure and force distribution on the grout connection.
Figure 2. Flowchart of the interaction between FAST and ANSYS used during the present research.
Figure 3. Variation of Lg with the conical angle of the connection (dashed line) and the percent difference between Lg (α = i) and Lg (α = 0) (solid line).
Figure 4. Submodel of the grout connection.
Figure 5. (a) Deflection of a rigid monopile when subjected to a horizontal loading; (b) representation of generic soil reactions to a rigid monopile; and (c) representation of the resulting bending moment on the rigid monopile.
Figure 6. Representation of the p-y model, where each depth is described by a unique p-y curve (left); and properties of both the soils analyzed (right).
Figure 7. Different p-y curves at different depths for the two studied soils—bigger depths (Y) are related with bigger soil reactions (P).
Figure 8. Final finite element mesh.
Figure 9. Evolution of the maximum equivalent stress (von Mises-open circles) and of the maximum deflection on the tower top (full circles), considering consecutive increases on the monopile length L M P S .
Figure 10. Generic mode shapes for the monopile: (a) first bending mode; (b) second bending mode; (c) third bending mode; and (d) first torsional mode.
Figure 11. Evolution of the first natural bending frequency with the scouring depth for models Fixx (full line) and Ptx (dashed line).
Figure 12. Stress series of models Fix0 (full line) and Pt0 (dashed line) for the maximum registered von Mises stress.
Figure 13. Maximum stresses on the grout material at the three directions: tangential (point line), axial (solid line), and radial (dashed line).
Figure 14. Stress state (von Mises, Pa) for both connection angles: (a) 1.25°; and (b) 3.75°.
Figure 15. Pressure distribution (Pa) on the grout surface obtained from the static analysis.
Figure 16. Stress series registered during the dynamic analysis for the grout connection, with the axial stress (point line), tangential stress (dashed line), and radial stress (solid line).
Figure 17. Reaction forces registered for: Pt0 model (left); and OC0 model (right).
Figure 18. Horizontal deflection of the monopile for Pt0 (solid line) and Fix0 (dashed line) models.
Figure 19. Axial stress distribution on the PILE288 elements of the penetrated monopile for the Pt0 soil model.
Figure 20. Registered stress series on the dynamic analysis for the monopile, with the axial stresses for Pt0 (solid line) and the axial stresses for Pt7 (dashed line).
Table 1. Properties of the turbine equipment and supporting structures.
Nominal Power 5 M W Orientation; Configuration of the rotorUpwind; 3 bladesDiameter of the rotor126 (m)Cut-in; rated; cut-out speed3.0; 11.4; 25.0 (m/s)Cut-in; rated rotor speed6.9; 12.1 (rpm)Rotor mass; nacelle1.10∙105; 2.40∙105 (kg) I x x ; I y y ; I z z of the set rotor-nacelle4.37; 2.35; 2.54 (107 kg∙m2)CM ( X ; Y ; Z ) of the set rotor-nacelle(−0.414; 0.000; 89.570) (m)Tower length77.6 (m)Tower diameter and thickness at the top3.870; 0.019 (m)Tower diameter and thickness at the base6.000; 0.027 (m)Tower mass2.37 × 105 (kg)Tower I x x ; I y y ; I z z 161.37; 161.37; 1.53 (106 kg∙m2) Tower Center of Mass ( X ; Y ; Z )(0.00; 0.00; 43.81) (m)Grout Cement [32]Structural SteelSpecific Mass, ρ2250 kg∙m−38500 kg∙m−3Young Modulus E32 GPa210 GPaPoisson Coefficient ν0.250.33Shear Modulus G12.8 GPa78.8 GPaTension Yield Stress, σt9 MPa355 MPaCompression Yield Stress, σc100 MPa355 MPa
Table 2. Wind, wave and tide conditions considered for the monopile evaluation.
WINDWAVESTIDES D L C u ¯ ( m s ) P r o p e r t i e s H s ( m ) T p ( s ) P r o p e r t i e s v r e f ( m s ) T y p e 1.1 11.4 K a i m a l , N T M , B 10.2 11.0 P M , A i r y 0.12 S u p e r f i c i a l
Table 3. First and second natural bending frequencies for the three developed models.
Soil TypeMode Modal Frequency ( H z ) F i x 0 Bending S i d e – S i d e 1 st 0.2697 2 nd 1.5415 O C 0 1 st 0.2411 2 nd 1.3070 P t 0 1 st 0.2354 2 nd 1.2539
© 2020 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).
Share and Cite
MDPI and ACS Style
Vieira, M.; Viana, M.; Henriques, E.; Reis, L. Soil Interaction and Grout Behavior for the NREL Reference Monopile Offshore Wind Turbine. J. Mar. Sci. Eng. 2020, 8, 298. https://doi.org/10.3390/jmse8040298
AMA Style
Vieira M, Viana M, Henriques E, Reis L. Soil Interaction and Grout Behavior for the NREL Reference Monopile Offshore Wind Turbine. Journal of Marine Science and Engineering. 2020; 8(4):298. https://doi.org/10.3390/jmse8040298
Chicago/Turabian Style
Vieira, Mário, Miguel Viana, Elsa Henriques, and Luís Reis. 2020. "Soil Interaction and Grout Behavior for the NREL Reference Monopile Offshore Wind Turbine" Journal of Marine Science and Engineering 8, no. 4: 298. https://doi.org/10.3390/jmse8040298
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Page 2 and 3: Copyright and Trademark Information
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Chapter 21: Memory Management and C
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Chapter 21: Memory Management and C
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Chapter 21: Memory Management and C
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Index repeating, 43 scaling, 44 spe
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Index jobname.rth, 128 jobname.snn,
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Index J Jacobi Conjugate Gradient (
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Index analysis with nonlinear mater
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Index styles best quality macro, 24
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correct_foundationPlace_00077
|
FactBench
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1
| 56
|
https://growtherapy.com/provider/r9waqgef3ebm/shari-stranges
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en
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network Therapists in Pennsylvania
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Find and instantly book a vetted licensed, in-network Therapist in Pennsylvania. Accepting major insurances.
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If you or someone you know is experiencing an emergency or crisis, call 988 (the Suicide & Crisis Lifeline), call 911, or go to the nearest emergency room. Additional resources can be found here.
If you or someone you know is experiencing an emergency or crisis, call 988 (the Suicide & Crisis Lifeline), call 911, or go to the nearest emergency room. Additional resources can be found here.
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|||||
correct_foundationPlace_00077
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FactBench
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2
| 8
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https://www.hrc.org/resources/buyers-guide/ansys-inc.
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en
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Buyers Guide - Human Rights Campaign
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CEI Score: 80
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Human Rights Campaign
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https://www.hrc.org/resources/buyers-guide/ansys-inc.
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Supports: Equivalency in same- and different-sex spousal and partner medical and soft benefits
Supports: Equivalency in same- and different-sex family formation benefits
Supports: Equal health coverage for transgender individuals without exclusion for medically necessary care
Does not support: Provides an LGBTQ+ Benefits Guide for its employees
Does not support: Provides four LGBTQ+ internal training elements (including an intersectionality training)
Supports: Provides at least one LGBTQ+ inclusive data collection effort
Does not support: Provides Gender Transition Guidelines and at least one additional transgender inclusive policy or practice for its employees
Supports: Has either an LGBTQ+ Employee Resource Group or an LGBTQ+ Inclusive Diversity Council
Supports: At least five distinct LGBTQ+ efforts of Outreach or Engagement to Broader LGBTQ+ Community
Does not support: Follows an LGBTQ+ Supplier Non-Discrimination policy (if available) and an LGBTQ+ inclusive philanthropic giving guideline
|
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correct_foundationPlace_00077
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FactBench
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2
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https://www.chemengonline.com/modern-simulation-tools-expanding-applications/
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en
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Modern Simulation Tools: Expanding Applications - Chemical Engineering
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2018-12-01T00:00:00+00:00
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(Page 1) New user-friendly simulation tools help chemical processors tackle tasks beyond design and optimization
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Chemical Engineering
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https://www.chemengonline.com/modern-simulation-tools-expanding-applications/?printmode=1
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New user-friendly solutions help chemical processors tackle tasks beyond design and optimization
Initially, steady-state simulation was used in the chemical process industries (CPI) to design a plant or a process. Advances in the technology, along with the need to produce more product in a more efficient and profitable manner, kick started the trend of using simulation tools to optimize new and existing processes. Today’s dynamic modeling, digitalization, more powerful computers and swifter calculation capabilities have led to increasingly prolific use of software by engineers in all facets of the chemical facility. Simulation software is now readily available to help with specific tasks, such as improving safety, operator training, increasing reliability and achieving corporate goals, including sustainability, energy efficiency and, of course, profitability.
Software advances
While steadystate simulators have been around for nearly 50 years and are still the go-to tool for designing and optimizing new processes or plants, the introduction of dynamic simulation has led to a wider berth of applications. “While steady-state simulators are doing a good job, dynamic simulators are the way to go for improving existing processes or checking the operability of a new plant,” says Marina Velazquez, senior product manager with Aveva Group plc (Cambridge, England; www.aveva.com). “Steady state is typically used early in the design to calculate sizing parameters and it assumes that the finished plant, equipment size and piping are exactly as they were designed. However, by startup, the location or size of the equipment and final piping may not be exactly as expected by the steady-state simulator. A dynamic simulator accommodates these differences and can be used to determine whether the control scheme is adequate, equipment will perform as expected, interlocks for safety are properly designed and more.”
Meanwhile, digitalization is further expanding the use of simulation. The “digital twin” is an exact replica of the physical plant, not as designed, but as it actually exists. It also incorporates live process and operating information from the operating plant. “The digital twin provides an accurate representation that is always ‘alive,’” says Rebecca Elgebrandt, portfolio marketing lead for Aveva’s engineering business. “Since the digital twin incorporates differences between the design of the plant and the actual plant, it moves the simulation needs from steady state to dynamic and provides the current status of the true assets, allowing users to run a simulation with ‘what if’ scenarios in an accurate twin of the plant before taking any actions.”
Roger-Marc Nicoud, CEO of Ypso-Facto (Nancy, France; www.ypsofacto.com) agrees that digitalization is an important step in simulation. “With a virtual/digital representation of a given process, one can easily experiment, test, train and explore operating conditions without the time and cost induced by real-life experimentation and without endangering real-life production.”
In addition, digitalization allows easy sharing of information between multiple engineering disciplines. “Operating processes and facilities requires the joint expertise of molecule specialists and simulation experts, of industry engineers and scientists and others, all with the single shared goal of inventing the best possible processes in an unbiased manner,” says Nicoud. “And, today’s simulation tools aim to bring all the necessary actors together and facilitate collaboration.”
Velazquez agrees that information sharing is a growing necessity. “Integration is becoming more important so that all the process data can be shared among all the engineering disciplines,” she says. “The final design, sometimes completed two or three years after the first simulation was done, can be checked easily by the dynamic simulation before starting up, reducing and avoiding costly last-minute updates at startup. Chemical processes can benefit from checking operating and control schemes prior to startup and from other simulation activities such as operator training, and digitalization allows better integration to make the necessary information sharing and collaboration easier for all the disciplines involved in these steps,” she says (Figure 1).
Increased speed and improved user friendliness are also moving simulation into more applications. “While many simulation solutions are perceived as being very accurate, often the other perception is that they are time-consuming and take a lot of experience to use,” says Ahmad Haidari, global industry director, process, energy and power, with Ansys (Canonsburg, Pa.; www.ansys.com). “However, newer versions don’t require the same amount of experience and hands-on time as prior versions, which makes simulations more accessible and much more routine in the chemical processing industry.”
For example, Ansys is focused on task-based workflow, which presents only the features and choices relevant to the task at hand and has best practices built in. “This provides the ability to use defaults and still get good answers, and also to customize and build workflows so that other engineers with less simulation experience can duplicate results. We are finding that this allows engineers to accomplish simulations two to three times faster than in the past with significantly less training,” explains Haidari.
The company is also working to improve meshing. “One area that has been frustrating with fluid-dynamic-based solutions has been the meshing process, because in order to get a good mesh for use with simulations, a certain amount of hand-repetitive tasks were necessary to fine tune that mesh,” he explains. “We are automating that process through a new technology to virtually eliminate the hands-on piece. Things that took two to three weeks to prepare are now getting done in hours. Engineers who are really experienced in chemical engineering, but don’t have experience with fluid dynamics will be very successful using these tools,” he says (Figure 2).
Another example is Chemstations (Houston; www.chemstations.com), which is launching a new version of its first-principles-based simulation software with improved calculation speeds that come via parallel processing that uses all available computing cores. “This means that instead of using just one core of the user’s computer, we can spread the workload across as many cores as are available, which will speed the process considerably,” explains Steve Brown, president of Chemstations. While the initial intent of the improved calculation time was to allow faster execution of large optimization projects, Brown says the increased speed also allows the software to be used for smaller projects. Wendy Young, marketing manager with Chemstations, agrees: “In the past, scaled-down versions of optimization, such as a sensitivity study, would take too long, but the calculation time has been reduced to such a degree that engineers are more likely to run simulations for smaller studies.”
A wider berth of applications
While simulation tools used to be firmly rooted in design and optimization of plant and processes, digitalization, easier collaboration and user friendliness have opened the door for the use of simulation throughout the plant.
Plant safety. “The evolution of computational power and the capabilities of the software have given engineers a chance to solve some different, even possibly more complex, problems, with a higher degree of confidence,” says Haidari with Ansys. “Safety is one of the areas where simulation is now being applied to determine why or when leaks, corrosion or other factors that deteriorate performance and directly impact safety of the process and personnel are happening.”
For example, leaks may occur due to deteriorating seals or erosion of equipment, but because advanced tools allow users to model seals or examine corrosion in a given operation, the potential for failure can be determined. If there is a leak, simulation can be used to look at how gas may be dispersed within the plant using all sorts of possible scenarios, including wind and location of stacks. Safety valves can be better designed via simulation tools, and advanced software allows users to simulate what happens when an explosion occurs so they can better design equipment and plan for an emergency.
Paige Marie Morse, chemicals industry marketing director, with AspenTech (Bedford, Mass; www.aspentech.com), agrees that simulation tools can be helpful in the area of plant safety. For example, the company has acquired Blowdown software technology, which is used to identify locations in a system where temperatures can decline dramatically during depressurization. Blowdown has been incorporated into Aspen Hysys in order to provide an accurate determination of these low temperatures, which is a critical activity in the design and operation of process plants as it can improve safety of the plant (Figure 3).
Simulators can also be used to avoid unnecessarily purchasing safety systems. “A digital twin environment can be used for testing levels of protection, as well as for reducing and evaluating capital investments for safety stewardship,” says Mart Berutti, vice president of process simulation with Emerson (St. Louis, Mo.; www.emerson.com). “The investment of capital in process safety is necessary and very important, but it’s not one that increases the production of the plant. Simulation can help processors evaluate what levels of safety protection are required and eliminate the systems that aren’t necessary.”
Reliability. Today’s simulators can also be used to enhance reliability of the plant and equipment, says Ansys’s Haidari. “We call this ‘fitness for service,’ which means we look at things like fouling or degradation that may impact the performance of equipment. It is possible, through simulation, to look at a given design, either before it is built or during operation, and examine the range of operating parameters and variables it will be exposed to and understand the life of that asset,” he says.
Further, he says it is possible to use simulators to look at issues that may be occurring, such as vibration, and use the model to perform a cause-and-effect analysis to understand why it may be vibrating and remedy the situation.
Training. Training is another area where simulators are making a major impact. “There’s a lot of interest in the use of simulation for operator training,” says AspenTech’s Morse. “The advantage of using a digital representation of the plant is that it allows you to, offline, take operator trainees through different scenarios. Because it is a digital twin, it reflects what is going on at the unit so operators can learn how to handle various tasks without making an impact on the actual plant. It can also be used to train new operators before a newly constructed plant is up and running.
“Additionally,” Morse continues, “Simulation can be used to create scenarios that involve process upsets, safety emergencies or environmental incidents and train operators to react so that events are properly managed and so operators have experienced the issues and don’t panic in a real-life incident.”
Emerson’s Berutti agrees that simulator training is a vital application. “Statistical information shows that it takes six to seven years for a chemical plant operator to be able to make good risk-based decisions concerning operation of the plant, but most facilities are not in a position to spend this amount of time getting operators up to speed,” he says. “A digital plant environment provides us with a time machine. It allows new operators to get comfortable with running the plant and controls for daily operations without actually practicing in the real plant. And, operators can have experiences — upsets and failures — that we would never want to see, but if they happen, the operators have had the opportunity to experience them over and over in the digital twin. This allows them to think clearly and not be intimidated by the gravity of a situation and have the competency to handle it. It makes them ready to operate the plant and deal with emergencies in a shorter period of time.”
Corporate goals. Modern simulation tools can also help processors achieve corporate goals, including energy efficiency, sustainability and profitability. “Simulation was created for the purpose of increasing efficiencies, so it makes sense that it is used for corporate goals such as sustainability and energy efficiency,” says Stephane Dechelotte, CEO at ProSim (Labege, France; www.prosim.net). “Advances in software, such as better thermodynamic models and those specifically designed to assist with energy evaluations, allow better simulations of energy estimation and profitability calculations. Today’s users require models that are predictive and that cover a wide range of mixtures, temperatures and pressure conditions, so thermodynamic models are a critical component to running simulations that achieve corporate goals, such as energy efficiency and the impact it has on yield, he says” (Figure 4).
Chemstations’s Brown agrees that simulation is finding greater application in this area. “Companies will do an analysis to see where they can boost profitability and this is almost always tied to energy consumption. However, the same company may also consider energy efficiency a corporate social goal,” he says. “We’ve seen them use simulation to perform a multi-objective optimization where they have the first objective as profit and the second as the societal or environmental impact. They can use the simulation to look at how they may want to operate the facility and examine the results and decide, on a corporate level, with input from various engineering disciplines, where to balance profitability with social or environmental impacts. They can find the overall optimum that works for their company.”
These same types of simulations can be applied to almost any corporate goal, says Ansys’s Haidari. “The process industry is becoming very interested in sustainability and as such,is looking at things like resource scarcity, emissions reduction and pollution control, shifting to a low-carbon economy and other social aspects of processing,” he says. “Today’s easier-to-use and advanced simulations allow processors to perform studies around sustainability goals such as waste treatment, improving reactions to reduce the amount of heat created, taking wasted resources and putting them back into the process, reducing emissions, improving energy performance and reducing or recycling water or other resources used in the process.”
What it comes down to is that today’s simulators are capable of doing more than those of the past and they are able to do it dynamically and digitally, while sharing accurate and up-to-date information with everyone in the plant who might need it. “Safety issues, energy issues, control issues, reliability issues…all these issues can be solved if the engineers can communicate amongst themselves in the same language and that language is simulation,” states Chemstations’s Brown.
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1. EXCELLENCE IN ENGINEERING SIMULATION ISSUE 1 | 2020 24 27 30 Underground Powering the Xilinx Simulates Radar Mapping for Internet of Things FPGA Scalability Autonomous Vehicles Win the Intelligent Mobility Race
2. TAKE NOTE Over the last 50 years, change has been a constant at Ansys. We have built a track record of excellence, and in the process, developed the premium brand in our space. But we’re not content to rest on our past accomplishments. You may have noticed we are unveiling a new look with this issue of Ansys Advantage. The refreshed branding is being extended throughout Ansys as a whole. An updated logo and visual layout are just small parts of what makes a brand, but we hope ours inspires you as much as it inspires us to keep on engineering what’s next. Bring it On Lynn Ledwith, Vice President, Marketing, Ansys The refresh reflects our shared purpose to rise to any challenge for our customers. TURN CHALLENGES INTO OPPORTUNITIES At Ansys, we help customers like you overcome “can’t” every day. There is a way. It can be done. We will find it. To every challenge, we say: “Bring it on.” Our enthusiasm and optimism, coupled with tenacity and perseverance, means we meet every challenge with the expectation of success. I am proud of the hard work and dedication from the Ansys teams who have helped to make this change happen and set us on our journey ahead. I’d love your feedback about this issue of Advantage magazine, Ansys in general and our new look. You can email me at brand@ansys.com. At Ansys, it is our mission to empower you to design and deliver transformational products through pervasive simulation. To do that, we stay on the forefront of innovation because your needs are constantly evolving. To solve the world’s toughest challenges, we embrace change.
3. EDITORIAL The race is on among traditional vehicle manufacturers and disruptive mobility startups to be the first to bring viable autonomous, electric and shared vehicles to market. Automakers worldwide are expected to launch more than 300 new battery-electric vehicle models in the next four years.1 Commercial Level-3 autonomous vehicles are set to go on sale as early as next year.2 It is an exciting time of change and steep challenges. Advanced driver assistance systems and autonomous vehicle makers must demonstrate that their automated driving systems can operate safely in myriad potential driving scenarios and are cybersecure. Electric vehicles must overcome the grand challenges of reducing cost, range anxiety and long charging times. At the same time, the industry must deliver an enhanced, connected customer experience with seamless mobile connectivity that meets ever-more stringent cost, quality, safety and efficiency requirements. TAKING THE LEAD The mobility revolution is an existential disruption for the transportation industry. Companies that innovate fast amid uncertainties will emerge Winning the Race to Mobility Sandeep Sovani, Ph.D., Global Director – Automotive Industry, Ansys as leaders in the mobility industry. Engineering simulation is an innovation accelerator that is key to success in rapidly developing, transformational products like autonomous and electric vehicles. Ansys delivers technology, processes and people to help businesses rapidly deploy simulation at scale for these new applications. Ansys’ multiphysics, multidisciplinary simulation platform provides comprehensive solutions for vehicles that can be deployed at scale using high- performance computing and the cloud coupled with data management. Ansys’ platform is open and connects with a wide partner ecosystem to seamlessly deliver custom workflows needed by clients. Ansys’ transformational team of solution architects and domain experts delivers technology transfer services, best practices, training and support to help customers rapidly ramp up simulation deployments. This issue of Ansys Advantage showcases the achievements of several technology companies from around the world that are making outstanding contributions to the ongoing mobility revolution by using Ansys software to rapidly develop groundbreaking technologies. • Edge Case Research’s perception robustness testing software is integrated into Ansys SCADE Vision to improve the safety of autonomous vehicles. • WaveSense is using Ansys HFSS to develop a system to map the underground features of roads for more precise location verification. • With the help of Ansys HFSS simulation, radar and 5G startup Metawave is building a breakthrough radar platform. • Teratonix uses Ansys HFSS to develop an antenna and Ansys Electronics Desktop in the design of its impedance- matched rectifier. For those not involved in mobility, fear not. This issue also shows how Ansys customers are implementing simulation to solve tough problems in industries as varied as chip design, nuclear energy and more. By helping our customers develop innovative technologies, Ansys is making the world a greener, safer and more connected place for generations to come. 1. mckinsey.com/industries/ automotive-and-assembly/our- insights/the-future-of-mobility-is- at-our-doorstep 2. bmwblog.com/2018/09/01/ autonomous-driving-bmw-group- focuses-on-level-3-and-4 We are at the beginning of a great mobility revolution that is set to transform the way we move ourselves and our goods. Autonomous vehicles are set to make our commutes safer and more productive. Electrification will make vehicles greener. Air taxis will make urban air mobility a reality and shrink hourlong commutes to minutes. Reliable 5G connectivity will enable vast transportation networks of robo-taxis and drones, bringing ubiquitous mobility to all. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 1
4. Table of Contents 12 FOCUS: AUTONOMY AUTONOMOUS CARS TO RACE AT INDIANAPOLIS MOTOR SPEEDWAY The Indy Autonomous Challenge is a competition among universities to create software that enables self- driving race cars to compete in head-to-head races — one simulated and one at the real world Indianapolis Motor Speedway. 15 FOCUS: ARTIFICIAL INTELLIGENCE AUTONOMOUS SAFETY IN SIGHT Discover how Ansys SCADE Vision powered by Hologram automates the identification of perception detection defects known as edge cases to advance autonomous vehicles. 2 I ANSYS ADVANTAGE ISSUE 1 | 2020 12 36 20 20 FOCUS: ELECTROMAGNETICS TAKE SIMULATION UNDERGROUND Take a peek at how WaveSense engineers are using Ansys HFSS electromagnetic solutions to develop a system to map the underground features of roads for precise location verification in all conditions. 24 FOCUS: BEAMSTEERING A NEW KIND OF EYES ON THE ROAD See how simulation, radar and 5G startup Metawave has built a breakthrough autonomous vehicle radar platform to overcome the traditional challenges of long distances, inclement weather and more with the help of Ansys HFSS. DEPARTMENTS 1 EDITORIAL Winning the Race to Mobility 4 BEST PRACTICES Engineer Perception, Prediction and Planning into ADAS 10 SURVEY STATS When Will Self-Driving Cars Outperform Humans? 52 INNOVATION SHOWCASE Ansys Hall of Fame Winners 54 ANALYSIS Simulation in the News Focus on Intelligent Mobility
5. Realize Your Product Promise® If you’ve ever seen a rocket launch, flown on an airplane, driven a car, used a computer, touched a mobile device, crossed a bridge, or put on wearable technology, chances are you’ve used a product where Ansys software played a critical role in its creation. Ansys is the global leader in engineering simulation. We help the world’s most innovative companies deliver radically better products to their customers. By offering the best and broadest portfolio of engineering simulation software, we help them solve the most complex design challenges and engineer products limited only by imagination. Neither ANSYS, Inc. nor Dan Hart Design guarantees or warrants accuracy or completeness of the material contained in this publication. ACT, Additive Print, Additive Science, Additive Suite, AIM, Aqwa, Autodyn, BladeModeler, CFD, CFD Enterprise, CFD Flo, CFD Premium, CFX, Chemkin-Pro, Cloud Gateway, Customization Suite, DesignerRF, DesignerSI, DesignModeler, DesignSpace, DesignXplorer, Discovery Live, EKM, Electronics Desktop, Elastic Licensing, Enterprise Cloud, Engineering Knowledge Manager, EnSight, Explicit STR, Fatigue, FENSAP-ICE, FENSAP-ICE-TURBO, Fluent, Forte, Full-Wave SPICE, HFSS, High Performance Computing, HPC, HPC Parametric Pack, Icepak, Maxwell, Mechanical, Mechanical Enterprise, Mechanical Premium, Mechanical Pro, Meshing, Multiphysics, Nexxim, Optimetrics, OptiSLang, ParICs, PathFinder, Path FX, Pervasive Engineering Simulation, PExprt, Polyflow, PowerArtist, Q3D Extractor, RedHawk, RedHawk-SC, RedHawk-CTA, Rigid Body Dynamics, RMxprt, SCADE Architect, SCADE Display, SCADE LifeCycle, SCADE Suite, SCADE Test, SeaHawk, SeaScape, SIwave, Simplorer, Solver on Demand, SpaceClaim, SpaceClaim Direct Modeler, Structural, TGrid, Totem, TPA, TurboGrid, Twin Builder, Workbench, Vista TF, Realize Your Product Promise, Sentinel, Simulation-Driven Product Development ICEM CFD is a trademark licensed by ANSYS, Inc. LS-DYNA is a registered trademark of Livermore Software Technology Corporation. nCode DesignLife is a trademark of HBM nCode. All other brand, product, service, and feature names or trademarks are the property of their respective owners. W elcome to Ansys Advantage! We hope you enjoy this issue containing articles by Ansys customers, staff and partners. The Editorial Staff, Ansys Advantage ansys-advantage@ansys.com Executive & Managing Editor Jamie J. Gooch Editorial Advisers Lynn Ledwith, Mary Beth Clay, Rachel Wilkin, Sandeep Sovani Editorial Contributor Ansys Customer Excellence North America Editors Senior Editor Erik Ferguson, Kara Gremillion, Tim Palucka Beth Harlen, Scott Nyberg Mark Ravenstahl, Walter Scott, Terri Sota Art Director Designer Ron Santillo Dan Hart Design ANSYS, Inc., Southpointe, 2600 Ansys Drive, Canonsburg, PA 15317 Subscribe at ansys.com/subscribe © 2020 ANSYS, INC. ANSYS ADVANTAGE I 3 27 ANTENNA DESIGN OUT OF THIN AIR Using Ansys HFSS and Ansys Electronics Desktop, Teratonix designed a radio frequency harvester that can collect ambient RF signals and convert them to electricity. 30 CHIP DESIGN PHYSICAL VERIFICATION COMPLEXITY Xilinx engineers wanted to leverage big-data analytics to simplify their verification flow on leading-edge chips, and they looked to Ansys for answers. 36 THERMAL EXCHANGE RAPIDLY MEET HEAT EXCHANGER REGULATIONS See how Grantec Engineering used Ansys Mechanical software to perform finite element analysis-based strength assessments for a range of condenser and evaporator heat exchangers to gain rapid approval from regulatory authorities. 40 THERMAL EXCHANGE SAVINGS BOIL OVER WITH SIMULATION Ferroli, a manufacturer of boilers and renewable energy products, used Ansys Fluent to respond to market requirements for a high- efficiency heat exchanger. Learn how the results enabled them to create an optimized design for a robust, high- performance condensing heat generator. 44 THERMAL EXCHANGE SIMULATING A SALT- COOLED REACTOR FOR SAFETY To improve upon existing technology, Kairos Power uses Ansys Fluent and Ansys Mechanical to develop a heat transport system for a low- pressure, high-temperature nuclear power reactor. 48 CLOUD COMPUTING FAST FLUID SIMULATION ON THE CLOUD To perform analyses rapidly and affordably, Toyo Advanced Technologies engineers used Ansys Fluent via a cloud service for model-based CAE, instead of installing a high- performance computing system in their own facility.
6. BEST PRACTICES Engineer Perception, Prediction and Planning into Hardware, software and humans need to be in the loop to advance safe autonomous driving technologies. ADAS 4 I ANSYS ADVANTAGE ISSUE 1 | 2020 By Gilles Gallee, Autonomous Vehicle Business Developer, Ansys, La Farlede, France Advanced driver assistance systems (ADAS) — such as forward collision warning (FCW), automatic emergency braking (AEB), lane departure warning (LDW), lane keeping assistance (LKA) and blind spot monitoring (BSM) systems — are estimated to have the potential to prevent more than a third of all passenger-vehicle crashes.1 According to a AAA Foundation for Traffic Safety report2 , such a reduction would in turn prevent 37% of injuries and 29% of deaths in crashes that involve passenger vehicles. To fulfill the potential of ADAS, as well as the even greater potential safety and convenience benefits associated with fully autonomous driving, simulation is needed to ensure that vehicles can perceive the world around them, predict what might happen next and plan accordingly.
7. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 5 T here are a lot of literal and figurative miles between the current state of ADAS and Level 5 fully autonomous vehicles. Simulation is critical to getting there. An oft-cited report from Rand Corp. makes the case that autonomous vehicles would have to be driven hundreds of millions of miles and sometimes hundreds of billions of miles to demonstrate their reliability in terms of fatalities and injuries. For example, according to Rand3 , to prove that autonomous vehicles would get into fewer serious crashes than human drivers would require a fleet of 100 autonomous cars traveling at 25 mph non-stop for 125 million miles — the equivalent of six years of driving. To provide the same evidence for fatal crashes, that same fleet would have to travel 8.8 billion miles, which would take about 400 years. Currently, most ADAS functions fall in the Level 1 or 2 range. Even achieving Level 3 autonomy, in which a vehicle can take full control when certain operating conditions are met, is a challenging technological leap. It requires a combination of physical testing and simulation that includes hardware, software and humans in the loop. Each aspect of the autonomous vehicle technology stack is critical and requires people with different skills and knowledge to be involved. Fast Tracking ADAS Autonomous Vehicle Development with Simulation webinar Ansys.com/fasttrack SOLVE THE PERCEPTION AND PLANNING PROBLEMS WITH SENSORS AND AI Sensors are the eyes and ears of ADAS. Like our own senses, weather and complicated driving conditions can confuse and overwhelm them. In the automotive industry, suppliers have been challenged to develop sensors and sensing systems that function at a higher level so that they not only perform well on sunny days in light freeway traffic, but in blizzards, on busy city streets and under a multitude of “edge cases.” Edge cases encompass those unusual scenarios that don’t happen often, but often lead to accidents — a dog chasing the car in front of you, construction workers rerouting traffic, or a flash flood making a roadway impassable are just a few of many edge cases. Ansys SCADE Vision powered by Hologram helps to identify the edge cases to pinpoint the weakness of AI. Armed with edge case information, SCADE Vision can then trigger more AI training actions and new testing scenario conditions. See page 15 for more information about Ansys SCADE Vision. Software developers are interested in generating synthetic data from simulation to more quickly train AI in various operation design domains (ODD), LEVELS OF AUTONOMY 1 DRIVER ONLY Driver handles all functions, steering, braking, lane monitoring, etc. TODAY 2 ASSISTED DRIVING Vehicle handles some functions, such as emergency braking. 3 PARTIALLY AUTOMATED Vehicle handles at least two functions, such as cruise control and lane-centering. 4 HIGHLY AUTOMATED Vehicle handles all functions, but driver is required to be able to take control. 5 FULLY AUTOMATED Vehicle handles all functions automatically. No driver needed. SAE International, the Society of Automotive Engineers, first published J3016 autonomy level guidelines in 2014. They have since been adopted by both the U.S. Department of Transportation and the United Nations.
8. BEST PRACTICES the term used to describe subsets of driving conditions with particular environmental, geographical, time-of-day, traffic and/or roadway characteristics. Defining and identifying ODDs are challenges for developers because they affect testing, compliance and real-world Level 3 autonomous driving. For a car to take over from a human driver under certain conditions, the sensors must perceive those conditions and the software must interpret those perceptions to determine whether ODD requirements have been met. Simulation helps developers explore those ODD edge cases. Original equipment manufacturers (OEMs) rely on their supplier tiers to provide sensor sets. However, OEMs are ultimately responsible for the safety of the cars they produce, so they want to be sure suppliers have fully vetted those technologies. Suppliers are using simulation at the component and packaging levels to better understand the strengths and weaknesses of various sensing technologies, such as Ansys SPEOS for lidar and cameras and Ansys HFSS for radar (see pages 20 and 24). The goals are to improve individual sensing technologies and ensure the various technologies can be used together to help create a robust sensor array that can handle whatever edge cases come up. The Ansys VRXPERIENCE Driving Simulator powered by SCANeR forms the basis of an ADAS development cycle. It provides ADAS development teams with the capability to recreate driving scenarios and enables testing against a variety of objectives and performance requirements. By replicating roads generated from high-definition maps and asset libraries, traffic situations, weather conditions, vehicle dynamics and more, ADAS development teams can validate sensor and AI modules, sensor systems and vehicle models, as well as human–machine interfaces (HMIs). SIMULATE ADAS FUNCTIONS ADAS functions are driven by software development. Custom vehicle models can be connected to Ansys VRXPERIENCE through FMI, C/C++, Ansys Twin Builder or MathWorks Simulink. Engineers can put vehicles in an environment with certain conditions — for example, on a highway arriving at a traffic jam at a certain speed — and quickly modify them for the scenarios and validation they’d like to perform. Based on that, they can simulate the scenario with different levels and types of sensors to assess sensor perception, sensor fusion and systems operations. VRXPERIENCE can speed edge case exploration and sensor simulation. Take, for example, headlamp development. There are a lot of missed detection edge cases at night, so Ansys VRXPERIENCE has specific modules to simulate the physics of light. Intelligent lighting to automate when highbeams should turn on and off or automatically adjust to minimize glare may seem like simple conveniences, but lighting is an important piece of ADAS because the car’s camera sensors react to it. Cameras that identify signs, road AUTOMATED PREVENTION ADAS Systems Crashes Injuries Deaths Forward Collision 1,994,000 884,000 4,738 Warning/Automatic Emergency Braking Lane Departure Warning/ 519,000 187,000 4,654 Lane Keeping Assist Blind Spot Warning 318,000 89,000 274 Total Potentially Preventable 2,748,000 1,128,000 9,496 by All Systems AAA Foundation research evaluated the potential that popular advanced driver assistance technologies have in helping to reduce or prevent crashes. The findings, which used U.S. data, show that if installed on all vehicles, ADAS technologies can potentially prevent more than 2.7 million crashes, 1.1 million injuries and nearly 9,500 deaths each year. 6 I ANSYS ADVANTAGE ISSUE 1 | 2020
9. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 7 lanes and oncoming vehicles are sensitive to headlamp design changes, for example. VRXPERIENCE reduces the time and cost of development by enabling a repeatable process for modified sensor inputs, such as lighting changes. Another example is an emergency braking function that is part of an ADAS. To develop it, the function is first described as a model, often in MathWorks Simulink or Ansys SCADE Suite. It is tested to meet objectives and then designed as a more detailed model. The coding of the emergency braking function can then be tested vs. scenarios with software- in-the-loop and hardware-in-the-loop. The Ansys VRXPERIENCE Driving Simulator powered by SCANeR is the basis for ADAS and the continuum all along the ADAS development cycle. With Ansys VRXPERIENCE Driving Simulator powered by SCANeR, customers have a seamless process to test the model, connect it with SCANeR and then keep the same vehicle test environment to connect software and hardware as they simulate different ODD edge cases. The streamlined workflow saves time and makes it easier for geographically dispersed teams and experts from different disciplines to collaborate. PLANNING FOR HUMANS IN THE LOOP In addition to predicting what other motorists, cyclists and pedestrians will do, ADAS also needs to account for how people will behave inside their cars. According to University of Iowa research4 , people’s behavior can change based on ADAS features. About 25% of the drivers surveyed who used blind spot monitoring or rear cross traffic alert systems reported feeling comfortable relying solely on the systems and not performing visual checks or looking over their shoulder for oncoming traffic or pedestrians. About 25% of vehicle owners using forward collision warning or lane departure warning systems also reported feeling comfortable engaging in other tasks while driving.5 Early adopters of ADAS technology proved that false positives or annoying alert sounds could cause them to ignore or disable safety features. As ADAS continues to take on a more prominent safety role, human–machine interaction becomes increasingly important. Here again, simulation can help automakers and suppliers implement ADAS by planning for how safety features will be used or misused. Ansys VRXPERIENCE Driving Simulator powered by SCANeR integrates with driver hardware simulator interfaces to create an immersive driving experience with virtual reality. The Ansys VRXPERIENCE HMI module can be used to test and validate the full cockpit design for HMIs, including virtual displays and actuators, through visual simulation, eye and finger tracking, and haptic feedback. The virtual test driver can interact directly with the virtual interfaces, from touchscreens to switches, thanks to a fine finger tracking system. As the system records the behavior of the driver and displays driving and infotainment information, it identifies and interprets the actions of the driver and triggers the adapted HMI reaction automatically.
10. BEST PRACTICES ADAS developers can easily evaluate the relevance of the displayed information, in real time, for a safer drive. Ansys VRXPERIENCE reduces the time and cost of design because the evaluation of the design is mostly performed on virtual prototypes, reducing the number of expensive physical mock-ups necessary to create the product. CREATE A DISTINCT EXPERIENCE Safety is paramount, but HMIs are also a way for OEMs to differentiate themselves in the market. Much like the sound of an engine or the feel of a car door closing, the way people and automation interact has become a means to build a brand. Ansys VRXPERIENCE allows OEMs and suppliers to evaluate different driver and passenger experiences as part of the same overall development process. Beyond ADAS, Ansys VRXPERIENCE also allows users to visualize the impact of assembly and shape deviations on the perceived quality of a product, considering manufacturing variations. Engineers can see and present the influence on perceived quality based on design and manufacturing data such as materials, fasteners and tolerances. They can simulate complex deformation effects such as arching, bending and distorting to identify the root cause of problem areas. The Ansys VRXPERIENCE SOUND module provides an intuitive graphic display of sounds and a one-click magnification control feature to help create a sound signature. Users can also set up psychoacoustic tests based on a listener panel to obtain statistics about the real perception of sounds. Sound perception can be evaluated using tools based on time–frequency representations. 8 I ANSYS ADVANTAGE ISSUE 1 | 2020 Advanced driver assistance systems have the potential to prevent more than a third of all passenger-vehicle crashes. Such a reduction would prevent 37% of injuries and 29% of deaths in crashes that involve passenger vehicles. Ansys VRXPERIENCE Driving Simulator powered by SCANeR automates scenario variability creation for massive simulation.
11. Sources 1. “A Long Road to Safety,” RAND Review, July-August, 2016. 2. “Potential Reduction in Crashes, Injuries and Deaths from Large-Scale Deployment of Advanced Driver Assistance Systems” A. Benson, B. C. Teft, A.M. Svancara and W. J. Horrey. AAA Foundation for Traffic Safety, 2018. 3. “Driving to Safety. How Many Miles of Driving Would It Take to Demonstrate Autonomous Vehicle Reliability?” Nidhi Kalra and Susan M. Paddock. Rand Corp., 2016. 4. “Vehicle Owners’ Experiences with and Reactions to Advanced Driver Assistance Systems” A. McDonald, C. Carney and D. V. McGehee. University of Iowa, 2018. 5. “Understanding the Impact of Technology: Do Advanced Driver Assistance and Semi-Automated Vehicle Systems Lead to Improper Driving Behavior?” N. Dunn, T. A. Dingus and S. Soccolich. AAA Foundation for Traffic Safety, 2019. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 9 COLLABORATE TO COMBINE TECHNOLOGICAL AND CULTURAL SHIFTS As with any innovation that has the potential to disrupt the status quo, technology is only part of the story with ADAS. How that technology is used ultimately determines its success or failure in the market. All aspects of autonomous systems — the sensors that perceive the environment, the AI that interprets the sensor data and plans for how humans will interact with automation — must be considered. The Ansys VRXPERIENCE Driving Simulator powered by SCANeR brings it all together in a workflow that encourages the collaboration necessary to vet new technology and how drivers and passengers will react to that technology. The development of autonomous vehicles is one of the greatest engineering challenges of our day. It’s a long road ahead, with significant milestones along the way. To meet the challenge, startups and established players are using simulation to get from here to there safely and efficiently. TAKE NOTE Focus on Executive-Level Strategy Simulation for Digital Transformation Thought Leadership Disruptive Technologies Bridge the Engineering- Executive Gap COMING SOON The new Ansys Dimensions magazine! SUBSCRIBE ansys.com/ subscribeDimensions
12. 10 I ANSYS ADVANTAGE ISSUE 1 | 2020 When Will Self-Driving Cars Outperform Humans? COMPARING DRIVING ABILITIES Seventy-one percent of consumers believe that autonomous cars are better drivers than humans or will surpass human abilities by 2029. % 71 COMFORT WITH AUTONOMOUS VEHICLES Ninety-seven percent of Chinese respondents indicated they would be most comfortable riding in autonomous cars and aircraft during their lifetime, followed by those surveyed in India, Japan and the United States. In the United Kingdom, just 57% and 46% felt similarly. US UK Japan China India Comfortable riding in 69% 57% 80% 97% 94% autonomous cars Comfortable riding in 61% 46% 75% 97% 90% autonomous airplanes The Ansys Global Autonomous Vehicles Report uncovers varying consumer attitudes regarding autonomous vehicles (AVs). Ansys commissioned the survey to gauge global consumer perception of AVs and better understand expectations for the future of travel. The report confirms consumers have high expectations for autonomous capabilities and are comfortable with the idea of riding in autonomous vehicles in their lifetime. To view the report and learn more about the survey, visit ansys.com/av-report. SURVEY STATS
13. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 11 MILLENNIALS MATTER Younger respondents were more interested in autonomous cars than older generations. Eighty-seven percent of 18- to 24-year-olds and 88% of 25- to 34-year-olds said they expect to ride in autonomous cars during their lifetime. Only 62% of 55- to 64-year-olds and 57% of those over 65 shared this sentiment. Age group 18–24 25–34 35–44 45–54 55–64 65 and above Expect to ride in autonomous cars 87% 88% 83% 73% 62% 57% during their lifetime % 77 TIMELINE FOR GLOBAL ADOPTION AREREADY TORIDEINAN AUTONOMOUS AUTOMOBILE INTHEIR LIFETIME AREREADY TORIDEINAN AUTONOMOUS AIRCRAFTIN THEIRLIFETIME CONSUMER CONCERNS When asked to select their greatest concern for riding in an autonomous car, 59% were most concerned with technological failure. A similar number (65%) showed the same trepidation about autonomous aircraft. ARE MOST CONCERNED ABOUT AUTONOMOUS CAR TECHNOLOGICAL FAILURE ARE MOST CONCERNED ABOUT AUTONOMOUS AIRCRAFT TECHNOLOGICAL FAILURE % 59 % 65 % 70
14. 12 I ANSYS ADVANTAGE ISSUE 1 | 2020 FOCUS ON INTELLIGENT MOBILITY / AUTONOMY A nsys is the exclusive simulation sponsor of a two-year, $1 million prize competition that will culminate in a head-to-head, high-speed autonomous vehicle (AV) race on Oct. 23, 2021, around the Indianapolis Motor Speedway’s famed 2.5-mile oval, which also plays host annually to the Indianapolis 500 presented by Gainbridge, the largest single-day sporting event in the world. The Indy Autonomous Challenge, organized by the Indianapolis Motor Speedway (IMS) and Energy Systems Network (ESN), is a competition among universities to create software that enables self-driving Dallara race cars to compete in a head-to-head race on the IMS track. “There’s a fundamental connection between innovations on the racetrack and real-world improvements on the highway,” said IMS President J. Douglas Boles. “With the launch of the Indy Autonomous Challenge, IMS continues to embrace its historic role as a catalyst for the next generation of vehicle technologies in motorsports competition and wider consumer Autonomous Cars to Race at Indianapolis Motor Speedway platforms. And while drivers will always be at the heart of racing at IMS, we’re excited to be part of this groundbreaking and exciting initiative.” The purpose of the race is to promote development, commercialization and consumer knowledge of fully autonomous vehicles and advanced driver assistance systems (ADAS). The hope is that the competition will create a pool of young engineers ready to develop ADAS and autonomous vehicles and that motorsports fans will learn how these systems can make everyday roads safer. SIMULATION PLAYS A KEY ROLE IN THE RACE As the exclusive simulation sponsor for the Indy Autonomous Challenge, Ansys will be making significant contributions, not only in software but in team training and by conducting a simulation race as part of the challenge. The simulation race will feature models of the different race teams’ autonomous cars. Each team’s software will drive the cars as they compete in the simulation race before the third round of the competition. A rendering of the autonomous version of Dallara’s 210 mph IL-15 race car. Images courtesy of Dallara. By Ansys Advantage Staff
15. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 13 “Ansys realizes that the world is undergoing a great mobility revolution,” says Sandeep Sovani, Ph.D., global director – automotive industry, Ansys. “It’s a great transformation that is going to bring enormous new value and well-being to society at large. For instance, AVs will reduce the number of automobile accident deaths, plus it will free up our driving time and liberate us to use that time more productively.” Sovani says saving an hour of driving time could result in a 12.5% growth in the gross domestic product of the U.S.A. alone. Last year, Ansys announced its Ansys Autonomy tool chain for AV simulation. Two important pieces of that toolchain are being made available to students who are participating in the Indy Autonomous Challenge: Ansys VRXPERIENCE Driving Simulator powered by SCANeR and Ansys SCADE Suite software development toolkit. “Ansys has launched a major initiative on AV simulation because simulation will play a crucial role in the development of AV,” Sovani says. “Autonomous driving won’t happen without simulation to test the millions of potential driving scenarios.” FIVE ROUNDS TO WIN The Challenge consists of five rounds. Teams submit a short white paper during the first round, and in the second round, teams must demonstrate vehicular automation by sharing a short video of an existing vehicle or by participating in Purdue University’s self-driving go-kart competition at IMS. The third round of the challenge will be a simulation race, which will be held in February 2021 after a series of Hackathons hosted by ESN and Ansys. The simulation race will be a close replica of the actual race. It will be conducted inside Ansys VRXPERIENCE Driving Simulator powered by SCANeR. Inside of that giant simulation will be a replica of the Indy Motor Speedway with each team’s race car piloted by the autonomous driving software the students created. Each team will have free access to: • Ansys VRXPERIENCE Driving Simulator powered by SCANeR • Ansys SCADE Suite software development toolkit • Simulation training • 3D models of IMS and race vehicles These tools offer the teams the technology they need to develop their autonomous systems. Each race car will have models of the entire sensor suites and connected vehicle dynamics in order to simulate the Indy Lights race car. The race will start when the simulation starts running, then all the teams are hands off while they watch their cars simultaneously race around the track. The winners of the virtual race will win the Ansys Indy Autonomous Challenge Simulation Championship cash prizes totaling $150,000. In the fourth round, teams will test their autonomous car software on the IMS racetrack. These tests will ensure that the car meets A GLOBAL EVENT Teams from all over the world have registered for the Indy Autonomous Challenge, including: • Ariel University, Israel • Indian Institute of Technology, India • Korean Advanced Institute of Science & Technology, South Korea • Purdue University, U.S.A. • Massachusetts Institute of Technology, U.S.A. • Texas A&M, U.S.A. • University of California, Berkeley, U.S.A. • Technical University of Munich, Germany • Warsaw University of Technology, Poland
16. FOCUS / AUTONOMY safety and competition standards. Each team will use a standard Dallara IL-15 chassis, which is currently used in the Indy Lights series, and powertrain to ensure the focus of the testing is on the software. Through Clemson University’s long-running vehicle prototype program Deep Orange, Clemson graduate automotive engineering students will collaborate with ESN and Dallara to engineer an autonomous-capable version of Dallara’s 210 mph IL-15 chassis that can accommodate the competing university teams’ driverless algorithms. Participating teams will be directly involved in the converted vehicle’s design and specifications through monthly virtual design reviews and other feedback channels throughout the competition. Finally, teams will race head-to-head on the Indianapolis Motor Speedway for $1 million, $250,000 and $50,000 cash prizes in the fifth round. Win or lose, the teams will foster the next generation of engineers who are ready to lead the world into a more autonomous reality. “What we’re asking universities to do is hard,” says Matt Peak, managing director at Energy Systems Network. “Our hope is that by bringing together and offering up to participating teams the world’s premier automotive proving ground, performance chassis manufacturer, engineering research center and simulation platform, as well as nearly $1.5 million in total cash awards, universities will see the Challenge as not just throwing down the gauntlet but also extending the helping hand to accelerate innovation and the arrival of new technologies.” For more information, visit indyautonomouschallenge.com. START YOUR ENGINES • Feb. 28, 2020: Round 1 close • April 21–22, 2020: EV Grand Prix Autonomous (Optional Round 2 Qualifier) • May 20, 2020: Round 2 close • May 21, 2020: Hackathon #1, Fundamentals of Racing workshop • May 22, 2020: Team Perk — Miller Lite Carb Day • May 23, 2020: Team Perk — Legends Day presented by Firestone • May 24, 2020: Team Perk — Indianapolis 500 presented by Gainbridge • July 11, 2020: Hackathon #2 • Oct. 17, 2020: Hackathon #3 • Feb. 20, 2021: Simulation Race, sponsored by Ansys • May 28–30, 2021: Official Vehicle Distribution • May 30, 2021: Team Perk — Indianapolis 500 presented by Gainbridge • June 5–6, 2021: Track Practice Days • Sept. 4–6, 2021: Track Practice Days • Oct. 19–20, 2021: Track Practice Days • Oct. 21–22, 2021: Final Race Qualification • Oct. 23, 2021: Final Race 14 I ANSYS ADVANTAGE ISSUE 1 | 2020
17. FOCUS ON INTELLIGENT MOBILITY / ARTIFICIAL INTELLIGENCE Safety in Sight Autonomous For a deployed autonomous vehicle (AV), there can be no surprises. Along the road or in the air, the vehicle’s perception system must “make sense” of each object it “sees.” For this to happen, its software models must be properly trained. Without this training, it will fail to detect or correctly classify objects it hasn’t seen before. As an example, consider the case of a person in a costume crossing the street: A human driver, although surprised, will immediately recognize the person in costume and respond accordingly. In contrast, a perception system may fail to make this critical leap in logic or, worse, fail to detect an object at all. To ensure safe operation, developers must not only train the vehicle’s AI-based perception algorithm, but also ensure that it has learned what it needs to know. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 15 By Ansys Advantage Staff
18. 16 I ANSYS ADVANTAGE ISSUE 1 | 2020 FOCUS / AI Ansys SCADE Vision powered by Hologram speeds up the discovery of weaknesses in AV embedded perception software that may be tied to edge cases. Solving these and other safety-related AV issues is the mission of Pittsburgh-based Edge Case Research (Edge Case). Founded in 2014, Edge Case began as a collaboration between Carnegie Mellon University (CMU) researchers Michael Wagner (CEO) and Professor Phil Koopman, Ph.D. (CTO), who shared a commitment to building safety into autonomous systems from the ground up. The company’s software products and services tackle the most complex machine learning challenges and embedded software problems. Edge Case works across the globe with original equipment manufacturers (OEMs), advanced driver assistance systems (ADAS) suppliers, Level 4+ autonomy developers, vehicle operators and insurers to help its customers go to market with products that are safe, secure and reliable. “As we watched autonomy emerge from university research labs onto the roads, skies and hospitals, we realized we had an amazing opportunity to make autonomy safer and worthy of our trust,” says Wagner. The company’s name aptly describes what it does. In the world of safety for autonomy and robotics, edge cases represent rare, potentially hazardous scenarios — and are the focus of Edge Case’s product development. Switchboard, the company’s initial offering, uses stress testing to automate and accelerate the finding and fixing of software defects. From Edge Case’s inception, Switchboard has been an important component of the U.S. Army’s efforts to improve soldier safety and advance tactical capabilities with autonomy platforms. Partnerships with other defense and autonomous technology companies, including Lockheed Martin, soon followed. Switchboard also served as an important conversation starter with Pittsburgh neighbor and soon-to-be partner, Ansys. Edge Case’s second innovation, Hologram, was conceived in 2018 as a robustness testing engine that detects weaknesses in perception systems. And, as the result of a 2019 OEM agreement, it also powers Ansys SCADE Vision, part of the Ansys product family for embedded software. BEHIND THE AV SCENES IN THE NEURAL NETWORK In an autonomous vehicle, perception is one of a number of interdependent systems — e.g., motion prediction, planning and control — that govern operation. With the exception of perception, developers had well-understood, accepted methods for ensuring the safety of these systems. Perception developers typically use a drive-find-fix approach. Detecting defects requires looking at the output from a perception algorithm and comparing it against annotated “ground truth” object data. If, for example, the algorithm fails to detect a pedestrian, the process would be to retrain, retest and (likely) repeat. This approach is adequate for development but insufficient for ensuring safety. First, ground truth data must be manually labeled — each object in each video frame. This is not only
19. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 17 enormously time-consuming, but also outrageously expensive. Second, if a discrepancy is detected, the analysis wouldn’t identify the source of the weakness or why it happened. SCADE Vision not only addresses these issues, but also provides a tool for validating perception inside the larger autonomous system. The core of a perception system is a set of sensors and a convolutional neural network (CNN). The network connects hundreds or even thousands of software-based neurons (single processing units) arranged in a series of connected layers. When processing camera sensor data from test vehicles, neurons in the input layer capture and assign numerical values to every pixel in an image. In this way, the CNN “sees” an image as an array of pixel values. These values pass through filter-like layers that process each pixel through a series of algebraic and matrix operations. Each layer’s decision function effectively screens for different object features — straight or curved edges, colors, textures, intensity patterns, etc. Based on the classification “decisions” made as the pixels are processed, the output layer identifies the presence of an object. It generates object lists and draws corresponding bounding boxes around pedestrians, stop signs, cars, etc. Unlike a traditional software system, a neural network acts like a black box: It is difficult to impossible to know how it makes each decision. Edge Case created Hologram for precisely this reason. Managing the safety of perception systems is vastly different from validating rule-based planning or control systems. “There really aren’t any rules for detecting a pedestrian,” says Wagner, “and this is why handling the safety of perception systems is so different from validating rule-based planning or control systems. A neural network is built according to the training data it was fed.” “Watching this disruptive, autonomous technology emerge from the labs around us, we recognized an amazing opportunity to make autonomy safer and worthy of the public’s trust. ”— Dr. Phil Koopman, Edge Case Research The tow truck in this four-image series is initially identified correctly, but additional analysis shows it could be a missed detection.
20. A case in point: An object detection system, which was repeatedly and correctly identifying pedestrians along a city street, failed to detect a worker at a construction site. Why? Because it had no reference in the training data for the worker’s neon yellow vest. Ironically, the high-visibility vest caused the worker to disappear. ANALYZING RAW, UNLABELED DATA Over millions of road miles, test vehicles collect petabytes, or even exabytes, of data — of which only a fraction will be used for object detection training. This is because the data must first be labeled. Annotation experts have to draw boxes around and label every object in every frame of video, so the CNN can learn “this is a pedestrian, this is a car.” Approximately 800 human hours are required to label just one hour of driving footage — a resource-draining, error-prone proposition. SCADE Vision powered by Hologram doesn’t require labeled data to identify fragilities in a neural network. Once a perception algorithm has been “satisfactorily” trained, SCADE Vision’s automated analysis begins by running raw video footage through the neural network (referred to as the system under test, or SUT). Then it modifies the video scene, ever so slightly. The image may be blurred or sharpened, but not to the degree that a human wouldn’t recognize the altered objects. Once again, SCADE Vision runs the modified frames through the SUT and compares the modified and baseline results frame by frame. Edge Case Research’s product manager, Eben Myers, says the heart of SCADE Vision’s automated analysis resides in the comparison of the two sets of object detections. This is where the software engine detects edge cases and reduces petabytes of unlabeled test data to a significantly smaller subset of video frames meriting further investigation. While minor disturbances between the detections are expected, larger disturbances (weak detections) are predictive of potential errors in the SUT (false negatives). Weak object detections signal that the software brain is straining to make a positive identification — and making a best-guess decision. False negatives, on the other hand, indicate a missed detection, an actual failure. SCADE Vision outputs these results in two corresponding displays. A chart of the trip segment (sequential frames of video data) displays the baseline detections as gray bars, weak detections as orange and false negatives as red. And, within each frame, similarly colored (plus green for baseline detections) bounding boxes surround objects detected or missed by the SUT. Analysts can learn significantly more from SCADE Vision than from real-time analyses, as it intelligently reveals object detections in the past and in the future. For instance, a bounding box that FOCUS / AI Ansys SCADE Vision powered by Hologram looks back in time to identify edge cases that real-time monitoring alone does not detect, providing insight into the “black box” of neural networks. 18 I ANSYS ADVANTAGE ISSUE 1 | 2020
21. flickers orange in a few frames before turning (and remaining) green alerts the analyst that the SUT is confused for some reason when the object enters the scene. Without this look back, the analyst would have had no way of knowing that the green-boxed object was detected inconsistently. SCADE Vision also finds systemic errors (versus one-offs). These present, for example, as a stop sign that shows up in several scenes, becomes a weak detection and then disappears before reappearing and repeating the pattern. This detection error could be caused by one or more triggering conditions — environmental, root-cause factors, such as glare, low contrast, noisy background (leaves on a tree), etc. SCADE Vision provides analysis tools for identifying these triggering conditions, which when combined with a weakness in the SUT, create the type of unsafe behavior the software can flag. With these tools, analysts can add descriptive tags to the object data that characterize suspected triggering conditions and help reveal detection defect patterns. Analysts can use the output of the tagging process to perform quantitative analyses spelled out by the Safety of the Intended Functionality (SOTIF) or do additional testing on “objects of interest” in the unlabeled data. By “pointing to” these objects, SCADE Vision allows analysts to do scenario testing to see, for example, if stop signs in front of leafy trees are consistently detected. This process provides greater insight into a suspected system weakness and facilitates the retraining of the algorithm. SCALING UP AV DEVELOPMENT SCADE Vision powered by Hologram from Edge Case Research offers scalability to customers developing autonomous technology and integration with other Ansys software. It can be paired with Ansys medini analyze to discover and track identified triggering conditions. And, when used in conjunction with Ansys VRXPERIENCE and Ansys optiSLang, it can automate robustness testing of the SUT over a very large number of scenario variants. SCADE Vision will also be used in conjunction with Ansys Cloud and high-performance computing (HPC) to speed the detection of edge cases at scale. Working in partnership on perception, Edge Case and Ansys are continuing to accelerate the timeline for the safe, widespread deployment of fully autonomous vehicles. SCADE Vision’s edge case detection capability is advancing the development of perception algorithms, while delivering a 30-times speedup in detection discovery (versus manual data analysis). What’s more, SCADE Vision can be scaled to industries beyond automotive — to mining, aerospace and defense, industrial robotics, or any application that relies on AI-based vision and perception software. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 19 DATA LABELING BY THE NUMBERS >24 TB data/day are generated from a 5-camera AV setup 800 human hours yield one hour of labeled data 100,000 images + one week of AI training are needed for software to learn a single traffic situation 1 M frames labeled/month are required for full-scale AV development
22. FOCUS ON INTELLIGENT MOBILITY / ELECTROMAGNETICS Take Simulation Underground While it would not seem to matter what is under the road an autonomous car is driving on, WaveSense engineers are using Ansys HFSS electromagnetic solutions to develop a system to map the underground features of roads for precise location verification in all conditions. Ground penetrating radar (GPR) uses radar reflections of underground features to generate baseline maps and then matches current GPR reflections to those maps to estimate a vehicle’s location. 20 I ANSYS ADVANTAGE ISSUE 1 | 2020 Byron Stanley, CTO, WaveSense, Inc., Somerville, U.S.A. and Ansys Advantage Staff
23. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 21 I n the race to create the technologies that will make autonomous driving a reality, most engineers have focused on getting sensors to detect, interpret and react to objects from the road up. To solve one of the toughest challenges — keeping the vehicle in its driving lane when the painted lane markers are in poor condition or are obscured by snow, fog or rain — engineers at WaveSense are pointing their radar devices straight down. The radar positioning system is also being actively used in parking garages, on overpasses and in parking lots. The idea is to use ground penetrating radar (GPR) scanning at approximately 100 times per second and reaching 10 feet underground to detect the unique radar signature of subsurface objects like different types of soil, rocks, pipes, rebar, tree roots, etc. The resulting radar “fingerprints” are collected to create a radar map of a particular stretch of road. With this radar map stored in an onboard computer, an autonomous vehicle equipped with GPR technology can compare real-time radar signals to the map to pinpoint its position within a tolerance of 1 inch — plenty of resolution to determine whether it is drifting out of its lane. The concept was developed by researchers at MIT’s Lincoln Laboratory around 2009. GPR was first deployed on automated 9-ton military vehicles in Afghanistan in 2013, where roads are often not clearly defined, and where drifting off the standard path might prove fatal. In 2017, MIT researchers created the spinoff company WaveSense, Inc., to design GPR units suitable for passenger vehicles and trucks for the consumer market. The WaveSense team is using Ansys HFSS to optimize radar performance while reducing costs and getting the product to market faster. The company gained access to HFSS as a member of the Ansys Startup Program. THE LOGISTICS OF MAPPING THE ROADS OF THE WORLD Though it might seem challenging to generate underground data maps for enough of the world’s roads for general use, WaveSense offers a solid approach. First, they are starting by mapping the highest value areas — large ride-hailing markets, major parking structures and lots, and the biggest freight routes. Maps of these areas produce value from the start without offering comprehensive coverage of every street or highway in the world. Once the highest value areas are mapped, they will then spread out to the smaller traffic arteries. And, because the subsurface structure is generally stable, much of the map will not need updating for years or decades. WaveSense does not plan to do all the mapping themselves. Besides its own fleet of vehicles, the company will work with partners who already have large fleets of trucks and cars on the road. In a nod to the gig economy, WaveSense also is in discussions to team up with ride-hailing services and eventually mass-produced consumer vehicles equipped with map data update systems. There are a lot of ways to fill out the map, and WaveSense plans to take advantage of all of them. As a vehicle is driving, it localizes by scanning the subsurface and instantly matching the scans to a prior map. WaveSense’s product sends electromagnetic waves into the ground.
24. ENGINEERING AND EDUCATION CHALLENGES As a proof-of-principle device, the first-generation GPR units for military purposes were as wide as the vehicle itself. WaveSense is now engineering the production design — with a bill of materials less than $100 — to fit into a 1-by-2-foot-by-1-inch footprint for installation underneath commercial automobiles and trucks. Because automakers are generally concerned about weight and space, WaveSense must miniaturize and optimize the radar antenna and associated electronics without sacrificing resolution or accuracy. HFSS enables them to virtually prototype various configurations of geometry parametrically and use optimization routines to help find ideal geometry that delivers acceptable performance. Understanding radar gain patterns in various environments is another challenge. HFSS is helping the engineers understand how radar patterns are affected by the nearby mass of metal — the car or truck body — and the nature of the roadway materials and underground features being detected. SIMULATION BELOW THE SURFACE The WaveSense GPR system emits signals in the UHF to VHF frequency range. At these wavelengths, a great deal of character is visible from radar reflecting from underground features. Any changes in the electromagnetic properties of the road produce a unique fingerprint that is essential for creating the radar maps that make this technology viable. Though it seems like the onboard radar map would require significant data storage space, it only takes up a small fraction of the data space required by other systems in an automated vehicle. Using HFSS, the engineers simulate various radar antenna sizes and configurations, along 22 I ANSYS ADVANTAGE ISSUE 1 | 2020 The company measures and records reflections from underground pipes, roots, rocks and soil, and constantly updates WaveSense’s database of maps. The radar positioning system is being actively used in parking garages, on overpasses and in parking lots. FOCUS / ELECTROMAGNETICS
25. with the shape of the radar transmission energy and how it disperses into the environment. This is used to determine performance in a range of different physical environments and ground conditions. To date, they have run thousands of HFSS simulations using automated meshing with subwavelength features, including parameter sweeps, ground and vehicle effects studies, and infrastructure and material studies. Depending on the complexity, simulations take from hours to days on a 32-core server. Ansys engineering simulation technology has helped WaveSense develop a better understanding of optimal design parameters, materials and overall performance. It saves significant time and effort to simulate before building each revision of a design. Using simulation, WaveSense engineers are able to reach their design points in a timely manner and at a more reasonable cost than by building and testing physical prototypes. USING GPR IN SUNNY WEATHER GPR will always provide significant value in bad weather, when lane markers are not visible to the cameras mounted on autonomous vehicles. But even in fair weather, the fact is that an above- ground visual camera, lidar or other sensor will eventually fail, so having an independent GPR unit is a good idea. Fusing GPR with more standard autonomous sensors leads to substantially lower overall failure rates for autonomous systems. In any case — rain, snow, fog or shine — WaveSense continues to use Ansys HFSS to optimize ground penetrating radar technology to create maps that most of us had never thought of — maps of the underside of the roads we drive on. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 23 Using simulation, WaveSense engineers are able to reach their design points in a timely manner and at a more reasonable cost. WaveSense is mapping the highest value areas — large ride-hailing markets, major parking structures and lots, and the biggest freight routes — first. Autonomous Vehicle Radar: Improving Radar Performance with Simulation ansys.com/about-ansys/radar
26. FOCUS ON INTELLIGENT MOBILITY / BEAMSTEERING Eyes on the Road Matt Harrison, Director of AI, Metawave Palo Alto, U.S.A. I n a perfect driving scenario, streets would be free of pedestrians, bicyclists, children playing, animals running free, trash, slick spots, traffic cones and other potential hazards, including careless or distracted motorists. Unfortunately, the real roadway is much more complicated, and today, automakers are building highly automated features that still require a driver-in-the-loop. How can the car of tomorrow meet today’s safety requirements, as well as expectations for a smooth riding experience? Automakers are determining how to provide highly automated 24 I ANSYS ADVANTAGE ISSUE 1 | 2020 Metawave says SPEKTRA combines beamforming and beamsteering to reach far distances and scan the field of view in milliseconds. One roadblock to highly automated driving is the need to develop a sensor technology that can sufficiently detect and classify objects — especially ones that are close together — at long distances, during inclement weather, around curves and corners, and in other challenging circumstances. With the help of Ansys HFSS simulation, radar and 5G startup Metawave has built a breakthrough radar platform that overcomes these issues to help fast-track autonomous driving. A New Kind of Metawave says SPEKTRA can detect and classify roadway objects up to about 330 meters away, even in conditions that limit human visibility, such as darkness or heavy fog.
27. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 25 By simulating SPEKTRA’s phased array antenna and printed circuit board–type feed network, Metawave predicted the behavior of the beam at all angles and pushed the boundaries of radar specifications. features now, while drivers are still at the wheel, as innovative companies provide the sensors needed to ensure that we are prepared for a future with autonomous vehicles on our freeways, city streets and neighborhood roads. Cameras, lidar, ultrasonic sensors and radar — along with AI — are all being innovated to create a new world of transportation. Sensor technology for self-driving cars is big business, with the market for lidar alone reaching $1 billion in 2019 and the automotive radar market predicted to reach $6.61 billion by 2021. ENABLING HIGHLY AUTOMATED DRIVING As Metawave set out to build an analog beamforming radar to address the inherent challenges of today’s radar technologies, the company took advantage of Ansys HFSS simulation software — part of the Ansys electromagnetic suite. As a graduate of the Ansys Startup Program, Metawave used the software to help develop its high-performance SPEKTRA radar. SPEKTRA combines analog beamforming and beamsteering with advanced digital signal processing to illuminate the driving field of view (FoV) and detect all the objects on the roadway in high resolution. Beamforming uses a pencil- like beam with high gain for reaching far distances (up to 330 meters), along with lower side lobes to reduce the probability of false target detection. Beamsteering is used to scan the FoV in milliseconds. Combined, beamforming and beamsteering allow a high- frequency radio signal beam to be shaped and pointed in a specific direction, focusing the radar signal into a narrow beam scanned across the scene. As a result, the SPEKTRA radar enables long-range detection and greater resolution. Integrated with Metawave’s AWARE artificial intelligence (AI) platform, SPEKTRA quickly classifies objects, even those close to each other. SPEKTRA radar can detect and classify roadway objects up to about 330 meters and pedestrians up to about 200 meters. It can do this just as easily in the dark of night, dense fog, sand storms or heavy rain as it does under clear conditions. Although Metawave designed SPEKTRA to tackle the difficult, long-range applications associated with highly automated driving, including features like highway pilot, traffic jam pilot and auto emergency braking, it is flexible enough to fit any sensor suite and can also be adapted to operate at shorter ranges. PUSHING THE BOUNDARIES Metawave engineers used Ansys HFSS at the start of the development process and then again to integrate components such as the radome and enclosure. By simulating SPEKTRA’s phased array antenna and printed circuit board (PCB)-type feed network to TODAY’S SENSING The current breed of sensors can fall short. Cameras have very high resolution, but they can only see out about 50 meters. Lidar can see faraway objects, but most of these platforms are expensive and big, and they can’t see in the dark or inclement weather. Today’s digital beamforming radar can see in the dark, but it has trouble distinguishing between objects. The truth is, all of these sensors are important; they exist for different reasons, and they provide different information so that the vehicle can operate smoothly and safely. But what is the missing sensor today? Metawave thinks it’s long- range analog radar. Low Side Lobes Narrow Beam Steering High Gain
28. 26 I ANSYS ADVANTAGE ISSUE 1 | 2020 FOCUS / BEAMSTEERING carry information to the antenna, Metawave predicted the behavior of the beam at all angles and pushed the boundaries of radar specifications, including: • Narrow beam for high resolution, which allows SPEKTRA to detect adjacent targets at long range • Low side lobes, to reduce the probability of false detections • High gain, for target detection at greater distances • Instantaneous illumination of the field of view to track the direction of all surrounding targets By using the adaptive meshing and 3D component features in Ansys HFSS, Metawave avoided the risk of under- or over-meshing, which can lead to a loss of accuracy. Ansys’ adaptive meshing also helped preserve subcomponents’ parameters within the larger model. Because Ansys HFSS includes multiple solvers within the same user interface and has a streamlined simulation model setup process, engineers could quickly begin the design process, which contributed to a shorter development cycle and lower costs. DESIGN FOR MANUFACTURABILITY Whether a product is as simple as a wooden dowel or as complex as AI-integrated radar, how it will be manufactured is an important consideration throughout the product design and development process. Ansys HFSS enabled Metawave engineers to quickly weigh the advantages and disadvantages of multiple designs, envision the final product, and verify their hypotheses about performance and manufacturability. Specifically, Metawave engineers wanted to be certain that the prototype design could withstand the variations required by PCB manufacturing tolerances and still deliver optimum performance. Adding the Ansys Optimetrics toolbox to Ansys HFSS provided statistical capabilities that enabled them to gauge the feasibility, flexibility and robustness of the proposed prototype. THE ROAD TO AUTONOMY Metawave began delivering its first-phase proof-of-concept product to leading automakers and Tier 1 transportation providers in 2019. Its advanced beamsteering capabilities are designed to help the industry move from driver-assisted automobiles to fully autonomous vehicles, and to do it safely, regardless of what else is on the road. Integrated with Metawave’s AWARE artificial intelligence platform, SPEKTRA classifies objects, even those close to each other, at long range with high angular resolutions.
29. ANTENNA DESIGN / IOT S ensors are the eyes and ears of our increasingly digitalized world. By perceiving, recording and processing data, and reporting on what is happening around us, wireless sensors help connected devices make smart decisions about everything from patient care to process controls to turning on the porch lights. Without sensors, the IoT would be at a standstill. Instead, analysts predict there will be 42 billion connected devices by 20251 when the sensor market will be valued at more than $34 billion.2 But that progress comes at a cost. It takes an enormous amount of energy to keep those devices running and process all that data, and that can take a toll on the environment, not to mention how costly conventional power sources such as electricity and batteries can be. Running even low-power sensors can be a drain on the electrical grid and increase CO2 emissions. Battery-powered devices avoid those problems but create others: Batteries are expensive to install, short-lived and difficult, even hazardous, to recycle. Some sensors are most Out of Thin Air Providing the power to keep billions of Internet of Things (IoT) sensors going is a daunting task that can stress the electric grid, require huge ongoing maintenance costs and create a battery-recycling nightmare. Using Ansys HFSS and Ansys Electronics Desktop, Teratonix designed a radio frequency harvester that can collect ambient RF signals and convert them to electricity. By Yi Luo, Founder, Teratonix, Pittsburgh, U.S.A. useful when they’re collecting data in harsh or dangerous environments, but trying to change a battery there can be problematic at best, if Prototype of an industrial IoT sensor node. Multiple sensors, a microprocessor and a wireless data transmitter/receiver are powered by the Teratonix ambient RF harvester, composed of an antenna, RF-to-DC converter integrated circuit, and DC regulation and storage circuit. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 27
30. not downright treacherous. Estimates suggest there will be 500 billion sensors operating around the globe as early as 2035, and it’s nearly impossible to imagine replacing the billions of batteries that will die every year. So the question is: How will we power all of those sensors, easily, affordably and without contributing to climate change? After all, you can’t pull energy out of thin air. Or can you? Teratonix does. The company’s patented radio frequency (RF) energy harvester collects the ambient RF signals that swirl about and converts them to electricity. The Teratonix harvester produces a clean source of electricity that will enable the deployment of billions of battery-less, maintenance-free, wireless IoT sensors for low-power, long-range and short-range applications. SIMULATING POSSIBILITIES The RF-to-DC process begins when an antenna captures the radio waves that circle all around us. These radio waves create a changing potential difference across the length of the antenna — anywhere from 2 to 10 inches — that the antenna’s charge carriers attempt to equalize. The harvester’s RF-to-DC integrated rectifier circuit then captures the energy produced by the movement of the charge carriers, which is in turn temporarily stored by a capacitor that amplifies the DC output and connects it to the load. Teratonix used Ansys HFSS simulation software to develop the harvester’s high-gain, 100 MHz–6 GHz broadband antenna and Ansys Electronics Desktop to facilitate design of its 28 I ANSYS ADVANTAGE ISSUE 1 | 2020 ANTENNA DESIGN / IOT impedance-matched rectifier. For Teratonix, a member of the Ansys Startup Program, there was no “going back to the drawing board” paper- and-pen option for designing its RF harvester: Without being able to model such properties as gain, directionality and electrical impedance, there would have been no product. BREAKTHROUGH TECHNOLOGY The idea of converting “free” cellphone, TV, radio and even Bluetooth signals to DC is nothing new. The industry had been considering it for years but was limited by the fact that the available diode technology could only capture RF signals of a single frequency and yielded very low conversion efficiency. The development of a high-responsivity metal-semiconductor-metal (MSM) diode by Carnegie Mellon University scientists changed that, unleashing the potential to collect broadband signals from GainTotal Setup1: LastAdaptive Freq=‘0.7GHz’ Phi=‘0deg’ 60 90 120 150 -180 -150 -120 -90 -60 -30 0 30 12.00 9.00 6.00 3.00 GainTotal Setup1: LastAdaptive Freq=‘0.7GHz’ Phi=‘90deg’ GainTotal Setup1: LastAdaptive Freq=‘0.915GHz’ Phi=‘0deg’ GainTotal Setup1: LastAdaptive Freq=‘0.915GHz’ Phi=‘90deg’ GainTotal Setup1: LastAdaptive Freq=‘2.45GHz’ Phi=‘0deg’ GainTotal Setup1: LastAdaptive Freq=‘2.45GHz’ Phi=‘90deg’ GainTotal Setup1: LastAdaptive Freq=‘5.2GHz’ Phi=‘0deg’ GainTotal Setup1: LastAdaptive Freq=‘5.2GHz’ Phi=‘90deg’ Simulated broadband antenna gain as a function of incidental angle, generated with Ansys HFSS
31. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 29 the full RF spectrum — and to do it up to 1,000 times faster than a single frequency diode could. This brought the development of RF harvesting technology within reach. Still, commercialization depended on creating a multiband antenna with high gain that could receive both horizontally and vertically polarized waves. Teratonix achieved this breakthrough goal with Ansys HFSS, which provides 3D electromagnetic design and simulation capabilities. CRITICAL CONFIGURATIONS Using Ansys HFSS, Teratonix modified standard bow tie and log spiral antennas, and then determined which iteration would provide the desired broadband performance quality. By modeling various antenna characteristics, Teratonix engineers could quantify how directionality and broadband angle sensitivity affected gain and interference. In addition, the frequency domain solvers within Ansys HFSS enabled engineers to interpret how well the antenna can couple with the harvester’s circuit throughout the target frequency range. Solve times ranged from as little as 15 minutes for simpler designs to as long as two hours for more complex antennas. Moving forward, Teratonix intends to use Ansys software to optimize signal connectivity and signal and power integrity. Antennas are just part of the RF-to-DC equation, of course. Once the signals are captured, an effective rectifier must efficiently convert them. To accelerate the design of their rectifier’s integrated circuit (IC) — which incorporates a proprietary ultra-high-speed diode — Teratonix used Ansys Electronics Desktop. The platform produced detailed information about circuit performance as a function of RF frequency and input power, providing a measure of DC output and increasing confidence in the IC’s ability to change RF signals to electricity as quickly as possible. Ansys Electronics Desktop also helped engineers evaluate different IC materials, critical dimensions and configurations for complete RF-to-DC conversion and affordable manufacturing. Combining the software with open-source SPICE enabled time and frequency domain simulations of circuit operation. Without simulation, engineers might not have been able to even begin designing the RF harvester. Using Ansys software provided the precise answers they needed to develop the prototype, which made its official debut at the January 2020 Consumer Electronics Show. MORE POTENTIAL ENERGY As the IoT market explodes, the impact is being felt everywhere — even in the air around us. It is filled with ambient RF signals, and as 5G and advanced Wi-Fi proliferate, the space is only going to get more crowded. Capturing these ubiquitous signals that would otherwise go to waste will help power the next generation of “smart” devices, and do it faster than ever, while also constraining costs and protecting the environment. 1. idc.com/getdoc.jsp?containerId=prUS45213219 2. mordorintelligence.com/industry-reports/ iot-sensor-market Sample 3D bow tie antenna gain plot in Ansys Electronic Desktop Using Ansys HFSS, Teratonix modified standard bow tie and log spiral antennas, and then determined which iteration would provide the desired broadband performance quality.
32. CHIP DESIGN / VERIFICATION 30 I ANSYS ADVANTAGE ISSUE 1 | 2020 Elastic Compute & Big Data Analytics Tackle Physical Verification Complexity L arger, more complex silicon designs are straining verification methodologies and slowing time to results and time to market. Xilinx engineers wanted to leverage big- data analytics to simplify their verification flow on leading- edge chips, and they looked to Ansys for answers. Many of today’s rapidly evolving applications — be they in artificial intelligence, autonomous vehicles, infrastructure or high-performance computing (HPC) — rely on leading-edge field-programmable gate arrays (FPGAs) for their performance and flexibility. Silicon design trends — and their attendant pressures for more performance and functionality — flow back upstream to engineers at Xilinx, the venerable 35-year-old Silicon Valley company that invented field programmability. Owing to their unique programmable architecture, FPGAs have always been relatively larger devices than standard integrated circuits or custom systems-on-chips (SoCs), and lately the explosion of new features on the company’s Versal ACAP products has only made them larger and more complex. By Nitin Navale, CAD Manager, Xilinx, San Jose, U.S.A.
33. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 31 Further, ultra-low voltages lead to razor-thin noise margins, so variability can be severe. This affects timing, where the timing delay variation as a function of voltage is changing with each node. With billions of instances and transistors, these FPGA designs require higher capacity and enough scale and coverage (50x more than the traditional approaches to dynamic analysis and static signoff) for proper timing analysis. If tool capacity is already limited, teams usually aren’t in a budget or time-to-market position to afford running longer simulations or more simulation cycles to get proper coverage. Other issues to consider include the complexities of 2.5D and 3D package routing and techniques such as chip-on-wafer-on-substrate (CoWoS), aging-induced stresses on fin field-effect transistors (FinFETs), as well as thermal and Joule heating. Additionally, designers need to model the chip, package and system together to ensure a sound overall power delivery network. WRESTLING WITH COMPLEXITY Confronted with this kind of complexity, the team at Xilinx has adapted to take on these verification challenges. The company has embraced big data analytics and elastic compute functionality, powered by Ansys, which speed the designs to completion while accurately covering multiphysics issues that can vary significantly on chip. One of the company’s newest products is the Xilinx XCVU440, which contains 30 million ASIC gates. Any product from this family can contain up to 400 fabric sub-region (FSR) instances, each with up to 5,000 IP block instances. (An FSR is the next-largest building block below the full chip.) The IP blocks are heterogeneous in nature — custom, semi-custom, digital and mixed signal. Xilinx has no shortage of experience with static timing analysis (STA), but modern STA is becoming an increasing challenge with greater feature complexity at finer process nodes. The company needed accurate modeling for supply voltage and wider coverage. With billions of instances and transistors on a single die, engineers needed higher capacity from a solution that can scale with enough coverage. Traditionally, to perform STA on a sub-region, the designer would load the entire chip into the tool and black-box regions that didn’t need their attention. But it’s proving more and more difficult to isolate or prune parts of the design to do STA, and scaling with traditional methods has started to break down. And even black-boxed IPs can consume memory and affect tool performance! The traditional approach works best for large blocks that have few instances, and XCVU440 is just not that kind of beast. Instead, the team investigated a subsystem approach that would simplify the STA challenge and speed time to results without compromising accuracy. They chose to leverage Ansys SeaScape, a purpose-built big data platform that delivers elastic compute functionality and distributed file/data service. The Xilinx XCVU440 can contain up to 400 fabric sub-region (FSR) instances, each with up to 5,000 IP block instances. SSIT Device Die Die Die Die Die Fabric Sub-Region (FSR) FSR FSR FSR IP Block IP Block IP Block IP Block Silicon interconnect technology devices contain multiple dies on a silicon interposer. A single die can contain between 100 and 400 fabric sub- region (FSR) instances. The FSR typically has 2,500 to 5,000 instances of IP blocks.
34. 32 I ANSYS ADVANTAGE ISSUE 1 | 2020 SeaScape can handle large designs and distribute them efficiently across the compute farm on smaller CPUs with smaller memory footprints. From this platform, they were able to load the chip and prune it down to create a virtual design for STA analysis that was composed of only the most relevant aspects of the full device. USING ANSYS SEASCAPE FOR LARGE DESIGN SCALING FOR TIMING ANALYSIS The design team started by loading the entire chip into SeaScape as an abstracted physical view — DEF and SPEF (Design Exchange Format, Standard Parasitic Exchange Format) for chip-level blocks and LEF (Library Exchange Format) for IP blocks — and pruned it down to contain only the precise list of IP instances desired for that downstream analysis. Within SeaScape, they could easily delete unwanted IP instances, then delete any nets that were left floating. To ensure no capacitive loading is lost, all dangling coupling caps were attached to a virtual aggressor. The final view is reduced in scope from the original chip, containing the precise IP instances needed for analysis with no loss of accuracy. From there the team could export pruned Verilog, DEF and SPEF views that could be loaded into other analyses. Xilinx ran an experiment using a single FSR on a “mini-SoC,” containing roughly 375,000 block instances. Had the team not filtered it, but run the pure FSR as is, their STA timer wouldn’t have been able to handle its size. The pruning job, which Ansys SeaScape manages seamlessly, required only 40 SeaScape workers and yielded a 6.5- hour runtime. STA is then able to handle the pruned design in a very respectable 12 hours per corner (wall clock time). Interestingly, pushing the same design through Ansys Path FX yielded a runtime of only one hour per corner (using one master license and 42 workers). The team then ran the same test on a medium-sized multi-FSR experiment (33 FSRs and 32 million block instances). As before, STA could not finish on the unpruned design. After pruning, STA is now finishing with a wall clock time of four days per corner. Once again, Path FX is still faster with a one-day turnaround. CHIP DESIGN / VERIFICATION With simulation data sizes growing to unmanageable dimensions, Xilinx leveraged Ansys SeaScape and its map-reduce analytics to prune chip-scale designs for faster timing analysis. Predriver Sideloads Sideloads Load D1 P1 L1 Sideloads are constrained to be Disabled Path muxes are constrained to create a timing path Pip query (mux) Node query (net) in0 int_out0 in2 int_out1 in1 Driver (before PIP) (after PIP) Xilinx has an internal process called Timing Capture, which requires not just a physical view of the chip, but also awareness of its point-to-point interconnect delays. Instead of timing for the whole design, Timing Capture focuses on a subset of highly critical interconnect paths.
35. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 33 What the team accomplished was to take a near full-chip version of the design, prune it down to fit inside their STA tool, and achieve signoff in a reasonable amount of time. ANSYS REDHAWK-SC: FUTURE-FRIENDLY FULL-CHIP EM/IR SIGNOFF In parallel with this effort, another Xilinx team was using Ansys RedHawk-SC for EM/IR signoff to see how that tool handles complexity and scale on the same full-chip scale. The goal with EM/IR signoff is to partition the chip into something that can be handled on a 1–2 TB host and run overnight, preferably in under eight hours. To better grasp the increase in design complexity at later technology nodes, Xilinx’s 16 nm UltraScale+ design can be used as a point of reference. The team signed off EM/IR for that entire chip by dividing it into seven partitions, which took about one person-month for initial setup. Iterative reruns with ECOs consumed roughly one person-week to cover Big Data Analytics DvD Low Power Ansys RedHawk-SC Built on SeaScape 100+ Scenarios Overnight Automated Design Debug Actionable Outcomes for Optimization Billion+ Instance SoC Runs 10x Faster Prioritize Vectors, Maximize Impact CPA Thermal EM ESD 3D-IC CPM User Experience Scenario Scoring Scenario Exploration Elastic Com pute Machine Learning the whole chip. To achieve the same tool capacity and analysis throughput, the 7 nm Versal chip required 40 partitions and 5x the engineering person- hours to finish along the same timeline. That sort of resource investment simply cannot scale into the future. But unlike with STA, this time Xilinx engineers were able to feed the unpruned data set directly into RedHawk-SC, which is built on top of SeaScape and thus handles the pruning natively. In the experiment, the team analyzed a medium-sized place-and-route block for static IR drop (the DC voltage that is lost across the power delivery network due to its electrical resistance), comparing a four-core classic RedHawk run against a 16-core RedHawk-SC run. The test case saw 57-minute wall clock times with classic RedHawk compared to 18 minutes for RedHawk-SC, which is a good baseline for additional comparisons. The next comparison tested a very large place-and-route region containing 78 million logic gates — once again running static IR drop in both tools. Classic RedHawk maxed out at 16 cores on a single host, while RedHawk-SC comfortably scaled up to 136 cores across the LSF farm. Because RedHawk-SC is partitioning the design across so many machines or workers, the experiment required only 29 GB of peak memory per worker, versus 655 GB peak memory with classic RedHawk.
36. CHIP DESIGN / VERIFICATION Comparing wall clock times, RedHawk-SC’s distributed compute finished the static analysis in a mere 2.5 hours, compared to 22 hours for classic RedHawk. The result was a noteworthy improvement in performance. RedHawk-SC is enabling faster turnaround and distributed compute, and it’s doing so with finer granularity than classic RedHawk. There’s no doubt: This is the future of EM/IR analysis. ANSYS PATH FX: ELASTIC COMPUTE ON CHIP-SCALE INTERCONNECT DELAYS In addition to traditional STA Timing Closure, Xilinx has an internal process called Timing Capture, which is specific to its all-programmable architecture and is driven by the company’s Vivado software. Vivado is the tool that programs the chip and is like a full implementation flow unto itself. Timing Capture requires not just a physical view of the chip, but also awareness of its point-to-point interconnect delays. Because it would be impractical to calculate these delays while programming the chip, Xilinx instead pre-calculates them while designing the chip and then programs the delays into Vivado. The tool is thus already aware of interconnect timing at various PVT corners and uses that timing to optimize the chip during programming. The process for measuring these delays is similar to critical path timing analysis in traditional STA. Instead of timing for the whole design, Timing Capture focuses on a subset of highly critical interconnect paths outlined by Vivado. For a traditional STA tool, every conflicting path must be handled separately. Each conflict means a separate call to update timing. Even for paths that can be grouped together, the process is time-consuming. Xilinx wanted better throughput and parallelism without sacrificing accuracy. The team turned to Ansys Path FX for critical path timing analysis, which can calculate pin-to-pin delays simultaneously across the entire chip — even on conflicting paths. Ansys Path FX accomplishes this feat by applying constraints to each path independently and then distributing the many paths across many workers fully in parallel. 34 I ANSYS ADVANTAGE ISSUE 1 | 2020 Ansys RedHawk Ansys RedHawk-SC Core count 16 136 Wall time 22.5 hours 2.5 hours Peak memory 655 GB 29 GB Node count 717 M 1.42 B Resistor count 1 B 1.98 B Xilinx Versal is an adaptive compute acceleration platform (ACAP), a new category of heterogeneous compute devices.
37. Delay calculations based on the FX transistor-level simulation model mean no accuracy loss. This is where elastic compute comes into play: You can farm out all these paths as small jobs to many hosts across your LSF (load-sharing facility) farm. The team ran a head-to-head test comparing the performance of Path FX versus their traditional STA signoff tool on 95,000 query paths. In the test, creating the database took one hour of wall clock time in the company’s trusted STA tool, but only 15 minutes in Path FX with similar memory footprints (~55 GB). The next stage — path delay calculation — is where Path FX really shined. The incumbent STA tool required 190 separate tool invocations and nearly 2,000 compute hours to finish measuring all paths. Wall clock time is difficult to precisely nail down, because the team employed many tool invocations running in a semi-parallel LSF configuration. In the best (and most expensive) case of running all 190 tool invocations fully in parallel, the best possible wall clock time would be 3.5 hours. More realistically, it was likely closer to 100 hours. Meanwhile, Path FX’s native parallelism allowed it to complete the same task with a single tool invocation and a mere 7.4 compute hours. Wall clock time for Path FX was a very crisp 21 minutes. © 2020 ANSYS, INC. ANSYS ADVANTAGE I 35 CPU Wall Clock Maximum Tool Number Time Memory Licensing of Cores Create STA tool 2 hrs 1 hr 58 GB 1 license 4 database Ansys Path FX 3.5 hrs 15 minutes 55 GB 1 manager, 42 42 workers Path delay STA tool 1,990 hrs Ser: 655 hrs 46 GB 190 760 calculation Par: 3.5 hrs licenses (4 per run) Ansys Path FX 7.4 hrs 21 minutes 12 GB 1 manager, 42 42 workers The results greatly exceeded the design team’s expectations. With the team’s semi-parallel approach using the traditional STA tool, they’d grown accustomed to this work taking a week. Path FX’s configuration (one license and 42 workers) comes out looking more cost-effective than 190 licenses of the traditional STA tool. BIG, FAST AND ACCURATE To break through modern simulation bottlenecks, Xilinx has rethought its design methodologies and embraced new approaches using Ansys tools. These tools have proven they can dramatically speed up time to results without sacrificing accuracy when it comes to timing and EM/IR analysis. In doing so, Xilinx has embraced an approach already championed by companies such as Twitter and Amazon: big data analysis. With simulation data sizes growing to unmanageable dimensions, Xilinx leveraged Ansys SeaScape and its map-reduce analytics to prune chip-scale designs for faster timing analysis. Similarly, RedHawk-SC and Path FX use intelligent pruning and partitioning, coupled with elastic big data compute, to break down each mammoth EM/IR or interconnect timing job into a stack of bite-size chunks. In all aspects of back-end analysis, the next generation of silicon will be relying on Ansys tools to make it out the door.
38. Rapidly Meet 36 I ANSYS ADVANTAGE ISSUE 1 | 2020 THERMAL EXCHANGE / COMPLIANCE Because of the potential for high operational pressures and the consequences of failure (which could include personal injury, equipment loss, and/or decreased output and revenue), shell-and-tube heat exchangers are classified as pressure vessels. Pressure vessels are strictly regulated in North America and elsewhere in the world. To commission a new design requires regulatory approval. Heat exchangers with symmetric tube layouts can typically be assessed using codes such as the American Society of Mechanical Engineers (ASME) Boiler and Pressure Vessel Code (BPVC). However, for exchangers with highly asymmetric tube layouts, simulation is often the only cost-effective way to qualify these designs. Ansys Mechanical software was recently used by Grantec Engineering to perform finite element analysis (FEA)-based strength assessments for a range of condenser and evaporator heat exchangers to gain rapid approval from regulatory authorities. By Richard Grant, President, Grantec Engineering Consultants Inc., Halifax, Canada Heat Exchanger Regulations Assessing Fluid Flow, Heat Transfer, Structural Response and Fatigue ansys.com/exchangers
39. A decade or two ago, nearly all heat exchangers were designed with symmetric tubesheet layouts that were relatively simple to design and validate. However, symmetrical designs can be inefficient if the flow through both the tubes and the shell is unevenly distributed, resulting in wasted thermal energy. In recent years, computational fluid dynamics (CFD) software, such as Ansys Fluent, has simplified the process of simulating the flow of fluid through both sections of the heat exchanger. Engineers obtain key insights like the flow distribution in the tube and shell, recirculation zones, areas of greater and lesser heat transfer, temperature of the casing, pressure on the casing, etc. This information makes it practical to optimize heat transfer capacity and pressure drop by designing the shell-and-tube layout for more uniform and efficient flow patterns. The resulting asymmetric design provides substantial improvements in performance over the life of the heat exchanger. Grantec was retained to evaluate the design of numerous heat exchangers for a large international manufacturer of heating, ventilation and air conditioning (HVAC) equipment. These assessments needed to be performed based on the ASME BPVC requirements. Before the equipment could be marketed in Canada, it also needed to meet the Canadian requirements for pressure vessels, including requirements contained within the Canadian Standards Association (CSA) B51 “Boiler and Pressure Vessel Code.” To assure compliance with both the ASME and the CSA B51 requirements, Grantec simulated the designs with Ansys Mechanical because the software handles very complex nonlinear mixed-mesh models that have a large number of contacts. HEAT EXCHANGER ASSESSMENT Grantec assessed numerous exchanger configurations with varying parameters, including a range of different shell diameters and exchanger lengths, and multiple tubesheet arrangements ranging from about 200 to 500 tubes. Many of the tubesheet arrangements were highly asymmetrical so compliance could not be assessed with the ASME code equations, which are mainly applicable to symmetric tubesheet patterns. Some of the models developed had as many as 500 contact regions. Further, the tubes in these heat exchangers are not smooth, but have both internal and external fins to increase the surface available for heat transfer. Asymmetric design provides substantial improvements in performance over the life of the heat exchanger. An Ansys Mechanical model of a heat exchanger © 2020 ANSYS, INC. ANSYS ADVANTAGE I 37
40. 38 I ANSYS ADVANTAGE ISSUE 1 | 2020 THERMAL EXCHANGE / COMPLIANCE Simulation models were developed to assess the effect of the fins on the longitudinal and radial moduli and the Poisson effect. The Poisson effect (the same effect that causes a rubber band to become thinner as you pull on it) causes the tubes to contract longitudinally as they are internally pressured and expand longitudinally as they are externally pressured. For the exchangers considered, the tubes are “rolled” (i.e., expanded) into the tubesheets at both ends of the heat exchanger. Baffle plates used to support the tubes are held in position with tie rods that also thermally expand. The model developed included contacts between the tubes and the baffle plates, and contacts between the baffle plates and the external exchanger shell. This idealization provided support to the tubes and permitted differential thermal expansion between the tubes, the baffle plates and the shell. The arrangement resulted in an accurate model of the restraints, forces and stresses generated, which was necessary to qualify the design. CALCULATING VALUES REQUIRED FOR REGULATORY APPROVAL Many FEA software packages are unable to address some or all of these issues and have difficulty in converging the large, complex models required to address them. The manufacturer originally tried simulating the design with software integrated into a computer-aided design system. That software was not well-suited for the complex arrangement with so many contacts. Using Mechanical for pressure vessel and exchanger analysis provides the robustness and reliability needed to solve the large, complex models. Mechanical software contains stress linearization tools that separate stresses through a section into membrane, bending and peak stresses. For a cantilevered plate, the membrane stress results from a tensile load while the bending stress is generated by applying a load normal to the cantilever. Mechanical makes it easy to calculate these stresses at any point in the domain. The software also has advanced fracture mechanics simulation capabilities, which are used by Grantec for fitness of service assessment of pressure and structural components. Grantec engineers applied Mechanical to assess the heat exchanger based on ASME BPVC Section VIII Division 1 – Part UHX requirements, including the multiple load cases required for Connections between tubesheet and shell. The baffle-to-shell welds are circled. Ansys Mechanical makes it easy to calculate forces at any point in the domain.
41. Hydrostatic pressure in shell Deformation simulation using Ansys Mechanical © 2020 ANSYS, INC. ANSYS ADVANTAGE I 39 each exchanger configuration. The models also included the corrosion allowance stipulated by the manufacturer. Engineers used solid elements to model the tubesheet, exchanger supports and welds, and the portion of the tubes in the vicinity of the tubesheet for greater accuracy. To improve computational efficiency, shell elements were employed to model the remainder of the shell and tubes, along with the baffle plates. The properties of the shell elements used for the tubes were modified to reflect the moduli and Poisson’s ratio derived from the separate analysis of the finned tubes. Frictionless contacts for the model were used at partition plates so that tube support and thermal growth could be accurately simulated. The Grantec team modeled connections with various contact conditions including bonded, no separation and frictionless. The team applied pressure and thermal loads to the models. The weight of the components and tube fluid was considered using gravity load while engineers accounted for the weight of the shell fluid and static head with a hydrostatic pressure load. Gasket and bolt loads were also included in the models at the end head locations. FAST REGULATORY APPROVAL Grantec engineers solved the models using the Ansys High-Performance Computing (HPC) software suite on a 16-core HPC platform. The use of Ansys HPC proved effective in reducing the analysis run times for the computationally demanding analysis, some of which had upward of 500 contacts and thus were highly nonlinear. In addition to the ASME requirements, the analysis was performed and documented as required by the Canadian Standards Association (CSA) B51-14 Boiler and Pressure Vessel Code, Annex J: Finite Element Analysis Requirements. The Annex J requirements include demonstration and documentation of the validity of the FE analysis results. Among them is the demonstration that stress results have converged. As a result of using the Ansys HPC software, Grantec was able to quickly perform numerous analyses with focused mesh refinement in areas exhibiting high stresses to confirm convergence and the acceptability of the stress levels. The Grantec analysis reports resulted in fast approval of the heat exchanger designs by the regulatory authorities. During their review, a technical specialist working for the regulatory agency commended Grantec for the thoroughness and completeness of the submission. NOTE Grantec’s Richard Grant is a member of the CSA B51 committee and has contributed to the authoring of the Annex J Finite Element Analysis Requirements published in the 2014 and 2019 editions of CSA B51. The Grantec analysis reports resulted in fast approval of the heat exchanger designs by the regulatory authorities.
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Ansys, the global leader and innovator of engineering simulation software, announced it has acquired the DYNAmore business (“DYNAmore”) from DYNAmore Holding GmbH. DYNAmore is a leader in developing and selling explicit simulation solutions to the automotive industry. The acquisition closed on January 3, 2023. It is not expected to have a material impact on Ansys' consolidated financial statements.
DYNAmore is a longtime channel and software development partner of Livermore Software Technology Corporation (LSTC), which Ansys acquired in 2019. After that acquisition, DYNAmore continued to sell Ansys LS-DYNA throughout Europe as an Ansys channel partner focused primarily on the automotive industry. DYNAmore also employs a team of developers that assist with the core development of LS-DYNA as well as with dummy and human body and dummy models. Ansys will add DYNAmore’s go-to-market and development expertise to its existing sales, engineering, research and development teams.
Headquartered in Stuttgart, Germany, DYNAmore employs around 110 people across several North American and European locations. The company has approximately 800 industrial customers, and over 150 universities use its software and services. DYNAmore’s automotive customers are a who’s who of the industry, including nine of the top 10 original equipment manufacturers and seven of the largest automotive suppliers around the world.
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Ansys, the global leader and innovator of engineering simulation software, announced it has acquired Diakopto. A provider of differentiated EDA solutions to accelerate integrated circuit (IC) development, Diakopto focuses on helping resolve critical issues caused by layout parasitics. The acquisition closed on June 12, 2023. It is not expected to have a material impact on Ansys' consolidated financial statements in 2023.
Diakopto develops products that address the growing complexities and unintended effects of designing ICs in the modern era. Semiconductor designs increasingly employ advanced process node technologies, where interconnect parasitic effects limit the performance, reliability and functionality of designs. Diakopto’s market-leading products have been adopted by dozens of customers, including tier-one semiconductor companies, for a broad range of applications.
With the acquisition, Ansys will better enable design engineers to “shift left,” and to detect interconnect parasitic problems early in the design cycle. Diakopto’s products provide actionable analytics to guide designers to fix these problems – a capability that has not existed before. Through early identification and what-if analysis of parasitic problems, engineers can minimize costly iterations late in the design cycle – furthering cost and time savings.
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Ansys, the global leader and innovator of engineering simulation software, announced today the acquisition of Engineering Simulation and Scientific Software Rocky DEM, S.L. (“Rocky”). With this acquisition, Ansys adds Rocky, the leading discrete element method (DEM) tool, and a skilled team of developers, application support technicians and customer-facing staff in Brazil, Spain, and the United States. The transaction is not expected to have a material impact on Ansys' consolidated financial statements in 2023.
Rocky was a subsidiary of Engineering Simulation and Scientific Software (ESSS), a long-term Ansys Channel Partner, and developer of engineering software dedicated to modeling discrete mechanics problems. Ansys’ acquisition of Rocky builds on the companies’ long-term partnership and joint particle modeling workflow announced in 2021. Rocky’s software, with specific strengths in GPU computing and applying particle methods to multiphysics simulations, is used in wide variety of cross-industry applications that involve discrete solids of any size and shape.
Particle modeling spans many industries and applications; particles can consist of medical tablets, food snacks, agriculture seeds, powders, and even fibers used in filtration devices. Industry leaders are challenged to improve their product quality and find solutions to help accelerate their decision making related to the design, manufacturing, and operation of their particulate systems.
Rocky is a leading DEM software package that quickly and accurately simulates the dynamic flow behavior of discrete solids and particle-laden free-surface flows in multiple industries. Rocky simulations provide powerful insight to help reduce waste, improve product quality, increase product uniformity, predict performance and durability of equipment during operation, meet resource management and address sustainability concerns.
This acquisition will ensure that Ansys customers have long-term, uninterrupted access to powerful high-fidelity particle modelling that is deeply integrated with other Ansys solutions to solve an expanding set of problems involving discrete particles. Incorporating Rocky technology into the Ansys portfolio will also facilitate long-term synergies in the Ansys portfolio that would not otherwise be possible, such as inclusion of Rocky into the PyAnsys framework.
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Ansys has acquired Thermal Desktop maker Cullimore and Ring Technologies, Inc. a/k/a C&R Technologies, the leading provider of orbital thermal analysis. Once integrated into Ansys’ existing portfolio, this acquisition will further position Ansys as the industry leader of A&D and NewSpace simulation solutions. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
The design of many engineering systems in A&D, NewSpace, and other industries requires a thorough understanding of the thermal behavior for a wide range of environmental conditions, including accounting for transient situations such as start-up and shutdown. Thermal behavior must be fully understood to ensure successful missions. Thermal Desktop’s thermal-centric modeling approach provides fast and effective system-level simulation capabilities to meet this need and can be used in combination with Ansys’ physics solvers to provide customers with the fidelity required at every stage of thermal system design and optimization.
The acquisition complements Ansys’ suite of 3D thermal, fluid flow, and mission simulation tools to provide more efficient and accurate design, analysis, and optimization of the thermal behavior of systems and networks of interacting components. The agreement expands on Ansys and C&R Technologies’ existing collaboration and enables customers to combine Thermal Desktop’s system-level thermal modeling with the Ansys family of multiphysics analysis software — including Ansys’ structures, fluids, space, and optical simulation portfolios.
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Ansys announced it has acquired Motor Design Limited (MDL). The acquisition and resulting addition of MDL’s Motor-CAD to Ansys’ existing portfolio will strengthen Ansys’ electric machine design offerings, as proven by the successful partnership between the two companies over the past two years. Bringing Motor-CAD fully into the Ansys family of multiphysics analysis software products will enable Ansys customers to design and bring to market more efficient electric machines leading to a more sustainable use of rare materials. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
The global demand for greater power efficiency is rapidly driving electrification and sustainability initiatives — from electric vehicles and aircraft to electric motor-driven systems in the industrial sector. Ansys’ acquisition of MDL will answer the growing global demand, providing customers with an industry leading comprehensive multiphysics workflow for electric machine design. Combining Ansys solvers with MDL’s Motor-CAD into an end-to-end solution will enable customers to not only design more efficient electric machines but also apply them to more applications, which reduces environmental impact and cost for consumers, companies and governments.
The addition of Motor-CAD to Ansys’ electric machine solution will deliver upfront design capabilities to Ansys’ industry-leading multiphysics analysis capabilities. From user interface to a unique combination of finite element solvers and analytical algorithms tuned specifically for solving electric machines to the motor specific post-processing capability, Motor-CAD was developed specifically for electric machine design. The product contains coupled electromagnetic, thermal and mechanical modelling capabilities — tuned for rapid design of electric machines across the full operating range.
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Ansys has acquired cloud simulation provider OnScale. Once integrated into Ansys’ existing cloud portfolio, this technology acquisition will help provide a cloud-native, web-based user interface (UI) for device-independent access to Ansys’ broad array of simulation technologies. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys' consolidated financial statements in 2022.
Currently, Ansys’ industry-leading cloud portfolio, comprising a marketplace offering (Ansys Gateway powered by AWS) and a managed cloud offering (Ansys Cloud, which runs on Azure), gives customers scalable location-independent access to Ansys simulation. Additionally, PyAnsys (Ansys’ open-source Python API software package for a broad development ecosystem) provides an extensible platform-centric approach to the development and deployment of new verticalized, or use-case-specific, applications that leverage simulation. These capabilities and emerging new applications will now be strengthened by the addition of a cloud-native framework from OnScale that will support a user-friendly, web-based UI.
With a cloud portfolio that supports device-independent, location-independent, and platform-centric access to Ansys’ industry-leading technology, customers will enjoy maximum flexibility in leveraging simulation via full-featured UIs, a web-based UI, as well as through a new class of simulation-based tools accessible by all engineers, scientists, professionals, and students.
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Ansys has acquired Phoenix Integration, Inc. the premier provider of software that enables model-based engineering (MBE) and model-based systems engineering (MBSE). The acquisition will expand the scope of Ansys’ solution offering, enabling users to connect a range of engineering tools together in multi-tool workflows for broad and robust model-based engineering. Terms of the deal were not disclosed. The acquisition is not expected to have a material impact on Ansys’ consolidated financial statements in 2021.
Engineers and designers use a variety of disparate software tools during the product development process. These tools are rarely connected, resulting in highly manual engineering and change processes, often managed through email and spreadsheets, which lack traceability. MBE enables the automation of these processes and helps to tame that complexity. MBSE provides traceability to requirements through the use of a systems model as a single source of truth for describing the evolving system design throughout its product lifecycle.
Phoenix Integration’s ModelCenter is a vendor-neutral software platform that empowers engineers to create and automate multi-tool workflows, providing increased flexibility to solve challenging engineering problems, and ultimately delivering on the promise of MBE. ModelCenter MBSE bridges the gap between engineering analysis and the systems model, ensuring that the product requirement is met and in sync with the engineering analysis conducted throughout the product development process.
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Ansys has acquired Zemax, LLC, a leader in high-performance optical imaging system simulation. The acquisition will expand the scope of Ansys' solution offering, giving users comprehensive, end-to-end solutions for simulating next-generation optical and photonics products. Those innovations range in scope from photonics-enabled circuits to precision vision systems to system-level illumination and could drive breakthroughs in healthcare, autonomy, consumer electronics and the industrial internet of things. The transaction is not expected to have a material impact on the 2021 financial results.
Modern products rely upon embedded optical systems for successful performance. Accurately imaging the physical world and predicting the performance of these imaging systems is critical in products as diverse as robotic surgery-assist systems, autonomous vehicles, machine vision cameras and aerospace and defense applications. These products depend on precision optical raytracing and reliable lens design, yet imaging system creation is an intricate task complicated by strict requirements for precision, tolerancing and manufacturability. Zemax provides users with unsurpassed precision and breadth in imaging simulation and optimization technologies.
With the addition of Zemax technologies, Ansys will offer customers a comprehensive solution for simulating the behavior of light in complex, innovative products – ranging from the microscale with the Ansys Lumerical™ photonics products, to the imaging of the physical world with Zemax, to human vision perception with Ansys Speos™. That comprehensive solution will enable users to create optimal designs more quickly by streamlining the workflow and communication among photonics, optical, mechanical and manufacturing engineers.
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Ansys acquired Analytical Graphics, Inc., the premier provider of mission-driven simulation, modeling, testing and analysis software for aerospace, defense, telecommunication and intelligence applications.
The acquisition will expand the Ansys portfolio to enable users to solve at the chip level all the way to an entire mission. Ansys’ acquisition of AGI will help drive our strategy of making simulation pervasive from the smallest component now through a customer’s entire mission. It will also expand the use of simulation in the key aerospace sector, where the stakes can be at their highest levels.
The acquisition of AGI will also expand Ansys’ simulation footprint into customers’ missions, an area of simulation beyond the traditional component or product level. Missions are typically higher-level endeavors that support space, telecommunications, national defense and search-and-rescue initiatives. Mission-driven simulation, integrated with systems engineering, enables organizations to provide the best configuration to achieve various desired mission objectives.
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Ansys has acquired Lumerical, the leader in high-performance silicon photonic simulation.
The acquisition of Lumerical will enable Ansys customers to predict light's behavior within complex photonic structures and systems. Ansys provides a comprehensive solution for semiconductors and high-performance electronics, and with the acquisition of Lumerical, we are extending Ansys’ capabilities to address the challenges of the photonic industry.
Silicon photonics is an expanding market and Lumerical provides a comprehensive set of tools for the design and analysis of integrated photonic components and systems, similar to the traditional electronic design automation (EDA) environment. Lumerical complements Ansys SPEOS by serving as a de facto light source for predicting the illumination and optical performance of systems such as interior automobile lighting.
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Ansys, the global leader and innovator of engineering simulation software, acquired Livermore Software Technology Corporation (LSTC), the premier provider of explicit dynamics and other advanced finite element analysis technology. The acquisition will empower Ansys customers to solve a new class of engineering challenges, including developing safer automobiles, aircraft and trains while reducing or even eliminating the need for costly physical testing.
The automotive industry has widely adopted the Livermore, California company's gold-standard solution, LS-DYNA, a highly scalable multiphysics solver, to accurately predict a vehicle's behavior and the effects on occupants during a collision. To do this, LS-DYNA simulates the behavior of the vehicle structure and all components including tires, seats, seatbelts, airbags, accelerometers, sensors and batteries in a fully coupled mathematical framework. LSTC counts the vast majority of tier one automotive suppliers among its customers. The combined company's strengths in simulation for structures, fluids, electromagnetics, optics, safety and machine learning will deliver a powerful solution for autonomous and electric vehicles to global automotive manufacturers and their suppliers.
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Ansys, the global leader and innovator of engineering simulation software, acquired Dynardo, a leading provider of simulation process integration and design optimization (PIDO) technology. The acquisition will give Ansys’ customers access to a full suite of process integration and robust design tools – empowering users to identify optimal product designs faster and more economically.
Companies are under pressure to develop next-generation products as developments in autonomous vehicles, electrification and 5G continue to advance – increasing design complexity and cost. To meet these demands while still bringing groundbreaking products to market, companies are turning to PIDO technologies that are open and vendor neutral – giving them greater access to more tool choices. The integration of Dynardo's tools with Ansys Minerva's simulation data, processes and knowledge management solutions will further enable customers to integrate and manage critical simulation and optimization results.
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Ansys and SAP announced a new partnership to drive the Intelligent Enterprise by linking Ansys’ leadership in engineering and SAP’s leadership in operations. The partnership’s first solution, SAP Predictive Engineering Insights Enabled by Ansys, will run on SAP Cloud Platform, and enable industrial asset operators to optimize operations and maintenance through real-time engineering insights, to reduce product cycle times and increase profitability.
The partnership will enable customer who have built models in Ansys’ pervasive simulation solutions for digital twins to export those models and plug them into SAP’s market-leading digital supply chain, manufacturing and asset management portfolio. The partnership’s first solution, SAP Predictive Engineering Insights Enabled by Ansys, enables industrial asset operators to optimize operations and maintenance through real-time engineering insights, to reduce product cycle times and increase profitability.
This is a new way of leveraging the value our solutions provide to engineers across industries and geographies.
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Ansys announced on May 2, 2018 that it has acquired OPTIS, the leading provider of physics-based simulation software for light, human vision and visualization. Ansys’ holistic solution for autonomous vehicle simulation will improve safety and accelerate time to market of autonomous vehicles and delivers the industry’s most comprehensive solution for simulating autonomous vehicles. By adding OPTIS’ optical sensor and closed-loop, real-time simulation to Ansys’ leading multiphysics portfolio, Ansys offers the broadest toolset for validating the safety and reliability of autonomous vehicles — speeding time to market for these vehicles by mitigating the need for billions of miles of road testing.
With OPTIS, Ansys capabilities now span the simulation of all sensors, including lidar, cameras and radar; the multiphysics simulation of physical and electronic components; the analysis of systems functional safety; as well as the automated development of safety-certified embedded software. This functionality can be integrated into a closed-loop simulation environment that interacts with weather and traffic simulators, enabling thousands of driving scenarios to be executed virtually.
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Ansys announced on July 11, 2017 that it has acquired Computational Engineering International, Inc. (CEI Inc.), the developer of a suite of products that helps engineers and scientists analyze, visualize and communicate their simulation data in practical and exciting ways. Traditionally this activity is known as post-processing, because the activity takes place after the solution phase.
Engineering simulation produces enormous amounts of data. EnSight, CEI’s flagship product, is the premier solution for analyzing, visualizing and communicating that simulation data. By combining the largest set of features of any visualization tool on the market with exceptional performance on any size model, EnSight can help users make better decisions with their data, regardless of size and complexity of their simulations.
CEI’s software is used by more than 750 companies around the world including most major automobile companies, major aircraft companies like Boeing, Airbus, Gulfstream and Embraer, and makers of jet engines around the world. EnSight’s major markets are automotive, construction equipment, gas turbine engines, aerospace & defense, and energy exploration and production.
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Ansys announced on March 10, 2017, that it acquired the key assets of CLK Design Automation (CLK-DA), a small, innovative company based in the Greater Boston area. The acquisition includes R&D and application engineers, source code, products, patents and customer relationships.
The acquired technologies are based on a unique and proven fast transistor simulation technology, called FX, with transistor-level simulation accuracy for semiconductor IP and system-on-chip (SoC) designs.
FX products have been used by customers in advanced mobile and CPU applications. These products reduce time to market from months to days by achieving timing closure in the chip design cycle for advanced technology nodes starting at 16nm, where process variation across chip and wafer can exacerbate the problems for meeting performance, power, area and schedule (PPAS) goals.
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September- Acquired the assets of Delcross Technologies for an undisclosed sum.
Leading developer of computational electromagnetic (CEM) and radio frequency (RF) interference analysis software products
Ansys, the global leader and innovator of engineering simulation software, announced September 2, 2015, that it has acquired the assets of Delcross Technologies, a leading developer of computational electromagnetic and radio frequency interference software products, for an undisclosed amount.
Delcross Technologies solutions allow engineers to evaluate installed antenna performance. Engineers responsible for integrating antennas onto platforms are typically interested in the performance as installed. In other words, they want to know how the presence of the platform changes the performance of the antenna and its interaction with other antennas on or off the same platform. Performance of the antenna is much different when installed on real-world vehicles and platforms than when installed on a big, flat ground plane in an anechoic chamber.
Additionally, Delcross offers a unique radio frequency (RF) interference co-existence tool in their portfolio that allows users to design systems with multiple wireless connections on a single platform, where a platform could range from a consumer electronics device to a large military vehicle. Delcross is the specialist in RF cosite modeling involving many antennas and radios. The Delcross solution provides rapid identification and “root-cause” analysis of EMI issues in complex RF environments.
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February- Acquired the assets of Newmerical Technologies International (NTI) for $10.5 million
Premier Developer of In-flight Icing Simulation Software and Associated Design, Testing and Certification Services
Ansys, the global leader and innovator of engineering simulation software, announced February 4, 2015, that it has acquired the assets of Newmerical Technologies International (NTI), a premier developer of in-flight icing simulation software and associated design, testing and certification services for $10.5 million USD.
Montreal-based NTI develops and markets advanced computational fluid dynamics (CFD) software and offers flow simulation services in the aerospace, architectural, automotive and marine industries. NTI’s suite of state-of-the-art, specialized software can solve problems in aerodynamics, in-flight icing, heat transfer, fluid-structure interaction and wind engineering.
In-flight icing is a safety-critical aspect of aircraft design, yet is a highly complex physical phenomenon that is extremely difficult to replicate using expensive physical tests. In late 2014, the Federal Aviation Administration introduced new rules for icing standards with particular focus on the icing environments known as supercooled liquid drops (SLD) and ice crystals at high altitudes. This has impacted aircraft original equipment manufacturers, engine manufacturers and systems suppliers as they move through the aircraft certification process. Capturing aircraft icing using simulation requires highly accurate CFD and industry-proven methods and expertise for icing phenomena.
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May- Acquired SpaceClaim Corporation for $85 million cash, plus retention and an adjustment for working capital
Leading provider of fast and intuitive 3D modeling software for engineers
Ansys, a global leader and innovator of engineering simulation software, announced May 1, 2014, that it has acquired SpaceClaim Corporation, a leading provider of fast and intuitive 3D modeling software for engineers, for a purchase price of $85 million in cash, plus retention and an adjustment for working capital. The transaction was closed on April 30, 2014. On a non-GAAP basis, the transaction is expected to be neutral to slightly accretive to Ansys’ non-GAAP earnings per share in 2014 and accretive in 2015 and beyond. SpaceClaim is the first powerful and easy-to-use 3D modeling tool that can be utilized by any engineer throughout the product development process. Traditional CAD software is only used by a relatively small number of engineers and typically utilized late in the development process to document the detailed design. Coined “direct modeling,” the SpaceClaim approach is so easy to learn and use that any engineer worldwide can use it. Additionally, SpaceClaim is well suited for use at any stage of development, including very early in the conceptual stage as well as in systems engineering. SpaceClaim is fundamentally CAD-neutral and enables engineers and other manufacturing professionals to rapidly create new designs or manipulate and edit existing 2D and 3D geometry.
This transaction accelerates Ansys’ technological product roadmap and longtime vision for Simulation Driven Product Development™ (SDPD), enhances Ansys’ customer offering with the addition of SpaceClaim’s complementary technologies, and enables Ansys to drive growth through an expanded customer base and cross-selling opportunities. Also, the acquisition increases innovation and enables Ansys to accomplish what would have taken the Company several years to develop alone, adding the talent pool, best-in-class design and expertise of a technology leader in 3D modeling software.
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January- Acquired Reaction Design for $19.25 million.
Leading developer of chemistry simulation software.
Ansys (NASDAQ: ANSS), a global leader and innovator of engineering simulation software, announced January 3, 2014 that it has completed the acquisition of Reaction Design, a leading developer of chemistry simulation software. The Company will provide further details regarding the transaction and its impact on the 2014 financial outlook at the time of its 2013 year-end earnings announcement.
Headquartered in San Diego, Reaction Design has about 25 employees and more than 400 customers around the world. Its flagship product, CHEMKIN-PRO, is the gold standard for modeling and simulating gas-phase and surface chemistry.
The combination of Ansys' proven computational fluid dynamics (CFD) solutions with Reaction Design's industry-leading chemistry solvers will provide the best-in-class combustion simulation tools available on the market. Understanding and predicting the effects of chemistry in a combustion system is critical to developing competitive products in transportation, energy and materials processing applications. Relying on experimental testing alone for accurate performance validation is inadequate, given today's complex designs and shortened design cycles. Effective simulation of the underlying detailed chemistry is critical to advancements in engine and fuel technology. Reaction Design's solutions enable transportation manufacturers and energy companies to rapidly achieve their clean technology goals by automating the analysis of chemical processes via computer simulation and modeling solutions. The acquisition of Reaction Design complements Ansys' offering for the simulation of internal combustion engines, leading to improved fuel efficiency.
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April- Acquired Evolutionary Engineering A. G. (EVEN) for $8.1 million
Composite Analysis and Optimization Technology
Evolutionary Engineering AG ("EVEN"), is a leading provider of composite analysis and optimization technology relying on cloud computing. EVEN is now Ansys Switzerland, a wholly owned subsidiary of Ansys, Inc. Headquartered in Zurich EVEN has 12 employees and has been a partner of Ansys, offering EVEN's composite technologies through a product called Ansys® Composite PrepPost™. This product is tightly integrated with Ansys Mechanical™ in Ansys Workbench™ and with Ansys Mechanical APDL. EVEN also provides best-in-class engineering services in composites applications and in other areas in its fields of expertise.
Composites blend two or more materials that possess very different properties. Because they combine light weight, high strength and outstanding flexibility, composites have become standard materials for manufacturing in a range of industries, including automotive, aerospace, energy, marine, motorsports and leisure. As a result, the use of composites has grown dramatically in the last decade. This popularity has fostered the need for new design, analysis and optimization technology. Since EVEN is a leader in composite simulation, this acquisition emphasizes the high priority Ansys is giving to this emerging technology. Composites pose many challenges for R&D teams that need to identify the appropriate formulation for a required use. To successfully produce layered composites, engineers must define the optimal material formula — which depends on the number of layers involved along with the thickness and relative orientation of each layer.
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August- Acquired Esterel Technologies, S.A. for $58.2 million
Simulation of Embedded Software for Mission Critical Systems
Ansys acquired Esterel Technologies on August 1, 2012 for a cash purchase price of approximately US$58 million. The agreement included retention provisions for key members of management and employees. Headquartered in Elancourt, France, Esterel has about 80 employees and reported revenues of approximately €15 million for fiscal year 2011.
The Esterel SCADE solution enables software and systems engineers to design, simulate and produce embedded software, the control code built into the electronics in aircraft, rail transportation, automotive, energy systems, medical devices and other industrial products that have central processing units. Modern products are increasingly complex systems of hardware, software and electronics. For example, today's complex aircraft, rail and automotive products often have tens of millions of lines of embedded software code, from flight controls and cockpit displays, to engine controls and driver assistance systems. Esterel is often chosen when the embedded software is critical for safety and compliance reasons. Esterel provides software and systems engineers a solution to accurately model and simulate the behavior of the embedded software code to gain insight earlier in the design process and trace it to its requirements. Esterel solutions also reduce engineering time and cost by automatically generating certified and dependable embedded software code from these high fidelity models. Esterel certified code generators are currently compliant with more than 10 certification standards including aerospace, defense, rail transportation, automotive, industrial systems and nuclear plants.
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August- Acquired Apache Design Solutions, Inc. for $314 million
Simulation of advanced, low powered solutions in the electronics industry
On August 1, 2011, Ansys, Inc. acquired Apache Design Solutions, Inc., a leading simulation software provider for advanced, low power solutions in the electronics industry, for a purchase price of approximately $310 million in cash, which included an estimated $29 million in cash on Apache’s balance sheet. Ansys funded the transaction with cash on-hand from the combined organization. Apache is now a wholly-owned subsidiary of Ansys.
Apache’s software enables engineers to design power-efficient devices while satisfying ever-increasing performance requirements. For example, smartphones continually add functionality to their platforms such as high definition video, GPS, video recording and conferencing with the consumer expectation that battery life will be extended. Engineers use Apache’s products to design and simulate efficient, low power integrated circuits for high-performance electronic products found in devices such as tablets, smartphones, LCD televisions, laptops and high end computer servers, to name a few. The worldwide need for smart, energy-efficient electronics has never been greater while engineering challenges continually expand. Solutions to these engineering challenges rely on accurate, predictive simulation software.
The acquisition of Apache complements Ansys’ software solutions by bringing together best-in-class products that drive Ansys’ system vision for integrated circuits, electronic packages and printed circuit boards. The complementary combination is expected to accelerate development and delivery of new and innovative products to the marketplace while lowering design and engineering costs for customers. The combination of these two industry leading companies reaffirms Ansys’ commitment to deliver cutting edge, customer-driven solutions in the 21 st century. With over 60 strategic sales locations and over 20 development centers on three continents, the combined company will employ approximately 2,000 people.
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July- Acquired Ansoft Technologies for $823.8 million
High-Frequency Electromagnetics Systems Simulation
As of July 31, 2008, Ansoft is now part of the Ansys, Inc. family, broadening our capabilities as a global innovator of simulation software.
Ansys, Inc. (NASDAQ: ANSS), has completed its acquisition of Ansoft Corporation, a leading developer of high-performance EDA software. The addition of Ansoft enhances the breadth, functionality, usability and interoperability of the Ansys portfolio of engineering simulation solutions, reaffirming and strengthening the Ansys commitment to open interface and flexible simulation solutions that are primarily driven by customer demand, flexibility and choice.
As a leading developer of electronic design automation (EDA) software, Ansoft’s technology, based on more than 25 years of research and development from the world's leading experts in electromagnetics, circuit, and system simulation, dramatically streamlines the design of high-performance electronic products. The complementary combination of Ansoft's and Ansys' software products and services will give Ansys one of the most complete, independent engineering simulation software offerings in the industry, accelerating our progress towards delivering comprehensive, customer-driven engineering simulation solutions to the marketplace.
Ansys, Inc., founded in 1970, develops and globally markets engineering simulation software and technologies widely used by engineers and designers across a broad spectrum of industries. Ansys focuses on the development of open and flexible solutions that enable users to analyze designs directly on the desktop, providing a common platform for fast, efficient and cost-conscious product development, from design concept to final-stage testing and validation. Ansys and its global network of channel partners provide sales, support and training for customers. Headquartered in Canonsburg, Pennsylvania U.S.A. with more than 60 strategic sales locations throughout the world, Ansys, Inc. and its subsidiaries employ over 1,600 people and distribute Ansys products through a network of channel partners in over 40 countries. Visit www.ansys.com for more information.
Press Release:
July 31, 2008: Ansys, Inc. Announces Successful Completion of Ansoft Acquistion and Names Dr. Zoltan J. Cendes to Ansys, Inc. Board of Directors
Press Release:
July 24, 2008: Ansoft Shareholders Approve ANSYS, Inc’s Acquisition of Ansoft Corporation
Press Release:
March 31, 2008: ANSYS, Inc Signs Definitive Agreement to Acquire Ansoft Corporation
Ansys and Ansoft Frequently Asked Questions – August 1, 2008
Joint Conference Call:
March 31, 2008:
Conference Call Presentation
Conference Call Transcript
SEC Filings Related to Acquisition:
S-4/A Filing – 6/20/08
8K Filing – 3/31/08
Miscellaneous:
Letter to Customers
May- Acquired Fluent, Inc. for $398 million
Computational Fluid Dynamics Simulation
In 2006, Ansys acquired Fluent Inc., a provider of CFD simulation software for both expert users and design engineers for $398 million. The integration of Fluent broadened the Ansys customer base and added to its already existing CFD capacity, giving the company depth in computational fluid dynamics that is second to none. As a result of the acquisition, Ansys gained the expert Fluent tool and FLUENT® for CATIA® V5, a solution fully embedded in the CATIA production lifecycle management (PLM) environment.
Ansys Fluent software contains the broad physical modeling capabilities needed to model flow, turbulence, heat transfer, and reactions for industrial applications ranging from air flow over an aircraft wing to combustion in a furnace, from bubble columns to oil platforms, from blood flow to semiconductor manufacturing, and from clean room design to wastewater treatment plants. Special models that give the software the ability to model in-cylinder combustion, aeroacoustics, turbomachinery, and multiphase systems have served to broaden its reach.
Today, thousands of companies throughout the world benefit from the use of Ansys Fluent software as an integral part of the design and optimization phases of their product development. Advanced solver technology provides fast, accurate CFD results, flexible moving and deforming meshes, and superior parallel scalability. User-defined functions allow the implementation of new user models and the extensive customization of existing ones.
The combination of these benefits with the extensive range of physical modeling capabilities and the fast, accurate CFD results that Ansys Fluent software has to offer results in one of the most comprehensive software packages for CFD modeling available in the world today. A native two-way connection to Ansys structural mechanics products allows capture of even the most complex fluid–structure interaction (FSI) problems in the same easy-to-use environment, saving the need to purchase, administer or run third-party coupling software. Other multiphysics connections include electromagnetic–fluid coupling.
January- Acquired Century Dynamics, Inc. for $10 million
Linear, Non-linear and Explicit Multi-body Hydrodynamics
In 2005, Ansys, Inc. acquired Century Dynamics Inc. and its specialized Autodyn CFD tool for explicit analysis (such as modeling explosions) for $10 million.
Ansys Autodyn software is a versatile explicit analysis tool for modeling the nonlinear dynamics of solids, fluids, gases and their interactions. The product has been developed to provide advanced capabilities within a robust, easy-to-use software tool. Simulation projects can be completed with significantly less effort, less time and lower labor costs than with other explicit programs. This high productivity is a result of the easy-to-use, quick-to-learn, intuitive, interactive graphical interface implemented. Time and effort are saved in problem setup and analysis by automatic options to define contact, by coupling interfaces and by minimizing input requirements using safe logical defaults.
The solver technology in Ansys Autodyn provides:
Finite element solvers for computational structural dynamics (FE)
Finite volume solvers for fast transient computational fluid dynamics (CFD)
Mesh-free particle solvers for high velocities, large deformation and fragmentation (SPH)
Multi-solver coupling for multiphysics solutions including coupling between FE, CFD and SPH
A wide suite of material models incorporating constitutive response and coupled thermodynamics
Serial and parallel computation on shared and distributed memory systems
Engineering simulation can help Improve the survivability of buildings, vehicles, soldiers and police personnel. Using Ansys Autodyn engineers can design and virtually test simple and complex active armor to protect troops in battle from improvised explosive devices (IED), rocket-propelled grenades, shaped charges and other threats. This same software used to model space debris impact on satellites, can also be used to design common liquid containers such as water and detergent bottles. Using Ansys Autodyn can help engineers improve a wide variety of products, reduce their cost and most importantly decrease time to market.
February- Acquired CFX for $21.7 million
Computational Fluid Dynamics
In 2003, Ansys purchased CFX, one of the world’s leading fluid dynamics tools, from AEA Technology PLC for $21.7 million. Ansys CFX software is a high-performance, general purpose fluid dynamics program that has been applied to solve wide-ranging fluid flow problems for over 20 years. At the heart of Ansys CFX is its advanced solver technology, the key to achieving reliable and accurate solutions quickly and robustly. The modern, highly parallelized solver is the foundation for an abundant choice of physical models to capture virtually any type of phenomena related to fluid flow. The solver and its many physical models are wrapped in a modern, intuitive, and flexible GUI and user environment, with extensive capabilities for customization and automation using session files, scripting and a powerful expression language.
But Ansys CFX is more than just a powerful CFD code. Integration into the Ansys Workbench platform, provides superior bi-directional connections to all major CAD systems, powerful geometry modification and creation tools with Ansys DesignModeler, advanced meshing technologies in Ansys Meshing, and easy drag-and-drop transfer of data and results to share between applications. For example, a fluid flow solution can be used in the definition of a boundary load of a subsequent structural mechanics simulation. A native two-way connection to Ansys structural mechanics products allows capture of even the most complex fluid–structure interaction (FSI) problems in the same easy-to-use environment, saving the need to purchase, administer or run third-party coupling software.
August- Acquired ICEM CFD for $12.4 million
Pre and Post Processing of Computational Fluid Dynamics
Ansys acquired ICEM CFD Engineering and its ICEM CFD pre- (meshing) and post- (visualization) processing tool in 2000 for $12.4 million.
Ansys ICEM CFD meshing software starts with advanced CAD/geometry readers and repair tools to allow the user to quickly progress to a variety of geometry-tolerant meshers and produce high-quality volume or surface meshes with minimal effort. Advanced mesh diagnostics, interactive and automated mesh editing, output to a wide variety of computational fluid dynamics (CFD) and finite element analysis (FEA) solvers and multiphysics post-processing tools make Ansys ICEM CFD a complete meshing solution. Ansys endeavors to provide a variety of flexible tools that can take the model from any geometry to any solver in one modern and fully scriptable environment.
Mesh from dirty CAD and/or faceted geometry such as STL
Efficiently mesh large, complex models
Hexa mesh (structured or unstructured) with advanced control
Extended mesh diagnostics and advanced interactive mesh editing
Output to a wide variety of CFD and FEA solvers as well as neutral formats
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[
"DONALD DETTS JR",
"financial advisor",
"Wells Fargo Advisors"
] | null |
[] | null |
DONALD DETTS JR is a financial advisor for Wells Fargo Advisors in the CANONSBURG, Pennsylvania area and can offer you a wide range of financial and investment services.
|
en
| null |
You are leaving wellsfargoadvisors.com and entering a website that Wells Fargo Advisors does not control. Wells Fargo Advisors has provided this link for your convenience, but does not endorse and is not responsible for the content, links, privacy policy, or security policy of this website.
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correct_foundationPlace_00077
|
FactBench
|
3
| 42
|
https://cds.ismrm.org/protected/16MProceedings/PDFfiles/0356.html
|
en
|
[
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Inter-laboratory study of a computational radiofrequency coil model at 64 MHz
Elena Lucano1,2, Mikhail Kozlov3, Eugenia Cabot4, Sara Louie5, Marc Horner5, Wolfgang Kainz1, Gonzalo G Mendoza1, Aiping Yao4,6, Earl Zastrow4,6, Niels Kuster4,6, and Leonardo M Angelone1
1Center for Devices and Radiological Health, Office of Science and Engineering Laboratories, U.S. Food and Drug Administration, Silver Spring, MD, United States, 2Department of Information Engineering, Electronics and Telecommunications, University of Rome "Sapienza", Rome, Italy, 3MR:comp GmbH, Gelsenkirchen, Germany, 4IT'IS foundation, Zurich, Switzerland, 5ANSYS, Inc., Canonsburg, PA, United States, 6Department of Information Technology and Electrical Engineering, ETH, Zurich, Switzerland
Synopsis
Preliminary results of an ongoing inter-laboratory study are presented. The eventual purpose of the effort is to develop a methodology that harmonizes RF-modeling and RF-testing protocol for use in RF exposure assessment. In this phase of the study, numerical and experimental data were collected from four laboratories for unloaded and loaded coil conditions. Only information about the geometry and resonance frequency of the physical coil was provided. Qualitatively good agreement across all teams was found. Subsequent phases of the study shall include a methodology on uncertainty analysis associated with the numerical and experimental methods that can be used in practice
Purpose
Several electromagnetic (EM) simulation platforms have been used in literature to calculate the EM field generated by a magnetic resonance imaging (MRI) RF coil. We present preliminary results of an ongoing inter-laboratory study that aims to compare the numerical data obtained by users of different software platforms modeling a commercially available RF coil, i.e., the MITS system. The computational data was then compared to measurements obtained using two MITSs systems in two different laboratories.
Methods
The Medical Implant Test System (MITS1.5) for 1.5 Tesla RF Safety Evaluation (Zurich Med Tech) (Figure 1a) consists of a 16 rung high-pass birdcage coil (inner diameter = 740 mm, length = 650 mm, Figure 1c) [1]. The coil is shielded by a metallic enclosure and is driven at two ports physically shifted by 90o (I and Q in Figure1a). A simplified geometric model of the MITS1.5 coil (Figure 1b) was distributed in CAD format to four teams: FDA (Team 1), IT’IS (Team 2), MRCOMP (Team 3), and ANSYS (Team 4). No further information on the matching and tuning network, and the EM fields from the physical coils were provided. EM simulations were conducted independently with three software platforms: xFDTD (Remcom Inc.) (Team 1), SEMCAD-X (Schmid & Partner Engineering) (Team 2), both of which employed the finite difference time domain method, and HFSS (ANSYS Inc.), which employed finite element method (Teams 3 and 4). The EM fields were measured with the DASY52 NEO robotic measurement system (SPEAG) [2]. In the first step, numerical and measured data were collected for coil unloaded and loaded with ASTM phantom (Figure 1d). Metallic components were simulated as either copper or perfect electric conductor. The coil model was tuned at 64MHz. Numerical and measured data were reported for axial and coronal planes for the unloaded condition (Figure 2a), and for coronal planes for the loaded condition (Figure 2b). For a quantitative comparison, all results were rescaled to the norm of the magnetic field vector at the center of the RF-coil (|H_iso|). Numerical and measured data were compared using the SMAPE error approach [3].
Results
Figure 3 and 4 show comparison of the numerical and measured electric field in both loading conditions obtained by each team (i.e., one for each quadrant). Herein results are compared only with one of the two measured datasets. Each point in the figure is drawn with the coordinates based on the simulated value in the x-axis and the same measured value in the y-axis. The closer the distribution is to the diagonal, the closer the numerical data are to the measurements (1:1 line). Conversely, a point closer to the ordinate (i.e., measure axis) is representative of a higher measured value with respect to the simulated one, and vice versa. Point distributions were similar for all teams, with an overall better data match for the coronal planes and the axial planes far from the isocenter. Results for the central axial plane (i.e. plane C in Figure 3) were affected by the low electric field values. Figure 5 shows the magnetic and electric field distributions inside the ASTM phantom. The measured magnetic field distribution was more asymmetric than the simulated one. Overall, good agreement was found for the electric field distribution. The mean SMAPE [3] (see equation in Figure 5) inside the plane was equal to 15.7%, 19.5%, 34.71% for Teams 1, 2 and 3, respectively. Consolidation for results from Team 4 is still pending. SMAPE variations may be caused by large sensitivity of |H_iso| on magnetic field symmetry.
Discussion and Conclusions
Further analysis will be conducted to find reasons for the magnetic field asymmetry around the iso-center. Figure 4c suggests that the correlation between numerical and measured data for all teams may be affected by the asymmetry of the magnetic field. Additional post-processing will be performed to take such asymmetry into account. Further steps of the project will include simulation of MITS guided by additional MITS information: coil S-parameters and field distribution. The results from all software platforms will be compared, and uncertainty levels will be defined between the measurements datasets. This will allow a complete comparison including different level of accuracy of the field distributions and power requirements for both numerical and physical coils. The mention of commercial products, their sources, or their use in connection with material reported herein is not to be construed as either an actual or implied endorsement of such products by the Department of Health and Human Services
Acknowledgements
No acknowledgement found.
References
[1] Lucano et al., ISMRM (2014), 4903
[2] DASY 5NEO, SPEAG, Zurich, Switzerland
[3] J. S. Armstrong, Long-Range Forecasting: From Crystal Ball to Computer: Wiley 1985
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correct_foundationPlace_00077
|
FactBench
|
3
| 54
|
https://www.rfglobalnet.com/doc/ansys-releases-hfss-121-with-new-ie-solver-0001
|
en
|
ANSYS Releases HFSS 12.1 With New IE Solver Option
|
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ANSYS Releases HFSS 12.1 With New IE Solver Option - ANSYS, Inc.
|
https://vertassets.blob.core.windows.net/sites/favicons/rfg-favicon.ico
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https://www.rfglobalnet.com/doc/ansys-releases-hfss-121-with-new-ie-solver-0001
|
ANSYS, Inc., a global innovator of simulation software and technologies designed to optimize product development processes, recently announced the 12.1 release of HFSS software, the industry-leading technology for 3-D full-wave electromagnetic field simulation. The product introduces a new integral equation (IE) electromagnetic solver option, which is based on 3-D full-wave method of moments (MoM), that can be implemented in the HFSS desktop. This technology is effective for large-scale radiating and scattering simulation studies. For example, an aircraft system integrator interested in antenna placement or radar cross-section (RCS) studies can accurately simulate and design with the IE solver, effectively reducing prototype iterations, cost and time to market.
HFSS software helps engineers design, simulate and validate the behavior of complex high-performance radio frequency (RF), microwave and millimeter-wave devices in next-generation wireless devices, defense communication systems and consumer electronics. Users of this latest version of HFSS software can achieve a dramatic reduction in development time and costs while at the same time realizing increased reliability and design optimization.
The MoM solution procedure used in the HFSS IE solver is ideally suited for modeling open or radiating problems. The new solver computes the currents on the surfaces of objects and uses those currents to accurately determine the radiated and/or scattered fields. The IE solver provides an automatically adapted and conformal triangular mesh for accuracy. For the largest models requiring the greatest computational resources, the IE solver automatically applies a matrix-based adaptive cross approximation (ACA) algorithm to achieve solution efficiency. This minimizes memory and time for the overall simulation. Setting up such a simulation consists of defining the model, geometry, boundary conditions, material properties and excitations; the simulation process is fully automated, requiring little user input and providing confidence and reliability in the results.
HFSS users can implement the IE solver as a new design type in the easy-to-use HFSS desktop. The software seamlessly shares models, including material properties and geometries, between designs and design types. Current HFSS users will require little additional training to understand and take advantage of the new capabilities.
The IE solver can use field results from the HFSS finite element method (FEM) solver as a sourcing excitation. Thus, an antenna designer can simulate a feeding antenna structure using the wide variety of source excitations available in HFSS software and link the fields to the new IE solver to efficiently compute the radiation pattern of a large dish antenna. Users benefit from both the general utility of HFSS and the computational efficiency of the new IE option all within a familiar, easy-to-use desktop environment.
About ANSYS, Inc.
ANSYS, Inc., founded in 1970, develops and globally markets engineering simulation software and technologies widely used by engineers, designers, researchers and students across a broad spectrum of industries and academia. The Company focuses on the development of open and flexible solutions that enable users to analyze designs directly on the desktop, providing a common platform for fast, efficient and cost-conscious product development, from design concept to final-stage testing and validation. The Company and its global network of channel partners provide sales, support and training for customers. Headquartered in Canonsburg, Pennsylvania, U.S.A., with more than 60 strategic sales locations throughout the world, ANSYS, Inc. and its subsidiaries employ over 1,600 people and distribute ANSYS products through a network of channel partners in over 40 countries.For more information ,visit www.ansys.com
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correct_foundationPlace_00077
|
FactBench
|
2
| 63
|
https://www.science.gov/topicpages/c/code%2Bansys%2Bcfx.html
|
en
|
code ansys cfx: Topics by Science.gov
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Aerodynamic Analysis of a Canard Missile Configuration using ANSYS-CFX
DTIC Science & Technology
2011-12-01
OF A CANARD MISSILE CONFIGURATION USING ANSYS - CFX by Hong Chuan Wee December 2011 Thesis Advisor: Maximilian Platzer Second Reader...DATES COVERED Masterâs Thesis 4. TITLE AND SUBTITLE Aerodynamic Analysis of a Canard Missile Configuration using ANSYS - CFX 5. FUNDING NUMBERS 6...distribution is unlimited 12b. DISTRIBUTION CODE 13. ABSTRACT (maximum 200 words) This study used the Computational Fluid Dynamics code, ANSYS - CFX to
Aerodynamic Analysis of the M33 Projectile Using the CFX Code
DTIC Science & Technology
2011-12-01
is unlimited 12b. DISTRIBUTION CODE A 13. ABSTRACT (maximum 200 words) The M33 projectile has been analyzed using the ANSYS CFX code that is based...analyzed using the ANSYS CFX code that is based on the numerical solution of the full Navier-Stokes equations. Simulation data were obtained...using the CFX code. The ANSYS - CFX code is a commercial CFD program used to simulate fluid flow in a variety of applications such as gas turbine
Numerical simulations of LNG vapor dispersion in Brayton Fire Training Field tests with ANSYS CFX.
PubMed
Qi, Ruifeng; Ng, Dedy; Cormier, Benjamin R; Mannan, M Sam
2010-11-15
Federal safety regulations require the use of validated consequence models to determine the vapor cloud dispersion exclusion zones for accidental liquefied natural gas (LNG) releases. One tool that is being developed in industry for exclusion zone determination and LNG vapor dispersion modeling is computational fluid dynamics (CFD). This paper uses the ANSYS CFX CFD code to model LNG vapor dispersion in the atmosphere. Discussed are important parameters that are essential inputs to the ANSYS CFX simulations, including the atmospheric conditions, LNG evaporation rate and pool area, turbulence in the source term, ground surface temperature and roughness height, and effects of obstacles. A sensitivity analysis was conducted to illustrate uncertainties in the simulation results arising from the mesh size and source term turbulence intensity. In addition, a set of medium-scale LNG spill tests were performed at the Brayton Fire Training Field to collect data for validating the ANSYS CFX prediction results. A comparison of test data with simulation results demonstrated that CFX was able to describe the dense gas behavior of LNG vapor cloud, and its prediction results of downwind gas concentrations close to ground level were in approximate agreement with the test data. Copyright © 2010 Elsevier B.V. All rights reserved.
Application of ANSYS Workbench and CFX at NASA's John C. Stennis Space Center
NASA Technical Reports Server (NTRS)
Woods, Jody L.
2007-01-01
This viewgraph presentation reviews the overall work of the Stennis Space Center, with particular attention paid to the systems analysis and modeling being done with ANSYS Workbench and CFX. Examples of the analyses done with ANSYS Workbench and CFX and planned analyses are reviewed.
Simulation of vortex-induced vibrations of a cylinder using ANSYS CFX
NASA Astrophysics Data System (ADS)
Izhar, Abu Bakar; Qureshi, Arshad Hussain; Khushnood, Shahab
2014-08-01
In this paper, vortex-induced vibrations of a cylinder are simulated by use of ANSYS CFX simulation code. The cylinder is treated as a rigid body and transverse displacements are obtained by use of a one degree of freedom spring damper system. 2-D as well as 3-D analysis is performed using air as the fluid. Reynolds number is varied from 40 to 16000 approx., covering the laminar and turbulent regimes of flow. The experimental results of (Khalak and Williamson, 1997) and other researchers are used for validation purposes. The results obtained are comparable.
CFD Analysis of Coolant Flow in VVER-440 Fuel Assemblies with the Code ANSYS CFX 10.0
DOE Office of Scientific and Technical Information (OSTI.GOV)
Toth, Sandor; Legradi, Gabor; Aszodi, Attila
2006-07-01
From the aspect of planning the power upgrading of nuclear reactors - including the VVER-440 type reactor - it is essential to get to know the flow field in the fuel assembly. For this purpose we have developed models of the fuel assembly of the VVER-440 reactor using the ANSYS CFX 10.0 CFD code. At first a 240 mm long part of a 60 degrees segment of the fuel pin bundle was modelled. Implementing this model a sensitivity study on the appropriate meshing was performed. Based on the development of the above described model, further models were developed: a 960more » mm long part of a 60-degree-segment and a full length part (2420 mm) of the fuel pin bundle segment. The calculations were run using constant coolant properties and several turbulence models. The impacts of choosing different turbulence models were investigated. The results of the above-mentioned investigations are presented in this paper. (authors)« less
Comparison of CFD-calculations of centrifugal compressor stages by NUMECA Fine Turbo and ANSYS CFX programs
NASA Astrophysics Data System (ADS)
Galerkin, Y. B.; Voinov, I. B.; Drozdov, A. A.
2017-08-01
Computational Fluid Dynamics (CFD) methods are widely used for centrifugal compressors design and flow analysis. The calculation results are dependent on the chosen software, turbulence models and solver settings. Two of the most widely applicable programs are NUMECA Fine Turbo and ANSYS CFX. The objects of the study were two different stages. CFD-calculations were made for a single blade channel and for full 360-degree flow paths. Stage 1 with 3D impeller and vaneless diffuser was tested experimentally. Its flow coefficient is 0.08 and loading factor is 0.74. For stage 1 calculations were performed with different grid quality, a different number of cells and different models of turbulence. The best results have demonstrated the Spalart-Allmaras model and mesh with 1.854 million cells. Stage 2 with return channel, vaneless diffuser and 3D impeller with flow coefficient 0.15 and loading factor 0.5 was designed by the known Universal Modeling Method. Its performances were calculated by the well identified Math model. Stage 2 performances by CFD calculations shift to higher flow rate in comparison with design performances. The same result was obtained for stage 1 in comparison with measured performances. Calculated loading factor is higher in both cases for a single blade channel. Loading factor performance calculated for full flow path (â360 degreesâ) by ANSYS CFX is in satisfactory agreement with the stage 2 design performance. Maximum efficiency is predicted accurately by the ANSYS CFX â360 degreesâ calculation. âSectorâ calculation is less accurate. Further research is needed to solve the problem of performances mismatch.
Simulation of vortex-induced vibrations of a cylinder using ANSYS CFX rigid body solver
NASA Astrophysics Data System (ADS)
Izhar, Abubakar; Qureshi, Arshad Hussain; Khushnood, Shahab
2017-03-01
This article simulates the vortex-induced oscillations of a rigid circular cylinder with elastic support using the new ANSYS CFX rigid body solver. This solver requires no solid mesh to setup FSI (Fluid Structure Interaction) simulation. The two-way case was setup in CFX only. Specific mass of the cylinder and flow conditions were similar to previous experimental data with mass damping parameter equal to 0.04, specific mass of 1 and Reynolds number of 3800. Two dimensional simulations were setup. Both one-degree-of-freedom and two-degree-of-freedom cases were run and results were obtained for both cases with reasonable accuracy as compared with experimental results. Eight-figure XY trajectory and lock-in behavior were clearly captured. The obtained results were satisfactory.
Fluid-solid interaction: benchmarking of an external coupling of ANSYS with CFX for cardiovascular applications.
PubMed
Hose, D R; Lawford, P V; Narracott, A J; Penrose, J M T; Jones, I P
2003-01-01
Fluid-solid interaction is a primary feature of cardiovascular flows. There is increasing interest in the numerical solution of these systems as the extensive computational resource required for such studies becomes available. One form of coupling is an external weak coupling of separate solid and fluid mechanics codes. Information about the stress tensor and displacement vector at the wetted boundary is passed between the codes, and an iterative scheme is employed to move towards convergence of these parameters at each time step. This approach has the attraction that separate codes with the most extensive functionality for each of the separate phases can be selected, which might be important in the context of the complex rheology and contact mechanics that often feature in cardiovascular systems. Penrose and Staples describe a weak coupling of CFX for computational fluid mechanics to ANSYS for solid mechanics, based on a simple Jacobi iteration scheme. It is important to validate the coupled numerical solutions. An extensive analytical study of flow in elastic-walled tubes was carried out by Womersley in the late 1950s. This paper describes the performance of the coupling software for the straight elastic-walled tube, and compares the results with Womersley's analytical solutions. It also presents preliminary results demonstrating the application of the coupled software in the context of a stented vessel.
Buoyancy Driven Coolant Mixing Studies of Natural Circulation Flows at the ROCOM Test Facility Using ANSYS CFX
DOE Office of Scientific and Technical Information (OSTI.GOV)
Hohne, Thomas; Kliem, Soren; Rohde, Ulrich
2006-07-01
Coolant mixing in the cold leg, downcomer and the lower plenum of pressurized water reactors is an important phenomenon mitigating the reactivity insertion into the core. Therefore, mixing of the de-borated slugs with the ambient coolant in the reactor pressure vessel was investigated at the four loop 1:5 scaled ROCOM mixing test facility. Thermal hydraulics analyses showed, that weakly borated condensate can accumulate in particular in the pump loop seal of those loops, which do not receive safety injection. After refilling of the primary circuit, natural circulation in the stagnant loops can re-establish simultaneously and the de-borated slugs are shiftedmore » towards the reactor pressure vessel (RPV). In the ROCOM experiments, the length of the flow ramp and the initial density difference between the slugs and the ambient coolant was varied. From the test matrix experiments with 0 resp. 2% density difference between the de-borated slugs and the ambient coolant were used to validate the CFD software ANSYS CFX. To model the effects of turbulence on the mean flow a higher order Reynolds stress turbulence model was employed and a mesh consisting of 6.4 million hybrid elements was utilized. Only the experiments and CFD calculations with modeled density differences show a stratification in the downcomer. Depending on the degree of density differences the less dense slugs flow around the core barrel at the top of the downcomer. At the opposite side the lower borated coolant is entrained by the colder safety injection water and transported to the core. The validation proves that ANSYS CFX is able to simulate appropriately the flow field and mixing effects of coolant with different densities. (authors)« less
Performance power evaluation of DC fan cooling system for PV panel by using ANSYS CFX
NASA Astrophysics Data System (ADS)
Syafiqah, Z.; Amin, N. A. M.; Irwan, Y. M.; Irwanto, M.; Leow, W. Z.; Amelia, A. R.
2017-09-01
A research has been conducted to find the optimum combination for DC fan air cooling system of photovoltaic (PV) panel. During normal operation of PV panel, it is estimated that only 15 % of solar radiation is converted into electrical energy. Meanwhile, the rest of the solar radiation is converted into heat energy which affects the performance of the PV panel. Therefore, the aim of this research is to investigate the performance power evaluation of DC fan cooling system for PV panel by using ANSYS CFX. The effect of airflow configuration of DC fan has been investigated. This is to analyze whether the airflow circulation of DC fan cause a change towards the maximum temperature of PV panel. Besides, the impact of varying number of DC fans attached at the back of PV panel is evaluated. The result of airflow circulation of DC fan has been discussed. Meanwhile, with the increment number of DC fans, the PV panel temperature drops significantly. As a conclusion, the optimum number of DC fans is two with the combination of inlet airflow.
Determination of the temperature distribution in a minichannel using ANSYS CFX and a procedure based on the Trefftz functions
NASA Astrophysics Data System (ADS)
Maciejewska, Beata; BÅasiak, SÅawomir; Piasecka, Magdalena
This work discusses the mathematical model for laminar-flow heat transfer in a minichannel. The boundary conditions in the form of temperature distributions on the outer sides of the channel walls were determined from experimental data. The data were collected from the experimental stand the essential part of which is a vertical minichannel 1.7 mm deep, 16 mm wide and 180 mm long, asymmetrically heated by a Haynes-230 alloy plate. Infrared thermography allowed determining temperature changes on the outer side of the minichannel walls. The problem was analysed numerically through either ANSYS CFX software or special calculation procedures based on the Finite Element Method and Trefftz functions in the thermal boundary layer. The Trefftz functions were used to construct the basis functions. Solutions to the governing differential equations were approximated with a linear combination of Trefftz-type basis functions. Unknown coefficients of the linear combination were calculated by minimising the functional. The results of the comparative analysis were represented in a graphical form and discussed.
Numerical Performance Prediction of a Miniature Ramjet at Mach 4
DTIC Science & Technology
2012-09-01
with the computational fluids dynamic (CFD) code from ANSYS - CFX . The nozzle-throat area was varied to increase the backpressure and this pushed the...normal shock that was sitting within the inlet, out to the lip of the inlet cowl. Using the eddy dissipation combustion model in ANSYS - CFX , a...improved accuracy in turbulence modeling. 14. SUBJECT TERMS Mach 4, Ramjet, Drag, Turbulence Modeling, Simulation, ANSYS CFX 15. NUMBER
A General Computational Approach for Magnetohydrodynamic Flows Using the CFX Code: Buoyant Flow Through a Vertical Square Channel
DOE Office of Scientific and Technical Information (OSTI.GOV)
Di Piazza, Ivan; Buehler, Leo
2000-09-15
The buoyancy-driven magnetoconvection in the cross section of an infinitely long vertical square duct is investigated numerically using the CFX code package. The implementation of a magnetohydrodynamic (MHD) problem in CFX is discussed, with particular reference to the Lorentz forces and the electric potential boundary conditions for arbitrary electrical conductivity of the walls. The method proposed is general and applies to arbitrary geometries with an arbitrary orientation of the magnetic field. Results for fully developed flow under various thermal boundary conditions are compared with asymptotic analytical solutions. The comparison shows that the asymptotic analysis is confirmed for highly conducting wallsmore » as high velocity jets occur at the side walls. For weakly conducting walls, the side layers become more conducting than the side walls, and strong electric currents flow within these layers parallel to the magnetic field. As a consequence, the velocity jets are suppressed, and the core solution is only corrected by the viscous forces near the wall. The implementation of MHD in CFX is achieved.« less
Application of CFX-10 to the Investigation of RPV Coolant Mixing in VVER Reactors
DOE Office of Scientific and Technical Information (OSTI.GOV)
Moretti, Fabio; Melideo, Daniele; Terzuoli, Fulvio
2006-07-01
Coolant mixing phenomena occurring in the pressure vessel of a nuclear reactor constitute one of the main objectives of investigation by researchers concerned with nuclear reactor safety. For instance, mixing plays a relevant role in reactivity-induced accidents initiated by de-boration or boron dilution events, followed by transport of a de-borated slug into the vessel of a pressurized water reactor. Another example is constituted by temperature mixing, which may sensitively affect the consequences of a pressurized thermal shock scenario. Predictive analysis of mixing phenomena is strongly improved by the availability of computational tools able to cope with the inherent three-dimensionality ofmore » such problem, like system codes with three-dimensional capabilities, and Computational Fluid Dynamics (CFD) codes. The present paper deals with numerical analyses of coolant mixing in the reactor pressure vessel of a VVER-1000 reactor, performed by the ANSYS CFX-10 CFD code. In particular, the 'swirl' effect that has been observed to take place in the downcomer of such kind of reactor has been addressed, with the aim of assessing the capability of the codes to predict that effect, and to understand the reasons for its occurrence. Results have been compared against experimental data from V1000CT-2 Benchmark. Moreover, a boron mixing problem has been investigated, in the hypothesis that a de-borated slug, transported by natural circulation, enters the vessel. Sensitivity analyses have been conducted on some geometrical features, model parameters and boundary conditions. (authors)« less
Method for VAWT Placement on a Complex Building Structure
DTIC Science & Technology
2013-06-01
85 APPENDIX C: ANSYS CFX SPECIFICAITONS FOR WIND FLOW ANALYSIS .....87 APPENDIX D: SINGLE ROTOR ANALYSIS ANSYS CFX MESH DETAILS...89 APPENDIX E: SINGLE ROTOR ANALYSIS, ANSYS CFX SPECIFICS .....................91 APPENDIX F: DETAILED RESULTS OF SINGLE ROTOR...101 APPENDIX I: DUAL ROTOR ANALYSIS- ANSYS CFX SPECIFICATIONS (6 BLADED VAWTS
Performance Improvements to the Naval Postgraduate School Turbopropulsion Labs Transonic Axially Splittered Rotor
DTIC Science & Technology
2013-12-01
Implementation of current NPS TPL design procedure that uses COTS software (MATLAB, SolidWorks, and ANSYS - CFX ) for the geometric rendering and...procedure that uses commercial-off-the-shelf software (MATLAB, SolidWorks, and ANSYS - CFX ) for the geometric rendering and analysis was modified and... CFX The CFD simulation program in ANSYS Workbench. CFX -Pre CFX boundary conditions and solver settings module. CFX -Solver CFX solver program. CFX
Numerical Analysis of Shear Thickening Fluids for Blast Mitigation Applications
DTIC Science & Technology
2011-12-01
integrate with other types of physics simulation technologies ( ANSYS , 2011). One well-known product offered by ANSYS is the ANSYS CFX . The ANSYS CFD...centered. The ANSYS CFX solver uses coupled algebraic multigrid to achieve its solutions and its engineered scalability ensures a linear increase in CPU...on the user-defined distribution and size. As the numerical analysis focused on the behavior of each individual particle, the ANSYS CFX Rigid Body
Detection of cfxA and cfxA2, the β-Lactamase Genes of Prevotella spp., in Clinical Samples from Dentoalveolar Infection by Real-Time PCR
PubMed Central
Iwahara, Kaori; Kuriyama, Tomoari; Shimura, Satoshi; Williams, David W.; Yanagisawa, Maki; Nakagawa, Kiyomasa; Karasawa, Tadahiro
2006-01-01
While most bacteria involved in dentoalveolar infection are highly susceptible to penicillin, some Prevotella strains exhibit resistance to this agent through the production of β-lactamase. The production of β-lactamase by Prevotella spp. is in turn associated with the expression of the genes cfxA and cfxA2. The aim of the present study was to determine the prevalence of cfxA and cfxA2 in Prevotella strains by use of real-time PCR and to assess the performance of this molecular method for the direct detection of the genes in 87 clinical samples (pus and root canal exudates) from dentoalveolar infection. Production of β-lactamase by each isolate was determined using a nitrocefin disk. β-Lactamase production was seen in 31% of Prevotella isolates, while all isolates of other species were β-lactamase negative. The penicillin resistance of isolates strongly correlated with the production of β-lactamase. Real-time PCR was found to detect the cfxA and cfxA2 genes from at least five cells per reaction mixture (5 à 103 CFU/ml of pus). Using real-time PCR, the presence of cfxA and cfxA2 was evident for all 48 β-lactamase-positive Prevotella strains. In contrast, neither β-lactamase-negative Prevotella (n = 91) or non-Prevotella (n = 31) strains were positive for the genes. In this study, 31 of the 87 samples yielded β-lactamase-positive Prevotella results, and cfxA and cfxA2 were detected in all 31 samples. Of the 56 culture-negative samples, 8 (14%) were positive for cfxA and cfxA2 by the real-time PCR. This sensitive and specific molecular method offers a rapid clinical test for aiding in the selection of an appropriate antibiotic for treatment of dentoalveolar infection. Although penicillin remains largely effective in the treatment of dentoalveolar infection, β-lactamase-stable antibiotics should be considered in cases in which β-lactamase-positive Prevotella strains are involved. PMID:16390966
Verification of transport equations in a general purpose commercial CFD code.
NASA Astrophysics Data System (ADS)
Melot, Matthieu; Nennemann, Bernd; Deschênes, Claire
2016-11-01
In this paper, the Verification and Validation methodology is presented. This method aims to increase the reliability and the trust that can be placed into complex CFD simulations. The first step of this methodology, the code verification is presented in greater details. The CFD transport equations in steady state, transient and Arbitrary Eulerian Lagrangian (ALE, used for transient moving mesh) formulations in Ansys CFX are verified. It is shown that the expected spatial and temporal order of convergence are achieved for the steady state and the transient formulations. Unfortunately this is not completely the case for the ALE formulation. As for a lot of other commercial and in-house CFD codes, the temporal convergence of the velocity is limited to a first order where a second order would have been expected.
Turning Vanes in Exhaust Duct Flow: Study for Energy Efficiency, Optimization and Pressure Drop Mitigation
DTIC Science & Technology
2014-09-01
bend of ninety degrees and the application toward waste heat recovery devices. CFD models were implemented in ANSYS / CFX to handle flow in both...devices. CFD models were implemented in ANSYS / CFX to handle flow in both laminar and turbulent regimes. Applying the principles from the Reynolds... ANSYS / CFX SET-UP ....................................................................................23 C. EVALUATION OF VALIDATION RESULTS
Viability of Cross-Flow Fan with Helical Blades for Vertical Take-off and Landing Aircraft
DTIC Science & Technology
2012-09-01
fluid dynamics (CFD) software, ANSYS - CFX , a three-dimensional (3-D) straight-bladed model was validated against previous studyâs experimental results...computational fluid dynamics software (CFD), ANSYS - CFX , a three-dimensional (3-D) straight-bladed model was validated against previous studyâs experimental...37 B. SIZING PARAMETERS AND ILLUSTRATION ................................. 37 APPENDIX B. ANSYS CFX PARAMETERS
Integration of Twenty-Bladed Cross-Flow Fan into Vertical Take-Off and Landing Aircraft
DTIC Science & Technology
2013-06-01
a new 20-bladed rotor was designed in SolidWorks and imported into ANSYS - CFX , which was used to analytically determine the thrust generated at speeds...implementation and experimentation. To accomplish this task, a new 20-bladed rotor was designed in SolidWorks and imported into ANSYS - CFX , which was...11 4. ANSYS - CFX CFD Analysis
Thrust Augmentation Study of Cross-Flow Fan for Vertical Take-Off and Landing Aircraft
DTIC Science & Technology
2012-09-01
configuration by varying the gap between the CFFs. Computational fluid simulations of the dual CFF configuration was performed using ANSYS CFX to find the...Computational fluid simulations of the dual CFF configuration was performed using ANSYS CFX to find the thrust generated as well as the optimal operating point...RECOMMENDATIONS ...............................................................................43 APPENDIX A. ANSYS CFX SETTINGS FOR DUAL CFF (8,000
Aerodynamic Validation of Emerging Projectile Configurations
DTIC Science & Technology
2011-12-01
was benchmarked against modern aerodynamic prediction programs like ANSYS CFX and Aero-Prediction 09 (AP09). Next, a comparison was made between two...types of angle of attack generation methods in ANSYS CFX . The research then focused on controlled tilting of the projectileâs nose to investigate the...resulting aerodynamic effects. ANSYS CFX was found to provide better agreement with the experimental data than AP09. 14. SUBJECT
Development of a Cross-Flow Fan Rotor for Vertical Take-Off and Landing Aircraft
DTIC Science & Technology
2013-06-01
ANSYS CFX , along with the commercial computer-aided design software SolidWorks, was used to model and perform a parametric study on the number of rotor...the results found using ANSYS CFX . The experimental and analytical models were successfully compared at speeds ranging from 4,000 to 7,000 RPM...will make vertical take-off possible. The commercial computational fluid dynamics software ANSYS CFX , along with the commercial computer-aided design
Development and Analysis of a Bi-Directional Tidal Turbine
DTIC Science & Technology
2012-03-01
commercial CFD software ANSYS CFX was utilized to build a turbine map. The basic turbine map was developed for a 25 blade bi-axial turbine under...directional turbine created for this purpose. In the present study, the commercial CFD software ANSYS CFX was utilized to build a turbine map. The...sheath C. PROBLEM SPECIFICATIONS AND BOUNDARY CONDITIONS The simulation definition was created using ANSYS CFX -Pre. The best measurements to determine
High-Energy-Density, Low-Temperature Li/CFx Primary Cells
NASA Technical Reports Server (NTRS)
Whitacre, Jay; Bugga, Ratnakumar; Smart, Marshall; Prakash, G.; Yazami, Rachid
2007-01-01
High-energy-density primary (nonrechargeable) electrochemical cells capable of relatively high discharge currents at temperatures as low as -40 C have been developed through modification of the chemistry of commercial Li/CFx cells and batteries. The commercial Li/CFx units are not suitable for high-current and low-temperature applications because they are current limited and their maximum discharge rates decrease with decreasing temperature. The term "Li/CFx" refers to an anode made of lithium and a cathode made of a fluorinated carbonaceous material (typically graphite). In commercial cells, x typically ranges from 1.05 to 1.1. This cell composition makes it possible to attain specific energies up to 800 Wh/kg, but in order to prevent cell polarization and the consequent large loss of cell capacity, it is typically necessary to keep discharge currents below C/50 (where C is numerically equal to the current that, flowing during a charge or discharge time of one hour, would integrate to the nominal charge or discharge capacity of a cell). This limitation has been attributed to the low electronic conductivity of CFx for x approx. 1. To some extent, the limitation might be overcome by making cathodes thinner, and some battery manufacturers have obtained promising results using thin cathode structures in spiral configurations. The present approach includes not only making cathodes relatively thin [.2 mils (.0.051 mm)] but also using sub-fluorinated CFx cathode materials (x < 1) in conjunction with electrolytes formulated for use at low temperatures. The reason for choosing sub-fluorinated CFx cathode materials is that their electronic conductivities are high, relative to those for which x > 1. It was known from recent prior research that cells containing sub-fluorinated CFx cathodes (x between 0.33 and 0.66) are capable of retaining substantial portions of their nominal low-current specific energies when discharged at rates as high as 5C at room temperature. However
Simulation study of air and water cooled photovoltaic panel using ANSYS
NASA Astrophysics Data System (ADS)
Syafiqah, Z.; Amin, N. A. M.; Irwan, Y. M.; Majid, M. S. A.; Aziz, N. A.
2017-10-01
Demand for alternative energy is growing due to decrease of fossil fuels sources. One of the promising and popular renewable energy technology is a photovoltaic (PV) technology. During the actual operation of PV cells, only around 15% of solar irradiance is converted to electricity, while the rest is converted into heat. The electrical efficiency decreases with the increment in PV panelâs temperature. This electrical energy is referring to the open-circuit voltage (Voc), short-circuit current (Isc) and output power generate. This paper examines and discusses the PV panel with water and air cooling system. The air cooling system was installed at the back of PV panel while water cooling system at front surface. The analyses of both cooling systems were done by using ANSYS CFX and PSPICE software. The highest temperature of PV panel without cooling system is 66.3 °C. There is a decrement of 19.2% and 53.2% in temperature with the air and water cooling system applied to PV panel.
Acoustic Model of the Remnant Bubble Cloud from Underwater Explosion
DTIC Science & Technology
2012-11-01
fluid, bu g is the acceleration due to gravity, and C is the drag coefficient. Here we use the Grace Drag model (Clift et al., 1978; ANSYS CFX ...Dynaflow, Inc., Baltimore, MD for providing the bubble maker data. REFERENCES ANSYS CFX -Solver, Release 13.0: Theory 2010. ANSYS Inc. Brennen...unclassified Standard Form 298 (Rev. 8-98) Prescribed by ANSI Std Z39-18 21-23 November 2012, Fremantle, Australia Proceedings of Acoustics 2012
Fabrication and Characterization of Blue Organic Light-emitting Diodes
DTIC Science & Technology
2011-09-01
Unclassified 19b. TELEPHONE NUMBER (Include area code) (301) 394-1473 Standard Form 298 (Rev. 8/98) Prescribed by ANSI Std. Z39.18 iii Contents...sure the CFx gas valve is off and that the oxygen valve is open (counterclockwise) all the way. b. Load the substrates into chamber, ITO-side up
Study of unsteady performance of a twin-entry mixed flow turbine
NASA Astrophysics Data System (ADS)
Bencherif, M. M.; Hamidou, M. K.; Hamel, M.; Abidat, M.
2016-03-01
The aim of this investigation is to study the performance of a twin-entry turbine under pulsed flow conditions. The ANSYS-CFX code is used to solve three-dimensional compressible turbulent flow equations. The computational results are compared with those of a one-dimensional model and experimental data, and good agreement is found.
Pushing the Theoretical Limit of Li-CFx Batteries: A Tale of Bi-functional Electrolyte
DOE Office of Scientific and Technical Information (OSTI.GOV)
Rangasamy, Ezhiylmurugan; Li, Juchuan; Sahu, Gayatri
2014-01-01
In a typical battery, electrodes deliver capacities less or equal the theoretical maxima of the electrode materials.1 The inert electrolyte functions solely as the ionic conductor without contribution to the cell capacity because of its distinct mono-function in the concept of conventional batteries. Here we demonstrate that the most energy-dense Li-CFx battery2 delivers a capacity exceeding the theoretical maximum of CFx with a solid electrolyte of Li3PS4 (LPS) that has dual functions: as the inert electrolyte at the anode and the active component at the cathode. Such a bi-functional electrolyte reconciles both inert and active characteristics through a synergistic dischargemore » mechanism of CFx and LPS. Li3PS4 is known as an inactive solid electrolyte with a broad electrochemical window over 5 V.3 The synergy at the cathode is through LiF, the discharge product of CFx, which activates the electrochemical discharge of LPS at a close electrochemical potential of CFx. Therefore, the solid-state Li-CFx batteries output 126.6% energy beyond their theoretic limits without compromising the stability of the cell voltage. The extra energy comes from the electrochemical discharge of LPS, the inert electrolyte. This bi-functional electrolyte revolutionizes the concept of conventional batteries and opens a new avenue for the design of batteries with an unprecedentedly high energy density.« less
Electrolytes for Low-Temperature Operation of Li-CFx Cells
NASA Technical Reports Server (NTRS)
Smart, Marshall C.; Whitacre, Jay F.; Bugga, Ratnakumar V.; Prakash, G. K. Surya; Bhalla, Pooja; Smith, Kiah
2009-01-01
A report describes a study of electrolyte compositions selected as candidates for improving the low-temperature performances of primary electrochemical cells that contain lithium anodes and fluorinated carbonaceous (CFx) cathodes. This study complements the developments reported in Additive for Low-Temperature Operation of Li-(CF)n Cells (NPO- 43579) and Li/CFx Cells Optimized for Low-Temperature Operation (NPO- 43585), which appear elsewhere in this issue of NASA Tech Briefs. Similar to lithium-based electrolytes described in several previous NASA Tech Briefs articles, each of these electrolytes consisted of a lithium salt dissolved in a nonaqueous solvent mixture. Each such mixture consisted of two or more of the following ingredients: propylene carbonate (PC); 1,2-dimethoxyethane (DME); trifluoropropylene carbonate; bis(2,2,2-trifluoroethyl) ether; diethyl carbonate; dimethyl carbonate; and ethyl methyl carbonate. The report describes the physical and chemical principles underlying the selection of the compositions (which were not optimized) and presents results of preliminary tests made to determine effects of the compositions upon the low-temperature capabilities of Li-CFx cells, relative to a baseline composition of LiBF4 at a concentration of 1.0 M in a solvent comprising equal volume parts of PC and DME.
ANSYS duplicate finite-element checker routine
NASA Technical Reports Server (NTRS)
Ortega, R.
1995-01-01
An ANSYS finite-element code routine to check for duplicated elements within the volume of a three-dimensional (3D) finite-element mesh was developed. The routine developed is used for checking floating elements within a mesh, identically duplicated elements, and intersecting elements with a common face. A space shuttle main engine alternate turbopump development high pressure oxidizer turbopump finite-element model check using the developed subroutine is discussed. Finally, recommendations are provided for duplicate element checking of 3D finite-element models.
Elaborate SMART MCNP Modelling Using ANSYS and Its Applications
NASA Astrophysics Data System (ADS)
Song, Jaehoon; Surh, Han-bum; Kim, Seung-jin; Koo, Bonsueng
2017-09-01
An MCNP 3-dimensional model can be widely used to evaluate various design parameters such as a core design or shielding design. Conventionally, a simplified 3-dimensional MCNP model is applied to calculate these parameters because of the cumbersomeness of modelling by hand. ANSYS has a function for converting the CAD `stp' format into an MCNP input in the geometry part. Using ANSYS and a 3- dimensional CAD file, a very detailed and sophisticated MCNP 3-dimensional model can be generated. The MCNP model is applied to evaluate the assembly weighting factor at the ex-core detector of SMART, and the result is compared with a simplified MCNP SMART model and assembly weighting factor calculated by DORT, which is a deterministic Sn code.
Analysis of composite plates by using mechanics of structure genome and comparison with ANSYS
NASA Astrophysics Data System (ADS)
Zhao, Banghua
Motivated by a recently discovered concept, Structure Genome (SG) which is defined as the smallest mathematical building block of a structure, a new approach named Mechanics of Structure Genome (MSG) to model and analyze composite plates is introduced. MSG is implemented in a general-purpose code named SwiftComp(TM), which provides the constitutive models needed in structural analysis by homogenization and pointwise local fields by dehomogenization. To improve the user friendliness of SwiftComp(TM), a simple graphic user interface (GUI) based on ANSYS Mechanical APDL platform, called ANSYS-SwiftComp GUI is developed, which provides a convenient way to create some common SG models or arbitrary customized SG models in ANSYS and invoke SwiftComp(TM) to perform homogenization and dehomogenization. The global structural analysis can also be handled in ANSYS after homogenization, which could predict the global behavior and provide needed inputs for dehomogenization. To demonstrate the accuracy and efficiency of the MSG approach, several numerical cases are studied and compared using both MSG and ANSYS. In the ANSYS approach, 3D solid element models (ANSYS 3D approach) are used as reference models and the 2D shell element models created by ANSYS Composite PrepPost (ACP approach) are compared with the MSG approach. The results of the MSG approach agree well with the ANSYS 3D approach while being as efficient as the ACP approach. Therefore, the MSG approach provides an efficient and accurate new way to model composite plates.
A Higher-Order Conservation Element Solution Element Method for Solving Hyperbolic Differential Equations on Unstructured Meshes
DTIC Science & Technology
2014-03-01
Unclassified c. THIS PAGE Unclassified SAR 232 19b. TELEPHONE NO (include area code) 661 275-5649 Standard Form 298 (Rev. 8-98) Prescribed by ANSI ...34 # â Cfx ,yi â (x, y, t) âxIâyJâtK = Aâ a=0 Aâaâ b=0 Aâaâbâ c=0 ( âBfx,yi âxI+aâyJ+bâtK+c )n j Îxa a...Aâaâ b=0 Aâaâbâ c=0 ( âa+b+ cfx ,yi âxaâybâtc )nâ1/2 1â²Ã (xâ x1â²Ã) a (y â y1â²Ã) b ( tâ tnâ1/2 )c a!b!c
Massive separation around bluff bodies: comparisons among different cfd solvers and turbulence models
NASA Astrophysics Data System (ADS)
Armenio, Vincenzo; Fakhari, Ahmad; Petronio, Andrea; Padovan, Roberta; Pittaluga, Chiara; Caprino, Giovanni
2015-11-01
Massive flow separation is ubiquitous in industrial applications, ruling drag and hydrodynamic noise. In spite of considerable efforts, its numerical prediction still represents a challenge for CFD models in use in engineering. Aside commercial software, over the latter years the opensource software OpenFOAMR (OF) has emerged as a valid tool for prediction of complex industrial flows. In the present work, we simulate two flows representative of a class of situations occurring in industrial problems: the flow around sphere and that around a wall-mounted square cylinder at Re = 10000 . We compare the performance two different tools, namely OF and ANSYS CFX 15.0 (CFX) using different unstructured grids and turbulence models. The grids have been generated using SNAPPYHEXMESH and ANSYS ICEM CFD 15.0 with different near wall resolutions. The codes have been run in a RANS mode using k - É model (OF) and SST - k - Ï (CFX) with and without wall-layer models. OF has been also used in LES, WMLES and DES mode. Regarding the sphere, RANS models were not able to catch separation, while good prediction of separation and distribution of stresses over the surface were obtained using LES, WMLES and DES. Results for the second test case are currently under analysis. Financial support from COSMO ``cfd open source per opera mortta'' PAR FSC 2007-2013, Friuli Venezia Giulia.
A Two-Dimensional Fourth-Order CESE Method for the Euler Equations on Triangular Unstructured Meshes (Post-Print)
DTIC Science & Technology
2012-01-12
include area code) 661 275-5649 Standard Form 298 (Rev. 8-98) Prescribed by ANSI Std. 239.18 A Two-Dimensional Fourth-Order CESE Method for the...remark that Eq. (4) is a special case of Eq. (5) with A = N . Similarly, the Taylor expansion of fluxes can be expressed as â Cfx ,yi âxIâyJâtK (x, y, t) = A...x2â² , y2â²) and within t n â 1/2 ⤠t ⤠tn, the flux fx,yi can be expressed as (fx,yi ) â = A â a=0 Aâa â b=0 Aâaâb â c=0 âa+b+ cfx ,yi âxaâybâtc âxaâyb
Hemodynamics model of fluidâsolid interaction in internal carotid artery aneurysms
PubMed Central
Fu-Yu, Wang; Lei, Liu; Xiao-Jun, Zhang; Hai-Yue, Ju
2010-01-01
The objective of this study is to present a relatively simple method to reconstruct cerebral aneurysms as 3D numerical grids. The method accurately duplicates the geometry to provide computer simulations of the blood flow. Initial images were obtained by using CT angiography and 3D digital subtraction angiography in DICOM format. The image was processed by using MIMICS software, and the 3D fluid model (blood flow) and 3D solid model (wall) were generated. The subsequent output was exported to the ANSYS workbench software to generate the volumetric mesh for further hemodynamic study. The fluid model was defined and simulated in CFX software while the solid model was calculated in ANSYS software. The force data calculated firstly in the CFX software were transferred to the ANSYS software, and after receiving the force data, total mesh displacement data were calculated in the ANSYS software. Then, the mesh displacement data were transferred back to the CFX software. The data exchange was processed in workbench software. The results of simulation could be visualized in CFX-post. Two examples of grid reconstruction and blood flow simulation for patients with internal carotid artery aneurysms were presented. The wall shear stress, wall total pressure, and von Mises stress could be visualized. This method seems to be relatively simple and suitable for direct use by neurosurgeons or neuroradiologists, and maybe a practical tool for planning treatment and follow-up of patients after neurosurgical or endovascular interventions with 3D angiography. PMID:20812022
Hemodynamics model of fluid-solid interaction in internal carotid artery aneurysms.
PubMed
Bai-Nan, Xu; Fu-Yu, Wang; Lei, Liu; Xiao-Jun, Zhang; Hai-Yue, Ju
2011-01-01
The objective of this study is to present a relatively simple method to reconstruct cerebral aneurysms as 3D numerical grids. The method accurately duplicates the geometry to provide computer simulations of the blood flow. Initial images were obtained by using CT angiography and 3D digital subtraction angiography in DICOM format. The image was processed by using MIMICS software, and the 3D fluid model (blood flow) and 3D solid model (wall) were generated. The subsequent output was exported to the ANSYS workbench software to generate the volumetric mesh for further hemodynamic study. The fluid model was defined and simulated in CFX software while the solid model was calculated in ANSYS software. The force data calculated firstly in the CFX software were transferred to the ANSYS software, and after receiving the force data, total mesh displacement data were calculated in the ANSYS software. Then, the mesh displacement data were transferred back to the CFX software. The data exchange was processed in workbench software. The results of simulation could be visualized in CFX-post. Two examples of grid reconstruction and blood flow simulation for patients with internal carotid artery aneurysms were presented. The wall shear stress, wall total pressure, and von Mises stress could be visualized. This method seems to be relatively simple and suitable for direct use by neurosurgeons or neuroradiologists, and maybe a practical tool for planning treatment and follow-up of patients after neurosurgical or endovascular interventions with 3D angiography.
Numerical Analysis of Coolant Flow and Heat Transfer in ITER Diagnostic First Wall
DOE Office of Scientific and Technical Information (OSTI.GOV)
Khodak, A.; Loesser, G.; Zhai, Y.
2015-07-24
We performed numerical simulations of the ITER Diagnostic First Wall (DFW) using ANSYS workbench. During operation DFW will include solid main body as well as liquid coolant. Thus thermal and hydraulic analysis of the DFW was performed using conjugated heat transfer approach, in which heat transfer was resolved in both solid and liquid parts, and simultaneously fluid dynamics analysis was performed only in the liquid part. This approach includes interface between solid and liquid part of the systemAnalysis was performed using ANSYS CFX software. CFX software allows solution of heat transfer equations in solid and liquid part, and solution ofmore » the flow equations in the liquid part. Coolant flow in the DFW was assumed turbulent and was resolved using Reynolds averaged Navier-Stokes equations with Shear Stress Transport turbulence model. Meshing was performed using CFX method available within ANSYS. The data cloud for thermal loading consisting of volumetric heating and surface heating was imported into CFX Volumetric heating source was generated using Attila software. Surface heating was obtained using radiation heat transfer analysis. Our results allowed us to identify areas of excessive heating. Proposals for cooling channel relocation were made. Additional suggestions were made to improve hydraulic performance of the cooling system.« less
The first-principle coupled calculations using TMCC and CFX for the pin-wise simulation of LWR
DOE Office of Scientific and Technical Information (OSTI.GOV)
Li, L.; Wang, K.
2012-07-01
The coupling of neutronics and thermal-hydraulics plays an important role in the reactor safety, core design and operation of nuclear power facilities. This paper introduces the research on the coupling of Monte Carlo method and CFD method, specifically using TMCC and CFX. The methods of the coupling including the coupling approach, data transfer, mesh mapping and transient coupling scheme are studied firstly. The coupling of TMCC and CFX for the steady state calculations is studied and described for the single rod model and the 3 x 3 Rod Bundle model. The calculation results prove that the coupling method is feasiblemore » and the coupled calculation can be used for steady state calculations. However, the oscillation which occurs during the coupled calculation indicates that this method still needs to be improved for the accuracy. Then the coupling for the transient calculations is also studied and tested by two cases of the steady state and the lost of heat sink. The preliminary results of the transient coupled calculations indicates that the transient coupling with TMCC and CFX is able to simulate the transients but instabilities are occurring. It is also concluded that the transient coupling of TMCC and CFX needs to be improved due to the limitation of computational resource and the difference of time scales. (authors)« less
Dynamic Response of Composite Structures Underwater
DTIC Science & Technology
2013-09-01
then run and the desired data was viewed in CFD-post of the CFX tool. The ANSYS model illustrates the changing concavity of the beam along its...OF ABSTRACT Unclassified 20. LIMITATION OF ABSTRACT UU NSN 7540-01-280-5500 Standard Form 298 (Rev. 2-89) Prescribed by ANSI Std. 239-18...41 Figure 36. ANSYS Beam Displacement
Finite element meshing of ANSYS (trademark) solid models
NASA Technical Reports Server (NTRS)
Kelley, F. S.
1987-01-01
A large scale, general purpose finite element computer program, ANSYS, developed and marketed by Swanson Analysis Systems, Inc. is discussed. ANSYS was perhaps the first commercially available program to offer truly interactive finite element model generation. ANSYS's purpose is for solid modeling. This application is briefly discussed and illustrated.
Very High Specific Energy, Medium Power Li/CFx Primary Battery for Launchers and Space Probes
NASA Astrophysics Data System (ADS)
Brochard, Paul; Godillot, Gerome; Peres, Jean Paul; Corbin, Julien; Espinosa, Amaya
2014-08-01
Benchmark with existing technologies shows the advantages of the lithium-fluorinated carbon (Li/CFx) technology for use aboard future launchers in terms of a low Total Cost of Ownership (TCO), especially for high energy demanding missions such as re-ignitable upper stages for long GTO+ missions and probes for deep space exploration.This paper presents the new results obtained on this chemistry in terms of electrical and climatic performances, abuse tests and life tests. Studies - co-financed between CNES and Saft - looked at a pure CFx version with a specific energy up to 500 Wh/kg along with a medium power of 80 to 100 W/kg.
ANSI/ASHRAE/IES Standard 90.1-2013 Preliminary Determination: Qualitative Analysis
DOE Office of Scientific and Technical Information (OSTI.GOV)
Halverson, Mark A.; Hart, Reid; Athalye, Rahul A.
2014-03-01
Section 304(b) of the Energy Conservation and Production Act (ECPA), as amended, requires the Secretary of Energy to make a determination each time a revised version of ASHRAE Standard 90.1 is published with respect to whether the revised standard would improve energy efficiency in commercial buildings. When the U.S. Department of Energy (DOE) issues an affirmative determination on Standard 90.1, states are statutorily required to certify within two years that they have reviewed and updated the commercial provisions of their building energy code, with respect to energy efficiency, to meet or exceed the revised standard. This report provides a preliminarymore » qualitative analysis of all addenda to ANSI/ASHRAE/IES Standard 90.1-2010 (referred to as Standard 90.1-2010 or 2010 edition) that were included in ANSI/ASHRAE/IES Standard 90.1-2013 (referred to as Standard 90.1-2013 or 2013 edition).« less
Effects of inlet boundary conditions, on the computed flow in the Turbine-99 draft tube, using OpenFOAM and CFX
NASA Astrophysics Data System (ADS)
Nilsson, H.; Cervantes, M. J.
2012-11-01
The flow in the Turbine-99 Kaplan draft tube was thoroughly investigated at three workshops (1999, 2001, 2005), which aimed at determining the state of the art of draft tube simulations. The flow is challenging due to the different flow phenomena appearing simultaneously such as unsteadiness, separation, swirl, turbulence, and a strong adverse pressure gradient. The geometry and the experimentally determined inlet boundary conditions were provided to the Turbine-99 workshop participants. At the final workshop, angular resolved inlet velocity boundary conditions were provided. The rotating non-axi-symmetry of the inlet flow due to the runner blades was thus included. The effect of the rotating angular resolution was however not fully investigated at that workshop. The first purpose of this work is to further investigate this effect. Several different inlet boundary conditions are applied - the angular resolved experimental data distributed at the Turbine-99 workshop, the angular resolved results of a runner simulation with interpolated values using different resolution in the tangential and radial directions, and an axi-symmetric variant of the same numerical data. The second purpose of this work is to compare the results from the OpenFOAM and CFX CFD codes, using as similar settings as possible. The present results suggest that the experimental angular inlet boundary conditions proposed to the workshop are not adequate to simulate accurately the flow in the T-99 draft tube. The reason for this is that the experimental phase-averaged data has some important differences compared to the previously measured time-averaged data. Using the interpolated data from the runner simulation as inlet boundary condition however gives good results as long as the resolution of that data is sufficient. It is shown that the difference between the results using the angular-resolved and the corresponding symmetric inlet data is very small, suggesting that the importance of the angular
[Design of Complex Cavity Structure in Air Route System of Automated Peritoneal Dialysis Machine].
PubMed
Quan, Xiaoliang
2017-07-30
This paper introduced problems about Automated Peritoneal Dialysis machine(APD) that the lack of technical issues such as the structural design of the complex cavities. To study the flow characteristics of this special structure, the application of ANSYS CFX software is used with k-ε turbulence model as the theoretical basis of fluid mechanics. The numerical simulation of flow field simulation result in the internal model can be gotten after the complex structure model is imported into ANSYS CFX module. Then, it will present the distribution of complex cavities inside the flow field and the flow characteristics parameter, which will provide an important reference design for APD design.
Numerical investigation of hub clearance flow in a Kaplan turbine
NASA Astrophysics Data System (ADS)
Wu, H.; Feng, J. J.; Wu, G. K.; Luo, X. Q.
2012-11-01
In this paper, the flow field considering the hub clearance flow in a Kaplan turbine has been investigated through using the commercial CFD code ANSYS CFX based on high-quality structured grids generated by ANSYS ICEM CFD. The turbulence is simulated by k-Ï based shear stress transport (SST) turbulence model together with automatic near wall treatments. Four kinds of simulations have been conducted for the runner geometry without hub clearance, with only the hub front clearance, with only the rear hub clearance, and with both front and rear clearance. The analysis of the obtained results is focused on the flow structure of the hub clearance flow, the effect on the turbine performance including hydraulic efficiency and cavitation performance, which can improve the understanding on the flow field in a Kaplan turbine.
Simulation of Dual Firing of Hydrogen and JP-8 in a Swirling Combustor
DTIC Science & Technology
2012-06-14
completed using the Ansys CFX computational fluid dynamics software. The total Lower Heating Value of the fuel mixture is maintained at a constant 6 kW...PERSON a. REPORT unclassified b. ABSTRACT unclassified c. THIS PAGE unclassified Standard Form 298 (Rev. 8-98) Prescribed by ANSI Std Z39-18
An attempt to make a reliable assessment of the wet steam flow field in the de Laval nozzle
NASA Astrophysics Data System (ADS)
Dykas, SÅawomir; Majkut, MirosÅaw; SmoÅka, Krystian; Strozik, MichaÅ
2018-02-01
This paper presents the results of research on the wet steam flow with spontaneous condensation in the de Laval nozzle. A comparison is made between the results of numerical modelling performed for two cases of boundary conditions obtained using an in-house CFD code and the Ansys CFX commercial package. The numerical modelling results are compared to the results of experimental testing carried out on an in-house laboratory steam tunnel. The differences between the numerical results produced by the two codes in terms of place and intensity of condensations of steam to water point to the difficulty in correct modelling of this type of flows and emphasize the need for further studies in this field.
New ANSI standard for thyroid phantom
DOE PAGES
Mallett, Michael W.; Bolch, Wesley E.; Fulmer, Philip C.; ...
2015-08-01
Here, a new ANSI standard titled âThyroid Phantom Used in Occupational Monitoringâ (Health Physics Society 2014) has been published. The standard establishes the criteria for acceptable design, fabrication, or modeling of a phantom suitable for calibrating in vivo monitoring systems to measure photon-emitting radionuclides deposited in the thyroid. The current thyroid phantom standard was drafted in 1973 (ANSI N44.3-1973), last reviewed in 1984, and a revision of the standard to cover a more modern approach was deemed warranted.
Application of a single-fluid model for the steam condensing flow prediction
NASA Astrophysics Data System (ADS)
SmoÅka, K.; Dykas, S.; Majkut, M.; Strozik, M.
2016-10-01
One of the results of many years of research conducted in the Institute of Power Engineering and Turbomachinery of the Silesian University of Technology are computational algorithms for modelling steam flows with a non-equilibrium condensation process. In parallel with theoretical and numerical research, works were also started on experimental testing of the steam condensing flow. This paper presents a comparison of calculations of a flow field modelled by means of a single-fluid model using both an in-house CFD code and the commercial Ansys CFX v16.2 software package. The calculation results are compared to inhouse experimental testing.
VALIDATION OF ANSYS FINITE ELEMENT ANALYSIS SOFTWARE
DOE Office of Scientific and Technical Information (OSTI.GOV)
HAMM, E.R.
2003-06-27
This document provides a record of the verification and Validation of the ANSYS Version 7.0 software that is installed on selected CH2M HILL computers. The issues addressed include: Software verification, installation, validation, configuration management and error reporting. The ANSYS{reg_sign} computer program is a large scale multi-purpose finite element program which may be used for solving several classes of engineering analysis. The analysis capabilities of ANSYS Full Mechanical Version 7.0 installed on selected CH2M Hill Hanford Group (CH2M HILL) Intel processor based computers include the ability to solve static and dynamic structural analyses, steady-state and transient heat transfer problems, mode-frequency andmore » buckling eigenvalue problems, static or time-varying magnetic analyses and various types of field and coupled-field applications. The program contains many special features which allow nonlinearities or secondary effects to be included in the solution, such as plasticity, large strain, hyperelasticity, creep, swelling, large deflections, contact, stress stiffening, temperature dependency, material anisotropy, and thermal radiation. The ANSYS program has been in commercial use since 1970, and has been used extensively in the aerospace, automotive, construction, electronic, energy services, manufacturing, nuclear, plastics, oil and steel industries.« less
Convective Heating of the LIFE Engine Target During Injection
DOE Office of Scientific and Technical Information (OSTI.GOV)
Holdener, D S; Tillack, M S; Wang, X R
2011-10-24
Target survival in the hostile, high temperature xenon environment of the proposed Laser Inertial Fusion Energy (LIFE) engine is critical. This work focuses on the flow properties and convective heat load imposed upon the surface of the indirect drive target while traveling through the xenon gas. While this rarefied flow is traditionally characterized as being within the continuum regime, it is approaching transition where conventional CFD codes reach their bounds of operation. Thus ANSYS, specifically the Navier-Stokes module CFX, will be used in parallel with direct simulation Monte Carlo code DS2V and analytically and empirically derived expressions for heat transfermore » to the hohlraum for validation. Comparison of the viscous and thermal boundary layers of ANSYS and DS2V were shown to be nearly identical, with the surface heat flux varying less than 8% on average. From the results herein, external baffles have been shown to reduce this heat transfer to the sensitive laser entrance hole (LEH) windows and optimize target survival independent of other reactor parameters.« less
Energy Codes at a Glance
DOE Office of Scientific and Technical Information (OSTI.GOV)
Cole, Pamala C.; Richman, Eric E.
2008-09-01
Feeling dim from energy code confusion? Read on to give your inspections a charge. The U.S. Department of Energyâs Building Energy Codes Program addresses hundreds of inquiries from the energy codes community every year. This article offers clarification for topics of confusion submitted to BECP Technical Support of interest to electrical inspectors, focusing on the residential and commercial energy code requirements based on the most recently published 2006 International Energy Conservation Code® and ANSI/ASHRAE/IESNA1 Standard 90.1-2004.
Fluorinated Carbon Composite Cathode for a High Energy Lithium Battery (Briefing Charts)
DTIC Science & Technology
2011-02-16
REPORT DOCUMENTATION PAGE Standard Form 298 (Rev. 8/98) Prescribed by ANSI Std. Z39.18 Form Approved OMB No. 0704-0188 The public reporting burden...monofluoride (Li/ CFx ) primary batteries have double energy density over state-of-the-art Li/MnO2 and Li/SO2 primary batteries (theoretically 2203 Wh/kg...temperature operating conditions. This invention relates to a high energy density Li/ CFx primary battery technology with substantial reduction in
Biomechanical Modeling and Measurement of Blast Injury and Hearing Protection Mechanisms
DTIC Science & Technology
2015-10-01
12 software into Workbench V. 15 in CFX/ANSYS; 2) building the geometry of the ear model with ossicular chain and cochlear load in CFX; 3...the ear canal to middle ear. The model consists of the ear canal, TM, middle ear ossicles and suspensory ligaments, middle ear cavity, and cochlear ...the TM, ossicles, and ligaments/muscle tendons with the cochlear load applied on the stapes footplate. 17 Fig. 21. Time-history plots of
Structural Performanceâs Optimally Analysing and Implementing Based on ANSYS Technology
NASA Astrophysics Data System (ADS)
Han, Na; Wang, Xuquan; Yue, Haifang; Sun, Jiandong; Wu, Yongchun
2017-06-01
Computer-aided Engineering (CAE) is a hotspot both in academic field and in modern engineering practice. Analysis System(ANSYS) simulation software for its excellent performance become outstanding one in CAE family, it is committed to the innovation of engineering simulation to help users to shorten the design process, improve product innovation and performance. Aimed to explore a structural performanceâs optimally analyzing model for engineering enterprises, this paper introduced CAE and its development, analyzed the necessity for structural optimal analysis as well as the framework of structural optimal analysis on ANSYS Technology, used ANSYS to implement a reinforced concrete slab structural performanceâs optimal analysis, which was display the chart of displacement vector and the chart of stress intensity. Finally, this paper compared ANSYS software simulation results with the measured results,expounded that ANSYS is indispensable engineering calculation tools.
Mechanochemical Synthesis of Carbon Fluorides
DTIC Science & Technology
2011-02-16
REPORT DOCUMENTATION PAGE Standard Form 298 (Rev. 8/98) Prescribed by ANSI Std. Z39.18 Form Approved OMB No. 0704-0188 The public reporting burden...Wishvender K. Behl APPROVED FOR PUBLIC RELEASE ⢠Li/ CFx batteries are being developed to replace the currently fielded BA5590 and 5390 primary batteries...Li/ CFx batteries have twice the specific energy and energy density of Li/SO2 batteries. ⢠This chemistry, typically used for applications at 1000
Numerical simulation of flow in a high head Francis turbine with prediction of efficiency, rotor stator interaction and vortex structures in the draft tube
NASA Astrophysics Data System (ADS)
Jošt, D.; Škerlavaj, A.; Morgut, M.; Mežnar, P.; Nobile, E.
2015-01-01
The paper presents numerical simulations of flow in a model of a high head Francis turbine and comparison of results to the measurements. Numerical simulations were done by two CFD (Computational Fluid Dynamics) codes, Ansys CFX and OpenFOAM. Steady-state simulations were performed by k-epsilon and SST model, while for transient simulations the SAS SST ZLES model was used. With proper grid refinement in distributor and runner and with taking into account losses in labyrinth seals very accurate prediction of torque on the shaft, head and efficiency was obtained. Calculated axial and circumferential velocity components on two planes in the draft tube matched well with experimental results.
Application of local indentations for film cooling of gas turbine blade leading edge
NASA Astrophysics Data System (ADS)
Petelchyts, V. Yu.; Khalatov, A. A.; Pysmennyi, D. N.; Dashevskyy, Yu. Ya.
2016-09-01
The paper presents results of computer simulation of the film cooling on the turbine blade leading edge model where the air coolant is supplied through radial holes and row of cylindrical inclined holes placed inside hemispherical dimples or trench. The blowing factor was varied from 0.5 to 2.0. The model size and key initial parameters for simulation were taken as for a real blade of a high-pressure high-performance gas turbine. Simulation was performed using commercial software code ANSYS CFX. The simulation results were compared with reference variant (no dimples or trench) both for the leading edge area and for the flat plate downstream of the leading edge.
Effect of the tubular-fan drum shapes on the performance of cleaning head module
NASA Astrophysics Data System (ADS)
Hong, C. K.; Y Cho, M.; Kim, Y. J.
2013-12-01
The geometrical effects of a tubular-fan drum on the performance improvement of the cleaning head module of a vacuum cleaner were investigated. In this study, the number of blades and the width of the blade were selected as the design parameters. Static pressure, eccentric vortex, turbulence kinetic energy (TKE) and suction efficiency were analysed and tabulated. Three-dimensional computational fluid dynamics method was used with an SST (Shear Stress Transfer) turbulence model to simulate the flow field at the suction of the cleaning head module using the commercial code ANSYS-CFX. Suction pressure distributions were graphically depicted for different values of the design parameters.
HANFORD DST THERMAL & SEISMIC PROJECT ANSYS BENCHMARK ANALYSIS OF SEISMIC INDUCED FLUID STRUCTURE INTERACTION IN A HANFORD DOUBLE SHELL PRIMARY TANK
DOE Office of Scientific and Technical Information (OSTI.GOV)
MACKEY, T.C.
M&D Professional Services, Inc. (M&D) is under subcontract to Pacific Northwest National Laboratories (PNNL) to perform seismic analysis of the Hanford Site Double-Shell Tanks (DSTs) in support of a project entitled ''Double-Shell Tank (DSV Integrity Project-DST Thermal and Seismic Analyses)''. The overall scope of the project is to complete an up-to-date comprehensive analysis of record of the DST System at Hanford in support of Tri-Party Agreement Milestone M-48-14. The work described herein was performed in support of the seismic analysis of the DSTs. The thermal and operating loads analysis of the DSTs is documented in Rinker et al. (2004). Themore » overall seismic analysis of the DSTs is being performed with the general-purpose finite element code ANSYS. The overall model used for the seismic analysis of the DSTs includes the DST structure, the contained waste, and the surrounding soil. The seismic analysis of the DSTs must address the fluid-structure interaction behavior and sloshing response of the primary tank and contained liquid. ANSYS has demonstrated capabilities for structural analysis, but the capabilities and limitations of ANSYS to perform fluid-structure interaction are less well understood. The purpose of this study is to demonstrate the capabilities and investigate the limitations of ANSYS for performing a fluid-structure interaction analysis of the primary tank and contained waste. To this end, the ANSYS solutions are benchmarked against theoretical solutions appearing in BNL 1995, when such theoretical solutions exist. When theoretical solutions were not available, comparisons were made to theoretical solutions of similar problems and to the results from Dytran simulations. The capabilities and limitations of the finite element code Dytran for performing a fluid-structure interaction analysis of the primary tank and contained waste were explored in a parallel investigation (Abatt 2006). In conjunction with the results of the global ANSYS
Simulation of Containment Atmosphere Mixing and Stratification Experiment in the ThAI Facility with a CFD Code
DOE Office of Scientific and Technical Information (OSTI.GOV)
Babic, Miroslav; Kljenak, Ivo; Mavko, Borut
2006-07-01
The CFD code CFX4.4 was used to simulate an experiment in the ThAI facility, which was designed for investigation of thermal-hydraulic processes during a severe accident inside a Light Water Reactor containment. In the considered experiment, air was initially present in the vessel, and helium and steam were injected during different phases of the experiment at various mass flow rates and at different locations. The main purpose of the proposed work was to assess the capabilities of the CFD code to reproduce the atmosphere structure with a three-dimensional model, coupled with condensation models proposed by the authors. A three-dimensional modelmore » of the ThAI vessel for the CFX4.4 code was developed. The flow in the simulation domain was modeled as single-phase. Steam condensation on vessel walls was modeled as a sink of mass and energy using a correlation that was originally developed for an integral approach. A simple model of bulk phase change was also included. Calculated time-dependent variables together with temperature and volume fraction distributions at the end of different experiment phases are compared to experimental results. (authors)« less
Development and testing of a numerical simulation method for thermally nonequilibrium dissociating flows in ANSYS Fluent
NASA Astrophysics Data System (ADS)
Shoev, G. V.; Bondar, Ye. A.; Oblapenko, G. P.; Kustova, E. V.
2016-03-01
Various issues of numerical simulation of supersonic gas flows with allowance for thermochemical nonequilibrium on the basis of fluid dynamic equations in the two-temperature approximation are discussed. The computational tool for modeling flows with thermochemical nonequilibrium is the commercial software package ANSYS Fluent with an additional userdefined open-code module. A comparative analysis of results obtained by various models of vibration-dissociation coupling in binary gas mixtures of nitrogen and oxygen is performed. Results of numerical simulations are compared with available experimental data.
Optimally analyzing and implementing of bolt fittings in steel structure based on ANSYS
NASA Astrophysics Data System (ADS)
Han, Na; Song, Shuangyang; Cui, Yan; Wu, Yongchun
2018-03-01
ANSYS simulation software for its excellent performance become outstanding one in Computer-aided Engineering (CAE) family, it is committed to the innovation of engineering simulation to help users to shorten the design process. First, a typical procedure to implement CAE was design. The framework of structural numerical analysis on ANSYS Technology was proposed. Then, A optimally analyzing and implementing of bolt fittings in beam-column join of steel structure was implemented by ANSYS, which was display the cloud chart of XY-shear stress, the cloud chart of YZ-shear stress and the cloud chart of Y component of stress. Finally, ANSYS software simulating results was compared with the measured results by the experiment. The result of ANSYS simulating and analyzing is reliable, efficient and optical. In above process, a structural performance's numerical simulating and analyzing model were explored for engineering enterprises' practice.
Analysis of features of hydrodynamics and heat transfer in the fuel assembly of prospective sodium reactor with a high rate of reproduction in the uranium-plutonium fuel cycle
NASA Astrophysics Data System (ADS)
Lubina, A. S.; Subbotin, A. S.; Sedov, A. A.; Frolov, A. A.
2016-12-01
The fast sodium reactor fuel assembly (FA) with U-Pu-Zr metallic fuel is described. In comparison with a "classical" fast reactor, this FA contains thin fuel rods and a wider fuel rod grid. Studies of the fluid dynamics and the heat transfer were carried out for such a new FA design. The verification of the ANSYS CFX code was provided for determination of the velocity, pressure, and temperature fields in the different channels. The calculations in the cells and in the FA were carried out using the model of shear stress transport (SST) selected at the stage of verification. The results of the hydrodynamics and heat transfer calculations have been analyzed.
Determination of the turbulence integral model parameters for a case of a coolant angular flow in regular rod-bundle
NASA Astrophysics Data System (ADS)
Bayaskhalanov, M. V.; Vlasov, M. N.; Korsun, A. S.; Merinov, I. G.; Philippov, M. Ph
2017-11-01
Research results of âk-εâ turbulence integral model (TIM) parameters dependence on the angle of a coolant flow in regular smooth cylindrical rod-bundle are presented. TIM is intended for the definition of efficient impulse and heat transport coefficients in the averaged equations of a heat and mass transfer in the regular rod structures in an anisotropic porous media approximation. The TIM equations are received by volume-averaging of the âk-εâ turbulence model equations on periodic cell of rod-bundle. The water flow across rod-bundle under angles from 15 to 75 degrees was simulated by means of an ANSYS CFX code. Dependence of the TIM parameters on flow angle was as a result received.
Analysis of features of hydrodynamics and heat transfer in the fuel assembly of prospective sodium reactor with a high rate of reproduction in the uranium-plutonium fuel cycle
DOE Office of Scientific and Technical Information (OSTI.GOV)
Lubina, A. S., E-mail: lubina-as@nrcki.ru; Subbotin, A. S.; Sedov, A. A.
2016-12-15
The fast sodium reactor fuel assembly (FA) with UâPuâZr metallic fuel is described. In comparison with a âclassicalâ fast reactor, this FA contains thin fuel rods and a wider fuel rod grid. Studies of the fluid dynamics and the heat transfer were carried out for such a new FA design. The verification of the ANSYS CFX code was provided for determination of the velocity, pressure, and temperature fields in the different channels. The calculations in the cells and in the FA were carried out using the model of shear stress transport (SST) selected at the stage of verification. The resultsmore » of the hydrodynamics and heat transfer calculations have been analyzed.« less
Modeling of Non-Homogeneous Containment Atmosphere in the ThAI Experimental Facility Using a CFD Code
DOE Office of Scientific and Technical Information (OSTI.GOV)
Babic, Miroslav; Kljenak, Ivo; Mavko, Borut
2006-07-01
The CFD code CFX4.4 was used to simulate an experiment in the ThAI facility, which was designed for investigation of thermal-hydraulic processes during a severe accident inside a Light Water Reactor containment. In the considered experiment, air was initially present in the vessel, and helium and steam were injected during different phases of the experiment at various mass flow rates and at different locations. The main purpose of the simulation was to reproduce the non-homogeneous temperature and species concentration distributions in the ThAI experimental facility. A three-dimensional model of the ThAI vessel for the CFX4.4 code was developed. The flowmore » in the simulation domain was modeled as single-phase. Steam condensation on vessel walls was modeled as a sink of mass and energy using a correlation that was originally developed for an integral approach. A simple model of bulk phase change was also introduced. The calculated time-dependent variables together with temperature and concentration distributions at the end of experiment phases are compared to experimental results. (authors)« less
Experimental and simulation flow rate analysis of the 3/2 directional pneumatic valve
NASA Astrophysics Data System (ADS)
Blasiak, Slawomir; Takosoglu, Jakub E.; Laski, Pawel A.; Pietrala, Dawid S.; Zwierzchowski, Jaroslaw; Bracha, Gabriel; Nowakowski, Lukasz; Blasiak, Malgorzata
The work includes a study on the comparative analysis of two test methods. The first method - numerical method, consists in determining the flow characteristics with the use of ANSYS CFX. A modeled poppet directional valve 3/2 3D CAD software - SolidWorks was used for this purpose. Based on the solid model that was developed, simulation studies of the air flow through the way valve in the software for computational fluid dynamics Ansys CFX were conducted. The second method - experimental, entailed conducting tests on a specially constructed test stand. The comparison of the test results obtained on the basis of both methods made it possible to determine the cross-correlation. High compatibility of the results confirms the usefulness of the numerical procedures. Thus, they might serve to determine the flow characteristics of directional valves as an alternative to a costly and time-consuming test stand.
Investigation of Transitional Flows on Compressor Blades in Cascade
DTIC Science & Technology
2011-09-01
UU NSN 7540â01â280â5500 Standard Form 298 (Rev. 2â89) Prescribed by ANSI Std. 239â18 ii THIS PAGE INTENTIONALLY LEFT BLANK iii Approved for...mesh was refined by adjusting the number of divisions in the âEdge Sizingâ menu and the growth rate in the âsizingâ section of the CFX Mesher. The...was determined that a better mesh could be achieved by letting CFX determine the âMin Size,â âMax Sizeâ and âMax Face Sizeâ and refining the mesh
ANSYS UIDL-Based CAE Development of Axial Support System for Optical Mirror
NASA Astrophysics Data System (ADS)
Yang, De-Hua; Shao, Liang
2008-09-01
The Whiffle-tree type axial support mechanism is widely adopted by most relatively large optical mirrors. Based on the secondary developing tools offered by the commonly used Finite Element Anylysis (FEA) software ANSYS, ANSYS Parametric Design Language (APDL) is used for creating the mirror FEA model driven by parameters, and ANSYS User Interface Design Language (UIDL) for generating custom menu of interactive manner, whereby, the relatively independent dedicated Computer Aided Engineering (CAE) module is embedded in ANSYS for calculation and optimization of axial Whiffle-tree support of optical mirrors. An example is also described to illustrate the intuitive and effective usage of the dedicated module by boosting work efficiency and releasing related engineering knowledge of user. The philosophy of secondary-developed special module with commonly used software also suggests itself for product development in other industries.
Applications of ANSYS/Multiphysics at NASA/Goddard Space Flight Center
NASA Technical Reports Server (NTRS)
Loughlin, Jim
2007-01-01
This viewgraph presentation reviews some of the uses that the ANSYS/Multiphysics system is used for at the NASA Goddard Space Flight Center. Some of the uses of the ANSYS system is used for is MEMS Structural Analysis of Micro-mirror Array for the James Web Space Telescope (JWST), Micro-shutter Array for JWST, MEMS FP Tunable Filter, AstroE2 Micro-calorimeter. Various views of these projects are shown in this presentation.
Numerical simulation of an elastic structure behavior under transient fluid flow excitation
NASA Astrophysics Data System (ADS)
Afanasyeva, Irina N.; Lantsova, Irina Yu.
2017-01-01
This paper deals with the verification of a numerical technique of modeling fluid-structure interaction (FSI) problems. The configuration consists of incompressible viscous fluid around an elastic structure in the channel. External flow is laminar. Multivariate calculations are performed using special software ANSYS CFX and ANSYS Mechanical. Different types of parameters of mesh deformation and solver controls (time step, under relaxation factor, number of iterations at coupling step) were tested. The results are presented in tables and plots in comparison with reference data.
Development of 1D Liner Compression Code for IDL
NASA Astrophysics Data System (ADS)
Shimazu, Akihisa; Slough, John; Pancotti, Anthony
2015-11-01
A 1D liner compression code is developed to model liner implosion dynamics in the Inductively Driven Liner Experiment (IDL) where FRC plasmoid is compressed via inductively-driven metal liners. The driver circuit, magnetic field, joule heating, and liner dynamics calculations are performed at each time step in sequence to couple these effects in the code. To obtain more realistic magnetic field results for a given drive coil geometry, 2D and 3D effects are incorporated into the 1D field calculation through use of correction factor table lookup approach. Commercial low-frequency electromagnetic fields solver, ANSYS Maxwell 3D, is used to solve the magnetic field profile for static liner condition at various liner radius in order to derive correction factors for the 1D field calculation in the code. The liner dynamics results from the code is verified to be in good agreement with the results from commercial explicit dynamics solver, ANSYS Explicit Dynamics, and previous liner experiment. The developed code is used to optimize the capacitor bank and driver coil design for better energy transfer and coupling. FRC gain calculations are also performed using the liner compression data from the code for the conceptual design of the reactor sized system for fusion energy gains.
Building SAWE Capability as an ANSI Accredited Standards Developer
NASA Technical Reports Server (NTRS)
Cerro, Jeffrey A.; Davis, Ed; Peterson, Eric; Griffiths, William T.; Brooks, Andy; Stratton, Bonnie; Attar, Jose
2014-01-01
This paper presents a 2014 status of the Society of Allied Weight Engineers' process towards becoming an Accredited Standards Developer (ASD) under certification by the United States American National Standards Institute (ANSI). Included is material from the committee's 2013 International presentation, current status, and additional general background material. The document strives to serve as a reference point to assist SAWE Recommended Practice and Standards developers in negotiating United States Standards Strategy, international standards strategy, and the association of SAWE standards and recommended practices to those efforts. Required procedures for SAWE to develop and maintain Recommended Practices and ANSI/SAWE Standards are reviewed.
ANSI Standard: Complying with Background Noise Limits.
ERIC Educational Resources Information Center
Schaffer, Mark E.
2003-01-01
Discusses the new classroom acoustics standard, ANSI Standard S12.60, which specifies maximum sound level limits that are significantly lower than currently typical for classrooms. Addresses guidelines for unducted HVAC systems, ducted single-zone systems, and central VAV or multizone systems. (EV)
Subspace Arrangement Codes and Cryptosystems
DTIC Science & Technology
2011-05-09
any other prov1sion of law, no person shall be subject to any penalty for failing to comply w1th a collection of information if it does not display a...NUMBER OF PAGES 49 19a. NAME OF RESPONSIBLE PERSON 19b. TELEPHONE NUMBER (Include area code) Standard Form 298 (Rev. 8/98) Prescribed by ANSI Std...theory is finding codes that have a small number of digits (length) with a high number codewords (dimension), as well as good error-correction properties
ARI's Views on ANSI S12.60-2002.
ERIC Educational Resources Information Center
Darbeau, Michele
2003-01-01
States the position of the Air-Conditioning and Refrigeration Institute (ARI) toward ANSI Standard 12.60, which addresses classroom acoustics. Explains why it believes the standard creates an overly stringent requirement. (EV)
Real gas CFD simulations of hydrogen/oxygen supercritical combustion
NASA Astrophysics Data System (ADS)
Pohl, S.; Jarczyk, M.; Pfitzner, M.; Rogg, B.
2013-03-01
A comprehensive numerical framework has been established to simulate reacting flows under conditions typically encountered in rocket combustion chambers. The model implemented into the commercial CFD Code ANSYS CFX includes appropriate real gas relations based on the volume-corrected Peng-Robinson (PR) equation of state (EOS) for the flow field and a real gas extension of the laminar flamelet combustion model. The results indicate that the real gas relations have a considerably larger impact on the flow field than on the detailed flame structure. Generally, a realistic flame shape could be achieved for the real gas approach compared to experimental data from the Mascotte test rig V03 operated at ONERA when the differential diffusion processes were only considered within the flame zone.
Sandia/Stanford Unified Creep Plasticity Damage Model for ANSYS
DOE Office of Scientific and Technical Information (OSTI.GOV)
Pierce, David M.; Vianco, Paul T.; Fossum, Arlo F.
2006-09-03
A unified creep plasticity (UCP) model was developed, based upon the time-dependent and time-independent deformation properties of the 95.5Sn-3.9Ag-0.6Cu (wt.%) soldier that were measured at Sandia. Then, a damage parameter, D, was added to the equation to develop the unified creep plasticity damage (UCPD) model. The parameter, D, was parameterized, using data obtained at Sandia from isothermal fatigue experiments on a double-lap shear test. The softwae was validated against a BGA solder joint exposed to thermal cycling. The UCPD model was put into the ANSYS finite element as a subroutine. So, the softwae is the subroutine for ANSYS 8.1.
ANSYS tools in modeling tires
NASA Technical Reports Server (NTRS)
Ali, Ashraf; Lovell, Michael
1995-01-01
This presentation summarizes the capabilities in the ANSYS program that relate to the computational modeling of tires. The power and the difficulties associated with modeling nearly incompressible rubber-like materials using hyperelastic constitutive relationships are highlighted from a developer's point of view. The topics covered include a hyperelastic material constitutive model for rubber-like materials, a general overview of contact-friction capabilities, and the acoustic fluid-structure interaction problem for noise prediction. Brief theoretical development and example problems are presented for each topic.
Evaluation of rotor axial vibrations in a turbo pump unit equipped with an automatic unloading machine
NASA Astrophysics Data System (ADS)
Martsynkovskyy, V. A.; Deineka, A.; Kovalenko, V.
2017-08-01
The article presents forced axial vibrations of the rotor with an automatic unloading machine in an oxidizer pump. A feature of the design is the use in the autoloading system of slotted throttles with mutually inverse throttling. Their conductivity is determined by a numerical experiment in the ANSYS CFX software package.
Application of Benchmark Examples to Assess the Single and Mixed-Mode Static Delamination Propagation Capabilities in ANSYS
NASA Technical Reports Server (NTRS)
Krueger, Ronald
2012-01-01
The application of benchmark examples for the assessment of quasi-static delamination propagation capabilities is demonstrated for ANSYS. The examples are independent of the analysis software used and allow the assessment of the automated delamination propagation in commercial finite element codes based on the virtual crack closure technique (VCCT). The examples selected are based on two-dimensional finite element models of Double Cantilever Beam (DCB), End-Notched Flexure (ENF), Mixed-Mode Bending (MMB) and Single Leg Bending (SLB) specimens. First, the quasi-static benchmark examples were recreated for each specimen using the current implementation of VCCT in ANSYS . Second, the delamination was allowed to propagate under quasi-static loading from its initial location using the automated procedure implemented in the finite element software. Third, the load-displacement relationship from a propagation analysis and the benchmark results were compared, and good agreement could be achieved by selecting the appropriate input parameters. The benchmarking procedure proved valuable by highlighting the issues associated with choosing the input parameters of the particular implementation. Overall the results are encouraging, but further assessment for three-dimensional solid models is required.
[Finite Element Analysis of Intravascular Stent Based on ANSYS Software].
PubMed
Shi, Gengqiang; Song, Xiaobing
2015-10-01
This paper adopted UG8.0 to bulid the stent and blood vessel models. The models were then imported into the finite element analysis software ANSYS. The simulation results of ANSYS software showed that after endothelial stent implantation, the velocity of the blood was slow and the fluctuation of velocity was small, which meant the flow was relatively stable. When blood flowed through the endothelial stent, the pressure gradually became smaller, and the range of the pressure was not wide. The endothelial shear stress basically unchanged. In general, it can be concluded that the endothelial stents have little impact on the flow of blood and can fully realize its function.
Numerical investigations of arc behaviour in gas metal arc welding using ANSYS CFX
NASA Astrophysics Data System (ADS)
Schnick, M.; Fuessel, U.; Hertel, M.; Spille-Kohoff, A.; Murphy, A. B.
2011-06-01
Current numerical models of gas metal arc welding (GMAW) are trying to combine magnetohydrodynamics (MHD) models of the arc and volume of fluid (VoF) models of metal transfer. They neglect vaporization and assume an argon atmosphere for the arc region, as it is common practice for models of gas tungsten arc welding. These models predict temperatures above 20 000 K and a temperature distribution similar to tungsten inert gas (TIG) arcs. However, current spectroscopic temperature measurements in GMAW arcs demonstrate much lower arc temperatures. In contrast to TIG arcs they found a central local minimum of the radial temperature distribution. The paper presents a GMAW arc model that considers metal vapour and which is in a very good agreement with experimentally observed temperatures. Furthermore, the model is able to predict the local central minimum in the radial temperature and the radial electric current density distributions for the first time. The axially symmetric model of the welding torch, the work piece, the wire and the arc (fluid domain) implements MHD as well as turbulent mixing and thermal demixing of metal vapour in argon. The mass fraction of iron vapour obtained from the simulation shows an accumulation in the arc core and another accumulation on the fringes of the arc at 2000 to 5000 K. The demixing effects lead to very low concentrations of iron between these two regions. Sensitive analyses demonstrate the influence of the transport and radiation properties of metal vapour, and the evaporation rate relative to the wire feed. Finally the model predictions are compared with the measuring results of ZieliÅska et al.
PLASIM: A computer code for simulating charge exchange plasma propagation
NASA Technical Reports Server (NTRS)
Robinson, R. S.; Deininger, W. D.; Winder, D. R.; Kaufman, H. R.
1982-01-01
The propagation of the charge exchange plasma for an electrostatic ion thruster is crucial in determining the interaction of that plasma with the associated spacecraft. A model that describes this plasma and its propagation is described, together with a computer code based on this model. The structure and calling sequence of the code, named PLASIM, is described. An explanation of the program's input and output is included, together with samples of both. The code is written in ANSI Standard FORTRAN.
Ceramic material life prediction: A program to translate ANSYS results to CARES/LIFE reliability analysis
NASA Technical Reports Server (NTRS)
Vonhermann, Pieter; Pintz, Adam
1994-01-01
This manual describes the use of the ANSCARES program to prepare a neutral file of FEM stress results taken from ANSYS Release 5.0, in the format needed by CARES/LIFE ceramics reliability program. It is intended for use by experienced users of ANSYS and CARES. Knowledge of compiling and linking FORTRAN programs is also required. Maximum use is made of existing routines (from other CARES interface programs and ANSYS routines) to extract the finite element results and prepare the neutral file for input to the reliability analysis. FORTRAN and machine language routines as described are used to read the ANSYS results file. Sub-element stresses are computed and written to a neutral file using FORTRAN subroutines which are nearly identical to those used in the NASCARES (MSC/NASTRAN to CARES) interface.
Physical mechanisms of longitudinal vortexes formation, appearance of zones with high heat fluxes and early transition in hypersonic flow over delta wing with blunted leading edges
NASA Astrophysics Data System (ADS)
Alexandrov, S. V.; Vaganov, A. V.; Shalaev, V. I.
2016-10-01
Processes of vortex structures formation and they interactions with the boundary layer in the hypersonic flow over delta wing with blunted leading edges are analyzed on the base of experimental investigations and numerical solutions of Navier-Stokes equations. Physical mechanisms of longitudinal vortexes formation, appearance of abnormal zones with high heat fluxes and early laminar turbulent transition are studied. These phenomena were observed in many high-speed wind tunnel experiments; however they were understood only using the detailed analysis of numerical modeling results with the high resolution. Presented results allowed explaining experimental phenomena. ANSYS CFX code (the DAFE MIPT license) on the grid with 50 million nodes was used for the numerical modeling. The numerical method was verified by comparison calculated heat flux distributions on the wing surface with experimental data.
Writing Material Safely Data Sheets Using the ANSI Standard.
ERIC Educational Resources Information Center
Croft, Suzanne D.
1996-01-01
Presents a history of the ANSI (American National Standards Institute) standard for preparation of Material Safety Data Sheets (MSDS), and provides a section-by-section guide to preparing MSDSs that comply with the standard. (SR)
ANSI-ASQ National Accreditation Board /ACLASS
DTIC Science & Technology
2011-03-28
unclassified c. THIS PAGE unclassified Standard Form 298 (Rev. 8-98) Prescribed by ANSI Std Z39-18 ï§ Laboratories â ISO / IEC 17025 ï§ Inspection...Bodies â ISO / IEC 17020 ï§ RMPs â ISO Guide 34 (Reference Materials) ï§ PT Providers â ISO 17043 ï§ Product Certifiers â ISO Guide 65 ï§ Government...Programs: DoD ELAP, EPA Energy Star, CPSC Toy Safety, NRC, NIST IPV6, NLLAP, NEFAP ï§ TRAINING Programs ï§ Certification Bodies â ISO / IEC 17021
Centrifugal pumpâs impeller optimization using methods of calculation hydrodynamics
NASA Astrophysics Data System (ADS)
Grigoriev, S.; Mayorov, S.; Polyakov, R.
2017-08-01
The paper features the results of the fluid flow calculation in the channels of varying geometry of the centrifugal pump for the service water in the methanol production chain. Modeling of the flow in ANSYS CFX allowed developing recommendations on adjusting the impellerâs profile, significantly decrease the cavitation wear and increase the lifetime by several times.
Numerical modeling of continuous flow microwave heating: a critical comparison of COMSOL and ANSYS.
PubMed
Salvi, D; Boldor, Dorin; Ortego, J; Aita, G M; Sabliov, C M
2010-01-01
Numerical models were developed to simulate temperature profiles in Newtonian fluids during continuous flow microwave heating by one way coupling electromagnetism, fluid flow, and heat transport in ANSYS 8.0 and COMSOL Multiphysics v3.4. Comparison of the results from the COMSOL model with the results from a pre-developed and validated ANSYS model ensured accuracy of the COMSOL model. Prediction of power Loss by both models was in close agreement (5-13% variation) and the predicted temperature profiles were similar. COMSOL provided a flexible model setup whereas ANSYS required coupling incompatible elements to transfer load between electromagnetic, fluid flow, and heat transport modules. Overall, both software packages provided the ability to solve multiphysics phenomena accurately.
Total Electron-Impact Ionization Cross-Sections of CFx and NFx (x = 1 - 3)
NASA Technical Reports Server (NTRS)
Huo, Winifred M.; Tarnovsky, Vladimir; Becker, Kurt H.; Kwak, Dochan (Technical Monitor)
2001-01-01
The discrepancy between experimental and theoretical total electron-impact ionization cross sections for a group of fluorides, CFx, and NFx, (x = 1 - 3), is attributed to the inadequacies in previous theoretical models. Cross-sections calculated using a recently developed siBED (simulation Binary-Encounter-Dipole) model that takes into account the shielding of the long-range dipole potential between the scattering electron and target are in agreement with experimentation. The present study also carefully reanalyzed the previously reported experimental data to account for the possibility of incomplete collection of fragment ions and the presence of ion-pair formation channels. For NF3, our experimental and theoretical cross-sections compare well with the total ionization cross-sections recently reported by Haaland et al. in the region below dication formation.
Design Compliance Matrices to ANSI and OSHA
DOE Office of Scientific and Technical Information (OSTI.GOV)
BENDIXSEN, R.B.
2000-04-03
U.S. Department of Energy Letter 98-SFD-028 requested Fluor Daniel Hanford, Inc. to provide clarifications as to compliance with ANSI 57.1, 57.2, 57.9, and 29 CFR 1910.179 (OSHA), in the form of an item-by-item compliance matrix, for the CSB. This Supporting Document contains Fluor Daniel, Inc.'s response for use by Fluor Daniel Hanford, Inc. regarding the clarifications requested by the U.S. Department of Energy.
ACDOS2: an improved neutron-induced dose rate code
DOE Office of Scientific and Technical Information (OSTI.GOV)
Lagache, J.C.
1981-06-01
To calculate the expected dose rate from fusion reactors as a function of geometry, composition, and time after shutdown a computer code, ACDOS2, was written, which utilizes up-to-date libraries of cross-sections and radioisotope decay data. ACDOS2 is in ANSI FORTRAN IV, in order to make it readily adaptable elsewhere.
ANSI/ASHRAE/IES Standard 90.1-2013 Determination of Energy Savings: Qualitative Analysis
DOE Office of Scientific and Technical Information (OSTI.GOV)
Halverson, Mark A.; Rosenberg, Michael I.; Hart, Philip R.
2014-09-04
This report provides a final qualitative analysis of all addenda to ANSI/ASHRAE/IES Standard 90.1-2010 (referred to as Standard 90.1-2010 or 2010 edition) that were included in ANSI/ASHRAE/IES Standard 90.1-2013 (referred to as Standard 90.1-2013 or 2013 edition). All addenda in creating Standard 90.1-2013 were evaluated for their projected impact on energy efficiency. Each addendum was characterized as having a positive, neutral, or negative impact on overall building energy efficiency.
Numerical Analysis of 2-D and 3-D MHD Flows Relevant to Fusion Applications
DOE PAGES
Khodak, Andrei
2017-08-21
Here, the analysis of many fusion applications such as liquid-metal blankets requires application of computational fluid dynamics (CFD) methods for electrically conductive liquids in geometrically complex regions and in the presence of a strong magnetic field. A current state of the art general purpose CFD code allows modeling of the flow in complex geometric regions, with simultaneous conjugated heat transfer analysis in liquid and surrounding solid parts. Together with a magnetohydrodynamics (MHD) capability, the general purpose CFD code will be a valuab
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https://www.stocktitan.net/news/ANSS/synopsys-to-acquire-ansys-creating-a-leader-in-silicon-to-systems-zx6m99q5oybg.html
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Synopsys to Acquire Ansys, Creating a Leader in Silicon to Systems Design Solutions
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2024-01-16T13:00:00+00:00
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Synopsys (NASDAQ: SNPS) has entered into a definitive agreement to acquire Ansys (NASDAQ: ANSS) for approximately $35 billion, combining semiconductor design technology and simulation and analysis to expand Synopsys' TAM by 1.5x to ~$28 billion. The combination is expected to enhance non-GAAP operating margins and unlevered FCF margins, be accretive to non-GAAP EPS within the second full year post-close, and substantially accretive thereafter. The implied per share consideration represents a premium of approximately 29% over Ansys' closing stock price on December 21, 2023, and a premium of approximately 35% to Ansys' 60-day volume-weighted average price for the period ending on the same date. The transaction is anticipated to close in the first half of 2025, subject to approval by Ansys shareholders, the receipt of required regulatory approvals, and other customary closing conditions.
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https://www.stocktitan.net/news/ANSS/synopsys-to-acquire-ansys-creating-a-leader-in-silicon-to-systems-zx6m99q5oybg.html
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Highlights:
Combines Leaders in Semiconductor Design Technology and Simulation and Analysis to Address Customers' Needs for Fusion of Electronics and Physics, Augmented with AI
Enhances and Accelerates Synopsys' Silicon to Systems Strategy in Core EDA and New Attractive, Adjacent Growth Areas
Expands Synopsys' TAM by 1.5x to ~$28 Billion, Growing at ~11% CAGR1
Delivers High-Growth, High-Margin, Recurring Revenue; Expected to Expand Non-GAAP Operating Margins by ~125 Basis Points and Unlevered FCF Margins by ~75 Basis Points in First Full Year Post Closing
Expected to Be Accretive to Non-GAAP EPS Within Second Full Year Post-Close and Substantially Accretive Thereafter2
SUNNYVALE, Calif. and PITTSBURGH, Jan. 16, 2024 /PRNewswire/ -- Synopsys (NASDAQ: SNPS) and Ansys (NASDAQ: ANSS) today announced that they have entered into a definitive agreement under which Synopsys will acquire Ansys. Under the terms of the agreement, Ansys shareholders will receive $197.00 in cash and 0.3450 shares of Synopsys common stock for each Ansys share, representing an enterprise value of approximately $35 billion based on the closing price of Synopsys common stock on December 21, 20233. Bringing together Synopsys' pioneering semiconductor electronic design automation (EDA) with Ansys' broad simulation and analysis portfolio will create a leader in silicon to systems design solutions.
"The megatrends of AI, silicon proliferation and software-defined systems are requiring more compute performance and efficiency in the face of growing, systemic complexity. Bringing together Synopsys' industry-leading EDA solutions with Ansys' world-class simulation and analysis capabilities will enable us to deliver a holistic, powerful and seamlessly integrated silicon to systems approach to innovation to help maximize the capabilities of technology R&D teams across a broad range of industries," said Sassine Ghazi, President and CEO of Synopsys. "This is the logical next step for our successful, seven-year partnership with Ansys and I look forward to working closely with Ajei and the talented Ansys team to realize the benefits of this combination for our customers, shareholders and employees."
"Since inception 37 years ago, Synopsys has been an innovation pioneer, central to world-changing semiconductor advances in computation, networking, and mobility, and now enabling the new era of 'pervasive intelligence'," said Aart de Geus, Executive Chair and Founder of Synopsys. "Joining forces with Ansys, a company we know well from our long-standing partnership, is the latest example of how Synopsys remains at the forefront. Our Board and management team carefully evaluated our top strategic options to lead and win in this fast-growing new wave of electronics and system design. The technology-broadening team-up with Ansys is an ideal, value-enhancing step for our company, our shareholders, and the innovative customers we serve."
"For more than 50 years, Ansys has enabled customers to design, develop and deliver cutting-edge products that are limited only by imagination. By joining forces with Synopsys, we will amplify our joint efforts to drive new levels of customer innovation," said Ajei Gopal, President and CEO of Ansys. "This transformative combination brings together each company's highly complementary capabilities to meet the evolving needs of today's engineers and give them unprecedented insight into the performance of their products. Ansys has a strong foundation, as demonstrated by preliminary annual contract value ("ACV") results for Q4 that are expected to exceed the high end of our guidance, and I am confident that building on our partnership with Synopsys will position us well to deliver even greater value for our customers, partners and shareholders. The combined company will accelerate the development of our joint portfolio and deliver an increased level of innovation, which will benefit Ansys' traditional customers. I am proud of all that our employees do every day to make Ansys and our customers successful and look forward to the combined company achieving even greater heights in this next chapter."
Compelling Rationale and Significant Value Creation
Combining Leading Capabilities to Meet Customer Demand: The complexity of today's intelligent systems demands the integration of semiconductor design and simulation and analysis to ensure interconnected systems function properly in real-world settings. Combining Synopsys' EDA technology with Ansys' established simulation and analysis capabilities can provide customers a comprehensive, powerful and system-focused approach to innovation. All Ansys customers, including those outside of the semiconductor industry, can benefit from access to a comprehensive portfolio of products and technologies that will drive innovation.
Accelerates Strategy and Growth in Attractive, Adjacent Areas: Synopsys and Ansys have highly complementary businesses and significant expansion opportunities. The combination will enhance Synopsys' Silicon to Systems strategy both across the core EDA segment and in highly attractive adjacent growth areas such as Automotive, Aerospace and Industrial, among others, where Ansys has an established presence and successful go-to-market experience.
Complementary Fit: Synopsys and Ansys have had a successful and growing partnership since 2017, and share a culture built on integrity, execution excellence and empowering customers. Combining their highly complementary solutions is expected to provide customers with a broader, deeply integrated suite of software tools to solve their most difficult design challenges while also gaining valuable insights through model-based analysis of complex systems.
Meaningfully Expands Total Addressable Market: Synopsys' total addressable market (TAM) is expected to increase by 1.5x to approximately $28 billion. This combined TAM is expected to grow at roughly an 11% CAGR4, driven by megatrends accelerating the need for the fusion of electronics and physics across industries.
Bolsters Synopsys' Strong Financial Position and Outlook: The combination is expected to strengthen Synopsys' financial profile. The combined company expects to continue its industry-leading, double-digit growth, which is expected to outpace TAM growth. The combination is expected to expand Synopsys' non-GAAP operating margin by approximately 125 basis points and unlevered free cash flow margins by approximately 75 basis points the first full year post-closing. The combination is expected to be accretive to non-GAAP EPS within the second full year post-closing and substantially accretive thereafter.
Strong Balance Sheet Supporting Rapid Deleveraging: The combined company is expected to generate substantial and sustained free cash flow, which will enable rapid de-leveraging to less than 2x debt to Adjusted EBITDA within two years post-closing, with a long-term leverage target of less than 1x. Synopsys expects to maintain investment grade credit ratings given its strong cash flow generation and commitment to rapidly de-lever.
Delivers Cost and Revenue Synergies: The combined company expects to achieve approximately $400 million of run-rate cost synergies by year three post-closing and approximately $400 million of run-rate revenue synergies by year four post-closing, growing to more than approximately $1 billion annually in the longer-term.
Transaction Terms
The implied per share consideration of $390.19, based on the closing price of Synopsys common stock of $559.96 as of December 21, 2023, represents a premium of approximately 29% over Ansys' closing stock price on December 21, 20235 and a premium of approximately 35% to Ansys' 60-day volume-weighted average price for the period ending on the same date. Under the terms of the agreement, Ansys shareholders are expected to own approximately 16.5% of the combined company on a pro forma basis.
Synopsys intends to fund the $19 billion6 of cash consideration through a combination of its cash on hand and debt financing. Synopsys has obtained $16 billion of fully committed debt financing.
The transaction is anticipated to close in the first half of 2025, subject to approval by Ansys shareholders, the receipt of required regulatory approvals and other customary closing conditions.
Advisors
Evercore is serving as financial advisor to Synopsys and Cleary Gottlieb Steen & Hamilton LLP is serving as legal advisor. Qatalyst Partners LP is serving as financial advisor to Ansys and Skadden, Arps, Slate, Meagher & Flom LLP and Goodwin Procter LLP are serving as legal advisors.
Conference Call
The two companies will host a joint conference call on January 16, 2024 at 8:30 a.m. (ET) to discuss the announcement. The conference call can be accessed by dialing 800-245-3047 (domestic) or 203-518-9765 (international) and entering SYNOPSYS as the conference ID. A live webcast can also be accessed at https://join.eventcastplus.com/eventcastplus/Synopsys-Inc-Special-Event-Conference-Call. A replay of the call will be available.
About Synopsys
Synopsys, Inc. (Nasdaq: SNPS) is the Silicon to Software™ partner for innovative companies developing the electronic products and software applications we rely on every day. As an S&P 500 company, Synopsys has a long history of being a global leader in electronic design automation (EDA) and semiconductor IP and offers the industry's broadest portfolio of application security testing tools and services. Whether you're a system-on-chip (SoC) designer creating advanced semiconductors, or a software developer writing more secure, high-quality code, Synopsys has the solutions needed to deliver innovative products. Learn more at www.synopsys.com.
About Ansys
Our Mission: Powering Innovation that Drives Human Advancement™
When visionary companies need to know how their world-changing ideas will perform, they close the gap between design and reality with Ansys simulation. For more than 50 years, Ansys software has enabled innovators across industries to push boundaries by using the predictive power of simulation. From sustainable transportation to advanced semiconductors, from satellite systems to life-saving medical devices, the next great leaps in human advancement will be powered by Ansys.
Ansys and any and all ANSYS, Inc. brand, product, service and feature names, logos and slogans are registered trademarks or trademarks of ANSYS, Inc. or its subsidiaries in the United States or other countries. All other brand, product, service and feature names or trademarks are the property of their respective owners.
ANSS-T
Contacts
Synopsys Media Relations:
Email: Corp-pr@synopsys.com
FGS Global (for Synopsys): synopsys@fgsglobal.com
Ansys Media Relations:
Email: MaryKate.Joyce@ansys.com
Joele Frank, Wilkinson Brimmer Katcher (for Ansys): media-ansys@joelefrank.com
Synopsys Investor Relations:
Trey Campbell
Synopsys-ir@synopsys.com
Ansys Investor Relations:
Kelsey DeBriyn
kelsey.debriyn@ansys.com
Ansys Fiscal Year 2023 Preliminary Results
Ansys has not completed preparation of its financial statements for the fourth quarter or the fiscal year ended December 31, 2023. The annual contract value ("ACV"), recurring ACV and ACV growth figures provided here as of and for the fiscal year ended December 31, 2023, are preliminary and unaudited and are thus subject to change as Ansys completes its financial results.
Synopsys Cautionary Statement Regarding Forward Looking Statements
This document contains certain forward-looking statements within the meaning of the federal securities laws with respect to the proposed transaction between Synopsys and Ansys, including, but not limited to, statements regarding the proposed transaction and the anticipated timing of the closing thereof; Ansys' anticipated results of operations for fiscal year 2023; the market outlook, products and business of Synopsys, Ansys and the combined company, and the benefits of and cost and revenue synergies from the transaction to Synopsys; pro forma financial information; the expected structure and the proposed financing for the transaction and long-term leverage and debt paydown targets; short-term and long-term financial targets of the companies; Synopsys' expectations and objectives; strategies related to Synopsys' and Ansys' products, technology and services; trends, opportunities, strategies and technological trends, such as artificial intelligence; customer demand and market expansion of each of Synopsys and Ansys and the combined company; Synopsys' planned product releases and capabilities; industry growth rates; the total addressable markets of Synopsys, Ansys and the combined company; software trends; planned acquisitions and stock repurchases; the exploration of strategic alternatives; Synopsys' expected tax rate; and the impact and result of pending legal, administrative and tax proceedings. These forward-looking statements generally are identified by the words "believe," "project," "expect," "anticipate," "estimate," "intend," "strategy," "future," "opportunity," "plan," "may," "should," "will," "would," "will be," "will continue," "will likely result," and similar expressions or the negatives of these words or other comparable terminology to convey uncertainty of future events or outcomes. Forward-looking statements are predictions, projections and other statements about future events that are based on current expectations and assumptions and, as a result, are subject to risks and uncertainties.
Many risks, uncertainties and other factors could cause actual future events to differ materially from the forward-looking statements in this press release, including, but not limited to: (i) the completion of the proposed transaction on anticipated terms and timing, anticipated tax treatment and unforeseen liabilities, future capital expenditures, revenues, expenses, earnings, synergies, economic performance, indebtedness, financial condition, losses, pricing trends, future prospects, credit ratings, business and management strategies which may adversely affect each of Synopsys' and Ansys' business, financial condition, operating results and the price of their common stock, (ii) the failure to satisfy the conditions to the consummation of the transaction, including the adoption of the merger agreement by the stockholders of Ansys and the receipt of certain governmental and regulatory approvals on the terms expected, in a timely manner, or at all, (iii) the risk that such regulatory approvals may result in the imposition of conditions that could adversely affect, following completion of the proposed transaction (if completed), the combined company or the expected benefits of the proposed transaction (including as noted in any forward-looking financial information), (iv) uncertainties as to access to available financing (including any future refinancing of Ansys' or the combined company's debt) to consummate the proposed transaction upon acceptable terms and on a timely basis or at all, (v) the occurrence of any event, change or other circumstance that could give rise to the termination of the merger agreement, (vi) the effect of the announcement or pendency of the transaction on Ansys' or Synopsys' business relationships, competition, business, financial condition, and operating results, (vii) risks that the proposed transaction disrupts current plans and operations of Ansys or Synopsys and the ability of Ansys or Synopsys to retain and hire key personnel, (viii) risks related to diverting either management team's attention from ongoing business operations of Ansys or Synopsys, (ix) the outcome of any legal proceedings that may be instituted against Ansys or Synopsys related to the merger agreement or the transaction, (x) the ability of Synopsys to successfully integrate Ansys' operations and product lines, (xi) the ability of Synopsys to implement its plans, forecasts, expected financial performance and other expectations with respect to Ansys' business or the combined business after the completion of the proposed mergers and realize additional opportunities, develop customer relationships, additional products and Ansys' existing operations and product lines, (xii) the ability of Synopsys to manage additional debt and successfully de-lever following the transaction and the outcome of any strategic review and any resulting transactions, (xiii) risks associated with third party contracts containing consent and/or other provisions that may be triggered by the proposed transaction, (xiv) macroeconomic conditions and geopolitical uncertainty in the global economy, (xv) uncertainty in the growth of the semiconductor, electronics and artificial intelligence industries, (xvi) the highly competitive industries Synopsys and Ansys operate in, (xvii) actions by the U.S. or foreign governments, such as the imposition of additional export restrictions or tariffs, (xviii) consolidation among Synopsys' customers and Synopsys' dependence on a relatively small number of large customers, (xix) legislative, regulatory and economic developments affecting Ansys' and Synopsys' businesses, (xx) the evolving legal, regulatory and tax regimes under which Ansys and Synopsys operate, (xxi) restrictions during the pendency of the proposed transaction that may impact Ansys' or Synopsys' ability to pursue certain business opportunities or strategic transactions, and (xxii) unpredictability and severity of catastrophic events, including, but not limited to, acts of terrorism or outbreak of war or hostilities, as well as Ansys' and Synopsys' response to any of the aforementioned factors. The foregoing list of risks, uncertainties and factors is not exhaustive. Unlisted factors may present significant additional obstacles to the realization of forward looking statements.
You should carefully consider the foregoing factors and the other risks and uncertainties that affect the businesses of Synopsys and Ansys described in the "Risk Factors" section of their respective Annual Reports on Form 10-K, Quarterly Reports on Form 10-Q and other documents filed by either of them from time to time with the SEC. These filings identify and address other important risks and uncertainties that could cause actual events and results to differ materially from those contained in the forward-looking statements. Forward-looking statements speak only as of the date they are made. All forward-looking statements by their nature address matters that involve risks and uncertainties, many of which are beyond Synopsys' and Ansys' control, and are not guarantees of future results. Readers are cautioned not to put undue reliance on forward-looking statements, and Synopsys and Ansys assume no obligation and do not intend to update or revise these forward-looking statements, whether as a result of new information, future events, or otherwise, unless required by law. Neither Synopsys nor Ansys gives any assurance that either Synopsys or Ansys will achieve its expectations.
Ansys Cautionary Statement Regarding Forward-Looking Statements
This document contains "forward-looking statements" within the meaning of the federal securities laws, including Section 27A of the U.S. Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. These forward-looking statements are based on Ansys' current expectations, estimates and projections about the expected date of closing of the proposed transaction and the potential benefits thereof, its business and industry, management's beliefs and certain assumptions made by Ansys and Synopsys, all of which are subject to change. In this context, forward-looking statements often address expected future business and financial performance and financial condition, and often contain words such as "expect," "anticipate," "intend," "plan," "believe," "could," "seek," "see," "will," "may," "would," "might," "potentially," "estimate," "continue," "expect," "target," similar expressions or the negatives of these words or other comparable terminology that convey uncertainty of future events or outcomes. Examples of such forward-looking statements include, but are not limited to, statements regarding our preliminary results, expected ACV, recurring ACV, ACV growth and additional 2023 guidance which are subject to change through our audit and customary year-end close and review process. All forward-looking statements by their nature address matters that involve risks and uncertainties, many of which are beyond our control, and are not guarantees of future results, such as statements about the consummation of the proposed transaction and the anticipated benefits thereof. These and other forward-looking statements, including the failure to consummate the proposed transaction or to make or take any filing or other action required to consummate the transaction on a timely matter or at all, are not guarantees of future results and are subject to risks, uncertainties and assumptions that could cause actual results to differ materially from those expressed in any forward-looking statements. Accordingly, there are or will be important factors that could cause actual results to differ materially from those indicated in such statements and, therefore, you should not place undue reliance on any such statements and caution must be exercised in relying on forward-looking statements. Important risk factors that may cause such a difference include, but are not limited to: (i) the completion of the proposed transaction on anticipated terms and timing, including obtaining shareholder and regulatory approvals, anticipated tax treatment, unforeseen liabilities, future capital expenditures, revenues, expenses, earnings, synergies, economic performance, indebtedness, financial condition, losses, future prospects, business and management strategies for the management, expansion and growth of Ansys' and Synopsys' businesses and other conditions to the completion of the transaction; (ii) failure to realize the anticipated benefits of the proposed transaction, including as a result of delay in completing the transaction or integrating the businesses of Ansys and Synopsys; (iii) Ansys' ability to implement its business strategy; (iv) pricing trends, including Ansys' and Synopsys' ability to achieve economies of scale; (v) potential litigation relating to the proposed transaction that could be instituted against Ansys, Synopsys or their respective directors; (vi) the risk that disruptions from the proposed transaction will harm Ansys' or Synopsys' business, including current plans and operations; (vii) the ability of Ansys or Synopsys to retain and hire key personnel; (viii) potential adverse reactions or changes to business relationships resulting from the announcement or completion of the proposed transaction; (ix) uncertainty as to the long-term value of Synopsys' common stock; (x) legislative, regulatory and economic developments affecting Ansys' and Synopsys' businesses; (xi) general economic and market developments and conditions; (xii) the evolving legal, regulatory and tax regimes under which Ansys and Synopsys operate; (xiii) potential business uncertainty, including changes to existing business relationships, during the pendency of the Transaction that could affect Ansys' or Synopsys' financial performance; (xiv) restrictions during the pendency of the proposed transaction that may impact Ansys' or Synopsys' ability to pursue certain business opportunities or strategic transactions; (xv) unpredictability and severity of catastrophic events, including, but not limited to, acts of terrorism or outbreak of war or hostilities, as well as Ansys' and Synopsys' response to any of the aforementioned factors; and (xvi) failure to receive the approval of the stockholders of Ansys. These risks, as well as other risks associated with the proposed transaction, are more fully discussed in the proxy statement/prospectus to be filed with the U.S. Securities and Exchange Commission in connection with the proposed transaction. While the list of factors presented here is, and the list of factors presented in the proxy statement/prospectus will be, considered representative, no such list should be considered to be a complete statement of all potential risks and uncertainties. Unlisted factors may present significant additional obstacles to the realization of forward looking statements. Consequences of material differences in results as compared with those anticipated in the forward-looking statements could include, among other things, business disruption, operational problems, financial loss, legal liability to third parties and similar risks, any of which could have a material adverse effect on Ansys' or Synopsys' consolidated financial condition, results of operations, or liquidity. Neither Ansys nor Synopsys assumes any obligation to publicly provide revisions or updates to any forward-looking statements, whether as a result of new information, future developments or otherwise, should circumstances change, except as otherwise required by securities and other applicable laws.
Important Information and Where to Find It
This document relates to a proposed transaction between Synopsys and Ansys. Synopsys will file a registration statement on Form S-4 with the SEC, which will include a document that serves as a prospectus of Synopsys and a proxy statement of Ansys referred to as a proxy statement/prospectus. A proxy statement/prospectus will be sent to all Ansys shareholders. Each party also will file other documents regarding the proposed transaction with the SEC. INVESTORS AND SECURITY HOLDERS ARE URGED TO READ THE REGISTRATION STATEMENT, PROXY STATEMENT/PROSPECTUS AND ALL OTHER RELEVANT DOCUMENTS FILED OR THAT WILL BE FILED WITH THE SEC IN CONNECTION WITH THE PROPOSED TRANSACTION, AS WELL AS ANY AMENDMENTS OR SUPPLEMENTS TO THESE DOCUMENTS, CAREFULLY AND IN THEIR ENTIRETY IF AND WHEN THEY BECOME AVAILABLE BECAUSE THEY CONTAIN OR WILL CONTAIN IMPORTANT INFORMATION ABOUT THE PROPOSED TRANSACTION.
Investors and security holders will be able to obtain free copies of the registration statement, proxy statement/prospectus and all other relevant documents filed or that will be filed with the SEC by Synopsys or Ansys through the website maintained by the SEC at www.sec.gov.
The documents filed by Synopsys with the SEC also may be obtained free of charge at Synopsys' website at https://investor.synopsys.com/overview/default.aspx or upon written request to Synopsys at Synopsys, Inc., 675 Almanor Avenue, Sunnyvale, California 94085, Attention: Investor Relations Department. The documents filed by Ansys with the SEC also may be obtained free of charge at Ansys' website at https://investors.ansys.com/ or upon written request to kelsey.debriyn@ansys.com.
Participants in Solicitation
Synopsys, Ansys and their respective directors and executive officers may be deemed to be participants in the solicitation of proxies from Ansys' shareholders in connection with the proposed transaction. Information about Ansys' directors and executive officers and their ownership of Ansys' common stock is set forth in Ansys' proxy statement for its 2023 Annual Meeting of Shareholders on Schedule 14A filed with the SEC on March 28, 2023. To the extent that holdings of Ansys' securities have changed since the amounts printed in Ansys' proxy statement, such changes have been or will be reflected on Statements of Change in Ownership on Form 4 filed with the SEC. Information about Synopsys' directors and executive officers is set forth in Synopsys' proxy statement for its 2023 Annual Meeting of Shareholders on Schedule 14A filed with the SEC on February 17, 2023 and Synopsys' subsequent filings with the SEC. Additional information regarding the direct and indirect interests of those persons and other persons who may be deemed participants in the proposed transaction may be obtained by reading the proxy statement/prospectus regarding the proposed transaction when it becomes available. You may obtain free copies of these documents as described in the preceding paragraph.
No Offer or Solicitation
This document is for informational purposes only and is not intended to and shall not constitute an offer to buy or sell or the solicitation of an offer to buy or sell any securities, or a solicitation of any vote or approval, nor shall there be any sale of securities in any jurisdiction in which such offer, solicitation or sale would be unlawful prior to registration or qualification under the securities laws of any such jurisdiction. No offering of securities shall be made, except by means of a prospectus meeting the requirements of Section 10 of the U.S. Securities Act of 1933, as amended.
Non-GAAP Financial Information
This document includes certain forward looking financial measures that are not in accordance with the U.S. generally accepted accounting principles ("GAAP").
Adjusted EBITDA ("Adj. EBITDA") is calculated as GAAP Operating Income excluding depreciation and amortization, stock compensation, non-qualified deferred compensation plan, acquisition-related costs and restructuring charges
Free Cash Flow ("FCF") is calculated as cash provided from operating activities less capital expenditures and capitalization of software development costs
Unlevered Free Cash Flow ("uFCF") is calculated as Free Cash Flow excluding tax-effected cash net interest
Unlevered Free Cash Flow Margin is calculated as Unlevered Free Cash Flow for a period divided by revenue for the same period
Non-GAAP Earnings Per Share ("EPS") is calculated as GAAP net income excluding amortization of intangible assets, stock compensation, acquisition-related costs, restructuring charges, and legal matters, adjusted for the difference between GAAP and non-GAAP tax rates, divided by fully diluted outstanding shares
Non-GAAP Operating Income is calculated as GAAP Operating Income, excluding amortization of intangible assets, stock compensation, non-qualified deferred compensation plan, acquisition-related costs and restructuring charges
Non-GAAP Operating Margin is Non-GAAP Operating income for a period divided by revenue for the same period
Synopsys and Ansys present non-GAAP financial measures to provide their investors with an additional tool to evaluate Synopsys' and Ansys' respective operating results in a manner that focuses on what Synopsys and Ansys each believe to be their respective core business operations and what Synopsys and Ansys each use to evaluate their respective business operations and for internal budgeting and resource allocation purposes. These non-GAAP measures may be different from non-GAAP measures used by other companies. In addition, these non-GAAP measures are not based on any comprehensive set of accounting rules or principles, and management exercises judgment in determining which items should be excluded in the calculation of non-GAAP measures. The presentation of non-GAAP financial information is not meant to be considered in isolation from, as superior to or as a substitute for the directly comparable financial measures prepared in accordance with GAAP. These non-GAAP financial measures are meant to supplement, and be viewed in conjunction with, the corresponding GAAP financial measures.
When possible with respect to non-GAAP financial measures presented with respect to historical periods, Synopsys and Ansys, respectively, provide a reconciliation of their historic non-GAAP financial measures to their most closely applicable GAAP financial measures in the documents filed by Synopsys and Ansys with the SEC. Synopsys and Ansys, respectively, are unable to provide a reconciliation of certain non-GAAP guidance measures to the corresponding GAAP measures on a forward-looking basis because doing so would not be possible without unreasonable effort due to, among other things, the potential variability and limited visibility of the excluded items and expectations as to the financial of performance of each of Synopsys and Ansys upon the completion of the mergers. For the same reasons, Synopsys and Ansys are each unable to address the probable significance of the unavailable information. Synopsys and Ansys are presenting forward looking non-GAAP financial measures for illustrative purposes and may not report on this basis going forward.
Combined company measures for historical periods are based on combining Synopsys' historical financial results and Ansys' historical or preliminary financial results, as applicable, without pro forma adjustments and are included for illustrative purposes in order to provide investors with estimates of what the combined company results could have been. Combined company estimates are not pro forma financial measures, are not prepared in accordance with Regulation S-X under the U.S. Securities Act of 1933, as amended, and are not necessarily indicative of the results that actually would have been realized had Synopsys and Ansys been a single entity during the relevant periods.
Other Key Business Metrics
Annual Contract Value ("ACV") is a key performance metric for Ansys and is useful to investors in assessing the strength and trajectory of the business. ACV is a supplemental metric to help evaluate the annual performance of the business. Over the life of the contract, ACV equals the total value realized from a customer. ACV is not impacted by the timing of license revenue recognition. ACV is used by Ansys' management in financial and operational decision-making and in setting sales targets used for compensation. ACV is not a replacement for, and should be viewed independently of, GAAP revenue and deferred revenue as ACV is a performance metric and is not intended to be combined with any of these items. There is no GAAP measure comparable to ACV.
ACV is composed of the following: 1) the annualized value of maintenance and subscription lease contracts with start dates or anniversary dates during the period, plus; 2) the value of perpetual license contracts with start dates during the period, plus; 3) the annualized value of fixed-term services contracts with start dates or anniversary dates during the period, plus; 4) the value of work performed during the period on fixed-deliverable services contracts.
1 Compound annual growth rate from FY 2023 to 2028.
2 Expected to be accretive in second full year post-close including cost synergies only, substantially accretive thereafter including cost and revenue synergies.
3 The last trading day prior to media speculation regarding a potential transaction.
4 Compound annual growth rate from FY 2023 to 2028.
5 The last trading day prior to media speculation regarding a potential transaction.
6 Includes the refinancing of Ansys' existing debt and transaction expenses.
View original content to download multimedia:https://www.prnewswire.com/news-releases/synopsys-to-acquire-ansys-creating-a-leader-in-silicon-to-systems-design-solutions-302035724.html
SOURCE Synopsys, Inc.
|
|||||
correct_foundationPlace_00077
|
FactBench
|
2
| 34
|
https://canonsburg-pa.geebo.com/jobs-online/view/id/1017079446-microsoft-teams-rooms-systems-/
|
en
|
Microsoft Teams Rooms Systems Engineer at ANSYS in Canonsburg, PAother related Employment listings
|
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[] | null |
Company: Ansys Ansys is the global leader in engineering simulation. We empower the world's most innovative companies to deliver transformational...
|
en
|
https://geebo.com/jobs-online/view/id/1017079446-microsoft-teams-rooms-systems-/
|
Microsoft Teams Rooms Systems Engineer at ANSYS in Canonsburg, PA
Company:
Ansys Ansys is the global leader in engineering simulation. We empower the world's most innovative companies to deliver transformational products to their customers. By offering the best and broadest portfolio of engineering simulation software solutions, we help our customers solve the most complex design challenges and engineer products limited only by imagination. Whether you are a software developer, product engineer, sales team member, or part of our corporate team, at Ansys we know that by embracing what makes us each unique, we become collectively better. SUMMARY A Microsoft Teams Rooms System Engineer will be contributing to the business by providing third-level user support and input to/support of the Ansys global corporate collaboration strategy built on the Microsoft Teams Rooms platform. The System Engineer will be responsible for designing and implementing systems to manage and maintain the technology infrastructure to support the collaboration strategy specifically related to Microsoft Teams Rooms, ensuring that technology is highly available, reliable, and user-friendly. The System Engineer will work closely with the operations teams responsible for providing first and second level support and with the IT architecture and management teams, as well as the user base, to define the strategy. RESPONSIBILITIES Act as an escalation for third level support for Microsoft Teams Rooms collaboration technology, both hardware and software. Design, implement, and maintain management systems to deploy and maintain Microsoft Teams Rooms collaboration technology, ensuring the technology is highly available and reliable for end users. The system management that is implemented should include as much efficiency and automation as possible for increased scalability. Ensure Microsoft Teams Rooms collaboration technology is appropriately documented in the Configuration Management Database (CMDB) and define CMDB Audit Tests to ensure the quality of the data in the CMDB. Define technology standards to support the Microsoft Teams Rooms collaboration strategy. Provide budget, procurement, and implementation guidance and assistance for the purchase of new Microsoft Teams Rooms collaboration technology. Consult on future technology needs and advise on new features and hardware released for the Microsoft Teams Rooms platform. Provide consultation and education to all levels of end users on Microsoft Teams Rooms technologies. Provide training and assistance to IT Operations teams to ensure the best possible first and second level support for Microsoft Teams Rooms collaboration technology. Lead the process of keeping the Microsoft Teams Rooms collaboration strategy updated with key stakeholders:
Architecture, Management, End Users, Support. MINIMUM QUALIFICATIONS Associate degree Required. Required 3 years of experience with Information Technology. Ability to demonstrate technical problem-solving skills. Strong customer service and communications skills. Demonstrated deep knowledge of the Microsoft Teams Rooms platform. PREFERRED QUALIFICATIONS Bachelor's degree in information technology related field preferred. Preferred 5 years of experience with Information Technology. Demonstrated examples of IT management systems designed and implemented. Demonstrated examples of use of automation to increase efficiency. Experience working with a global team. Due to the federally mandated COVID-19 vaccination requirement impacting federal contractors like Ansys, this position requires you to be fully vaccinated for COVID-19 prior to your start date. If you are unable to be vaccinated due to medical or religious reasons, we offer accommodations in accordance with applicable federal, state and local laws including state and local mandatory vaccination orders. ALIGNING YOUR VALUES TO OUR SOLUTIONS At Ansys, our diverse, collaborative teams give us the strength and insight to solve the world's most challenging engineering problems. Our ONE Ansys culture has at its core:
Customer Focus Results and Accountability Innovation Transparency and Integrity Mastery Inclusiveness Sense of Urgency Collaboration and Teamwork ENGINEERING YOUR CAREER AT ANSYS At Ansys, you will find yourself among the sharpest minds and most visionary leaders across the globe. Collectively we strive to change the world with innovative technology and transformational solutions. With a prestigious reputation in servicing well-known, world-class companies, standards at Ansys are high - met by those willing to rise to the occasion and meet those challenges head-on. At Ansys, it's about the learning, the discovery and the collaboration. It's about the what's next as much as the mission accomplished. And it's about the melding of disciplined intellect with strategic direction and results that have, can and do impact real people in real ways. All this is forged within a working environment built on respect, autonomy and ethics. At Ansys, you will find yourself among those eager to drive the world towards the next best thing with hands planted firmly on the wheel. Our team is passionate about pushing the limits of world-class simulation technology, empowering our customers to turn their design concepts into successful, innovative products faster and at lower cost. As a measure of our success in attaining these goals, Ansys has been recognized as one of the world's most innovative companies by prestigious publications such as Bloomberg Businessweek and FORTUNE magazines. Ansys is an S&P 500 company and a member of the NASDAQ-100. We are proud to have been recognized for the following awards:
Bay Area Best Places to Work, a Pillar World Awards Gold Winner, Fast Company Best Places to Work for Innovators, a Gold Stevie Award for Great Employers, the FORTUNE Future 50, a DCA Silver Winner, an R&D100 Finalist, a 20% by 2020 Women on Boards winner, a 2020 Pittsburgh Tech 50 - finalist, and America's Most Responsible Companies.
Salary Range:
$80K -- $100K
Minimum Qualification
Systems Architecture & EngineeringEstimated Salary: $20 to $28 per hour based on qualifications.
ID#: 1017079446
Location: Canonsburg, PA, 15317, USA
Type: Other
Company: ANSYS
|
||||||
correct_foundationPlace_00077
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FactBench
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3
| 81
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https://growtherapy.com/provider/r9waqgef3ebm/shari-stranges
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en
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network Therapists in Pennsylvania
|
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] |
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Find and instantly book a vetted licensed, in-network Therapist in Pennsylvania. Accepting major insurances.
|
en
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/next-public-assets/favicon.png
| null |
If you or someone you know is experiencing an emergency or crisis, call 988 (the Suicide & Crisis Lifeline), call 911, or go to the nearest emergency room. Additional resources can be found here.
If you or someone you know is experiencing an emergency or crisis, call 988 (the Suicide & Crisis Lifeline), call 911, or go to the nearest emergency room. Additional resources can be found here.
|
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2833
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dbpedia
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2
| 7
|
https://www.bestmusic80.com/post/as-it-was-before
|
en
|
Status Quo
|
[
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] |
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[
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] | null |
[
"Nostra Dam"
] |
2020-10-07T10:22:01.676000+00:00
|
Status Quo is an English group that was founded in 1969 under the leadership of Francis Rossi and Alan Lancaster. The origins of the group date back to 1962 when it was called The Scorpions. It will take the name of The Specters from 1963, then The Status Quo from 1967. A group that can boast of having one of the largest numbers of titles classified in the English Charts with no less than sixty including twenty-two in the English Top 10 singles.The real starting point of the group took place in
|
en
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https://static.parastorage.com/client/pfavico.ico
|
BestMusic80
|
https://www.bestmusic80.com/post/as-it-was-before
|
For those who know nothing about it, the ideal way to find everything you need to organize a memorable evening.
|
||||
2833
|
dbpedia
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3
| 41
|
https://forums.stevehoffman.tv/threads/status-quo-album-by-album-thread-50-years-of-quo.686221/page-19
|
en
|
Status Quo album-by-album thread (50 Years of Quo)
|
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Just Supposin' - it's OK but a bit lightweight. I like the fact that it had a more spontaneous sound (not sure I get the 80s-sounding criticisms others...
|
en
|
/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
|
https://forums.stevehoffman.tv/threads/status-quo-album-by-album-thread-50-years-of-quo.686221/page-19
|
I love Chas & Dave!
I'm going to give Just Supposin' a spin in the next day or two. I'm either unfamiliar with the album tracks or they're unmemorable.
1981: Never Too Late
1981: Never Too Late
1. Never Too Late (Rossi/Frost) 3:59
2. Something 'Bout You Baby I like (Richard Supa) 2:51 L
3. Take Me Away (Parfitt/Bown) 4:49
4. Falling In Falling Out (Parfitt/Bown/Young) 4:15
5. Carol (Berry) 3:41 L
6. Long Ago (Rossi/Frost) 3:46
7. Mountain Lady (Lancaster) 5:06
8. Don't Stop Me Now (Lancaster/Bown) 3:43
9. Enough Is Enough (Rossi/Parfitt/Frost) 2:57
10. Riverside (Rossi/Frost) 5:04
2017 Deluxe Edition Disc 2:
1. Rock & Roll [Single Version] (Rossi/Frost) 4:04 [2005 reissue]
Tracks 2-5: Austrian Flexi-Disc Sampler
1. Don’t Stop Me Now 1:29
2. What You're Proposing (Rossi/Frost) 0:46
3. LP Overview 3:15
4. Something ‘Bout You Baby I Like 1:52
5. Something ‘Bout You Baby I Like [Acoustic Backing Track] 3:11
Live at St Austell 6th & 7th March 1981
6. Caroline 5:20
7. Roll Over Lay Down 7:03
8. Backwater 4:33
9. Little Lady 4:00
10. Don’t Drive My Car 5:13
11. Whatever You Want 5:28
12. Hold You Back 5:06
13. Something 'Bout You Baby I Like 2:57
14. Rockin' All Over the World 4:12
15. Over the Edge 5:41
2017 Deluxe Edition Disc 3:
[What You're Proposing/In My Chair]
1. Rock ‘n’ Roll 5:46
2. Dirty Water 4:06
3. Forty-Five Hundred Times 19:04
4. Big Fat Mama 5:16
5. Don't Waste My Time 4:09
6. Roadhouse Blues 9:48
7. Rain 4:48
8. Down Down 5:14
9. Drum Solo 3:59
10. Bye Bye Johnny 6:13
Andy Bown – Keyboards
Bernie Frost – Backing Vocals
[Unknown – Harmonica on “Roadhouse Blues”]
Another year, another Status Quo album. Another rocket cover. Waitasecond? While it’s not the same missile pictured on the two album covers, the visual link is obvious and shows that the two albums have more in common than Quo albums normally do. Another less obvious link can be made between the covers of RAOTW and NTL – both feature similar concepts with Planet Earth, the colours and the placement of the album title. While nobody had anticipated that “Never Too Late” would be the last album with John Coghlan, the band did seem to have decided it would be the last with John Eden – and his first album with the band (not as co-producer, but as engineer) was “Rockin’ All Over the World”.
Alan later complained about basically making two albums at once, because the band didn't have enough songs. Most of the better stuff was already used on “Just Supposin’” (John Eden said they should have held back “Don't Drive My Car”… what NTL track would you switch it with?) and NTL was completed under somewhat suboptimal circumstances, sonically speaking. Also, the lack of musical variety is underlined by the fact that this time around, Francis ended up singing lead on all songs!
After the release of the album, Quo finally went out on tour again. Since Andy Bown had been playing bass (his main instrument!) as part of the Surrogate Band for Pink Floyd’s “The Wall” shows in 1980 and 1981 (doubling up for Roger Waters when Rog needed to play act or play acoustic guitar), they postponed the start of the tour so Andy could fulfil his commitment. Andy went on to play organ on “The Final Cut” and Roger’s first solo album “The Pros and Cons of Hitch Hiking”.
Never Too Late: Generic standard Quo but still played with a lot of oomph. The lyric is one of the more political ones in the Quo catalogue and its optimistic message is visualized by the cover.
Something 'Bout You Baby I Like: Quo have absolutely been playing this one to DEATH in the last couple of years but the studio version still has a charm of its own, despite the strange drum sounds overdubbed on top of the original track.
Take Me Away: Unbelievable! One of the darkest, heaviest, most intense tracks ever released on a Status Quo album. Rick and Andy wrote it, but Francis sang it - and he really pulls out all the stops as a guitarist.
Falling In Falling Out: A nice commercial number like Quo would produce dozens of from now on, but this one at least benefits from John Coghlan's drumming. It does get a bit repetitive near the end.
Carol: A Chuck Berry cover isn't a bad idea if you play rock 'n' roll, but the sound doesn't work well with the song. And two cover versions after three albums without covers does suggest that the band was slightly lacking material (strange considering all those unused 1978/1979 songs, but whatever).
Long Ago: This almost sounds as if Francis was trying to write his version of "Rain", a serious mid-tempo shuffle. It's probably one of the more overlooked tracks from the period.
Mountain Lady: Um, what is this? Yeah, I can hear a growing gap between Alan and the rest of the band. In fact, the more I think about it, Alan's "departure" a few years later probably was the only way Quo could survive if this is all he could come up with & he still wanted to steer the band in HIS direction. The suddenly hacked-off ending is bizarre but fits in well with the weird openings and endings heard throughout the LP.
Don't Stop Me Now: I could just repeat what I said above, or repeat Alan's comments about unfinished material on NTL. This song certainly sounds unfinished to me, like a rough idea that desperately needed more work done on it to become an actual song. The way it appears on the album it feels more like something bridging two other songs, which it sort of does, actually.
Enough is Enough: According to Francis, Rick had nothing to do with writing this song, which was rather obviously inspired by "Stay With Me" by The Faces. Like so many of the other songs from the era it seems to lack variation to my ears.
Riverside: This has one of the strangest beginnings in music history! I know John Eden said that the drumming wasn’t done by a drum machine (instead he and Francis overdubbed electronic drum samples over a couple of tracks) but it surely sounds like it, there is no proper flow to the drumming and the fills are really awkward at times. This, along with the vocals being completely drowned in the mix, basically destroys a song that could have been great. It’s a shame because the song has a lot of potential, thanks to its chord structure and the rhythm switch from fast rock to a typical Quo shuffle. Now if only they had played this one (and several others from the JS/NTL complex) live… and added a guitar solo…
Bonus disc: Strangely, though 2 demo versions of “Mountain Lady” and a vocal outtake of “Falling In Falling Out” exist, neither is included – only the (nice) acoustic backing track of “Something ‘Bout You Baby I Like”. Plus…
Der Superhit "What You're Supposin'" vom Album "Just Proposin'" ... not exactly, but this Austrian Flexidisc is hilarious. Especially if you are bilingual like me and have long since developed an allergy towards radio DJs with bad English.
Finally, we get live recordings spread out across 2 CDs (a first for the deluxe series) but I have no idea why exactly this bootleg was chosen. According to the bootleg index, there are several better sounding concerts:
· London, Hammersmith Odeon 12.3.1981 3+ AUD
· London, Hammersmith Odeon 13.3.1981 3+/4- AUD (the better recording has less songs)
· Le Mans, La Rotonde 25.3.1981 3+ AUD (parts of which were used for Just Supposin’)
· Stockholm, Isstadion 4.4.1981 4 AUD
· Udine, Palasport 27.4.1981 4 AUD
· Cantu, Palasport Cucciago 30.4.1981 3+ AUD
· Winterthur, Eulachhalle 2.5.1981 4 AUD
· Madrid, Pavillon 8.5.1981 3+ AUD
· Nantes, Palais de la Beaujoire 16.5.1981 4 AUD
· Paris, Hippodrome de Pantin 18.5.1981 3+ FM
· London, Wembley Arena 27.5.1981 4- AUD
That’s a whopping 11 recordings with supposedly better sound quality! Sure, most of these aren’t complete (given the length of the setlist, not surprising), but even the complete St. Austell concert isn’t here (“What You’re Proposing” and “In My Chair” are missing, even if they would have fit). I think it would have been a better idea to sequence a live album from the best recordings of each track, including “the longest 4500 times ever, 23:58” from Udine and “10 minutes drum solo (the longest ever)” from Paris.
Having said that, the St Austell recording isn’t horrible. As long as the fans are quiet, you can hear most of what happened on stage. It gives you a glimpse of what exactly the “Frantic Four plus one” were like live (yes, Andy played on the Live album as well, but there are more songs with keyboards here). One has to remember, though, that this was one of the first concerts on the tour and the band hadn’t played live for 1 ½ years (plus they had loads of new songs in the set – hence Francis mixing up the lyrics of “Something ‘Bout You Baby I Like”). I know that the Paris radio recording has a near-mythical status among some fans and I can imagine why, they had been on tour for two months and probably gotten a lot tighter.
Bizarrely, Rick and Francis sing “I saw my little lady walking down the Straße” even though it was not recorded in Germany! The “oh-oh-oh-oh” singalong in “Dirty Water” is in place. “Hold You Back” has the studio outro. Francis is pulling all kinds of rabbits out of his hat on “Forty-Five Hundred Times”, his improvised bits are constantly surprising and heavily extend the song without ever making it tedious (the switch to “Gotta Go Home” doesn’t occur until the 12 ½ minute mark!). I'm not sure I like Andy’s synths though… but his piano adds a new dimension to “Don't Waste My Time”.
In the break before the encores, you can hear the bootlegger explaining the details of the recording date! Very professional!
|
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2833
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dbpedia
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3
| 16
|
http://www.redguitarmusic.com/album-reviews-1/2022/9/20/status-quo-heavy-traffic-3cd-deluxe-album-review
|
en
|
Heavy Traffic 3CD Deluxe (Album Review) — Red Guitar Music
|
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"David Vousden"
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2022-09-20T00:00:00
|
I’ll always have a soft spot for Status Quo. Admittedly this is based on a hazy memory of a March 1981 show on the ‘Never Too Late tour. In those days, the Quo were a British institution as the classic line-up of Rossi, Parfitt, Lancaster and Coghlan were revered by fans and could be relied upon for
|
en
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https://images.squarespace-cdn.com/content/v1/53f393bbe4b06249a09d6254/1410096797002-VCX0X15FTVZ99RFMXZHX/favicon.ico?format=100w
|
Red Guitar Music
|
http://www.redguitarmusic.com/album-reviews-1/2022/9/20/status-quo-heavy-traffic-3cd-deluxe-album-review
|
I’ll always have a soft spot for Status Quo. Admittedly this is based on a hazy memory of a March 1981 show on the ‘Never Too Late tour. In those days, the Quo were a British institution as the classic line-up of Rossi, Parfitt, Lancaster and Coghlan were revered by fans and could be relied upon for no-nonsense hard rock of the highest order. It wasn’t overly complicated, but they had the songs; it was loud, it was sweaty, and that was good enough for me. Unfortunately, my love of all things Quo was brief as post ’82 Quo were a mere shadow of their former selves and had a string of pretty terrible records to prove it.
This string of less than satisfactory albums reached its nadir with ‘Famous In The Last Century’. This was one covers album too many for the majority of fans (or possibly not). The band readily admitted a rethink was required, and with songwriter Bob Young returning to the fold to help with the tunes, Quo were ready to give it another go. Listening to ‘Heavy Traffic’ twenty years on, the album certainly has its moments and marks the beginning of Quo’s resurgence as a recording band. The band had never lost its ability to sell concert tickets in the UK, Europe or even further afield, but you had the feeling the crowds were coming to hear the old tunes. Perhaps surprisingly, Rossi, Parfitt and co didn’t want to just play the hits and be branded a heritage act. It would have been the easy option as they already had forty years on the clock (Francis Rossi and original bassist Alan Lancaster formed their first band in 1962).
The album opens with ‘Blues & Rhythm’ an infectious, feel-good, typically Quo tune that gets things off to a positive start. Unfortunately, three songs in and ‘The Oriental’ almost derails the entire record. A frankly embarrassing stomp that is supposedly amusing but, shall we say, seems misguided at best (and I’m being very polite here). After this massive misstep, things get back on track with ‘Creepin’ Up On You' (the only Rick Parfitt songwriting credit on the album) and the full-blown, heads down, pure Quoness of ‘Solid Gold’. At fourteen tracks, 'Heavy Traffic' is probably a couple of songs too long, but left turns like the acoustic-based ‘Green’, penned by Andy Bown, and the brooding closer ‘Rhythm of Life’ keep things interesting. For Quo fans struggling to survive on a diet of live albums, compilations and terrible covers for a decade, ‘Heavy Traffic’ must have been the best thing since denim was invented.
Disc two is an odds and sods mix of B-sides, demos and the beginning of a live show from the Heavy Traffic tour at the Heitere Festival, 10th August 2003, that concludes on disc three of this set. Highlights include the oddly enjoyable ‘The Madness’, which seems to be two songs in one; equal parts straight-ahead boogie meets catchy pop with loads of ooh, ooh vocals on the chorus. Another B-side, ‘You Let Me Down’, all clanky piano and swirling organ, is a little bit odd and with an instrumental coda randomly tacked on the end, rather too long. Of the three demo tracks, I might even prefer the stripped-back ‘Solid Gold’ sans harmonica to the album version, while the acoustic-driven ‘Let’s Start Again’ is a fun oddity. ‘All Stand Up’ completes the demo trilogy but doesn’t offer anything new and is over a minute shorter than the finished track.. The live show takes a song or two to settle down soundwise (those splashy cymbals on ‘Caroline’ will loosen your fillings) as the vocals are lost initially, but these are minor quibbles and things soon settle down. Obviously happy with ‘Heavy Traffic’ Quo plough through four songs from the album in a row mid-set with ‘Solid Gold’ and ‘Creepin’ Up On You’ especially, sounding right at home alongside the old favourites.
I've a feeling this deluxe set, which clocks in just shy of three hours, will find a place in the collections of many a Quo fan.
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| 43
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https://musicbrainz.org/release/fa92a482-bc3a-4475-86b2-0461a9c8a195
|
en
|
Release “Back to Back” by Status Quo
|
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Format: CD, Year: 2006, Label: Mercury Records (983 412-6), Barcode: 602498341261, Length: 1:04:49
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#TitleRatingLength1A Mess of Blues3:242Ol’ Rag Blues
engineer:
Steve Churchyard and Tim Summerhayes
producer:
Status Quo
lead vocals:
Francis Rossi
phonographic copyright (℗) by:
Mercury Records Ltd. (in 1983) , Mercury Records Ltd. (UK) (in 1983) and Phonogram Ltd. (in 1983)
recording of:
Ol’ Rag Blues
writer:
Keith Lamb and Alan Lancaster
publisher:
Birchwood Music Ltd., EMI Music Publishing Ltd. , Rondor Music (London) Ltd. and Shawbury Music Ltd.
2:513Can’t Be Done3:124Too Close to the Ground3:445No Contract3:596Win or Lose2:357Marguerita Time
engineer:
Steve Churchyard and Tim Summerhayes
producer:
Status Quo
phonographic copyright (℗) by:
Mercury Records Ltd. (in 1983) , Mercury Records Ltd. (UK) (in 1983) and Phonogram Ltd. (in 1983)
recording of:
Marguerita Time
writer:
Bernard John Frost and Francis Rossi
publisher:
Birchwood Music Ltd., EMI Music , EMI Music Publishing Ltd. and Partnus
3:308Your Kind of Love
engineer:
Steve Churchyard and Tim Summerhayes
producer:
Status Quo
phonographic copyright (℗) by:
Mercury Records Ltd. (in 1983) and Phonogram Ltd. (in 1983)
recording of:
Your Kind of Love
writer:
Alan Lancaster and David Skinner
publisher:
Birchwood Music Ltd., Corphil Consultants Ltd., EMI Music Publishing Ltd. and Rondor Music (London) Ltd.
3:299Stay the Night3:0210Going Down Town Tonight
engineer:
Steve Churchyard and Tim Summerhayes
producer:
Status Quo
phonographic copyright (℗) by:
Mercury Records Ltd. (in 1983) and Phonogram Ltd. (in 1983)
recording of:
Going Down Town Tonight
lyricist and composer:
Guy Johnson
publisher:
Birchwood Music Ltd. and EMI Music Publishing Ltd.
cover recording of:
Going Down Town Tonight
lyricist and composer:
Guy Johnson
publisher:
Birchwood Music Ltd. and EMI Music Publishing Ltd.
3:3911The Wanderer33:2812Going Down Town Tonight (single version)3:3813I Wonder Why3:5914Ol’ Rag Blues (extended version)4:5415A Mess of Blues (extended version)4:4816Cadillac Ranch (LP out-take)
engineer:
Steve Churchyard and Tim Summerhayes
producer:
Status Quo
phonographic copyright (℗) by:
Mercury Records Ltd. (in 2001)
cover recording of:
Cadillac Ranch
publisher:
Bruce Springsteen (in 1980)
lyricist and composer:
Bruce Springsteen (from 1979 until 1980)
publisher:
Fujipacific Music, Inc., Intersong and Zomba Music Publishing Ltd.
4:1517Ol’ Rag Blues (Alan Lancaster version)2:49
|
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https://es.pinterest.com/pin/1086141635106041647/
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|
Pinterest
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2833
|
dbpedia
|
0
| 79
|
https://www.ultimate-guitar.com/news/interviews/status_quo_youve_got_to_be_prepared_to_be_told_to_f-ck_off.html
|
en
|
Status Quo: 'You've Got To Be Prepared To Be Told To F-ck Off'
|
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2010-08-02T15:12:42
|
In the mid 1980's, the Rock N Roll giants, Status Quo had broken up, yet had been driven back together by seemingly unforseen forces.
|
en
|
https://www.ultimate-guitar.com/static/public/ug/img/product_icons/ug/favicon_v2.ico
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https://www.ultimate-guitar.com/news/interviews/status_quo_youve_got_to_be_prepared_to_be_told_to_f-ck_off.html
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2833
|
dbpedia
|
0
| 80
|
https://www.amazon.com/Back-Quo-Country-Expanded-Young/dp/B01N69EU7P
|
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|
Amazon.com
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2833
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https://thestrangebrew.co.uk/interviews/andy-bown-status-quo/
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The Strange Brew
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2022-04-30T16:47:54+00:00
|
Andy Bown of Status Quo interview on highlights with Status Quo, playing Live Aid, writing Whatever You Want and Burning Bridges. We also cover Andy’s time in The Herd with Peter Frampton and key moments from his solo career.
|
en
|
The Strange Brew
|
https://thestrangebrew.co.uk/interviews/andy-bown-status-quo/
|
By Jason Barnard
Andy Bown of Status Quo reveals his highlights with the Quo, including playing Live Aid, writing Whatever You Want and Burning Bridges. We also cover Andy’s time in The Herd with Peter Frampton and key moments from his solo career. [Transcribed from Andy’s December 2021 podcast interview.]
One of the main reasons we’re here is to mention the Status Quo Christmas 2022 dates. Have you actually been able to get back together with the guys and start rehearsing?
We’ll start rehearsing in February, for probably a week, ten days. It depends how rusty we are, because there’s nothing like being match fit and we’re not like it at the moment. It’ll be fine.
Has it been two years since you last played together?
It is exactly two years. Yeah.
Must be the largest break of time for quite a period. Is it?
It’s my longest ever break with Status Quo, and I’ve been with the band, I don’t know, 45 years. 43 years. Yes. It’s the longest time ever.
Did you finish the tour that was supporting the Backbone album?
No, we finished in 2019 and we were set to start again quite quickly, I believe, in April 2020. And we took a view and just cancelled it because nobody was doing anything and the promoters were terrified. And so Francis, rightly judged that we stopped for 2021, because, well, we got a bad feeling about it.
Do you think you’ll get a chance to cover some of that material from Backbone, given the unfinished business, or will that be up to Francis, in terms of how he feels?
Yeah, I think we ended up doing a couple of numbers from it, and I think we will continue doing them. They went really well. They were good live. Oh, yes.
The album showed that there’s plenty of life in the band.
Oh, absolutely. There’s life in that one, definitely. It’s really good. I played Running Out of Time yesterday, and it’s good, isn’t it?
Yeah, it sounds like Quo, doesn’t it?
Yeah, well, it does. It has a sort of a slightly new edge to it, but it is Quo, yeah, it’s good.
What I want to do now is go back to the early days of your career and ask you a little bit about The Herd, which was the first group you had chart success with. How did The Herd get together? Because there’s a range of different lineups as things coalesce.
Oh, yeah. There were loads of line ups. Actually. I started in a band called The Preachers, which was run by Tony Chapman and had a wonderful guitarist with Steve Carroll, who was a great singer and a great guitarist. And he had an awful crash. We rented two vans because we just had to. Anyway, the van he was in crashed and he died and, well, the ass fell out of it really. The short story is we changed our name to The Herd and then went into about, oh, God, I don’t know, 20 different lineups. Wow. Loads of people. I could probably name some Louis Cennamo who later joined Renaissance. Mick Underwood who used to be with the Outlaws. I was impressed with that. And then he went on to be with Quatermass with John Gustafson. Loads of people. One day we had this organist, and I thought, well, that’s not very good. I can do better than that. So basically we sacked him and my father guaranteed the purchase of a Hammond. So I changed from bass to keyboards for the band at that time.
It’s interesting thing about your career is that you’re a man of many talents and you cover quite a wide range of instruments, don’t you?
Yeah, right [laughs]. Writing my memoir, it’s called master of none!
No, not at all. Did things shift in relation to when you got sort of management and support from Howard and Blaikley. That seemed to force the band into a new direction.
A new direction is right. They managed Dave Dee, Dozy, Beaky, Mick & Tich. A bunch of very nice lads who had half a dozen big hits with songs that Howard and Blaikley wrote. And they were really a terrific vehicle for Howard and Blaikley’s songwriting. And they more or less did the same with us. They completely disregarded everything that we were doing, which was drawing a crowd up to seven or 800 people every Monday night at The Marquee. And they started saying, right, we’ll do this and do that. And of course, we wanted chart success, so we did what loads of bands did at that time. And I think we signed a recording contract which guaranteed us 1% or one penny, whichever was the least. So we had two and a half, three hits with that. And then we got fed up with being told what to do. We left them and Peter and I started writing a lot of stuff together and we recorded a single called Sunshine Cottage, and that missed. Peter was determined to go on and do something else, and as you know, he went to join Humble Pie.
Humble Pie?
Well, yeah. It was a funny time, really. We went along to Steve Marriott’s chocolate box cottage in Epping, which was about 100 yards from Ronnie Lane’s chocolate box cottage. And we just sort of hung out for a couple of days. And I think we stood in a couple of gigs with The Small Faces. But Peter later told me that he was sort of talking things over with Steve Marriott. He took me along to see him [Steve] because he really wanted me to go with him to Humble Pie. But Steve apparently didn’t like me. Didn’t take to me at all, and I didn’t take to him either. But that was pretty rotten of him for Ronnie Lane, wasn’t it? Not very nice, but it was quite successful. But in the end, after a while before they hit really big, Peter had enough of that as well. So he left Pie and then subsequently did jolly well.
To say the least. Looking back on The Herd material, you can see your personality there. And then you’ve got the disparate range of pop styles that Howard and Blaikley presented on you; some of which stand up, certainly of its own genre, like From The Underworld, which is pop psychedelia.
Yeah, it was very good. It was a great vision. I think it was the wrong band, really. They should have found a band that was a bit emptier. If we had banged our heads together, we would be much more 10CC than Dave Dee, Dozy, Beaky, Mick & Tich. Lovely bunch of lads. They really were. But they were happy with their lot and we weren’t.
There are songs co-written with Peter, like Our Fairy Tale. So you managed to sneak a little bit of your own material in. But as b-sides and extra album material.
Yeah, they let us have the b-side occasionally. Our Fairy Tale. That was originally called, it sounds really weedy, it was originally called Halcyon Days. It’s a word I learned not very long before that. My mother had a moped and it was pale blue and she called it Halcyon and I thought, that’s a good name. Anyway, I digress.
No, digress away. It’s absolutely fascinating. Did you write much in that Herd period, either solo or with Peter.
We did write quite a few. I still get the odd hap’penny from Latvia or places like that for I Lied to Auntie May and On My Way Home and Sunshine Cottage. Quite a lot of titles. Of course, I can’t remember any more than that.
I Lied to Auntie May. There was a song with that title recorded by a band called Neat…
Neat Change, yeah.
Is that one of yours?
Yes, of course. It was covered. Yeah.
It’s a great song that’s quite obscure. I didn’t realise it was one of yours because that’s very popular now in cult circles in bubblegum pop. What they now call the toy town type sound of the 60s. That’s a really cool track.
This is news to me.
Neat Change.
Yeah. This is the way we really wanted to go, but it wasn’t going to work. I mean, we were quite green, really, and we didn’t fully realise the weight you have behind you to stand any chance at all. It wasn’t all about how good you are by any means. It was behind you who had the clout and they had clout. Howard and Blaikley.
I recall seeing some of the pictures of you and the Herd at the time and you were modelled as pinups and teen idols.
Yeah. It was a big teeny bopper band. We were the biggest working band in Europe for about eleven months. It was a really exciting time, but it didn’t really go the way we wanted it. But it was a great time for success. It was fabulous being pulled off stage and having clothes torn and stuff.
But as you were saying, Peter left in that end period of The Herd as things moved on. So tell us about Judas Jump then. What was the final nail in the coffin for the end line up of The Herd? How did you morph off to that?
Time is a bit of a blur. It would be an understatement. It’s almost a blank. I can only think that because Andrew Steele, The Herd’s drummer, had to stop playing because he was ill. He was very worried about his health and sure enough, 40 years later he died of asbestosis in Alaska. I spoke to him a couple of times just before that. Anyway he had to stop working and we auditioned 5000 drummers and one hit me straight between the eyes and it was Henry Spinnetti.
Oh, wow.
Exactly. Clapton’s choice couldn’t be bad. Anyway, I think it must have been through him because there was a big Welsh contingent in Judas Jump and Allan from Amen Corner, and the singer, Adrian Williams, he was Welsh. Henry was Welsh. And I think the guitarist was half Welsh as well, Trevor Williams. And there was Charlie Harrison. That’s a complete lineup. How about that? I got that right. But we didn’t really have a lot to say musically. We were sort of struggling to play properly, really. The only one who could really play his instrument properly was Henry. So it was a bit of a disadvantage on the melody front.
On tracks like Beer Drinking Woman there’s woodwind and different sounds. It’s a band with a unique sound.
Well, yes, I did try to sort of get that going because Allan played flute as well as sax a little bit, and I was trying to make it sound different, but I don’t know, what can I say? I can’t help it. I get done for telling the truth. I mean, that album that I was, in the end, mainly responsible for, is not very good, even of the time. It’s not good. I was worn out by then trying to make it sound like something. I sound up the Troggs tape, don’t I! It just didn’t work. And yet some of the songs are pretty good. They need a real kick. They needed a proper producer.
So how did you split your time between Judas Jump and solo releases in that period, like Tarot?
If it was at that time, which I guess it could well have been. I was introduced to Trevor Preston, the guy who wrote Ace of Wands. We wrote quite a few songs together, actually, some of which were recorded on later albums of mine. He was a great writer, and I was really quite in awe of him because he wrote quite a lot of The Sweeney series. He was pretty good. He was in there and he was good. And he had this idea for Ace of Wands, Tarot, and it was accepted. And he said, how about this? I’ve got these lyrics. Would you mind having a go at that? I said of course I don’t mind! So I did it and we went into a studio. I believe I played everything on it except the drums. Yeah, I just did. I don’t mean to sound clever. In those days you did because you didn’t need the quality to make it sound good. People weren’t used to things in time. [laughs]
That’s what gives it an edge in some ways to modern material as now things are a little bit clinical. And sometimes it’s a bit more interesting on the ear, those variances.
Yeah. I didn’t really think too much about that after the series ended. In fact, I think there were three series. Then about three years ago somebody told me that Tarot was being played as the last song just before REM went on stage every night. I thought, hey, wow, hey you hit the big time! [laughs] I was really impressed and since then it hasn’t really stopped. Somebody put it on a compilation and another compilation there and people keep mentioning it and saying what a great record it is. So I went in my shed and I had a look and you know what I’ve got two pristine copies. You want to buy one?!
I don’t know if I could afford it!
Oh to you, fiver [laughs]!
When I was recording Tarot I could have done anything for the b-side. I’d seen a couple of run-throughs of Ace of Wands and I’d fallen head over heels in love with Judy Loe who played Lulli, who is actually Kate Beckinsale’s mother. I was totally in love with her. I think I met her once and I just stood there with my mouth open looking like a complete twat, I’m sure. Anyway, I wrote this instrumental for the B side called Lulli Rides Again and I was so in love. It was pathetic, really. [laughs]
Was it unrequited in the end?
Yeah, I never met her again. Totally unrequited.
Did that give you confidence as a solo artist from then? You released a series of albums in that early 70s period.
Confidence, no. Tony Chapman, my manager at the time, and EMI Records, Nick Mobbs had, and I did my very best. My first two albums weren’t terribly good. They were with GM Records. But the second two solo albums Come Back Romance, All Is Forgiven; and Good Advice. First one produced by Tom Allom, and the second one by Chris Neil. They were good. There’s actually quite a lot of tracks on those two albums that I’m still proud of. But the tracks, I’ve written hundreds of songs and the ones that I’m really proud of could be counted on the fingers of three hands, I think now, looking back. But there we are.
Some of those albums that are quite hard to get hold of now. They deserve a reissue or something like that.
Well, I believe they’ve been reissued. Occasionally, I get given a copy of, say, Come Back Romance, All Is Forgiven and it’s a pristine CD and it’s in Japanese. Whether it’s legal or not, I don’t know, but I think they’re being released occasionally. But of course, they’ve all got to be digitised. They’re not on Spotify, so maybe they haven’t officially been digitised. I’ll look into that if you promise to buy a couple of thousand. That would be jolly good Jason!
How did you get into playing on other artists’ albums and session work then?
I have been doing session work ever since I could remember, really, I must be, because the fee was £8 a session when I started. And it was a big day when it went up to £9 and I thought that was pretty good. But I think it’s because as I said, I’m master of none, I was sort of a handy chap to have in the studio, so people did things that way then. I could get away on the bass or the piano or guitar or tambourine, maracas, stuff like that. And people didn’t seem to mind about the quality. They just felt the width, as it were!
So Blue Eyed Lady, from the Hello album for Status Quo. Was that the first time you actually played with the group?
I don’t know what I played when I first went to record with them. So you’re probably right, if you say it’s Blue Eyed Lady, it was Blue Eyed Lady. Even though I knew the chaps and everything, I was pretty nervous. I hadn’t done anything really like Quo before and I was quite surprised. They were very happy… Play on that note. No, go on! [laughs] That’s really good. That one there. No, those two together, yeah. Play that for a bit. So I played it for a bit and I went into the control room and they were right. It sounded right. It just felt a bit weird playing it but I learned quite a lot that day. Yeah, I also earned quite a lot as well so that’s good!
Did you feel that you got on with the guys because sometimes…
Yes, we always got on. I remember we did gigs together with The Herd. One particular one at The Dominion in Tottenham Court Road. It was quite a big event and Francis always remembers this. He was quite cheesed off because we had a roadie and they didn’t so we were big then, for a minute!
So by the time of Rocking All Over The World it wasn’t just the occasional session. You were playing with the band much more regularly.
Yes, I did quite a lot of sessions for the band. They started recording Rocking All Over The World with Pip Williams in a studio in Sweden. I think it was near Gothenburg, lovely studio, and they weren’t really getting anywhere. So Bob Young was asked to call me and say, can you come out. Instead of just putting overdubbing on, we’d like to have you in the studio to get a different take on this stuff because we’re not really getting anywhere. That was the basic message so I said, well, I don’t know. I have to look in my diary. Okay. I was on the next plane out!
And that was actually a really good album and a big album as well. I really enjoyed playing it. But Rocking was just one of those things. Richard found a song and he said we should do this because it’s a b-side for John Fogerty. Fogerty wrote it and Rick rightly thought it would be a big one. And yes, he was right. I think Pip turned around to me and said, yeah, this is going okay, Andy, Andrew, can you give an intro of some kind? So I played the intro. I just played it because I sort of heard it and that was the sort of way I played, which wasn’t really Quo actually. And he said, that’s great. Yeah, that’s good. We’ll do that. And that was it. And sure enough, later, we started Live Aid with it.
What was that like? Because basically the first bars, the first notes were you.
Yeah, I know. Part of my brain knew that there were up to 150,000,000 people watching and or listening. And the other half or the other three quarters actually said, this isn’t happening. Just play the bloody song. And of course, in those days, we didn’t have all the technology we’ve got now. There were no clicks. I had to actually count it in as well. Now if you’ve ever been really nervous and you’ve had to count something it’s too fast, it’s always too fast. But it came in right. I was just very relaxed. I don’t know why and I thank God for that, but it was a pretty good experience and we tore it up. That was really clever because our manager at the time, he was a professional to some extent a poker player, and all the managers with loads of managers together before this event, before Live Aid, were batting for their act and everybody wanted to be on last. Elton and Paul McCartney. They wanted to be on last at 11:00 at night. And in the end, David Walker, he got them on the line and he reeled them in and said, okay, all right, you’re right, I’ll give up. We’ll go on first. We’ll start. So they said, okay, yeah, you start. Yeah, we don’t mind starting.
And of course everybody was watching the start. That really kicked us off again.
When did you start collaborating from a songwriting point of view? Because one of the first things that many people will recognise you writing in Quo is Whatever You Want.
Yeah. That was a couple of albums in, I think. After Rocking All Over The World, we recorded in Holland. Lovely studio [Wisseloord], I was full time with the band, I was still a hired gun on the fiscal side, but I was full time with the band and we recorded If You Can’t Stand the Heat… and I wrote a couple on that like Oh, What a Night. So I was sort of almost straight in because I think they appreciated my writing. I was fast and good and I made immediate sense of what they were doing as well. So it came together very quickly and what came after that, was that Whatever You Want? After that, yes, probably, 1978.
And that was with Rick, wasn’t it?
Well, Richard and I were in a songwriting partnership and he was actually, as was Francis at the time, doing a tax year out of the country, where they could only spend 62 days or something in the country. Francis opted to go to Ireland and Richard went to, I think it was called the Atlantic Hotel in Jersey, so he said come over and we’ll do some songwriting. So I’d done a bit of prep and I recorded a cassette of Whatever You Want roughly, the verse and the chorus. And then I took it over and we went through a couple of things and he wrote all the melody to Your Smiling Face. That was another one we did at that particular time and I played the cassette I said, what do you think of this? He said, yeah that’s great. We’ll do that. And he didn’t hear it again until we got in the studio where Pip Williams turned to me and said, this is not long enough we need a solo. So by that time I was pretty cocky, I said give me a couple of minutes.
And I went into the iso room and wrote the solo on piano, because most of the stuff, everything I think I ever wrote for Quo, is on guitar. And you’ll probably be able to tell the chords, they’re off the wall for Quo in the solo. Anyway, I knocked that up in about five minutes and said, how about that? And Pip said, great, that’s it. Good. Let’s go. And he stood there in the middle of the room and cans on, screaming his head off. And we recorded it after about a dozen takes.
It’s such an evocative opening. One of the best openings for a rock track that’s ever been. And then when it finally comes into the riff, it’s just magic, isn’t it? How did that build up?
Well, that was actually on the cassette. I still got the guitar, actually. It’s a Les Paul custom that I swapped with Alan Lancaster for a fretless Fender. And I played it on that. I can remember it. And I thought, that’s good. I’ll tune down to D. That’s good. And to me, that was a throwaway intro, total throwaway. And there you are. It’s like Tarot, isn’t it? People really think, oh, that was great but at the time I thought nothing of it. It’s just a way of getting into the riff, the chug. But there we are. So that worked out nicely. [laughs]
I’ve spoken to Bob Young before and he talked about the Quo album Heavy Traffic as being an album that really reconnected you with your fans. Some of your material is on there, like Blues And Rhythm. What’s it like writing with Francis as opposed to Rick?
Completely different. When Richard and I wrote, it would usually be the five of us, Richard, me, two guitars and a bottle of scotch. And we might get something done or we might not get something done. When I write with Francis, we sit down and we work at it. We put the blank sheet of paper in front. We stick it up and we work at it. And when we worked at it, we say up to a point, we say, right, that’s it, okay. And we have a pepper sandwich, which he’s very good at making. That’s a fried green pepper sandwich. And then we go our separate ways and work separately on finishing certain bits off. Then we come together again and say, that’s it. And then usually we just record it roughly, and that’s it. It’s then sort of set fairly much in stone because we very much go for the format as well. Yes, it’s quite detailed, working with Francis, it’s good. Attention to detail, as they say in the US!
And Blues And Rhythm mentions formative influences. Were those lyrics Francis’ or yours?
Which influences does it mention? The [sings descending riff] is a very old blues steel guitar dobro slide thing, which I really loved. And that really kicked it off, and then we decided to do the story. It was influenced very much by the blues. The blues, I guess, like most of the stuff that Quo actually done. But this was pretty obviously influenced by Jimmy Reed on cocaine or something like that!
I have to mention because there’s been a reissue in the last couple of years, your most recent solo album, Unfinished Business. Some of the lead tracks there that have had quite a bit of attention, like Rubber Gloves. That was an album that I think was recorded about a decade ago.
Yes, I believe it was recorded in 2012. Yeah, that seems like a long time ago.
There’s quite a bit of a gap between that album and the material that you released in the 70s. Was it just that you were so busy with Quo, and it wasn’t a priority to get your solo songs out there?
Well, yes, absolutely busy with Quo. Really busy. As you probably know, we were doing 135 shows a year, which to some people might not sound that much, but when every other show is in a different country, it eats up your time. So there wasn’t that much time. Plus, which, of course, it’s not that easy to get a record deal. Recording even then was still very expensive. People were starting to do it in their bedroom, and actually some of them were having hits, but that wasn’t my thing. So I had to use the studio. And of course, I want to use Mike Paxman, and I’m very pleased with most of it, except, of course, I made a mistake that I made before, and that is the material. If I were to be critical, the material is really too varied. I’m sort of showing off.
Yes, you’ve brought in quite a lot of different styles of songs into that album.
As I said, it’s too varied. If I record again, which I may well do, I’m definitely going to bear that in mind. It will have a different vibe. I will settle on a vibe and write around that. I’ve actually got half a dozen songs at the moment. Do you want me to sing them to you? Ah, I haven’t got my guitar! [laughs]
The song Rubber Gloves. That’s got a bit of humour to it.
Yeah. Actually, Mike Paxman gave me that idea. When things in the studio get too tight, too clever, too polished, he says, oh, God, pull the old rubber gloves on for that and you start messing about with it. And then you keep messing, you tweak this and you tweak that to get it perfect. And in the end, you’ve blown it. The vibes are gone from the front, and you would never get that mix back again because this is predigital. You wouldn’t get the mix back. Surely the drums weren’t that loud, you never get it back. So you buggered it, really. So Rubber Gloves is very much tongue in cheek, but yes, rubber gloves will save the day. They said, watch this, I’ll sort this out. And actually it doesn’t sort it out at all. Turn it into nothing, of which I’ve been guilty of along with many.
To finish with Status Quo and Burning Bridges. It is one of your most notable tracks and there was an acoustic version recorded at the Royal Albert Hall. Do you remember the genesis of the song?
That was with Francis. My daughter Sophie was having recorder lessons at school and she came down the stairs playing Darby Kelly [sings tune]. I thought, that’s really good. I know that, of course I do. So I looked it up and I found it was in the public domain. So I thought, I’ll have that. So then I wrote a verse and I went around to Francis and said, what about this? He said, great. And then he more or less played the chorus like that and we thought, this is good, this is good. And it went on the album Ain’t Complaining, and it was poorly mixed. The album didn’t do very well. And the record company said, basically we’ll give you one more chance. And Francis said, right, let’s go with Burning Bridges, let’s remix it. So he and I went in the studio and remixed it and we must take some credit for this. It sounded like a single when we finished before it really didn’t. It was a watery album track. It didn’t kick ass at all. So that was another good thing amongst the litany of bad things! And that really goes well and people love it. They love it and it’s happy.
Quo’s done quite a lot of acoustic live shows over the last decade and that song fits the acoustic side, I guess because of its origins.
Absolutely. I mean, doing Quo acoustically to kick off with was a real challenge, but it came off very well. I mean, you wouldn’t think that Down Down will work acoustically. But I tell you, when we struck up, it was magic, it was just completely different. I was playing a high strung and it was just zingy. It was really good. It was great fun to do that. Yeah, I’d like to do some more of that, but I’m not sure whether we will. Anyway, you said that’s been recorded at Albert Hall.
Yes, there’s a live version which is on the Down Down & Dignified At The Royal Albert Hall live release.
I remember that gig very well, actually. That was great. Beautiful place.
It must be extra special selling out the Albert Hall and playing there.
Yes, I played there in several guises with The Herd. I think we supported The Move there and Lesley Duncan and various people. I’ve done quite a few gigs there, some just as a session guy. They’ve changed some kind of thing in the ceiling. It was horrible [before that].
Cavernous.
Acoustic it worked perfectly. It was really good and it is now. It was a good sound for us so that was an enjoyable gig.
Andy, it’s been an absolute joy talking to you not about Status Quo but The Herd, your solo material and The Neat Change! [laughs]
It’s a pleasure. It’s great to see you, Jason. Thank you very much.
Further information can also be found at statusquo.co.uk and andybown.com
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https://sofpunk.bandcamp.com/album/status-quo
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Ship of Fools
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2021-04-16T00:00:00+00:00
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Status Quo by Ship of Fools, released 16 April 2021
1. Consequences
2. Status Quo
3. Open for Business
4. Cut Your Teeth
Ship of Fools, Newmarket Ontario punk rock, return with their ferocious 4-song EP, ‘Status Quo’. With their first release since 2018, Ship of Fools address issues such as today’s political climate, the stigma surrounding mental health & emphasize social justice, inclusion, and human rights. Engineered & mixed by Greg Hounsell (Brutal Youth) & mastered by Scott Middleton (Cancer Bats), Status Quo breathes new life into hardcore punk; with explosive guitar riffs, cut-throat bass lines, thunderous percussion & gruff, melodic vocals. ‘Status Quo’ is not only an invitation to challenge ideals, morals & ethics, but also an insight into the direction & beliefs of who Ship of Fools are today.
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Ship of Fools
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https://sofpunk.bandcamp.com/album/status-quo
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1.
Consequences 02:23
Wake up tired Come home dead I’m not wasted At least not yet A day to die for A change in time Plastic moments Pass you by Smile through the changes And face a different day The secrets you never hear about Are trapped inside my head I’m fucking done with it A distinct trademark A life of crime The consequences In due time Straight back to the fucking curb, It’s where it began Smile through the changes And live another day With nothing left to worry about With nothing left to say I’m struggling to hold on to something positive And what’s the point of giving up Will you change your ways and pray Do you challenge others’ morals? Do you contemplate their pain? Imagine facing all the fucking differences And do you believe in hopes and dreams that pass you by? Have you ever thought about all those who didn’t try? Did you ever think you’d watch it all just fade away?
2.
Status Quo 02:25
I’m stood here in a contradiction As we push things out the door Stumbling through with good intentions While we show what we stand for We were never really made for this So fight on through Join hands, stand together Protect the people you know and love Walk on and fight those demons Because you’re not one to give up We are all strong enough to spark a bit of change A fuck you to the ignorant and those who are to blame Alright! We’re taking back control Of Life! Supporting friends we love You can change the status quo And write the fucking rest How many nightmares will you face tonight? How many days have you faced this fight Down a darkened road you couldn’t miss You’ll be a bright spot A fucking gentleman And when I’m dead I hope that people live in a society Where things have changed and we’re all one And I’ll spend my every breath to stand in solidarity Against the racists, the rapists and those Who should rot and waste away So join me in sharing morals and aiming to be better men So be an ally and show that you can Before your dead please own up and take on responsibility To listen, reason and grow up and show Alright! We’re taking back control Of Life!
3.
Open for Business 02:39
Here’s an open invitation A strong-armed welcome to his unprogressive world Four more years of humiliation Forgiven with a buck-a-beer and a place to grow Who would give him the praise? He’s open for business A deep and dark faze It’s where we’re headed Whilst making cuts to education Double the classroom size to save a bit of dough With no platform or foundation Yours to discover, well who would fucking know? Who would give him the praise? He’s open for business A deep and dark faze It’s where we’re headed These companies are vicious Strip you down for what you need Knocking elbows in public with fascists It’s not my province, it’s not for me Doesn’t take much to be a good man A bit of empathy good honest people know While making damage to our progress By defunding the police, let the teachers grow Who would give him the praise? He’s open for business A deep and dark faze It’s where we’re headed Wake up, these times are vicious Who would care, he’s open for business Not for the people And who would care about affordable housing The rich get richer while we’re left here fucking wondering Get back to the fucking basics Get back to what we should know Give back to working people Give back to those without homes And I’m not sacrilegious And I’ll never follow But I’ll stand with all my neighbours And I’ll fight for my Ontario
4.
Cut Your Teeth 01:36
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Status Quo (band)
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2003-04-18T06:35:17+00:00
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https://en.wikipedia.org/wiki/Status_Quo_(band)
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For other uses, see Status Quo (disambiguation).
British rock band
Status Quo are a British rock band. The group originated in London and was founded in 1962 by Francis Rossi and Alan Lancaster while they were still schoolboys.[1][2] After a number of name and lineup changes, which included the introduction of John Coghlan in 1963 and Rick Parfitt in 1967, the band became The Status Quo in 1967 and Status Quo in 1969. As of 2022, the group have been active for 60 consecutive years (despite announcing a breakup in 1984, they played Live Aid the following year and resumed normal activities in 1986).[3]
They have had over 60 chart hits in the UK – more than any other band[4] – including "Pictures of Matchstick Men" (their first charting song), "Caroline" (their first top 5 hit), and "Down Down" (their only No. 1 hit). Twenty-two of these reached the Top 10 in the UK Singles Chart, and fifty-seven reached the Top 40.[5] They have released over 100 singles and 33 studio albums, most of which were bestsellers. Since reaching number 5 on the UK albums chart in 1972 with Piledriver, Status Quo have placed 29 consecutive studio albums on the UK charts, including 20 in the top ten studio albums, extending all the way up to their most recent release, Backbone, in 2019. In 2012, they were announced as the tenth best-selling group of all time on the UK Singles Chart with 7.2 million singles sales in their homeland alone.[6] As of 2015, they were one of only 50 artists to have achieved more than 500 total weeks on the UK Albums Chart.[7] With their various records for both single and album releases, Status Quo are one of the most successful and bestselling bands of all time, especially in their home country.
In July 1985 the band opened Live Aid at Wembley Stadium with "Rockin' All Over the World".[8] In 1991, Status Quo received a Brit Award for Outstanding Contribution to Music.[9] In 2014, preparing to headline that year's Download Festival, Status Quo won the Service to Rock award at the Kerrang! Awards.[10] Status Quo appeared on the BBC's Top of the Pops more than any other band.[11] Their success and longevity as well, in part, as their connections to the British Royal Family, including philanthropic work with the Prince's Trust, have seen them frequently described as a "national institution" by the media.[12][13][14] The band have sold approximately 108–118 million records worldwide.[15]
History
[edit]
1962–1967: Formative years
[edit]
Status Quo were formed in 1962 under the name The Paladins[16] by Francis Rossi (vocals, guitar) and Alan Lancaster (bass) at Sedgehill Comprehensive School, Catford, London, along with classmates Jess Jaworski (keyboards) and Alan Key (drums).[1] Rossi and Lancaster played their first gig at the Samuel Jones Sports Club in Dulwich, London. In 1963, Key was replaced by John Coghlan and the band changed their name to The Spectres.[2] After changing their name, Lancaster's father arranged for the group to perform weekly at a venue called the Samuel Jones Sports Club, where they were noticed by Pat Barlow, a gasfitter and budding pop music manager. Barlow became the group's manager and secured them spots at venues around London, such as El Partido in Lewisham and Café des Artistes in Chelsea.[17] In 1965, when Rossi, Lancaster and Jaworski left school, Jaworski opted to leave the band and was replaced by Roy Lynes.[18]
They began writing their own material, and later that year met Rick Parfitt who was playing with a cabaret band called The Highlights. By the end of 1965, Rossi and Parfitt – who had become close friends after meeting at Butlins – made a commitment to continue working together. On 18 July 1966, the Spectres signed a five-year deal with Piccadilly Records, releasing two singles that year, "I (Who Have Nothing)" (first recorded by Joe Sentieri and most famously covered by Tom Jones) and "Hurdy Gurdy Man" (an original song by Alan Lancaster), and one the next year called "(We Ain't Got) Nothin' Yet" (originally recorded by New York psychedelic band the Blues Magoos).[2] All three singles failed to make an impact on the charts.[19]
In 1967, the group's sound began moving towards psychedelia and they renamed themselves Traffic, but were soon forced to change it to Traffic Jam to avoid confusion with Steve Winwood's Traffic, following an argument over who had registered the name first.[19] The band secured an appearance on BBC Radio's Saturday Club, but in June their next single, "Almost But Not Quite There" (an original song by Francis Rossi), underperformed. The following month saw Parfitt, at the request of manager Pat Barlow, joining the band as rhythm guitarist and vocalist. Shortly after Parfitt's recruitment, in August 1967, the band officially became The Status Quo.[20]
1968–1971: Breakthrough and development of classic style
[edit]
In January 1968, the group released the psychedelic-flavoured "Pictures of Matchstick Men".[19] The song hit the UK Singles Chart, reaching number seven; "Matchstick Men" became the group's only Top 40 hit in the United States, peaking at number twelve on the Billboard Hot 100.[2] Although Status Quo's albums have been released in the United States throughout their career, they never achieved the same level of success there as they have in Britain.[2] Though the follow-up was the unsuccessful single "Black Veils of Melancholy", they had a hit again the same year with a pop song penned by Marty Wilde and Ronnie Scott, "Ice in the Sun", which climbed to number eight.[19] All three singles were included on the band's first album Picturesque Matchstickable Messages from the Status Quo, released in September 1968. After the breakthrough, the band management hired Bob Young as a roadie and tour manager. Over the years Young became one of the most important songwriting partners for Status Quo, in addition to occasionally playing harmonica with them on stage and on record.
After their second album, 1969's Spare Parts, failed commercially, the band's musical direction moved away from psychedelia towards a more hard rock/boogie rock sound. The change in sound also brought a change in image, away from Carnaby Street fashions to faded denims and T-shirts, an image which was to become their trademark throughout the 1970s.[19] The new direction was displayed on the band's third album, 1970's Ma Kelly's Greasy Spoon and its preceding single "Down the Dustpipe". Lynes left the band in 1970 with the remaining members continuing as a four-piece, although they were often joined in the studio by guest keyboard players including Jimmy Horowitz, Tom Parker and Andy Bown, the latter an ex-member of The Herd and Judas Jump and part of the Peter Frampton Band.[21] In 1976, Bown also began playing live with the band and was eventually made an official member of Status Quo in 1981. The band's first recording without Lynes was the late 1970 single "In My Chair", followed by their fourth album Dog of Two Head in 1971.
1972–1981: Signing to Vertigo and major success
[edit]
In 1972 the band left Pye Records and signed with the heavy rock and progressive label Vertigo Records.[2] Their first album for Vertigo, Piledriver, was released in 1972, going Top 5 in the UK. Piledriver heralded an even heavier, self-produced sound.[19] This album was essentially the stylistic template for their next four albums, Hello! (1973), Quo (1974), On the Level (1975) and Blue for You (1976).[2] Hello! was the band's first UK No. 1 album, while Quo reached No. 2 and On the Level and Blue for You both also reached No. 1. In 1976, they signed a pioneering sponsorship deal with Levi's.[19] The following year the group released a double Live! album, which reached No. 3 in the UK.
Quo's hit singles from this era, with peak UK chart position and year, include: "Paper Plane" (No. 8 in 1972), "Caroline" (No. 5 in 1973), "Break The Rules" (No. 8 in 1974), "Down Down" (No. 1 in 1975), "Roll Over Lay Down" (No. 10 in 1975), "Rain" (No. 7 in 1976), "Mystery Song" (No. 11 in 1976), "Wild Side of Life" (No. 9 in 1976), "Rockin' All Over the World" (No. 3 in 1977), "Again and Again" (No. 13 in 1978), "Whatever You Want" (No. 4 in 1979), "Living on an Island" (No. 16 in 1979), "What You're Proposing" (No. 2 in 1980), the double A-side "Lies" and "Don't Drive My Car" (No. 11 in 1980), "Somethin' 'Bout You Baby I Like" (No. 9 in 1981) and " Rock 'n' Roll" (No. 8 in 1981).[22] "Down Down" topped the UK Singles Chart in January 1975, becoming their only UK No. 1 single to date.[23]
From 1977 onwards, the band's sound became more polished as they began to employ outside producers. Roger Glover of Deep Purple and Rainbow was the first outside producer to work with Quo since Pye's John Schroeder in the early 1970s, and produced the non-album single "Wild Side of Life" and its B-side "All Through The Night" in 1976. The next three studio albums, Rockin' All Over the World (1977), If You Can't Stand the Heat... (1978) and Whatever You Want (1979), were produced by Pip Williams, while the band's first two albums of the 1980s, Just Supposin' (1980) and Never Too Late (1981), were produced by John Eden. All five of these albums went Top 5 in the UK. The title track of Rockin' All Over the World, a minor hit for its writer John Fogerty (formerly of Creedence Clearwater Revival), became one of Status Quo's most enduring anthems.[19] In 1980 the band released a No. 3 charting greatest hits album 12 Gold Bars.
1981–1990: Lineup changes, Live Aid and In The Army Now
[edit]
Tensions within the band saw Coghlan leaving late in 1981.[2] His replacement was Pete Kircher from the 1960s pop band Honeybus.[2] Andy Bown also became an official member of the band at this time. This line-up recorded three albums, 1+9+8+2, Live at the N.E.C. and Back to Back in 1982 and 1983. Although contracted to record more albums, this line-up played its last full-length gig on 21 July 1984 at the Milton Keynes Bowl. "Everybody was coked-up and hating each other", Rossi recalled, "and I'd started drinking tequila on that tour. I don't remember that show at all – the encores or anything; just falling flat on my back at one point."[24] "Deciding to retire from the road – all that was about was getting Francis a solo career," declared Lancaster. "Nobody on the outside knew it, but he didn't want to work with me or Rick anymore."[25] In 1984, the band released a cover of "The Wanderer" by Dion as a single from 12 Gold Bars Vol. 2, which reached No. 7 while the album reached No. 12.[26]
Status Quo's final appearance with the Kircher line-up opened the Live Aid charity event at Wembley Stadium in July 1985.[8] That year, Rossi recorded and released two solo singles with long-time writing partner Bernie Frost. Parfitt recorded a solo album, Recorded Delivery, with bass player John "Rhino" Edwards and drummer Jeff Rich. The album remains unreleased, although some tracks were reworked and released sporadically as Quo B-sides until 1987.
In mid-1985, Rossi, Parfitt and Bown, with Edwards and Rich, started work on a new Quo album. Lancaster – by this time more or less settled in Australia – took out a legal injunction to stop the band using the Status Quo name,[27] citing increasing musical differences, notably during sessions for Back to Back. The specific dispute concerned two tracks that became hits for the group around that time. Lancaster had co-written "Ol' Rag Blues", but was angered when the producers chose to release a version with Rossi singing the lead vocal instead of one sung by himself. The injunction also prevented the release of a single, "Naughty Girl", for which a catalogue number was issued by Vertigo.
An out-of-court settlement was made in January 1986, giving Rossi and Parfitt the rights to the band's name,[28] enabling the new Status Quo line-up to continue recording In The Army Now,[29] for which "Naughty Girl" was reworked as "Dreamin'". Lancaster remained in Australia, and in 1986 joined an Australian supergroup, The Party Boys, featuring Angry Anderson of Rose Tattoo, John Brewster of the Angels and Kevin Borich, but achieved little success outside Australia. Lancaster left Status Quo formally in 1987.
In 1986, Quo supported Queen on the latter's Magic Tour. The commercially successful In the Army Now album was released later that year, peaking at No. 7 on the UK Albums Chart.[26] Its title track became one of the band's biggest UK singles, reaching No. 2.[19] The following album, Ain't Complaining, in 1988, was less successful but produced the No. 5 hit "Burning Bridges".[26] Rerecorded (with new lyrics) in April 1994 with Manchester United F.C. as "Come On You Reds", the single would have given the band their second UK No. 1, but it was credited as 'by Manchester United'. The following album, 1989's Perfect Remedy, became their first since 1971's Dog of Two Head not to go Top 20 in the UK. In 1990 the band scored their last UK Top 10 single with "The Anniversary Waltz Part One", a medley of rock and roll classics to celebrate the 25th anniversary of Rossi and Parfitt's first meeting. The track was recorded for a new greatest hits album Rocking All Over the Years, which reached No. 1 in the UK, while a follow-up medley "The Anniversary Waltz Part Two" appeared as a single at the end of the year.[26]
1991–2009: Rock 'Til You Drop, "Fun, Fun, Fun" and touring
[edit]
The early-to-mid-1990s saw falling album sales for the band. To promote the release of the Rock 'til You Drop album (1991), Quo performed four arena gigs in Sheffield, Glasgow, Birmingham and London in the space of 12 hours, earning them a place in the Guinness Book of World Records.[30] 1992 brought the band's third live album, Live Alive Quo. The next studio album, 1994's Thirsty Work, included a cover of the Jennifer Warnes song "I'm Restless" revealing an alternative and lighter sound to the band.[19] Don't Stop (1996), and Famous in the Last Century (2000) consisted almost entirely of cover versions, (with the only exception being the title track to the latter). The former brought some chart success for Quo with covers of Fleetwood Mac's "Don't Stop" and The Beach Boys' "Fun, Fun, Fun". The band became involved in an acrimonious dispute with Radio 1 after the station refused to include the "Fun Fun Fun" single on the radio station's playlist.[19] In 1993, Francis Rossi and Rick Parfitt attracted a crowd of over 25,000 when they performed the annual Blackpool Illuminations lights switch-on.
Parfitt underwent quadruple by-pass surgery in 1997, but was able to make a full recovery and returned with a performance at the Norwich City Football Club ground Carrow Road three months later. Status Quo also returned to Australia in 1997, completing their first tour there since 1978. A greatest hits album, Whatever You Want – The Very Best of Status Quo was also released, achieving silver sales in the UK that year. In 1999, Quo toured Germany, the Netherlands and Switzerland. Dubbed the 'Last Night of the Proms', the band were backed by a full orchestra during the concerts. That same year also saw the release of the album Under the Influence.
Rich left in 2000 and was replaced by Matt Letley. Andrew Bown also took a year off at the same time following the death of his wife, and was temporarily replaced on stage by Paul Hirsh, formerly of Voyager. In November 2000, the band played a gig at Grandchester in the outback in Australia, performing on a carriage of Australia's Orient Express, the Great South Pacific Express.
Between 2002 and 2005, Quo released the albums Heavy Traffic, Riffs and The Party Ain't Over Yet. Another greatest hits album, XS All Areas – The Greatest Hits, appeared in 2004 with two new songs, "You'll Come 'Round" and "Thinking of You". In 2005 Rossi and Parfitt made cameo appearances in the long-running ITV soap opera Coronation Street in a storyline which involved them being sued by the notorious layabout Les Battersby, and performing live at his wedding as compensation.
In December 2005, it was announced that Parfitt had been taken ill and was undergoing tests for throat cancer. All subsequent dates of the UK tour were cancelled as a result. However, the growths in Parfitt's throat were later found to be benign and were successfully removed. In May 2006, a fully recovered Parfitt and the band returned to the NEC Birmingham to play the show that they had postponed in December. This was their 40th show at the venue, and was filmed for a DVD, entitled Just Doin' It.
On 1 July 2007, they performed in front of 63,000 people at the newly built Wembley Stadium as part of the Concert for Diana. They also appeared on the TV programme Tiswas Reunited, in which the band got the usual greeting of custard pies and buckets of water whilst playing the song, "Gerdundula". On 15 September 2007, Rossi and Parfitt appeared on ITV programme Who Wants To Be A Millionaire and won £50,000 for their 2 charities Ebbisham Association and Nordoff Robbins.
Their twenty-eighth studio album, In Search of the Fourth Chord, was released on the band's own Fourth Chord label in September 2007 in the UK, and on Edel Records in the rest of Europe. The title is a self-satirical response[31] to the frequent criticism that they are a three-chord band.[32] Produced by veteran producer Pip Williams, who had worked with Quo in the studio since 1977, the album was only moderately successful.
In 2008, they teamed up with German techno group Scooter to record a jumpstyle version of their 1979 single "Whatever You Want" entitled "Jump That Rock (Whatever You Want)".[33] In December 2008, they released their 75th single and first Christmas single, entitled "It's Christmas Time", which peaked at No. 40 in the UK Singles Chart.[34] The track was from the new Pictures – 40 Years of Hits greatest hits album. The following year a live album and DVD, Pictures – Live at Montreux, was released.
2010–2013: Hello Quo, "Frantic Four" reunion tours and Bula Quo!
[edit]
Rossi and Parfitt were each awarded the OBE in the 2010 New Year Honours for services to music and their long-standing charity work,[35] including for The Prince's Trust, British Heart Foundation and Nordoff-Robbins Music Therapy. Classic Rock magazine reported on 17 March 2010 that the band had patched up their relationship with Lancaster, and were discussing the possibility of a future collaboration.[36] The article stated "While the band are back on friendly terms with Alan, it's unlikely we'll see any future reunion, with Quo continuing as normal and Lancaster busy with charity events and overseeing the activities of his son's band The Presence".[36]
On 20 September 2010, Status Quo was honoured with a PRS for Music plaque commemorating their first gig at the Welcome Inn in Well Hall Road, Eltham, where the band first performed in 1967.[37] Later that month, on 26 September, a new version of "In the Army Now" was released through Universal / UMC, with all profits from this updated and lyrically reworked version donated equally to the British Forces Foundation and Help for Heroes charities.[38][39] Live at the BBC, a box set of sessions, live concerts and TV appearances at the BBC was released on 24 October 2010.[40] The set was released in various formats: a full 7CD and 1DVD version covering almost all appearances, while the 2CD and 4CD versions present some highlights; the DVD was also released individually.[40]
Their twenty-ninth studio album, Quid Pro Quo, was released in a deluxe format exclusively at Tesco on 30 May 2011. The regular edition was released elsewhere on 6 June.[41] The album peaked at No. 10 on the UK chart.[26] December 2011 saw Status Quo undertake their first all-arenas UK winter tour. Quo also performed for the first time at The O2 in London. The tour was dubbed Quofest and featured Roy Wood and Kim Wilde as support for all shows, and joining the band during the encore.
The band's first cinematic documentary, Hello Quo!, was filmed in 2011 with director Alan G. Parker;[42] it screened in cinemas on 22 October 2012, and was released on Blu-ray and DVD the following week.[43] The movie included contributions from Brian May, Jeff Lynne, Cliff Richard, Joe Elliott, Paul Weller, Joe Brown, Jim Lea, Andy Scott and Steve Diggle.
In April 2012, Status Quo announced they were shooting their first feature film, over several weeks in Fiji. A 90-minute action comedy, entitled Bula Quo!, taking its name from the islanders' traditional Fijian greeting, and also referencing the title of the band's best-selling album, Hello! featuring the band as themselves, and also starring Jon Lovitz, Craig Fairbrass and Laura Aikman.[44] The film was directed by Stuart St. Paul, produced by Tim Major and was released in cinemas on 5 July 2013. The film was accompanied by a soundtrack album of the same name, the band's 30th studio album, released on 10 June. It featured nine new songs and ten re-records and live tracks. Bula Quo! debuted in the UK chart at number 10.[45]
On 9 July 2012, the band released the single "The Winner" for the 2012 Summer Olympics. In July 2012 Coles, an Australian national supermarket chain, signed Status Quo to record a version of "Down Down" using Coles' tag line 'Down, down, prices are down'.[46] In September 2012, the band performed at Hyde Park for BBC Radio 2 Live in Hyde Park. In November 2012, Coles continued their association with Status Quo, producing a series of television adverts with the band appearing and performing "It's Christmas Time". In 2013, new adverts were released by Coles with Quo using "Whatever You Want" as the new jingle.
In December that year, Quo toured under the Quofest banner for a second year, this time supported by Bonnie Tyler and Eddie and the Hot Rods. In December 2012, Letley announced his decision to leave the band after 12 years, and subsequently departed following completion of their 2012 winter tour.[47] However, Letley toured with Quo their Australia and Mexico tour in March and April 2013, due to limited time to find a new drummer after the Frantic Four Tour.
The 1970–81 line-up (Rossi, Parfitt, Lancaster and Coghlan) reunited as "The Frantic Four" in March 2013 for a series of dates in Manchester, Wolverhampton, Glasgow and London. Three live albums were issued from the tour, covering the O2 Academy in Glasgow (9 and 10 March 2013), the Hammersmith Apollo (15 and 16 March 2013) and the last date of the tour at Wembley Arena (17 March 2013), with the Wembley show also being filmed for a DVD.[48]
In May 2013, Leon Cave became Quo's new drummer.[44] In the latter months of 2013, Status Quo embarked on their Bula Quo tour, supported by Uriah Heep on German dates, and by 10cc in the UK.[citation needed] This was followed by nine concert dates in the UK during 2014.[49] On 25 November 2013, it was announced that Status Quo would headline the second stage at the Download Festival in June 2014.
2014–present: Aquostic, Parfitt's death and Backbone
[edit]
In January 2014, Wychwood Brewery announced they would be releasing a Status Quo brand of beer, named after their 1972 album Piledriver, exclusively in JD Wetherspoon pubs across the UK in February, before going on general sale in April. March 2014 saw the second 'Frantic Four' reunion tour featuring Rossi and Parfitt with original members Lancaster and Coghlan with their last gig being at The O2 in Dublin, which was recorded and filmed for album and DVD release, both titled The Frantic Four's Final Fling. Rossi indicated that this would be the last reunion tour of the 'Frantic Four' line-up.[50] On 8 March 2014, Rossi and Parfitt appeared on ITV show Ant & Dec's Saturday Night Takeaway performing "Rockin' All Over the World" with McBusted.[51]
In August 2014, it was reported that founding keyboardist Jess Jaworski had died.[52] In October 2014, Parfitt and Rossi appeared on BBC's The One Show, performing an acoustic version of "Pictures of Matchstick Men".[53] In May 2015, the twosome appeared on BBC's Later... with Jools Holland, to talk about their Aquostic – Stripped Bare album. On 9 May 2015, they performed "In the Army Now" at the VE Day 70: A Party to Remember.[54]
On 22 October 2014, the band launched the Aquostic album with a 90-minute performance at London's Roundhouse, with the concert recorded and broadcast live by BBC Radio 2 as part of their In Concert series.[55][56] Footage from the concert was later used, interspersed with interviews with Rossi and Parfitt, in BBC Four's Status Quo: Live and Acoustic, in January 2017.[57] A live album and DVD of the concert, both titled Aquostic – Live at the Roundhouse, were issued in 2015. On 5 June 2015, Status Quo were the headline act at Palmerston Park in Dumfries, at the stadium of Queen of the South and were supported by Reef and Big Country, in the first ever live concert at the venue.[58]
On 1 February 2016, it was announced that Status Quo, in addition to the spring and summer dates already scheduled, would tour Europe starting in October. The final dates would take place in the UK towards the end of the year, after which the group would retire from playing 'electric' tours.[59] The 'Last of The Electrics' tour was subsequently extended into 2017, with additional concerts outside the UK. The band performed in Aquostic line-up at BBC Radio 2's Live in Hyde Park, in September 2016.[60] Their next album Aquostic II – That's a Fact! was released on 21 October that year.[61]
On 28 October 2016, Parfitt permanently retired from live performances after suffering a heart attack earlier the same year.[62][63] On 24 December, he died in hospital in Marbella, Spain as a result of severe infection, after suffering an injury to his shoulder.[64][65][66] Parfitt's funeral was held at Woking Crematorium on 19 January 2017. Irish guitarist Richie Malone, who had substituted for Parfitt during some 2016 live shows, took his place in the group on rhythm guitar, playing on both recorded material and at live shows.[67] The band had to postpone a concert in June 2017 after frontman Rossi became ill.[68]
2017 and 2018 saw the releases of three new live albums, The Last Night of the Electrics, Down Down and Dirty at Wacken and Down Down and Dignified at the Royal Albert Hall, with the former two also having companion DVD releases. In June 2019, Status Quo were the special guests for Lynyrd Skynyrd, on their UK farewell tour.[69]
On 14 June 2019, the band announced that they were working on Backbone, their 33rd studio album – the first Status Quo studio album not to feature Parfitt. On 25 August 2019, the band appeared on ITV show The Sara Cox Show where Rossi spoke about the new album Backbone and his autobiography I Talk Too Much, after which they performed an upcoming track called "Liberty Lane" as well as "Rockin' All Over the World".[71] Backbone was released on 6 September 2019 and reached number 6 in the UK Albums Chart.[26] On 15 September 2019, the band performed at BBC Radio 2's Live in Hyde Park from Hyde Park, London for the third time. They were third from top of the bill, playing in the early evening and followed by Westlife and then The Pet Shop Boys.[72] On Christmas Day 2019, the band appeared on Channel 4's The Great British Bake Off, performing "Rockin' All Over the World".[73] In August 2020, Status Quo cancelled their forty-date Backbone UK and European tour because of the COVID-19 pandemic; various commitments for the following year meant the band were unable to reschedule the shows in 2021.[74] On 26 September 2021, co-founder Alan Lancaster died at the age of 72 following a battle with multiple sclerosis.[75]
The band's next tour, Out Out Quoing, took place in 2022, starting off in the UK, followed by concerts in Germany.[76] On 2 November 2023, Rossi appeared on More4 show Little Trains and Big Names with Pete Waterman talking about his childhood and the raise of Status Quo and Waterman helps Rossi to build his first model railway layout. On 10 May 2024, Rossi appeared on ITV daytime show This Morning and spoke about his fitness and perparations for the summer shows which will be scheduled for May until late August.
Touring data
[edit]
Status Quo have performed a career total of at least 3700 documented gigs as of September 2022.[77][78][79] After the addition of early undocumented gigs and various lost performances, the concert total is likely to be higher and is estimated by the band to be over 6000, with an audience in excess of 25 million people.[80] The band have performed over a hundred gigs in a single year several times, with the recorded peak of 144 (1971), averaging a live show every 2.5 days.[79] The band calculated that after 48 years of touring activity, they had "travelled some four million miles and spent 23 years away from home".[80] With the sole exceptions of 1980 and 1985, Status Quo embarked on multinational tours every year between 1968 and 2019 (predominantly in Europe, though they have visited every populated continent).[79]
Personnel
[edit]
Current members
Francis Rossi – lead guitar, vocals (1962–present)
Andy Bown – keyboards, rhythm guitar, harmonica, vocals (1981–present; session musician in 1973, session/touring musician 1976–1981)
John "Rhino" Edwards – bass, rhythm guitar, vocals (1985–present)
Leon Cave – drums, percussion, backing vocals (2013–present)
Richie Malone – rhythm guitar, vocals (2016–present)
Former members
Alan Lancaster – bass, vocals (1962–1985; reunion during 2013–2014)
Alan Key – drums, percussion (1962–1963)
Jess Jaworski – keyboards (1962–1965)
John Coghlan – drums, percussion (1963–1981; reunion during 2013–2014)
Roy Lynes – keyboards, vocals (1965–1970)
Rick Parfitt – rhythm guitar, vocals (1967–2016)
Pete Kircher – drums, percussion, vocals (1981–1985)
Jeff Rich – drums, percussion (1985–2000)
Matt Letley – drums, percussion, vocals (2000–2013)
Discography
[edit]
Further information: Status Quo discography
Remakes and cover versions
[edit]
In 1989, American alternative rock group Camper Van Beethoven scored a number one hit on Billboard magazine's Modern Rock Tracks chart with a cover version of "Pictures of Matchstick Men". The song is from their album Key Lime Pie. British alternative rock band Kasabian released their own cover version of the same song as a B-side from their 2006 single Shoot the Runner.
The 1996 re-issue of the album Too-Rye-Ay by Dexys Midnight Runners contained a cover version of "Marguerita Time".
Ozzy Osbourne, backed by Type O Negative, covered "Pictures of Matchstick Men" as part of the soundtrack to the Howard Stern biographical movie Private Parts in 1997.
Towards the end of his life, DJ John Peel was known for playing "Down Down" as part of his eclectic DJ sets.[81]
Arjen Lucassen (from the Dutch project Ayreon) covered "Pictures Of Matchstick Men" and "Ice in the Sun" on his solo album Strange Hobby.
Bad Religion guitarist Brett Gurewitz recorded a cover version of "Pictures of Matchstick Men", on his 1985 solo album Seeing Eye Gods.
German power metal band Helloween covered "Rain" for their single "Power". It can also be found on the bonus disc of the special edition of their 1996 album, The Time of the Oath.
References
[edit]
Further reading
[edit]
John Shearlaw, Bob Young: Again & Again. Sidgwick & Jackson, October 1984, Paperback, ISBN 0-283-99101-1 (1st edition (1979) and 2nd edition (1982) as The Authorised Biography by John Shearlaw)
Tom Hibbert: Status Quo. Omnibus Press, 1982, ISBN 0-86001-957-8
Neil Jeffries: Rockin' All Over the World. Proteus Books, March 1985, Paperback, ISBN 0-86276-272-3
Bob Young: Quotographs – Celebrating 30 Years of Status Quo, IMP International Music Publications Limited, 1985, ISBN 1-85909-291-8
Francis Rossi, Rick Parfitt: Just For The Record. Bantam Press, September 1994, hardcover, ISBN 0-593-03546-1
Patti Parfitt: Laughing All over the World: My Life Married to Status Quo. Blake Publishing Ltd, October 1998, ISBN 1-85782-198-X
David J. Oxley: Rockers Rollin' – The Story of Status Quo. ST Publishing, Januar 2000, Paperback, ISBN 1-898927-80-4
David J. Oxley: Tuned To The Music of Status Quo. ST Publishing, 2001, Paperback, ISBN 1-898927-90-1
Francis Rossi, Rick Parfitt, Mick Wall: Status Quo. XS All Areas. Sidgwick & Jackson, September 2004, hardcover, ISBN 0-283-07375-6 (paperback edition: Macmillan Publishers Ltd, August 2005, ISBN 0-330-41962-5)
Francis Rossi, Rick Parfitt, Bob Young: Status Quo: The Official 40th Anniversary Edition. Cassell Illustrated, October 2006, hardcover, ISBN 978-1-84403-562-5.
Status Quo: La Route Sans Fin, foreword by Bob Young, ISBN 2-910196-42-9
Eduard Soronellas Vidal (2008 – Spanish). Status Quo: Sobran Acordes, foreword by John 'Rhino' Edwards. Barcelona: Lenoir Ediciones. ISBN 978-84-938163-9-1
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Francis Rossi to bring Status Quo to an end: "I don’t think we’ll go again"
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[
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[
"Thomas Edward",
"Thomas Curtis-Horsfall"
] |
2024-06-25T14:04:34.201000+01:00
|
After their current tour of the UK and Europe, and over sixty years on the road, Francis Rossi has said he'll bring Status Quo to an end: "I don’t think we’ll go again".
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en
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/assets_v4r/gold/img/favicon-16x16.png
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Gold
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https://www.goldradiouk.com/news/music/francis-rossi-status-quo-ending/
|
It may very well be the end.
Status Quo are one of the UK's most beloved, and most enduring rock bands of all time.
Forming in 1962, the band's main players in Francis Rossi and Rick Parfitt joined forces in 1967 when the band formally became The Status Quo - dropping the 'the' two years later - and rocked the world together.
They became one of the most prolific rock bands of the sixties and seventies, releasing hit singles like 'Down Down', 'Caroline', and 'Whatever You Want'.
Gold Meets... Status Quo's Francis Rossi: Rock star looks back at Rick Parfitt friendship five years after his death
Status Quo's 10 greatest songs, ranked
Status Quo’s Francis Rossi reveals he dreams of Rick Parfitt ahead of band’s tour
When Status Quo helped Manchester United score a number one hit with 'Come On You Reds'
Many argue that their crowning glory came the following decade however, when they kicked off the iconic benefit concert Live Aid with a raucous set that included 'Rockin' All Over The World', their famed cover of Creedence Clearwater Revival's John Fogerty.
Sadly, Rick Parfitt died on Christmas Eve in 2016, having contracted sepsis after being admitted to hospital for a shoulder injury. He was just 68 years old.
Still, Rossi has soldiered on without his partner in crime, with Status Quo touring still. Though, in an interview with the Mirror, the waistcoat-wearing guitar slinger has admitted it'll be their last stint on the road.
"I don’t think we will go again," Rossi revealed. "And as far as the rest of the band are concerned it’s the last tour too. I just can’t see us doing it one more time."
He went on to explain why he didn't make a song and dance of it being the band's final ever tour.
"I didn’t want to put this current tour out, saying it’s the last one ever," he added. "I did it once and was then coerced into coming back, but that’s another whole other f**king story."
Rossi was referring to Quo's End Of An Era tour in 1984, where they confirmed they'd be splitting once the tour came to a close, yet went back on their decision.
"We did really split and then one of the managers came to me with a lie at the time that Rick [Parfitt] was in trouble with money again, which was often the case with Rick, so I said, ‘okay, we’ll do one more album - In the Army," he said.
"Who knows they might offer a huge amount of money to do the Quo again but I don’t think so," he continued. "I am hesitant to call it the last ever but I just can’t see it continuing to be honest."
Francis still looks in great shape for his 75 years, though admitted that the rigours of the touring lifestyle are no longer doable.
"It’s f**king hurting this time, physically. We were at rehearsals before this tour and it occurred to me that we started 50 f**king years ago. Thinking about it brought it home my age."
"As much as you can say it’s just a number and you can’t really feel it, you definitely can and you are lying if you don't. I've had prostate problems for a while, and macular degeneration...all old people things," Rossi added.
He was frank about wanting to call it quits for some time now, back-dating to before Parfitt passed away.
"Back in the day, I didn’t want to carry on with the band... even with Rick alive. I didn’t want to be there,” he continued.
"And then when Rick died it got even worse. People were really offensive to Andrew and John because they wanted the original line-up."
With Parfitt no longer with us, the band's co-founder bassist Alan Lancaster also passed away in 2021, leaving Rossi as the only original member.
"I can’t give the old, hardcore fans what they want, which is the original line-up. "I keep trying to ignore those people but it’s hard."
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https://www.zani.co.uk/zani-music/item/3318-a-quick-history-of-status-quo
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en
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A Quick History of Status Quo
|
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[
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"Status Quo",
"Francis Rossi",
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"rock",
"Rock Legends"
] | null |
[
"Cameron K"
] |
2021-10-19T11:23:55
|
ZANI With A Quick History on Rock Legends Status Quo
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en
|
/templates/newscast/favicon.ico
|
https://www.zani.co.uk/zani-music/item/3318-a-quick-history-of-status-quo
|
John Coughlan (drummer) joined the line-up, which was complete with Roy Lynes (organ). After a trio of unsuccessful singles, the band changed its name to Traffic Jam and concentrated on mod psychedelia, but their early efforts were no better.
Ricky Harrison (aka Rick Parfitt – rhythm guitar and vocals), formerly with the Highlights, joined the group in 1967, and they changed their name to Status Quo. As well as pursuing their solo career, Status Quo did backups for many UK acts, including Liverpool’s Tommy Quickly. Their debut single, "Pictures of Matchstick Men," was written by Francis Rossi and quickly moved up the UK top 20 charts in 1967. The single also sold well in the US.
The group was now considered ‘bubblegum,’ followed up with "Black Veils of Melancholy," which attracted no interest. Still, their next single, "Ice in the Sun" (written by Marty Wilde), became a top ten hit in 1968.
Status Quo stuck with the same successful bubblegum rock formulae. The following two releases flopped. Organist Roy Lynes left the band, and the Quo took a new direction into heavier bluesy boogie rock fusion. The single "Down the Dustpipe" again saw the Quo in the charts. The album Ma Kelly’s Greasy Spoon featured the Quo in hard rock mode, and although it went almost unnoticed, it did landmark the band’s metamorphosis from Mod psychedelia to Rock.
The Quo were never as heavy as Led Zeppelin but did present a popular front to the musical genre. Now kitted in jeans and kickers, the Quo embarked upon a series of UK college and festival dates, winning them a loyal following with their live performances. In 1972 they appeared at the Reading and Great Western festivals and were outstanding. Vertigo Records signed them, and their first single, "Paper Plane," another Rossi composition, was a top ten hit.
The album, Piledriver also topped the album charts, and their other singles of 1973, Blue-eyed lady (Hello) and Caroline, were hits. You can hear John Coughlan’s drumming on Rossi’s ‘Caroline.’ Andy Bown (formerly Herd and Judas Jump) joined the group as their unofficial keyboard player, and the hits kept coming with their formulaic uncomplicated, unpretentious and infectious rock music. The band even became Royal favourites and appeared by Royal Appointment on several occasions for Lady Diana. John Coughlan left in 1981 to form his own group, John Coughlan’s Diesel.
He was replaced by Pete Kircher (former Original Mirrors). Divisions saw Alan Lancaster resettle to Adelaide, Australia, making it challenging to have the band together. Alan finally left after performing at Live Aid in 1985.
The separation was acrimonious, but Francis Rossi and Rick Parfitt carried on with new group members, John ‘Rhino’ Edwards (bass) and Jeff Rich (drums) with Andy Bown, now officially the group’s keyboard player. The new Quo continued their run of hit singles and albums throughout the eighties playing to packed audiences in the UK and Europe. In 1994, the group had a surprising number one hit in the UK with the football anthem "Come on You Reds," recorded with the football champions, Manchester United.
Both Rossi and Parfitt contributed to the classical Quo portfolio with many of their hits written by Francis Rossi in collaboration with Bob Young (harp and roadie) and Bernie Frost; Rick Parfitt wrote with Andy Bown and Lynton. Alan Lancaster also made a significant contribution to the group’s writing credits. In 1997 Rick had a quadruple bypass followed by a cancer scare but was able to recover suffice the Quo continued to perform. Between 1968 and 2004, the group scored 61 chart successes. In December 2016, Rick Parfitt died from sepsis following infection of a pre-existing shoulder injury. Francis Rossi continued in the music business with several projects and released an album with Hannah Rickard called We Talk Too Much (2019). Alan Lancaster passed away in 2021 due to complications from multiple sclerosis.
Worth A Listen:
Hello (1973)
Caroline (1973)
Down Down (1974),
Roll Over Lay Down (1975)
Rain (1976)
Wild Side of Life (1976)
Rockin' All Over the World (1977)
Down the dust pipe (1977)
Mean girl (1977)
Again again (1978)
Whatever You Want (1979)
What your proposin’ (1980)
Something about you baby I like (1980)
Used with Kind Permission and Thanks
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| 22
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https://open.spotify.com/track/3UIZkwj7dsjgTnpdPiUl0e
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en
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Hold You Back
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https://i.scdn.co/image/ab67616d0000b273c5bfe99a11ec02852aac99b7
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https://i.scdn.co/image/ab67616d0000b273c5bfe99a11ec02852aac99b7
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""
] | null |
[] |
2005-01-01T00:00:00
|
Listen to Hold You Back on Spotify. Song · Status Quo · 2005
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en
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Spotify
|
https://open.spotify.com/track/3UIZkwj7dsjgTnpdPiUl0e
| ||||
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https://themidlandsrocks.co.uk/status-quo-the-early-years-1966-69-5-cd-set/comment-page-1/
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en
|
Status Quo – The Early Years 1966-69 (5 CD Set)
|
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2024-03-06T11:00:46+00:00
|
For many people Status Quo’s story begins with their third album Ma Kelly’s Greasy Spoon and their move into blues rock territory. In a similar fashion, most compilation albums only pay lip service to their pre-1970 work, with a token track or two representing Quo’s most interesting era. That anomal
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en
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The Midlands Rocks
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https://themidlandsrocks.co.uk/status-quo-the-early-years-1966-69-5-cd-set/comment-page-1/#comments
|
For many people Status Quo’s story begins with their third album Ma Kelly’s Greasy Spoon and their move into blues rock territory. In a similar fashion, most compilation albums only pay lip service to their pre-1970 work, with a token track or two representing Quo’s most interesting era. That anomaly has now been rectified by The Early Years 1966-69, a lavish 5 CD set that shines the spotlight on their psychedelic work by curating their first two albums (in mono and stereo), their pre-Quo work in The Spectres and Traffic Jam, a disc packed with contemporary singles, demos and outtakes, and another featuring BBC sessions, making this the most comprehensive inspection of Quo’s genesis.
Disc One: Original Mono Albums: Picturesque Matchstickable Messages From The Status Quo / Spare Parts
From the Bee Gees to ZZ Top, some surprising bands have their roots in the psychedelic boom of the late 1960s, and none more so than Status Quo. The heads down, no-nonsense boogie rock for which they are known is the complete antithesis to the abstract nature of psychedelia, and their 1968 debut album Picturesque Matchstickable Messages From The Status Quo does sound far removed from, say, If You Can’t Stand The Heat… released a decade later. However, what does connect them is the strength of the songsmithery; when you strip away the cladding from their debut you’re left with a dozen well-crafted songs, and no more so than opening cut ‘Black Veils Of Melancholy’. It’s the two charting singles (‘Pictures Of Matchstick Men’, ‘Ice In The Sun’) that everybody remembers, yet there’s some exceptionally good deep cuts on here, such as ‘Paradise Flat’ and ‘Shelia’, and the album has a similar feel to The Kinks with Dave Davies at the helm (which was undoubtedly The Kinks at their best).
Released a year after their debut album, Spare Parts was not as cohesive as its predecessor. At the bequest of their record label (Pye), the band were ordered to storm the charts at any cost and, as a prime example of why suits shouldn’t get involved in rock music, it largely failed. While the experimental nature of the debut propelled it forward, their sophomore effort sounds a tad flat. Despite a couple of high profile covers (‘You’re Just What I Was Looking For Today’, ‘Are You Growing Tired Of My Love’) none of these tracks really jump out of the grooves. In fact, The Beatles affectations on ‘You’re Just What I Was Looking For Today’ sound so obvious, they’re slightly embarrassing, Quo sound like one among imitators when before they sounded like no one but themselves. That’s not to say Spare Parts is a bad album, but it does pale in comparison with Picturesque Matchstickable Messages From The Status Quo.
Disc Two: Original Stereo Albums: Picturesque Matchstickable Messages From The Status Quo / Spare Parts
When listening to the stereo mix of Quo’s Picturesque Matchstickable Messages From The Status Quo directly after the mono, I had something of an epiphany. The tracks sparkle in a way that the mono don’t, and they give an extra dimension to a sound that was flat, and when you’re dealing with psychedelia, that’s vitally important. Although opening track ‘Black Veils Of Melancholy’ was viewed as a cheap copy of ‘Pictures Of Matchstick Men’ (an assertion hard to deny), its stereo rendering adds a certain fizz, and along with closer ‘Pictures Of Matchstick Men’ gives the album a cyclical feel. Such is the lively nature of the stereo mix that he tracks in between are now delivered with pizazz and panache, and that makes the lack of chart action Picturesque Matchstickable Messages From The Status Quo obtained all the more puzzling.
Although Ma Kelly’s Greasy Spoon is generally considered to be Status Quo’s moment of rebirth, the seeds were sown with Spare Parts. The band have often been dismissive of this release, yet it can be seen as the stepping stone between Pictures and Spoon. The packing crate cover and the parred back nature of ‘Antique Angelique’ were more in line with what the band would become. However, make no mistake this is still an exercise in psychedelia, yet it doesn’t have the frills of its predecessor, neither does it have the thrills of an ‘Ice In The Sun’ or a ‘Pictures Of Matchstick Men’ to lift it above the average. Spare Parts is a flat album and not even the stereo mix can inflate it. This album is the sound of a band reaching the end of one road, and about to depart on another.
Disc Three: Before Status Quo 1966-67
Before Status Quo came The Spectres, and Traffic Jam, and they were typical of the Golden Age Of British Pop in which they existed. In fact, the hard driving nature of Spectres songs such as ‘Neighbour, Neighbour’ are more in tune with what they’d become in the 1970s, rather than their psychedelic detour in the late ‘60s. There’s a hard mod, amphetamine punch to ‘(We Ain’t Got) Nothing Yet’ that brings to mind The Small Faces and The Who. Even older cuts like ‘Spicks And Specks’ that would be dressed up for Pictures sound far more powerful when stripped bare. This is a sound rooted in the British blues boom, with ‘Love In Vain’ sharing common ground with Them, an idea given credence by a fiery cover of ‘Gloria’, included here via a 1966 BBC Session. From the same session comes The Everly Brothers’ ‘Bird Dog’, put the two together and you have a fair indication of The Spectres/The Status Quo circa 1966.
A name change to Traffic (later amended to Traffic Jam to avoid confusion with Steve Winwood’s band) found the band toughening up their sound to release their fourth single as a unit, the prophetically-titled ‘Almost But Not Quite There’ (included here with its B-Side). More commercially leaning than The Spectres, Traffic Jam still had their roots in the mod scene, and this becomes patently obvious on a 1967 BBC Session; the Stevenson/May composed ‘It Takes Two’ and The Bee Gee’s penned ‘Spicks And Specks’, both of which find the band in full flight. The only surviving Traffic Jam BBC Session, along with recently unearthed and unreleased Spectres tracks makes this disc manna from heaven for Quo collectors.
Disc Four: A-Sides, B-Sides, Demos & Outtakes
If there was one thing that Status Quo had in their early days, then it was sheer belief that they’d eventually strike musical gold. It was a belief that served them well when many of their early singles sank without a trace. Some of those A’s and B’s open this fourth disc, and with the benefit of hindsight it’s easy to hear why they didn’t set the world alight, there’s no ‘Ice In The Sun’ to spark the interest and are more of historical interest. As the disc progresses we get into interesting territory; two hard rocking Spare Parts outtakes tease as to what that album could have been, while alternate versions and remixes put a fresh spin on familiar tracks, with ‘Paradise Flat’ becoming more haunting and ‘The Price Of Love’ infinitely heavier, all of which makes this disc a carnival for the ears.
Disc Five: BBC Sessions 1968-69
The BBC were so careless with their archives that it verged upon neglect; the amount of classic TV performances that were wiped (and often replaced with footage of steam trains) is shocking, and verged upon the criminal. Thankfully, they seemed a little more careful with their audio archives, and they’re raided here to comprise the 18-track BBC Sessions 1968-69. Running chronically from January 1968 to March 1969, it’s interesting to hear how the band evolve over the course of six sessions. Just as the stereo mix spiced up the mono albums, so the live-in-the-studio feel of these cuts add a certain chutzpah. Spunky covers of ‘Gloria’ and ‘Bloodhound’ signpost future mayhem, and even the pure pop sensibility of ‘Ice In The Sun’ starts to pack a punch. It’s only the half-wit presenter talking over the beginning and ending of the tracks which interrupts the rock action. It’s pretty apt that two heavy versions of ‘The Price Of Love’ close this collection and foreshadow the coming of the 1970s and Ma Kelly’s Greasy Spoon, but that’s a whole different story…
Beautifully designed and accompanied by an informative booklet, The Early Years 1966-69 is a thing of aesthetic beauty that’s a joy to hold. Yet, more importantly it shines the spotlight on an often overlooked period of a British institution and what’s revealed is a band learning their craft, and it’s an education that would hold them in good stead over the following decades. But if you want to know where it all started, it’s all here.
The Early Years 1966-69 is released via BMG Records on 8th March 2024.
Official Website
Track List:
Disc One: Original Mono Albums: Picturesque Matchstickable Messages From The Status Quo / Spare Parts
Picturesque Matchstickable Messages From The Status Quo:
Black Veils Of Melancholy
When My Mind Is Not Live
Ice In The Sun
Elizabeth Dreams
Gentleman Joe’s Sidewalk Cafe
Paradise Flat
Technicolor Dreams
Spicks And Specks
Shelia
Sunny Cellophane Skies
Green Tambourine
Pictures Of Matchstick Men
Spare Parts:
Face Without A Soul
You’re Just What I Was Looking For Today
Are You Growing Tired Of My Love
Antique Angelique
So Ends Another Life
Poor Old Man
Mr. Mind Detector
The Clown
Velvet Curtains
Little Miss Nothing
When I Awake
Nothing At All
Disc Two: Original Stereo Albums: Picturesque Matchstickable Messages From The Status Quo / Spare Parts
As Disc One; Tracks 1 through 24
Disc Three: Before Status Quo 1966-67
The Spectres:
I (Who Have Nothing)
Neighbour, Neighbour
Hurdy Gurdy Man
Laticia
(We Ain’t Got) Nothing Yet
I Want It
Spicks And Specks
Walking With My Angel
When He Passed You by
Love In Vain
Say That You Need Me
Neighbour, Neighbour (Alternate Version)
Gloria *
Interview With Francis Rossi *
I (Who Have Nothing) *
Neighbour, Neighbour *
Bloodhound *
Bird Dog *
Traffic Jam:
Almost But Not Quite There
Wait A Minute
I Don’t Want You **
Almost But Not Quite There **
It Takes Two **
Spicks And Specks **
* BBC Session, September 1966
** BBC Session, June 1967
Disc Four: A-Sides, B-Sides, Demos & Outtakes
To Be Free (single B-Side)
Make Me Stay A Bit Longer (single A-Side)
Auntie Nellie (single B-Side)
Are You Growing tired Of My Love (single A-Side)
The Price Of Love (single A-Side)
Little Miss Nothing (single B-Side)
Nothing At All (Demo Excerpt)
Josie (Spare Parts session)
Do You Live In Fire (Spare Parts session)
Pictures Of Matchstick Men (Alternate Version Mix)
Paradise Flat (Alternate Version Mix)
Hey Little Woman (You’re Just What I Was Looking For Today) (Alternate Version)
The Price Of Love (Alternate Version)
Auntie Nellie (Stereo Remix)
Josie (Alternate Mix)
Pictures Of Matchstick Men (Alternate Version Mix)
Disc Five: BBC Sessions 1968-69
Spicks And Specks *
Judy In Disguise *
Pictures Of Matchstick Men *
Interview With Brian Matthew **
Pictures Of Matchstick Men **
Things Get Better **
Gloria ***
Interview With Alan Lancaster ***
Black Veils Of Melancholy ***
Bloodhound ***
Ice In The Sun ****
When My Mind Is Not Live ****
Paradise Flat ****
Interview *****
Make Me Stay A Bit Longer *****
Are You Growing Tired Of My Love *****
The Price Of Love *****
The Price Of Love ******
* BBC Session, 16th January 1968
** BBC Session, 13th February 1968
*** BBC Session, 29th March 1968
**** BBC Session, 30th July 1968
***** BBC Session, 27th January 1969
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https://forgottenhits60s.blogspot.com/2022/01/everything-is-status-quo-with-status-quo.html
|
en
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FORGOTTEN HITS: Everything is Status Quo ... with Status Quo
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[
"Kent Kotal",
"View my complete profile"
] | null |
We've been teasing this one for a while now ... Most of us here in The States were first introduced to the British Group Status Quo in 1968 ...
|
en
|
https://forgottenhits60s.blogspot.com/favicon.ico
|
http://forgottenhits60s.blogspot.com/2022/01/everything-is-status-quo-with-status-quo.html
|
Chart History Status Quo
When I first heard Status Quo, it was in June of 1968, with a psychedelic pop song called “Pictures Of Matchstick Men” ... it hit #12 on the Billboard Top 40 charts and #7 in the UK, where SQ (Status Quo) are from.
They originally formed in 1962, but really 1965 is when they were old enough to be called a band. “Ice In The Sun” followed Matchstick Men and also hit the Top 10 at #8 in the UK, but only hit #70 in the U.S. They disappeared in the UK till 1970 when “Down The Dustpipe” hit #12, followed by “In My Chair” at #21. Most important, their sound changed from Psychedelic Pop to a harder, 12 bar boogie sound. “Paper Plane,” which hit #8 in 1972, started a string of hit singles in the UK ... and actually all over the world (EXCEPT in the U.S.) and eventually propelled Status Quo to become the single most successful group as far as hit singles in UK chart history! You heard correct - a band which I will guess 90% don’t know OTHER than “Pictures Of Matchstick Men” (if you are old enough to remember 1968!)
Their numbers are staggering since 1968:
Singles: 66 Top 75 (The UK uses a Top 75 Chart vs. The U.S. Top 100); 57 Top 40’s, 40 Top 20’s and 22 Top 10 hits !! That is more hit singles than any group in UK chart history - more than Queen (second with 62 chart hits) and The Rolling Stones (third with 60 chart hits.)
To put this in perspective, Chicago and The Beach Boys are tied with 35 as the most hits on the U.S. charts. That means that Status Quo have almost TWICE as many hits as Chicago and The Beach Boys COMBINED on the UK charts!! And they are mostly unknown in the U.S.!!!
[In the interest of accuracy, The Beach Boys have earned 57 Hot 100 Hits on The Billboard Chart ... and Chicago has had 50 - kk]
Their album stats are even more impressive: Four #1’s, 30 Top 10 albums, 37 Top 20’s … Status Quo are the ONLY band to chart a hit single in SIX consecutive decades (1960’s - 2010.) The Bee Gees are second with five straight decades in the UK ... when having a hit single in three consecutive decades is considered amazing, try SIX! They also have five consecutive decades in charting a Top 20 album.
The original line up (called "The Frantic Four” in the UK) included Francis Rossi (guitar, lead vocals), Alan Lancaster (bass and vocals), who recently passed away about a month ago, John Coghlan on drums, and the late Rick Parfitt, who passed away in December of 2016, on guitar and vocals, the best rhythm guitarist I’ve ever seen. Today, only Francis Rossi is left ... John Coghlan left in 1981.
My connection with Status Quo
In 1975 I was living in NY and used to listen to a show on WNEW 102.7 FM every Friday at 5 pm CALLED “Things From Britain,” where the DJ (Scott Muni) would count down the Top 10 hits on the British charts. Some songs were played in full, some just 30-60 seconds due to time restraints. I.E., “At #7 is Paul McCartney with “Listen To What The Man Said” ... they would count down till #1, and also tell you what album was #1. Interestingly enough, the #1 album was “On The Level” by Status Quo!!!
So Scott Muni says, “So here is the #1 single on the UK charts - you might be surprised to learn this group had a hit in the U.S. called “Pictures Of Matchstick Men in 1968. The band is the same (minus the keyboard guy who thought Status Quo would never make it and jumped off the train on the way to a concert before Pictures Of Matchstick Men became a hit ... ha ha ... big mistake!!!) He goes on to say, “This song is pure rock n’ roll ... pure straight rock n’ roll ... turn your volume up and here is Status Quo with Down Down, # 1 in the UK!”
Within 30 seconds I was up and air guitaring to a song I never heard before. Five minutes later, this song started me on a musical trip that has lasted 46 years till now, including 60 live concerts (57 in the UK, 3 in America), 80 CD’s and 20 DVD’s.
There are only two musical acts that have changed my DNA -
The Beatles in 1964 when I saw them on Ed Sullivan ... and 1993 when I started going to the UK to see Status Quo live, an experience like NO OTHER in my 400 total concerts I have seen since 1966 when I saw The Beach Boys live in Paris, where I went to school for one year in 9th grade. Status Quo are THEEEE best live band I have ever seen. Next, my experiences seeing SQ live!!
Status Quo live
Since Status Quo were not big in America, my ex-wife’s cousin in Scotland told me that Quo were touring that December in 1993 (this was June 1993 at the time) and that I should get tickets for their two shows at Wembley arena. I did and got 4th row and 5th center ... AND, after writing the band a letter stating I had been a fan since 1975 when I first heard “Down Down” on the radio and bought their “On The Level” album, SQ granted me a Meet & Greet with the band before the first Wembley gig! I met Rick and Francis, the two main members of Quo at this time, and they were STUNNED that an American had flown 4000 miles just to see them live!! They were soooo happy.
15 minutes later, my whole world changed as the lights went out and 14,000 fans were on their feet screaming ... a huge curtain dropped with the SQ emblem of crossed guitars and there was the late Rick Parfitt blasting “Caroline,” a 1973 hit that would become their signature opening song (and frankly the BEST opening song I have ever heard) ... everybody was up and clapping, air guitaring and (something I had NEVER seen in the States), the security guys were air guitaring , too! OMG!!!
I knew all the songs by then because I had bought 5-6 more albums from 1990-1993 and knew every song of the 26 song, two hour show ... besides "Caroline, " highlights included "Whatever You Want,” “In The Army Now,” “Rockin All Over The World,” the song that Bob Geldof, who organized Live Aid in 1985, asked Status Quo to open the show with. SQ performed that song in front of 1.2 BILLION people! The song was written by John Fogerty of CCR fame, but SQ made it famous all over the world on that day. BTW, it was the first time had played together in over a year. The British media agreed that Queen and Status Quo stole the show that day.
The following night, I saw Quo again and again I was BLOWN away by their power, tightness and a stage presence I had never seen before ... and I have seen all the classic bands - The Stones (not even close to SQ live), Queen, The Doors, The Who, The Beach Boys, The Moody Blues, Jethro Tull, Led Zeppelin, Chicago, Rod Stewart, Black Sabbath, Deep Purple, and dozens more. I went to see Status Quo 18 straight years from 1993 to 2010. I lost my job in 2010, so I took a break, but also went in 2013 and 2016. I went with a friend, Nick Frankart, who recently wrote a review of his Stones' show in LA for Forgotten Hits. Nick came with me in 2008, 2010, 2013 and 2016. I have flown over 175 hours and 225,000 miles to see SQ. Nick has flown 12 hours from LA himself four times and spent plenty of $$$, too! I am famous in the UK as the “SQ Yankee fan,” and I have been interviewed by the BBC in Brighton at a show in 2009 … I have put that video clip on my FaceBook page many times.
Fans come from over twenty countries at the UK shows. Nick once went around at a pre “Quo gig” at a pub called The Greyhound near Wembley and counted twenty people from all over the globe coming to these shows including Germany, Austria, Holland, Sweden, Norway, Finland, Belgium, Greece, Australia, France, and many more. You would never see this in the States ... you’re lucky if they come from the next county, let alone another country!!! There are post gig parties, too ... the fan club has over 10,000 members and I know people who have seen Status Quo 250 to 500 times. Even though they will play the same set in their current tour, fans go and see them ten or twenty times during the tour!
Some have said Quo’s music is a cross between the melodies of The Beach Boys and the hardness of Bad Company. Another review said they were a cross between Chuck Berry and ZZ Top. Status Quo’s music is simple, not complicated. BUT if you don’t find yourself tapping your feet and swaying back and forth to their infectious music, it’s time for an MRI.
I am sending a link to video of “Whatever You Want,” a #3 hit in 1979 for SQ and one of their three most famous songs for sure. Look at the crowd of 125,000 from 1990 ... look at the excitement of the group members running back and forth on the stage ... killer melody and great guitar lick.
|
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|
dbpedia
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3
| 60
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https://www.usatoday.com/story/life/health-wellness/2024/07/18/brat-summer-charli-xcx-y2k-fashion-music/74430708007/
|
en
|
'Brat summer' is upon us. What does that mean? Kamala Harris is game for it.
|
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[
"USA TODAY",
"Alyssa Goldberg"
] |
2024-07-18T00:00:00
|
Charli XCX has sparked 'brat summer.' Even VP Kamala Harris is on it. It entails a surplus of green, passion and music.
|
en
|
USA TODAY
|
https://www.usatoday.com/story/life/health-wellness/2024/07/18/brat-summer-charli-xcx-y2k-fashion-music/74430708007/
|
“Brat summer” is upon us. We're dancing at the club until sunrise − unabashedly, of course. Painting our nails neon green. Working it out on the remix. Staying up late having an existential crisis and loving our lives anyway. We’re everywhere, we’re so Julia.
Even Vice President Kamala Harris is embracing it.
Confused? For those of you who are not chronically online, we can clue you in to the phenomenon that has taken over pop listeners since the release of Charli XCX’s album "BRAT" on June 7, which has fans declaring this is a "Brat summer." USA TODAY called the album an embrace of “a hot-mess pop star aesthetic, prioritizing club culture at its core but still offering introspective lyrics on aging, womanhood, grief and anxiety.” That's a good starting place to understanding what this trend is all about.
In a TikTok interview, Charli XCX broke down her definition of the word "brat": “You are just that girl who is a little messy and maybe says dumb things sometimes, who feels herself but then also maybe has a breakdown but parties through it. It is honest, blunt and a little bit volatile. That’s Brat.”
What is a brat summer?
Brat summer is the lifestyle associated with being a "brat," and not in the way you may think. Charli XCX fans aren't throwing tantrums like a badly behaved child; being a brat to them means indulging in pleasure and not concerning yourself with societal expectations. Rather than conforming to the status quo − on matters of aging, clean living or etiquette − brats focus more on having fun, embracing their community and unapologetically embracing individuality.
One of the trademark mantras of brat summer is to be "so Julia," a reference to Charli's song "360" and actress and model Julia Fox, who was featured in the single's music video. On the Zach Sang Show, Fox said being "so Julia" means "just being that girl."
It's "being confident, putting yourself out there, being out, being about, being the center of attention."
Dressing for a brat summer: Y2K fashion and green galore
Brat summer also uses fashion as cultural signifiers, uplifting styles that are bold, colorful and sometimes provocative, often inspired by Gen Z’s revival of Y2K fashion.
According to Charli, the brat summer essentials can go "luxury or trashy." There are no specific rules for how to dress, because being a brat is all about embracing your individuality. But if there were to be a dress code, there would probably be a lot of Von Dutch trucker hats, baby tees and "strappy white tank tops," paired with low-rise jorts or a miniskirt.
Brat is also a color: slime green. Clothing and makeup brands have gotten on board, pushing out their green products through "BRAT"-themed marketing techniques. ColourPop Cosmetics posted a guide for "brat inspired makeup" with their "lime green faves." Kate Spade shared a "brat summer starter pack" with green purses, hats and swimwear. And athleisure brand Adanola has teased a "brat summer collection" with the caption "BRAT, but make it Adanola."
'Let's work it out on the remix': Lorde, Charli XCX’s viral moment and the truth about friendship breakups
Who else is embracing a brat summer?
A TikTok dance to Charli's song "Apple" has made waves on TikTok, with celebrities and influencers like the cast of "Twisters" (Glen Powell, Daisy Edgar Jones and Anthony Ramos), Jake Shane and Alix Earle, "Chicken Shop Date" host Amelia Dimoldenberg, Matty Healy's fiance Gabbriette and Ashley Tisdale all showing off their moves.
After President Joe Biden dropped his reelection bid on Sunday and endorsed Kamala Harris to be the Democratic presidential nominee, Charli put her endorsement behind Harris as well, tweeting, "kamala IS brat."
Kamala HQ has embraced the brat aesthetic, rebranding the Biden-Harris HQ to Kamala HQ with a brat themed header on X (formerly Twitter).
No one does brat summer better than Charli herself
The pop singer, 31, has had her own brat summer as well, entwining debauchery and classiness. From hosting DJ sets with her friends, including Addison Rae, Julia Fox and fiance George Daniel of The 1975, in Brooklyn, London, Ibiza and Glastonbury, to watching tennis matches at Wimbledon, Charli is showing that a brat can have it all.
While celebrities and influencers are all taking part in brat summer, you just can't beat the original. As Charli sings on "Von dutch": "It's OK to just admit that you're jealous of me / You're obsessing, just confess it 'cause it's obvious."
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https://www.udiscovermusic.com/artist/status-quo/
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Status Quo
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2020-04-14T13:33:00+00:00
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Status Quo are a British boogie rock band founded by Francis Rossi and Alan Lancaster, with a career spanning more than 50 years.
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en
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uDiscover Music
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https://www.udiscovermusic.com/artist/status-quo/
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When Status Quo’s sixth studio album, Hello!, was first released nearly 40 years ago in September 1973 and jumped straight into the UK albums chart at No. 1 it was the culmination of persistence, constant gigging and a creative transformation the likes of which most groups would never attempt let alone survive. Almost unbelievably Status Quo are still going strong, still touring, still making the commercially successful, no-nonsense boogie-rock records that capture the imagination of air guitarists the world over. Many such axe was raised in tribute to the sad passing of founder member Rick Parfitt in late 2016.
If Status Quo was an American band they would be worshipped as Gods, as it is they are just good blokes, the very epitome of great British musicians who know how to put on a great show and make records that have sold many, many, millions.
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Their roots can be traced as far back as 1962 when, still at school, Mike (later to become Francis) Rossi, Alan Lancaster and Alan Key (who later left the group) formed a band called Scorpions that then transformed into a five-piece called Spectres. Almost five years later, during which time they’d secured a contract with Piccadilly Records, released three unsuccessful singles and played a summer residency at Butlins in Minehead, they became Traffic Jam for a couple of months and released another single that flopped. Clearly, a change of direction and fortune was needed if they were to continue – another guitarist Rick Parfitt was recruited, the name Status Quo was adopted, flower-power outfits were donned and at the end of February 1968 they suddenly had a No. 7 hit single with the psychedelically-tinged ‘Pictures Of Matchstick Men’. Momentarily in tune with the times, they had a follow-up No.8 hit with ‘Ice In The Sun’ in October but then faded almost as quickly as they’d bloomed, two albums and five subsequent singles in the next two years making very little impression on the charts or the record-buying public.
At the beginning of 1970 though there were signs of yet another change in direction. ‘Down The Dustpipe’, with its straightforward riff and wailing harmonica, was their most successful single since ‘Ice In The Sun’ and gave an indication of where Quo might be heading, and the album released later that year, Ma Kelly’s Greasy Spoon, reinforced that suspicion. One more personnel change – long-time keyboard player Roy Lynes had had enough – reduced them to the classic quartet of Rick Parfitt (guitar/vocals), Francis Rossi (guitar/vocals), Alan Lancaster (bass/vocals) and John Coghlan (drums) that during the next 10 years or so enjoyed truly enormous success. They embarked on an astonishing and unprecedented run of 11 consecutive Top 5 UK albums and only one of the 15 singles they released in that period failed to make the Top 20. A more dramatic turnaround in fortune is hard to imagine and they basically did it by adopting the simple expedient of stripping away all pretension, muso-instrumental doodling and unnecessary elaboration from their music, honing it, in its most primitive form, down to three chords, donning t-shirts, jeans and trainers in favour of kaftans, and then working their socks off.
Their new, raw and ecstatically infectious boogie-rock appealed immediately to an audience that wanted loud, solid, uncomplicated rock to dance to – music to have a good non-cerebral time to. The crowds who saw them at the 1972 Reading and Great Western Festivals will attest to that. Another album, Dog Of Two Head, released at the end of 1971, was just too early to benefit from this new impetus and then the band went a whole year (unheard of in those days) without troubling record retailers until they made another career-changing move and signed to Vertigo, ironically a label known more for its top-heavy roster of largely obscure prog-rock bands than as a home for no-nonsense, riff-based boogie. Nevertheless, in January 1973 they released what was Status Quo’s fifth album, Piledriver. A Top 5 album containing the No. 8 hit single ‘Paper Plane’, it nailed the formula that, with some tweaking and augmentation, the band adopted from thereon, and it truly marked the emergence of a powerful and lasting presence in rock music. The beauty of their recorded music was of course that, unlike a lot of their contemporaries, they could play it live and actually add something to it – energy, power, more guitar! – rather than delivering a diminished album listening experience. And audiences worldwide lapped it up.
Quick to ride the crest of this wave, in September of 1973 they released what many Quo aficionados still regard as their tour de force. Entirely self-written, self-produced and packaged in a stark black sleeve that mirrored the new minimalist approach to their music, Hello! entered the UK album chart at No. 1 and has been in the intervening 40 years, a constant steady seller. The press was predictably a bit sniffy and condescending about it, as they have been with a lot of Quo’s recorded output – NME said mysteriously that the band were “slaves to a musical cliché rather than masters of it” although Jon Tiven in the US Zoo World opined more generously that the album was “pure chunka-chunka music a la Canned Heat, taken to a much higher level”. Hello! also contained the band’s first Top 5 single – ‘Caroline’, the first of a string of 1970s Top 10 hits – ‘Break The Rules’, ‘Down Down’, ‘Rain’, ‘Wild Side of Life’, John Fogerty‘s ‘Rockin’ All Over The World’ and ‘Whatever You Want’ – that meant that Quo were supreme on three fronts – Top 5 albums, Top 10 singles and huge concert draw. Unbeatable.
The other 1970s albums were Quo (No. 2 in the album chart), On The Level (No. 1), Blue For You (No. 1), Live! (No. 3), Rockin’ All Over The World (No. 5), If You Can’t Stand The Heat (No. 3) and Whatever You Want (No. 3) and by the end of the decade their sound had become perceptively more polished, as outside producers were used, but without losing any of its edge or ability to deliver the primal, unfussy music that their fans adored and demanded.
The 1980s were a time of continued all-round success if on a less stable footing. 1981 saw the departure of founding member and drummer John Coghlan to be replaced by ex-Honeybus member Pete Kircher, and this line-up lasted until the band’s appearance at Live Aid in July 1985. Around that time they also recruited two ex-Climax Blues Band members – drummer Jeff Rich and bassist John ‘Rhino’ Edwards – plus keyboard player Andy Bown who had actually been an on-off member of the group since 1974 but for contractual reasons couldn’t until now be counted as such. Original bass player Alan Lancaster had already departed in less than amicable circumstances (the tried and trusted cliché “musical differences” was quoted – they’ve recently patched up these differences apparently) and actually tried to stop the band continuing as Status Quo. It would have taken more than that to stop the Quo juggernaut though and the band went on to record their In The Army Now album. This line-up was actually the longest lasting (1985 to 2000) and in that period enjoyed seven Top 20 albums and eight Top 20 singles. One personnel change since has seen Matt Letley replace Jeff Rich on drums but essentially the band has retained, through the dominant Parfitt/Rossi axis, the same persona and character.
To this day Status Quo continue to tour and play large, prestigious gala concerts, arenas and festivals on a regular basis and, almost as a mark of their rock-establishment status, Rossi and Parfitt were awarded OBEs in 2010 for services to music and their work for various charities. In 2011 they released their 29th studio album, Quid Pro Quo, and, almost as regular as clockwork, reached No. 10 in the album chart. Last year they announced a new venture that promises to raise a few eyebrows – the band’s first feature film, a comedy, starring themselves and set in Fiji! And on a more prosaic note last October a two-and-a-half-hour documentary film was released in cinemas and on DVD. Titled Hello Quo! it charts the band’s history in uncompromising fashion and does much to place their commercial, achievements into some kind of perspective within the framework of rock history. The film reveals some surprising devotees such as Paul Weller, Jeff Lynne and Brian May, who appreciate the talent and expertise it takes to distil and refine a sound and to remain true to a clear, uncluttered vision.
Sadly, the death of Richard John Parfitt, on Christmas Eve 2016, in Marbella, Spain – aged just 68 – is bound to disrupt the Status Quo modus operandi. He was such an integral part of the sound, the look and the fun that a Quo sans Rick is hard to fathom. For the time being, we return to Aquostic (Stripped Bare) and Aquostic II: That’s A Fact, the last studio albums to feature this remarkable musician who gave so many such pleasure.
Max Bell
Format: UK English
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https://mayobat.wordpress.com/tag/status-quo/
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Status Quo
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2020-09-20T14:00:34+00:00
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Posts about Status Quo written by mayobat
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en
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https://s1.wp.com/i/favicon.ico
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MayoNoise
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https://mayobat.wordpress.com/tag/status-quo/
|
For the last seven years or so, I’ve been writing about the music, musicians, albums & songs that I love. Lately I’ve found myself hitting something of a roadblock when putting these articles together, usually when exploring a topic from the 1970s. Using the term ‘Heavy Metal’ in a 1970s context used to come naturally and feel completely appropriate to me; but lately I find myself questioning it’s validity in a 1970s context. I’m sensing some kind of shift has been underway in the historical understanding of Heavy Metal, and it’ troubles me. What gives? Why do I now frequently find myself musing, ‘wait, is it Metal, or is it Hard Rock?’ The answer to that question may well depend on when you were born.
My Heavy Metal fandom started in 1978; I was 14 years old. As I started to develop my tastes and buying records as they were released, I also started buying music that appeared before my Metal awakening. My own tastes and personal understanding of the genre led me to the conclusion that Metal became a ‘thing’ in 1968. If I had to pick The First Heavy Metal Band, I’d choose Blue Cheer; First Heavy Metal Album: Blue Cheer’s ‘Vincebus Eruptum’. I understand that the rest of the world seems to have settled on Black Sabbath’s 1970 debut as Ground Zero for Metal. And I totally get that.
In my view, 1978 was Heavy Metal’s tenth anniversary year. A lot of growth occurred in Metal’s first decade; we went from The Yardbirds’ version of ‘The Train Kept a’ Rollin’ to Judas Priest’s pulverizing ‘Hell Bent For Leather’. As a kid in ’78, the ‘heaviest’ record I had ever heard was Sabbath’s ‘Master of Reality’; possibly Van Halen’s debut. Maybe AC/DC’s ‘Let There Be Rock’? I, like many others, kept searching for records that would outdo those records on the Richter Scale. And as Metal evolved, we got our wish. Heavy Metal got heavier. And heavier.
That’s the thing about Heavy Metal; if things get stagnant or stale, it re-invents itself. I’ve been lucky enough to witness the birth of several new sounds, styles, and significant sub-genres in realtime, while following Metal’s twisted path, and if you’re my age, you have too: NWOBHM, Thrash, Death, Black… Ok, yes, also Hair Metal and Nu Metal. So after fifty years of steady evolution, today’s Heavy Metal (or, as it’s more commonly referred to today as simply ‘Metal’) is so far removed from the Metal of 1978 that the fourteen year old inside me is often stunned whenever I put the ol’ iPod on shuffle, and hear Nazareth segue into Napalm Death; Van Halen into Vader.
But can both Y&T and Carcass really inhabit the same genre? Well, yes and no. A funny thing happened on the way to 2020: As Metal evolved into new and different sonic and stylistic territories, it began to shed an entire era of it’s history; a significant chunk of what was inarguably considered ‘Heavy Metal’ in the 1970s is being re-labeled as ‘Hard Rock’, a change that minimizes much of the heavy music produced during the first decade of Metal’s evolution and would leave modern fans’ understanding of the genre and it’s history incomplete and seriously skewed.
Only someone who was a Metalhead in the 70’s would be aware of this subtle change in terminology. If you’re aged 40 or under, you’re probably unaware of this creeping category shift; to you, the Fast, loud, n’ hard music of the 70s is probably known to you as ‘Hard Rock’. The average 20-something Metal fan of today would laugh probably in your face if you referred to Aerosmith as a Heavy Metal band. But if you grew up in the 70s, you know that this was exactly how they were classified. Is Thin Lizzy Heavy Metal? Depends on how old you are. The truth is they were, but now, it’s suddenly debatable.
So what’s happening? Clearly, the Heavy Metal of the 70s is so different from the Metal of the new millennium, that modern fans couldn’t reconcile the two sounds falling under the same umbrella, and decided en masse that the genre boundaries needed to be re-drawn. Obviously Metal music of the 70’s hasn’t changed, only the category to which we might assign it. The sole exception seems to be Black Sabbath, who will probably never lose their Heavy Metal status, due to being widely regarded as the inventors of the genre, but other 70’s Heavy-weights still considered Metal today have begun sporting the ‘proto-‘ prefix before their descriptor. There’s been no coordinated plan, no petition, no agreed-upon date for this change; it’s occurring gradually, organically. For a student of the genre, it’s a fascinating phenomenon.
Ironically, we might consider 1980 and the rise of the NWOBHM to be the cut-off point. It seems as if, at some point after the turn of the millennium, most of the Metal bands of the pre-NWOBHM era (otherwise known as ‘The 1970s’) found their Metal cred in question. I say it’s ironic because the term ‘New Wave of British Heavy Metal’ implies that there was a previous wave of British Heavy Metal. And of course, there was; Queen, UFO, Budgie, Rainbow, Judas Priest all existed before the NWOBHM. But here again, most of these bands are being re-christened as ‘Hard Rock’. But the NWOBHM makes sense as new genre boundary, as after the passage of several generations, the era of the genre’s rebirth becomes regarded as the era of it’s birth.
Do I sound like an ageing fan with a fading memory? Are there readers out there who were born sometime in the 70s, or after, who are thinking ‘this guy is nuts; Hard Rock is Hard Rock and Heavy Metal is Heavy Metal!’ I’m here to tell you it wasn’t always that way. And I can prove it. No, I’m not going to refer you to the internet, where the vast majority fof the content was likely generated after this HR/HM shift began. No, to confirm this, we need access to a static, unchanging source of information, one contemporary to the time period in question: that old pile of Circus and CREEM magazines in my basement. Watch your head.
Some context: When I joined the party in ’78, and just before the NWOBHM breathed new life into the tired warhorse called Heavy Metal, the genre’s popularity was at it’s lowest ebb. Metal seemed spent, and was suffering an identity crisis after assaults from Disco, Punk Rock and New Wave. and the vast majority of Metal’s Heavy-weights chose to take the year off and release live albums. Metal fans were fewer in number but as dedicated as ever, but the rock press knew that the genre was in serious trouble. The situation was so dire that in May of 1978, a Circus Magazine cover blurb asked “Can Heavy Metal Survive the 70s?” music journo Robert Smith took the opportunity to wonder “Can Kiss, Queen, Led Zep and Nugent keep Growing?”
A year later, CREEM Magazine took this a step further, asking “Is Heavy Metal Dead?” in their October 1979 issue. In this article, which was described as a ‘eulogy’ in that issue’s table of contents, one of CREEM’s more irreverent writers, the legendary Rick Johnson, submitted a rundown of all the ‘relevant’ Metal bands of the era and provided his thumbnail assessment of each group’s worth. It’s a hilarious piece; Johnson’s sarcastic style was always entertaining. Looking back at this article, and at the Circus article from the previous year, provides a snapshot of which bands were widely considered Heavy Metal near the end of the 70s.
Here’s a round-up of the bands included in both the Circus article and the CREEM piece:
Led Zeppelin, Black Sabbath, Kiss, Aerosmith, Blue Oyster Cult, Ted Nugent, Monstrose, Van Halen, Rush, UFO, AC/DC, Rainbow, Queen, Nazareth, Judas Priest, Whitesnake, Foghat, Thin Lizzy, Status Quo, Uriah Heep, Budgie, Bad Company, Boston, Pat Travers Band, Wishbone Ash, Heart, The Dictators, Molly Hatchet, Mahogany Rush, Starz, Angel, The Godz, The Runaways, & REO Speedwagon.
Sure, decades later, it’s easy to agree that many of the covered bands should no longer be considered Heavy Metal –the fact that REO was included pleads the case for their urgent re-classification; no way in Hell can REO Speedwagon reside within the same musical category that Slayer did a decade later– but at in 78/79, they did. It helps to remember the context: This was Metal’s first decade of existence, and at that point in time, it didn’t get any heavier than this, folks. Deep Purple did not exist in 1978/79, and Motorhead’s ‘Overkill’ record wasn’t released until May 1979, and when the CREEM article was published, it was virtually unheard outside of the UK and Europe.
CREEM’s October 1980 issue, one year after presiding over the death of Heavy Metal, CREEM took note of the NWOBHM and Metal’s rapid resurgence with another feature article by Johnson called ‘Heavy Metal: Back From the Dead’. In addition to many of the bands featured in the 1979 article, the 1980 rundown included Scorpions, Blackfoot, Gamma, The Joe Perry Project, Triumph, and Humble Pie, along with a smattering of NWOBHM bands (although the tag ‘NWOBHM’ was not mentioned in the article). Again, if it looks a little odd seeing this bunch of bands referred to as Heavy Metal (Humble Pie?), it is what it is; that’s they way that it was.
I also dug out a (coverless) Special Edition issue of Circus, cover dated Feb 1980, called Rock Legends. There’s an entire section of the mag covering Heavy Metal, and features articles on Black Sabbath, Deep Purple, Led Zeppelin, Blue Oyster Cult, and … Grand Funk Railroad. Was GFR a Heavy Metal Band? Circus Magazine, with sales and circulation in the 70’s second only to Rolling Stone, thought so. Apparently, Humble Pie met the 1980 criteria for Heavy Metal certification, before the goalposts started moving .
Somehwere around the dawning of the new millenium, Metal Nation collectively/unconsciously decided that much of the Metal of the 70s wasn’t really Metal at all, and began to re-assign it to the Hard Rock category, and undertook a major re-write of Metal history. Maybe it started back in the 90s, when Metal split into endless sub-genres and fans needed a scorecard to keep track. But it IS happenning; right under our noses, 70’s Heavy Metal is quietly getting demoted, downgraded… diminished. The term ‘Heavy Metal’ indicates a genre seperate from any other; ‘Hard Rock’ reads like a sub-category of ‘Rock’. Yawn.
I think genre tags, musical boundaries and categories are subjective and ultimately meaningless. That said, this shift will never be acknowledged by me as legitimate. I view Metal as a wide spectrum of sounds and styles. I can see no reason why any single ‘era’ of its history would need an etymological update. Perhaps I’m reluctant to see it change because I because I lived through it, I grew up with it; I’m emotionally invested in this era more than any other. So don’t drink the Kool Aid! If it was Heavy Metal then, it’s Heavy Metal now, dammit, it always will be and HEY YOU KIDS GET OFF MY LAWN!
I few winters back I was working a liquidation for a major national retailer, and was asked by a customer if we had ‘Slade’s Christmas song’ on CD. She had a strong British accent, and I assume she was from the UK, perhaps visiting the States for the holidays. When I told her the store didn’t stock any Slade product, she looked confused. ‘You haven’t any Slade?’ she asked, this time over-pronouncing the band’s name, in case I misheard her the first time. I repeated my answer, and politely offered that while ‘Merry Christmas Everybody’ was a personal favorite of mine, Slade weren’t exactly a household name in America, remembered, if at all, for their fluke 1983 hit ‘Run Runaway’, or for supplying Quiet Riot with their 2 best-known songs, ‘Mama Weer All Crazee Now’ and ‘Cum on Feel The Noize’. She shook her head, no doubt thinking You Yanks just don’t get it, and said ‘No Slade! Amazing! Well, cheers!’ and off she went.
Slade OWNED the singles charts in the UK from 1971-1975. In that 4-year period, they released a staggering 17 consecutive Top Twenty singles; 12 of which went Top 5, including 6 that hit #1. Six number one singles on four years… They were the first UK band to have 3 singles enter the chart at #1. By contrast, here in the US the band had only 4 singles that broke into the Top 100 during that same period; the highest of which reached #68. And at the height of their success in Britain, Slade made a concerted effort to break in the states by touring through the 2nd half of 1975 and the bulk of ’76 with the likes of Aerosmith, ZZ Top and Black Sabbath, to little avail. While the touring scored them points with concert goers in several major US cities, US radio never got behind Slade. In the US in the 70’s, radio play was make-or-break.
Pity; most of their early records are a hoot. Slade had a way with a ‘rousing chorus’, a infectious, football chant musicality and an all-inclusive generosity of spirit. Their music was custom built for audience participation. And, while they were capable of throwing in a pop balled here, a novelty song there, overall they rocked quite hard for the era. Noddy Holder was a world-class belter, with a voice that could peel paint, and they had one monster musician in bassist Jim Lea. There’s an awful lot of Slade in early Kiss, and tons of other bands from various genres have name-checked them as an influence. Cheap Trick covered “When the Lights Are Out” just a few years ago. Their glammy image would have fit into what was going on in the States nicely. One wonders: Why would a crap band like Quiet Riot have 2 consecutive hits with Slade songs that had previously failed completely in the US? What’s up with that? Were Slade simply ‘too British’? Or was it because they couldn’t spell?
If you’re interested, I recommend you check out the compilation ‘Get Yer Boots On’ (I hate recommending comps, but this one includes all of their non-lp singles, which are excellent and a huge part of the Slade story), their 2nd full-length, “Slayed”, or their ‘wilderness era’ album, aptly titled “Whatever Happened To Slade?”
The debate over who originated twin guitar harmonies, or who first popularized their use, will likely never be settled. Anyway, who cares? Most of the bands that made that particular trope famous (Maiden, Lizzy, etc) will tell you they copped it from Wishbone Ash.
Wishbone Ash’s sound was an interesting amalgam of prog, folk and hard rock. Don’t let the ‘folk’ tag scare you; this was the most interesting element of their sound: folk music played with electric guitars.
Lead guitarists Andy Powell and Ted Turner were well ahead of their time, not only in their development of harmonized leads but also in the intricate guitar arrangements found in just about every song. Both displayed a deft touch and knew when to crank it up and when to turn it down. Powell and Turner were arguably the finest pre-Thin Lizzy two-guitar team in hard rock, paving the way for many bands to follow. (See how carefully I worded that last sentence?)
Wishbone Who? Ash’s first 8 albums placed in the UK Top 40. Their 3rd record, entitled ‘Argus’, widely regarded as their finest hour, charted in the UK at #3, and earned the band both ‘Album of the Year’ award from Sounds magazine, and ‘British Album of the Year’ from Melody Maker in 1972. So, kind of a big deal. Here in America, however, Wishbone Ash made no impact at all, with only 2 of their records ever entering the Hot 100. Ironically, their classic-era material (certainly ‘Blowin’ Free’, from ‘Argus’) would fit in quite well on US classic rock radio today.
While neither heavy nor metal, Wishbone Ash clearly influenced several notable metal bands (hello, UFO) and iconic players (hey there, Michael Schenker). And make no mistake: their recorded output contains its fair share of certified (if under-recognized) hard rock classics; the epic ‘Phoenix’ from their 1970 debut comes to mind. Still, I suppose one might need to hear some music to fully grasp the Ash’s unique approach to 70’s hard rock, so I suggest the curious start with the aforementioned ‘Argus’. A rich combination of delicate guitar, intricate arrangements, soaring lead guitars, and sweeping progressive reach, ‘Argus’ is a classic of early British hard rock. From there, I’d hit 1974’s ‘There’s The Rub’, criminally under-rated record that showcases one of my favorite bass players ever, lead vocalist Martin Turner, and closes with the amazing instrumental ‘F.U.B.B.’ If it’s the crunchier stuff that you’re looking for, 1977’s ‘No Smoke Without Fire’ and 1980’s ‘Just Testing’ present with a much more dense, metallic sound, and are also recommended.
Anyone reading this remember the 1967 hit (US #12) single by The Status Quo, “Pictures of Matchstick Men”? Yeah, groovy song, man. Too bad they were never able to follow it up… Depending on which continent you reside on, Status Quo was either a one-hit-wonder, or one of the most successful, long-lived rock bands of all time. Scoring a mammoth 60 UK chart hits, 22 of which reached the Top Ten, Quo have spent more cumulative time on the UK singles charts than the Beatles: 200 weeks. 25 of their 30 studio albums have seen the inside of the UK Top 40; 17 of those made the Top 10, including their 2013 album (#10!). Racking up 4 decades-plus of monstrous chart success, Status Quo is hard rock royalty in Britain and Europe. In the US? Nada.
If the only Quo music you’ve ever heard was “…Matchstick Men”, you’ll be floored by the band they became just 4 records later. It only took a few years for Status Quo to transform from British psychedelic pop princes into the heads down, hard-rocking machine they remain to this day. Imagine if Rush’s ‘2112’ and ‘Hold Your Fire’ albums were just 4 years apart, and you have some idea of the drastic stylistic change. The ‘look’ changed as well; gone were the colorful Carnaby Street clothes and acid trip album covers, replaced by jeans and T-shirts and earthy, street level imagery. No one who has heard their first live album ‘Quo Live’ could ever accuse them of faking it; the passion and commitment on display is palpable. Status Quo had finally a music that they felt and understood, and so took a left turn. Once Quo locked onto that 12-bar locomotive boogie rhythm, they never looked back. America, however, couldn’t be bothered.
Like the Ramones, AC/DC and Motorhead, Quo have been accused for decades of making the same album of simple, unimaginative music over and over again, but the standard response from the faithful remains: if it ain’t broke, don’t fix it. In that regard, methinks their chart success speaks for itself. They’ve weathered the decades without changing their sound a whole lot, ignoring trends and sticking to what works, and are always amply rewarded by their British fans. That a band this ‘heavy’ had such success in the mainstream charts, in a music scene where what’s ‘fashionable’ changes every hour, on the hour, says a lot about the powerful loyalty of the British rock fan.
Do yourself a favor; check out any of the ‘classic-era’ albums ‘Piledriver’, ‘Hello!’, ‘Quo’, ‘On the Level’, or ‘Blue for You’. It really doesn’t matter which one of them you chose, ‘cause they’re all the same anyway, right, mate?
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https://www.cherryred.co.uk/back-in-quo-country-expanded-edition
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Back In Quo Country: Expanded Edition
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• In 1968 - when the band that had previously been known as The Scorpions, The Spectres and Traffic Jam, became The Status Quo - Bob Young joined as their roadie, tour manager and harmonica player, until he stepped down from this role in 1981.
• He soon
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https://www.cherryred.co.uk/back-in-quo-country-expanded-edition
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JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.
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https://open.spotify.com/track/2oaUSqc8lwKk09VBa4VyzE
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en
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Get Back
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https://i.scdn.co/image/ab67616d0000b2736b97688a2d25edd3601adf77
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https://i.scdn.co/image/ab67616d0000b2736b97688a2d25edd3601adf77
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1996-01-01T00:00:00
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Listen to Get Back on Spotify. Song · Status Quo · 1996
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Spotify
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https://open.spotify.com/track/2oaUSqc8lwKk09VBa4VyzE
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https://musicbrainz.org/artist/1884ed9c-6fe1-468d-a7f8-8d19c9c4e441
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en
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MusicBrainz
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UK boogie rock band, Type: Group, Founded: 1967 in London, Area: United Kingdom
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https://darrensmusicblog.com/2015/04/27/status-quo-aquostic-at-hammersmith-apollo-26415/
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Live review: Status Quo – Aquostic at Hammersmith Apollo 26/4/15
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"Darren Johnson"
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2015-04-27T00:00:00
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Status Quo are a band that stopped worrying about critical acclaim and musical credibility long, long ago. After the band’s 70s/early 80s peak we’ve seen cringe-worthy covers albums, sing-along football songs, bizarre collaborations with the Beach Boys; in fact you name it, they’ve tried it. Even the well-received reunion of their classic 70s line-up in…
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Darren's music blog
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https://darrensmusicblog.com/2015/04/27/status-quo-aquostic-at-hammersmith-apollo-26415/
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Status Quo are a band that stopped worrying about critical acclaim and musical credibility long, long ago. After the band’s 70s/early 80s peak we’ve seen cringe-worthy covers albums, sing-along football songs, bizarre collaborations with the Beach Boys; in fact you name it, they’ve tried it. Even the well-received reunion of their classic 70s line-up in 2013 was immediately followed by a cheesy mafia comedy film set on a tropical island.
So the idea of a Status Quo acoustic album and tour could be dismissed as yet the latest undignified attempt in a long line of pointless gimmicks. Except that… the album was actually rather good. And following a strong reception to a one-off acoustic show at the Roundhouse last year, touring it was an inspired idea. More than simply strumming along to some old hits, however, the band took the trouble to create completely reworked arrangements for the album and they are replicated here tonight. The acoustic guitars and harmonica are complimented by a range of other instruments, including mandolin, accordion, viola, cello and violins. Joining the modern era line-up of Status Quo (Francis Rossi, Rick Parfitt, Andrew Brown, John Edwards and new-boy Leon Cave) are an additional nine musicians as well as two female backing singers, all of whom, Rossi tells the crowd, played on the album.
Rather than the usual Quo gig, the elegant lighting, back drapes and stage full of seated musicians looks more like the setting for a 1950s dance band. The sound is still unmistakably Status Quo but the light and breezy arrangements and sensitive vocals show off the quality of the songwriting and bring out new depths to often familiar songs. A beautifully laid-back version of early 80s hit “Rock ‘n’ Roll” is a particular highlight and there are some lovely reworkings of earlier material like “Reason for Living”, now re-imagined as a folk-rock rock classic. Rain is given a makeover as a countrified acoustic blues and a classically-infused Mystery Song, with exquisitely catchy string accompaniment, is another highlight. Of course many of the best known classics are included, too, like Caroline, What Your Proposin’ and Down Down.
The set proper is finished with Whatever You Want and Rockin All Over the World, the acoustic treatments creating the perfect setting for a mighty communal sing-along. Thankfully the post 1983 material has been kept to a minimum in favour of earlier classics, but they encore with a nicely sensitive version of Rock ‘til You Drop. That is then followed by the gimmicky jig, Burning Bridges. It wouldn’t be my choice for a Quo encore but the crowd lap it up and you can forgive the band one lapse of good taste after such a stunning evening.
Set-list:
Break the Rules
Again and Again
Paper Plane
Mystery Song / Little Lady
Rock ‘n’ Roll
Caroline
What You’re Proposing
Softer Ride
Down Down
Pictures of Matchstick Men
Down the Dustpipe
All the Reasons
Reason for Living
Rollin’ Home
Don’t Drive My Car
Claudie
Rain
Marguerita Time
Nanana
Whatever You Want
Rockin’ All Over the World
Rock ’til You Drop
Burning Bridges (On and Off and on Again)
http://www.statusquo.co.uk/
Previous Review:
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https://thetab.com/uk/2024/07/31/well-its-over-how-the-lamest-people-on-earth-ruined-our-brat-summer-377899
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Well, it’s over: How the lamest people on earth ruined our Brat summer
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2024-07-31T00:00:00
|
CharlI XCX promised us all a Brat summer, but it got ruined by a load of lame people who have no clue what this album means or what the spirit is about.
|
en
|
The Tab
|
https://thetab.com/uk/2024/07/31/well-its-over-how-the-lamest-people-on-earth-ruined-our-brat-summer-377899
|
“Are you having a Brat summer?” Someone on TikTok asks a trio of middle aged divas, one of whom is in the perfect shade of Brat green. A wave of confusion washes over all three. The tallest woman then replies “Yes, a very bright summer.” To me, this is perfect. I really hate to gatekeep anything cool, but I fear we’re at the point where it’s a needs must. This TikTok is perfect to me because these are three people who should be blissfully unaware of what the term Brat summer means. They aren’t having a Brat Summer because they’ve got no clue what a Brat summer is. To quote High School Musical: “No, no, no – stick to the stuff you know / Don’t mess with the flow, stick to the status quo.” This was meant to be OUR Brat Summer – but as the lamest people on this earth continue to besmirch its good name, sorry Charli XCX – I’m afraid we’re going to have to consider Brat summer ruined.
I’m not going to explain what a Brat summer is for you, because if I have to do that then you’re part of the reason I’ve been pushed to write this in the first place. The people who Brat summer is for already knew what it was when Charli XCX dropped the album, and aren’t the reason for why it’s now ruined and in tatters. I would like to preface this going forward that I’ve been an in the trenches Charli XCX fan since True Romance. It brings me mind-blowing levels of joy and pride to see someone I love and cherish so much getting unprecedented pop culture impact, critical acclaim and releasing the best record of her career. I love seeing her vision come together and give her organic hits and the success she’s deserved since she started truly pioneering with the Vroom Vroom EP in 2016. However.
To echo Ruby here, it’s over. We are witnessing Christine Lampard filling in for the absent (shock) Lorraine Kelly doing a dismal version of the viral Apple dance. On daytime TV.
I saw this yesterday and couldn’t muster up the energy to talk about it til today, really. But now I’ve stopped eye-rolling I delved a bit deeper and watched the full segment. If you needed any more evidence on why Brat summer has been ruined by the lamest people on earth, just look at how the official Lorraine YouTube has spelt Charli XCX.
I just think people who are doing a nine minute segment on television about Charli XCX should probably try and get her name spelt right before they talk about it.
“Everyone is talking about Brat summer, Brat summer,” Christine says, sort of feigning enthusiasm. “Tell us what this is.” She then asks a younger fella on who says “Brat summer, it’s all been influenced by Charli XCX. She’s got a new album out called Brat. It’s essentially looking at the party girl life. It’s all about living your best life, doing it yourself and living your authentic self.” This is all made a bit more maddening by the fact they play clips of Charli performing Boom Clap in the background – her most mainstream hit from a decade ago that has nothing to do with Brat in the slightest.
“She’s also described it as being a trashy summer with a pack of cigs and a scrappy white top.” One of Christine’s other minions then says “It’s basically late 90s, early 00s, Christine!” and she gives it an “Ahh yes yes, it all comes back around again doesn’t it!” Err, no actually!
You don’t need me to mention the utter surreal nature of the entire Kamala Harris / Brat crossover, but you do need me to laugh with you how funny it is that all these politicians have jumped on the aesthetic and the Brat summer spirit seemingly unaware a crucial part of the entire vibe is doing a lot of coke.
Even people in music who should know better don’t have a clue. A playlist title Brat summer is up on Spotify. Does this playlist contain the best of Charli XCX – and showcase her collaborators? Maybe The Dare, some of George Daniels’ remixes, AG Cook? Of course not, it’s just a load of trending songs that mean nothing. Even bloody Sophie Ellis-Bextor’s Murder on the Dancefloor is there for some godforsaken reason.
Herein lies the issue. Brat summer felt like a unifying thing between Charli XCX fans and people who just sort of get it – a rallying cry for an artist in her peak. But it’s become a meaningless expression – and that derision is what has ruined Brat summer – and only really Charli XCX can save that now.
There’s still time for the much whispered about remix album to save the summer yet.
Related articles recommended by this author:
• This is exactly which Brat song each UK uni would be based on vibes and vibes alone
• Charli XCX has spoken out against fans who were chanting ‘Taylor Swift is dead’ at her show
|
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https://statusquo.boards.net/thread/11188/bob-young-2017
|
en
|
Bob Young 2017
|
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http://allabouttherock.co.uk/bob-young-interview/ Bob Young (of Status Quo fame) took time out to grant us an interview. First of all let me say how very sorry we are to hear of Rick
|
https://storage.proboards.com/3676547/images/_3rUUl51OEETqhYJJZ6q.ico
|
https://statusquo.boards.net/thread/11188/bob-young-2017
|
Post by 4th Chord on
allabouttherock.co.uk/bob-young-interview/
Bob Young (of Status Quo fame) took time out to grant us an interview.
First of all let me say how very sorry we are to hear of Ricks passing, this must be a very hard time for the band & yourself. Are there any memories of Rick you could share with us?
Thanks and yes it’s been quite a tough time since Christmas Eve and even now after a month it still hasn’t completely sunk in that he’s no longer with us. Everybody’s been dealing with it in their own way and for sure he’ll never be forgotten. I spoke to him that day he went into hospital and he was really looking forward to 2017 and beyond and getting started on his solo album in Germany this month. His autobiography book deal was on the table and that really would have been a page turner, a real rock and roll story. He was always the good-looking rock star who could grab any headline and you always knew when he walked into a room. There was also ‘An Evening With Rick Parfitt’ theatre tour being planned which the fans would have loved… I’m glad to have fifty years of countless memories and never a dull moment with him.
I would like to take a look back over the years with yourself being a part of Status Quo, back to around 1969 when you started writing songs with the band, how did all that come about?
I’d moved up to London in 1967 from my home town of Basingstoke when I was 23 years old. I survived by busking and also driving the vans and roadie-ing for one or two bands such as The Attack, The Herd and Amen Corner. In 1968 I met Status Quo on the Gene Pitney package tour at the Hammersmith Odeon and a couple of weeks later their managers tracked me down and offered me a job as their lone roadie. They were riding on the back of their first hit single ‘Pictures Of Matchstick Men’ and playing places like the Top Rank ballrooms circuit. A couple of non-hit singles later and their audiences were starting to dwindle in that fickle pop market and they were becoming more and more disillusioned with the way things were going. They knew that I was also a struggling musician and songwriter. Driving the van and gear to a gig in the West Country with bass player Alan Lancaster in the passenger seat strumming his guitar he suggested we write a song together and by the time we arrived we’d written the bones of ‘Antique Angelique’. This and three other Lancaster/Young songs made it onto the second Quo album ‘Spare Parts’. Francis Rossi and I, soon after, started to write together and on their third album ‘Ma Kelly’s Greasy Spoon’ in 1970, when the band had by now pretty much taken control of their direction and image, we co-wrote four of the ten tracks together. This was the ground breaking album that showed the way their music and gigs were heading, completely away from the pop past and into the rock future. It all began to feel very natural, fun and worthwhile. Skint, on a mission and happy. I remember one gig in a club with an audience of seven Quo fans of the music they were now playing, they played for over two hours and did three encores. So just a couple of years later playing with the same passion and belief to audiences of ten thousand and more came quite naturally. The Quo Army was and still are, fifty years later, very special.
You played harmonica on the track ‘The Price Of Love’, and in following years you and Francis Rossi wrote a number of songs together which included ‘Caroline’, ‘Paper Plane’ and ‘Down Down’, which of these did you most enjoy writing?
I started playing harmonica when I was 13 or 14 years old and listening to Sonny Terry and Brownie McGhee, Sonny Boy Williamson and Bob Dylan and the likes and my busking days helped a lot with it so when Quo need harmonica on a track I guess I was the obvious first choice. Certainly not the best player around but what I did worked for them and from then on I then played on every recording when needed and also every night on stage for the next ten years although my position as tour-manager remained equally as important to me as I was learning and enjoying every aspect of the music business. It’s hard to pinpoint which songs I’ve most enjoyed writing. Of the dozens I’ve been lucky to have co-written the three you mention have all been become very special to me for various reasons. They all work really well live which is important for most of the bands songs. I also have a special liking for ‘Mystery Song’ and ‘Living On An Island’ which Rick and I wrote together amongst several others over the years.
When writing where do you get your inspiration from?
Unless writing for a specific project such as the 2013 Quo movie ‘Bula Quo’, when there are certain deadlines, it can come from just about anywhere and at any time. I’ve always written lyrics and ideas down and that can happen at any time and anywhere and I have note books full of these which I’ve kept over the years. I’ve have most of the original handwritten lyrics to the songs I’ve worked on and have also kept the work in progress demos.
Do any of the songs come from memories/dreams or personal experiences?
I’ve often wondered just where songs do come from. Of course there will always be a certain element of personal experiences involved in the process of writing both in the words and/or music. It’s all about capturing one emotion or another. What makes one song better than the next or one artist more popular than another? Is it luck, timing, talent? I guess it can be any one or all of these.
Do you prefer to write acoustically?
I’ve almost always written with someone else whether Francis, Rick, Micky Moody or whoever and being the rubbish guitarist I am it’s always been the other person playing while we write. Usually it’s an acoustic guitar and if it’s an electric then just through a small amp as on the road it would usually have been in a bedroom. Throughout the first couple of decades many of the Quo songs, as they were being written by any of the band, were recorded direct onto a cassette. I have countless cassettes full of ideas and demos. Things thankfully did get easier and better for songwriters and musicians, particularly those on the road, and today you can carry just about all you need to record a song or a whole album in your back pocket.
In 1978 the book ‘Alias The Compass’ was released which contains poems and songs you wrote while working with Status Quo. When looking back is there anything you wished you had added to the book?
I decided around 1975 to put a book together of some of the ‘poems, thoughts and various other combinations of words’ I’d written since my teens. Some of these had developed into song lyrics and many were just the ramblings of life on the road. It took me a couple more years to pull it all together and was very pleased to have Deep Purple’s Roger Glover contribute drawings relating to some of the poems and also the legendary DJ (and Quo fan) John Peel agree to write the foreword for the book. I could have added much more back then but there was a point when I needed to complete it rather than have it all sitting around for another few years. I’ve been ready for some time now (just a mere forty years later) to compile the follow-up. I’ve managed to make a start with this and have decided to make it ‘an autobiographical scrapbook’ which basically means I can include poems, lyrics, photos, selected memorabilia, stories and letters to and from various people in my life past and present.
You remained Quos tour manager until 1980, and in 1984 the biography ‘Again and Again’, which you co wrote with John Shearlaw, reported on your years with Status Quo. Which moments were your fondest memories with the band & are there any embarrassing moments you can share (either on or off the road)
That particular book was a fun look back over the years, a potted authorized history of Quo up to 83’. It was a nice book and very well received. A reminder of the progress of the band over the previous twenty years since Alan Lancaster and Francis first played music together at school and put together a group that eventually became The Status Quo. Other successful Quo books documenting the past three decades followed which I’ve also enjoyed working on. There’s so many fond memories and highlights during my time on the road and also over the past seventeen years since Francis and I started writing together again. A whole book if I don’t run out of time…
Being in the music business a long time how do you feel the Internet has impacted music and bands?
The internet has changed so many areas of the music business and noticed more so by those of us that have also worked in the business pre-internet for many years but it’s been important to embrace it. Fight it and you get left behind. A lot of us have benefited from the various changes in the past such as the move from vinyl to CD. The record companies, artists, writers, managers and others all hit gold when that happened. The changes now to ‘free music available to all’ has hit a lot of people especially the creators of music who are the backbone of the music industry. There will always be exceptions but generally gone are the days of artists selling a hundred thousand records in a day and staying in the charts more than a few weeks. It’s pretty tough now for new artists to break through with so much competition but certainly not impossible. Live music lives on and is thriving and it’s still an exciting business to be in and the young talented and determined, whichever field they happen to be in, will always shine through so long as they keep looking to the future and learning from the past.
Can you tell us a little about what you’re working on right now?
As always probably too many things. Writing again with Francis for the past seventeen years has and still is important. I’m currently working with the owners of the Cavern Club in Liverpool and a great designer Adrian Cross on a limited edition coffee table book on the definitive 60 years history of the Club. We’re close to completion and planning on a June 2017 publication. The list of artists to have played the club is quite extraordinary, everybody from the Beatles, Rolling Stones and the Who to Stevie Wonder, Queen, Arctic Monkeys and Adele. I’ve started my ‘autobiographical scrapbook’ and I also need to carry on checking out a lot of places in the world I can’t remember going to. I have a pretty good idea of what I’ll be doing for the next few years which I guess isn’t such a bad thing.
What was the inspiration behind the country album & how do you feel about this expanded version?
I’d always had it in my head that when I came off the road with Quo one of the many things I would do without the restriction of touring was record a solo album of some of the SQ songs I’d co-written with a band of great players and a leaning towards the country music I liked. My other long time writing and recording partner, Whitesnake guitarist Micky Moody, was the first person I discussed the idea with and he enthusiastically came on board as co-producer and we started looking at which songs I’d like to do and the players we’d like to work with us in the studio. Cherry Red Records were interested in re-mastering, re-packaging and re-releasing the album so I decided on several bonus tracks which I felt would work alongside the original ten and supplied the photos artwork and text for the new booklet and I’m very happy with the final product and extremely pleased with the positive reaction to the release.
It’s been an absolute pleasure to talk to you. Thanks Bob
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https://www.pinterest.com/pin/status-quo-records-and-cds--425801339739515353/
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[] |
[] |
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[
""
] | null |
[] |
2013-05-13T16:25:45+00:00
|
Discover (and save!) your own Pins on Pinterest.
|
en
|
Pinterest
|
https://www.pinterest.com/pin/status-quo-pictures-of-matchstick-men-1968-it-reached-7-in-the-british-charts-8-in-canada-and-12-on-the-bill--30188259975323271/
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| 17
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https://www.betteronvinyl.co.uk/rock/status-quo-live-gatefold-double-album-6641-580
|
en
|
STATUS QUO live, gatefold, double album, 6641 580
|
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TOP COPY. best I have seen. STATUS QUO live, gatefold, double album, 6641 580. 1977 UK Press on vertigo spaceship label, stereo. Gatefold sleeve is in excellent condition with a strong uncrushed spine and minimal storage wear marks. Inner picture sle
|
en
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https://betteronvinyl-static.localinsights.site/images/favicons/2e0d89dd464f1fcbc684917ab1588036.ico
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Better On Vinyl
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https://www.betteronvinyl.co.uk/rock/status-quo-live-gatefold-double-album-6641-580
|
TOP COPY. best I have seen. STATUS QUO live, gatefold, double album, 6641 580. 1977 UK Press on vertigo spaceship label, stereo. Gatefold sleeve is in excellent condition with a strong uncrushed spine and minimal storage wear marks. Inner picture sleeves are in excellent condition with minimal storage wear marks. Vinyl are in excellent condition with minimal spindle/superficial marks. Minor background noise in places. I do not sell records that are warped or jump. All records will be posted with extra card stiffeners. If you feel the record is not as described I will give a full refund.
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2833
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dbpedia
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0
| 15
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https://en.wikipedia.org/wiki/Status_Quo_discography
|
en
|
Status Quo discography
|
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2007-12-26T19:23:39+00:00
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en
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https://en.wikipedia.org/wiki/Status_Quo_discography
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Studio albums33Live albums14Compilation albums26Video albums26Music videos70Singles98Box sets18
This is the discography of the British rock band Status Quo. They have released around 100 singles and have spent over 400 weeks in the UK Singles Chart.[1] They have spent over 500 weeks in the UK Albums Chart[2] and are one of the most successful bands of all time in the UK. Their most recent album, Backbone, was released in 2019.
For a full list of the band's songs, see List of songs by Status Quo.
Albums
[edit]
Studio albums
[edit]
Title Album details Peak chart positions Certifications UK
[3] AUS
[4][5] AUT
[6] FIN
[7] GER
[8] NL
[9] NOR
[10] SPA
[11][12] SWE
[13][14] SWI
[15] Picturesque Matchstickable Messages from the Status Quo
Released: 27 September 1968
Label: Pye
Formats: LP, MC, 4-track, reel-to-reel
— — — — — — — — — — Spare Parts
Released: 26 September 1969
Label: Pye
Formats: LP
— — — — — — — — — — Ma Kelly's Greasy Spoon
Released: 28 August 1970
Label: Pye
Formats: LP, MC, 8-track
— — — — — — — — — — Dog of Two Head
Released: 5 November 1971
Label: Pye
Formats: LP, MC, 8-track
— — — — — — — — — — Piledriver
Released: 15 December 1972
Label: Vertigo
Formats: LP, MC, 8-track
5 15 — 13 31 — 23 — — —
AUS: Platinum[4]
FRA: Gold[16]
SWE: Gold[17]
UK: Gold[18]
Hello!
Released: 28 September 1973
Label: Vertigo
Formats: LP, MC, 8-track
1 19 — 6 37 — 6 — 10 —
AUS: Platinum[4]
FRA: Gold[16]
NL: Gold[19]
SWE: Gold[20]
IFPI SWI: Platinum[21]
UK: Gold[18]
Quo
Released: 3 May 1974
Label: Vertigo
Formats: LP, MC, 8-track
2 23 10 10 21 — 6 — 8 —
AUS: Gold[4]
FRA: Gold[16]
GLF: Gold[22]
SWI: Gold[23]
UK: Gold[18]
On the Level
Released: 21 February 1975
Label: Vertigo
Formats: LP, MC, 8-track
1 2 — 3 11 1 4 15 1 —
AUS: 3× Platinum[4]
FRA: Gold[16]
NL: Gold[24]
SWE: Gold[20]
SWI: Gold[25]
UK: Gold[18]
Blue for You
Released: 12 March 1976
Label: Vertigo
Formats: LP, MC, 8-track
1 3 — 17 15 2 — — 3 —
AUS: 3× Platinum[4]
FRA: Gold[16]
NL: Gold[26]
NZ: Platinum[27]
SPA: Platinum[11]
UK: Gold[18]
Rockin' All Over the World
Released: 11 November 1977
Label: Vertigo
Formats: LP, MC, 8-track
5 14 24 18 7 9 16[A] — 19 —
AUS: 2× Platinum[4]
FRA: Gold[16]
GER: Gold[28]
SPA: Platinum[11]
SWI: Gold[29]
UK: Gold[18]
If You Can't Stand the Heat...
Released: 27 October 1978
Label: Vertigo
Formats: LP, MC, 8-track
3 21 — — 11 8 18 — 15 —
AUS: Gold[4]
FRA: Gold[16]
SWI: Gold[30]
UK: Gold[18]
Whatever You Want
Released: 12 October 1979
Label: Vertigo
Formats: LP, MC
3 22 16 — 9 7 21 7 18 —
AUS: Gold[4]
FRA: Gold[16]
NL: Gold[31]
UK: Gold[18]
Just Supposin'
Released: 17 October 1980
Label: Vertigo
Formats: LP, MC
4 31 6 — 14 6 22 7 26 —
FRA: Gold[16]
SPA: Gold[11]
SWI: Gold[32]
UK: Gold[18]
Never Too Late
Released: 13 March 1981
Label: Vertigo
Formats: LP, MC
2 33 9 — 12 15 12 12 14 —
FRA: Gold[16]
SPA: Platinum[11]
UK: Gold[18]
1+9+8+2
Released: 16 April 1982
Label: Vertigo
Formats: LP, MC
1 60 16 — 29 15 7 — 21 —
UK: Gold[18]
Back to Back
Released: 25 November 1983
Label: Vertigo
Formats: LP, MC
9 97 — — 60 26 — — 38 20
UK: Gold[18]
In the Army Now
Released: 29 August 1986
Label: Vertigo
Formats: CD, LP, MC
7 87 12 15 14 50 6 13 12 1
NOR: Silver[33]
SPA: Gold[11]
UK: Gold[18]
Ain't Complaining
Released: 6 June 1988
Label: Vertigo
Formats: CD, LP, MC
12 — 11 12 33 — 13 — 19 5
UK: Gold[18]
Perfect Remedy
Released: 17 November 1989
Label: Vertigo
Formats: CD, LP, MC
49 — — — — — — — 40 26
UK: Silver[18]
Rock 'til You Drop
Released: 23 September 1991
Label: Vertigo
Formats: CD, LP, MC
10 — — — — — — — 22 18 Thirsty Work
Released: 22 August 1994
Label: Polydor
Formats: CD, LP, MC
13 — — — 87 87 — — 6 10 Don't Stop
Released: 5 February 1996
Label: PolyGram TV
Formats: CD, MC
2 — — — 42 88 — — 14 28
UK: Gold[18]
Under the Influence
Released: 31 March 1999
Label: Eagle
Formats: CD, MC
26 — — — 56 81 — — — 28 Famous in the Last Century
Released: 17 April 2000
Label: Universal Music TV
Formats: CD, MC
19 — — — 46 — — — 20 56 Heavy Traffic
Released: 23 September 2002
Label: Universal Music TV
Formats: CD, MC
15 48 — — 35 75 — — 30 21
UK: Silver[18]
Riffs
Released: 17 November 2003
Label: Universal Music TV
Formats: CD, MC
44 — — — — — — — — 70[B]
UK: Silver[18]
The Party Ain't Over Yet
Released: 19 September 2005
Label: Sanctuary
Formats: CD
18 — — — 19 65 — — 17 21 In Search of the Fourth Chord
Released: 17 September 2007
Label: Fourth Chord
Formats: CD, LP
15 — — — 22 71 — — 13 18 Quid Pro Quo
Released: 27 May 2011
Label: Fourth Chord
Formats: CD, 2xCD, 2xLP, digital download
10 — 26 — 13 32 — — 32 8
UK: Silver[18]
Bula Quo!
Released: 7 June 2013
Label: Fourth Chord
Formats: 2xCD, LP, digital download
10 — 27 — 17 41 — — 27 13
UK: Silver[18]
Aquostic – Stripped Bare
Released: 17 October 2014
Label: Rhino
Formats: CD, 2xLP, digital download
5 — 33 — 15 26 — — 43 4
UK: Gold[18]
Aquostic II – That's a Fact!
Released: 21 October 2016
Label: Fourth Chord
Formats: CD, 2xCD, 2xLP, digital download
7 — 37 — 26 50 — — — 13 Backbone
Released: 6 September 2019
Label: earMUSIC
Formats: CD, 2xCD, LP, digital download
6 98 23 — 6 28 — 43 31 2 "—" denotes releases that did not chart or were not released in that territory.
Live albums
[edit]
Title Album details Peak chart positions Certifications UK
[3][34] AUS
[4] AUT
[6] FIN
[7] GER
[8] NL
[9] NOR
[10] SWE
[14] SWI
[15] Live!
Released: 4 March 1977
Label: Vertigo
Formats: 2xLP, MC, 8-track
3 6 20 — 3 7 — 9 —
AUS: 2× Platinum[4]
FRA: Gold[16]
GER: Gold[28]
NL: Gold[35]
SWI: Gold[36]
UK: Gold[18]
UK: Gold[18]
Tokyo Quo
Released: 1977
Label: Vertigo
Formats: LP
Japan-only release
— — — — — — — — — Live at the N.E.C.
Released: November 1982 (as part of From the Makers of... box set) / May 1984 (individual)
Label: Vertigo
Formats: LP, MC
83 — — — — 43 — 45 — Live Alive Quo
Released: 2 November 1992
Label: Polydor
Formats: CD, LP, MC
37 — — — — — — — — Pictures – Live at Montreux 2009
Released: 12 October 2009
Label: Eagle Vision/Montreux Sounds
Formats: CD
98[C] — — — — — — — — Live at the BBC
Released: 22 October 2010
Label: Mercury/Universal
Formats: 2xCD, 4xCD, 7xCD
176 — — — — — — — — The Frantic Four Reunion – Live at the O2 Academy Glasgow
Released: 3 October 2013
Label: earMusic
Formats: 2xLP
— — — — — — — — — The Frantic Four Reunion – Live at the Hammersmith Apollo
Released: 3 October 2013
Label: earMUSIC
Formats: 2xCD, 2xLP, digital download
37 — — — 22 75 — — 79 The Frantic Four Reunion – Live at Wembley Arena
Released: 3 October 2013
Label: earMusic
Formats: 2xCD
— — — — — — — — — The Frantic Four's Final Fling – Live at the Dublin O2 Arena
Released: 29 August 2014
Label: earMUSIC
Formats: 2xCD, 2xLP, digital download
34 — — — 36 68 — — 58 Aquostic – Live at the Roundhouse
Released: 13 April 2015
Label: earMUSIC
Formats: 2xCD, 2xLP, digital download
— — 51 — — 57 — — 33 The Last Night of the Electrics
Released: 14 July 2017
Label: earMUSIC
Formats: 2xCD, 2xLP, digital download
24 — — — 10 93 — — 17 Down Down & Dignified at the Royal Albert Hall
Released: 17 August 2018
Label: earMUSIC
Formats: CD, 2xLP, digital download
— — — — 66 — — — 35 Down Down & Dirty at Wacken
Released: 17 August 2018
Label: earMUSIC
Formats: CD, 2xLP, digital download
— — — — 23 — — — 15 "—" denotes releases that did not chart or were not released in that territory.
Compilation albums
[edit]
Title Album details Peak chart positions Certifications UK
[3] AUS
[4] AUT
[6] FIN
[7] GER
[8] NL
[9] NOR
[10] SPA
[11] SWE
[14] SWI
[15] Status Quo-Tations
Released: November 1969
Label: Marble Arch
Formats: LP
— — — — — — — — — — The Best of Status Quo
Released: May 1973
Label: Pye
Formats: LP, MC, 8-track
32 — — — — — — — — — Golden Hour of Status Quo
Released: June 1973
Label: Golden Hour
Formats: LP, MC, 8-track
— — — — — — — — — —
UK: Silver[18]
Down the Dustpipe
Released: October 1975
Label: Golden Hour
Formats: LP, MC, 8-track
20 — — — — — — — — —
UK: Silver[18]
The Rest of Status Quo
Released: September 1976
Label: Pye
Formats: LP, MC, 8-track
— — — — — — — — — — Just for the Record
Released: 1979
Label: Pye
Formats: LP, MC
— — — — — — — — — — 12 Gold Bars
Released: 14 March 1980
Label: Vertigo
Formats: LP, MC
3 14 — — 19 26 22 22 — —
AUS: Gold[4]
UK: Platinum[18]
Fresh Quota
Released: 18 September 1981
Label: PRT
Formats: LP, MC
Mini-album
74 — — — — — — — — — 12 Gold Bars Vol. 2
Released: 23 November 1984
Label: Vertigo
Formats: CD, LP, MC
12 80 — — — — — — — —
UK: Gold[18]
The Complete Hitalbum
Released: January 1985
Label: Arcade
Formats: LP, MC
Netherlands-only release
— — — — — 4 — — — — Hit Album
Released: February 1987
Label: Polystar
Formats: CD, LP, MC
Continental Europe-only release
— — — — 17 — — — — 8 Rocking All Over the Years
Released: 8 October 1990
Label: Vertigo
Formats: CD, 2xLP, 2xMC
2 10 14 — 46 20 — 5 20 12
AUS: 4x Platinum[4]
SPA: Gold[11]
SWE: Gold[37]
SWI: Gold[38]
UK: 2× Platinum[18]
Whatever You Want – The Very Best of Status Quo
Released: 13 October 1997
Label: PolyGram TV/Vertigo
Formats: 2xCD, 2xMC
13 71 — — 13 — — — — 18
UK: Gold[18]
The Singles Collection 1966–1973
Released: June 1998
Label: Castle Music
Formats: 2xCD
— — — — — — — — — — Greatest Hits and More
Released: April 2000
Label: Universal
Formats: 2xCD
Netherlands-only release
— — — — — 16 — — — — The Swedish Collection
Released: April 2002
Label: Universal
Formats: 2xCD
Sweden-only release
— — — — — — — — 5 — XS All Areas – The Greatest Hits
Released: 20 September 2004
Label: Universal Music TV
Formats: 2xCD
16 — — — 84 — — — — —
UK: Platinum[18]
Gold
Released: August 2005
Label: Universal
Formats: 2xCD
— — — 45[D] — — — — 31[D] — Pictures – 40 Years of Hits
Released: 10 November 2008
Label: Universal
Formats: 2xCD, 4xCD
8 — — — — — — — 2 —
UK: Gold[18]
Die grössten Erfolge
Released: 17 February 2012
Label: earMUSIC
Formats: CD
Continental Europe-only release
— — — — — — — — — 95 Rockin' All Over the World – The Collection
Released: 23 March 2015
Label: Spectrum Music
Formats: CD, digital download
— — — — — — — — — — Accept No Substitute! The Definitive Hits
Released: 20 November 2015
Label: Universal
Formats: 3xCD, 2xLP
21 — — — — — — — — — Whatever You Want: The Essential Status Quo
Released: 25 November 2016
Label: Spectrum Music
Formats: 3xCD
90 — — — — — — — — — Keep 'Em Coming! The Collection
Released: 17 February 2017
Label: Music Club Deluxe
Formats: 2xCD
70 — — — — — — — — — Collected
Released: 6 October 2017
Label: Universal Music
Formats: 3xCD
— — 64 — 49 — — — — — Essential
Released: 28 August 2020
Label: Universal Music
Formats: 3xCD
28 — — — — — — — — — Quo'ing In – The Best of the Noughties
Released: 16 September 2022
Label: earMUSIC
Formats: 2xCD, 3xCD, digital download
80 — — — 35 — — — — 15 "—" denotes releases that did not chart or were not released in that territory.
Box sets
[edit]
Title Album details Peak chart positions Certifications UK
[3] NL
[9] From the Makers Of...
Released: 5 November 1982
Label: Phonogram
Formats: 3xLP, 2xMC
4 —
UK: Gold[18]
Great Box
Released: 25 June 1991
Label: Vertigo
Formats: 4xCD
Japan-only release
— — The 70s Singles Box
Released: July 2001
Label: Castle Music
Formats: 6xCDS
— — Rockers Rollin' – Quo in Time 1972–2000
Released: 3 December 2001
Label: Universal
Formats: 4xCD
— — The Essential Status Quo
Released: November 2001
Label: Spectrum Music
Formats: 3xCD
— —
UK: Gold[18]
The Singles Collection 1968–69
Released: January 2002
Label: Castle Music/Sanctuary
Formats: 7xCDS
— — Now and Then
Released: 13 June 2005
Label: Crimson
Formats: 3xCD
49 — Top 100
Released: 23 August 2010
Label: Universal
Formats: 5xCD
Netherlands-only release
— 23 4 Original Albums
Released: January 2011
Label: Universal Music/Vertigo
Formats: 4xCD
— — 5 Original Albums
Released: August 2011
Label: Mercury/Universal Music/Vertigo
Formats: 5xCD
— — Classic Album Selection
Released: 22 March 2013
Label: Mercury
Formats: 5xCD
— — The Vinyl Collection 1972–1980
Released: 14 August 2015
Label: Universal
Formats: 11xLP
— — 5 Classic Albums
Released: 6 November 2015
Label: Spectrum Music/Universal
Formats: 5xCD
— — The Vinyl Collection 1981-1996
Released: 10 February 2017
Label: Universal Music
Formats: 12xLP
— — The Vinyl Singles Collection 1972–1979
Released: 10 March 2017
Label: Universal Music/Vertigo
Formats: 13x7"
— — The Vinyl Singles Collection 1980–1984
Released: 2 June 2017
Label: Universal Music
Formats: 12x7"
— — The Vinyl Singles Collection 1984–1989
Released: 4 August 2017
Label: Universal Music
Formats: 12x7"
— — The Vinyl Singles Collection 1990–1999
Released: 30 November 2018
Label: Universal Music
Formats: 16x7"
— — The Vinyl Singles Collection 2000–2010
Released: 26 April 2019
Label: Universal Music
Formats: 10x7"
— — "—" denotes releases that did not chart or were not released in that territory.
Singles
[edit]
1960s–1970s
[edit]
Title Year Peak chart positions Certifications Album UK
[3] AUS
[39][4] AUT
[6] BEL (FLA)
[40] GER
[8] IRE
[41] NL
[9] SPA
[11] SWI
[42] US
[43] As the Spectres "I (Who Have Nothing)" 1966 — — — — — — — — — — Non-album singles "Hurdy Gurdy Man" — — — — — — — — — — "(We Ain't Got) Nothin' Yet" 1967 — — — — — — — — — — As the Traffic Jam "Almost but Not Quite There" 1967 — — — — — — — — — — Non-album single As the Status Quo "Pictures of Matchstick Men" 1968 7 19 18 — 7 — 3 — 5 12 Picturesque Matchstickable Messages from the Status Quo "Black Veils of Melancholy" 51[E] 85 — — 36 — —[F] — — — "Ice in the Sun" 8 48 — 19 17 17 —[G] — — 70 "Technicolor Dreams" — — — — — — — — — — "Make Me Stay a Bit Longer" 1969 — — — — — — — — — — Non-album single As Status Quo "Are You Growing Tired of My Love" 1969 46 — — — — — — — — — Spare Parts "The Price of Love" — — — — — — — — — — Non-album singles "Down the Dustpipe" 1970 12 28 — — — 11 — — — — "In My Chair" 21 — — — 38 — — — — — "Tune to the Music" 1971 — — — — — — — — — — "Railroad" [H] 1972 — — — — — — — — — — Dog of Two Head "Paper Plane" 8 — — — 42 11 — — — — Piledriver "Gerdundula" 53[E] — — — — — — 16 — — Dog of Two Head "Mean Girl" 1973 20 — — — 40 — 14 — — — "Don't Waste My Time" [I] — — — — — — — — — — Piledriver "Caroline" 5 31 — — 36 11 — — — —
UK: Gold[45]
Hello! "Break the Rules" 1974 8 — — — 18 — — — — — Quo "Just Take Me" [J] — — — — — — — — — — "Down Down" 1 4 14 1 7 2 1 — 2 —
UK: Silver[18]
On the Level "Roll Over Lay Down" (live) 1975 9 2 — 5 15 — 2 — — — Non-album single "Rain" 1976 7 40 — 10 27 14 5 — 8 — Blue for You "Mystery Song" 11 — — 21 38 — 15 — — — "Mad About the Boy" [K] — — — — — — — — — — "Wild Side of Life" 9 8 — 22 15 12 18 — — — Non-album single "Spinning Wheel Blues" [L] 1977 — — — — — — — — — — Ma Kelly's Greasy Spoon "Rockin' All Over the World" 3 12 22 18 7 1 11 — 3 —
UK: Gold[18]
Rockin' All Over the World "Rockers Rollin'" / "Hold You Back" [M] — — — 15 30 — 6 — — — "Again and Again" 1978 13 — — 28 18 5 9 — 8 — If You Can't Stand the Heat... "Accident Prone" 36 — — 15 19 — 10 — — — "Like a Good Girl" [N] 1979 — — — — — — — — — — "Whatever You Want" 4 22 11 4 12 5 5 2 — —
UK: Silver[18]
Whatever You Want "Living on an Island" 16 62 — — 38 12 25 28 — — "—" denotes releases that did not chart or were not released in that territory.
1980s–1990s
[edit]
Title Year Peak chart positions Certifications Album UK
[3] AUS
[4][46] AUT
[6] BEL (FLA)
[40] GER
[8] IRE
[41] NL
[9] SPA
[11] SWI
[42] "What You're Proposing" 1980 2 62 4 7 3 2 4 3 2 Just Supposin' "Lies" / "Don't Drive My Car" 11 — 9 31 38 10 24 — —
UK: Silver[18]
"Something 'Bout You Baby I Like" 1981 9 89 — — 49 7 15 8 10 Never Too Late "Rock 'n' Roll" 8 — — 33[O] — 3 20[O] 10 —
UK: Silver[18]
Just Supposin' "Dear John" 1982 10 — — 18 — 10 24 — — 1+9+8+2 "She Don't Fool Me" 36 — — — — — — — — "Young Pretender" [P] — — — — — — — — — "Jealousy" [Q] — — — — — — — — — "Caroline" (live) 13 — — — — 12 — — — Live at the NEC "I Love Rock and Roll" [R] — — — — — — — — — 1+9+8+2 "Ol' Rag Blues" 1983 9 — — 31 47 7 20 — 17 Back to Back "A Mess of Blues" 15 — — — — 12 — — — "Marguerita Time" 3 — — — 52 7 35 — 23
UK: Silver[18]
"Going Down Town Tonight" 1984 20 — — — — 14 — — — "The Wanderer" 7 54 — 9 — 3 6 — 10 12 Gold Bars Vol.2 "Rollin' Home" 1986 9 — — — — 1 43 — 10 In the Army Now "Red Sky" 19 — — — — 5 — — 29 "In the Army Now" 2 — 1 15 1 1 15 2 1
FRA: Gold[16]
UK: Silver[18]
"Dreamin'" 15 — — — 20 11 — — 17 "The Quo Cake Mix" [S] 1987 — — — — — — — 13 — Non-album single "Ain't Complaining" 1988 19 — 5 — 39 8 — — 21 Ain't Complaining "Who Gets the Love?" 34 — — — — 27 — — — "I Know You're Leaving" [T] — — — — — — — — — "Running All Over the World" 17 — — — 48 9 — — — Non-album single "Burning Bridges (On and Off and On Again)" 5 — — — — 8 — — —
UK: Silver[18]
Ain't Complaining "Not at All" 1989 50 — — — — — — — — Perfect Remedy "Little Dreamer" 76 — — — — — — — — "The Anniversary Waltz – Part One" 1990 2 104 9 13 17 3 5 — 12
UK: Gold[47]
Rocking All Over The Years "The Anniversary Waltz – Part Two" 16 — — 33 — 14 66 — — Non-album single "Can't Give You More" 1991 37 — — — — — — — — Rock 'til You Drop "Rock 'til You Drop" 1992 38 — — — — — — — — "Roadhouse Medley (Anniversary Waltz Part 25)" 21 — — — — 27 — — — Live Alive Quo "I Didn't Mean It" 1994 21 — — — — 23 — — — Thirsty Work "Sherri, Don't Fail Me Now!" 38 — — — — — — — — "Restless" 39 — — — — — — — — "When You Walk in the Room" 1995 34 — — — — — — — — Don't Stop "Fun Fun Fun" (with the Beach Boys) 1996 24 — — — 81 — — — — "Don't Stop" 35 — — — — — — — — "All Around My Hat" (with Maddy Prior) 47 — — — — — — — — "The Way It Goes" 1999 39 — — — — — 62 — — Under the Influence "Little White Lies" 47 — — — — — 73 — — "Twenty Wild Horses" 53 — — — — — 96 — — "—" denotes releases that did not chart or were not released in that territory.
2000s–present
[edit]
Title Year Peak chart positions Album UK
[3] AUT
[6] BEL (FLA)
[40] GER
[8] NL
[9] SWI
[42] "Mony Mony" 2000 48 — — — — — Famous in the Last Century "Old Time Rock and Roll" 78 — — — — — "Jam Side Down" 2002 17 — — — — — Heavy Traffic "All Stand Up (Never Say Never)" 51 — — — — — "You'll Come 'Round" 2004 14 — — — — — XS All Areas – The Greatest Hits "Thinking of You" 21 — — — — — "The Party Ain't Over Yet" 2005 11 — — 90 — — The Part Ain't Over Yet "All That Counts Is Love" 29 — — — — — "Beginning of the End" 2007 48 — — — — — In Search of the Fourth Chord "It's Christmas Time" 2008 40 — — — — — Pictures – 40 Years of Hits "Jump That Rock (Whatever You Want)" (as Scooter vs Status Quo) 57 19 — 11 91 79 Jumping All Over the World – Whatever You Want "In the Army Now" (with the Corps of Army Music Choir) 2010 31 — — — — — Quid Pro Quo "Rock 'n' Roll 'n' You" 2011 — — — — — "Two Way Traffic" — — — — — — "Better Than That" — — — — — — "Movin' On" 2012 — — — — — — "The Winner" — — — — — — "Bula Bula Quo!" 2013 — — — — — — Bula Quo! "Looking Out for Caroline" — — 129 — — — "Go Go Go" — — — — — — "And It's Better Now" 2014 — — — — — — Aquostic – Stripped Bare "Pictures of Matchstick Men" — — — — — — "Paper Plane" 2015 — — — — — — "Break the Rules" — — — — — — "That's a Fact" 2016 — — — — — — Aquostic II – That's a Fact! "Hold You Back" — — — — — — "Backbone" 2019 — — — — — — Backbone "Liberty Lane" — — — — — — "Face the Music" 2020 — — — — — — "Cut Me Some Slack" 2022 — — — — — — Quo'ing In – The Best of the Noughties "—" denotes releases that did not chart or were not released in that territory.
Videos
[edit]
Video albums
[edit]
Title Album details Certifications Off the Road
Released: 1980
Label: VCL
Formats: VHS
Withdrawn soon after release
Live in Concert at the N.E.C. Birmingham
Released: September 1983
Label: Spectrum/PolyGram Video
Formats: VHS, Beta
End of the Road '84
Released: November 1984
Label: Videoform
Formats: VHS, Beta, LD
More from the Road '84
Released: February 1985
Label: Videoform
Formats: VHS, Beta
Preserved
Released: November 1985
Label: Heron Home Entertainment
Formats: VHS, Beta
Rocking Through the Years
Released: December 1986
Label: Channel 5
Formats: VHS, Beta
Rocking All Over the Years – All Their Greatest Hits Live
Released: October 1990
Label: PolyGram Music Video
Formats: VHS, LD
Anniversary Waltz – A Celebration of 25 Rockin' Years
Released: February 1991
Label: Castle Music Pictures
Formats: VHS, LD
Rock 'til You Drop – The Live Event
Released: October 1991
Label: PolyGram Video
Formats: VHS
Knebworth '90 – Top Stars Live on Stage
Released: December 1991
Label: Castle Music Pictures
Formats: VHS
Live Alive Quo
Released: December 1992
Label: PolyGram Video
Formats: VHS
Don't Stop – 30th Anniversary Live Video
Released: February 1996
Label: PolyGram Video
Formats: VHS
Famous in the Last Century
Released: October 2000
Label: Eagle Vision
Formats: VHS, DVD
XS All Areas – The Greatest Hits
Released: September 2004
Label: Universal
Formats: DVD
BPI: Gold[18]
The Party Ain't Over Yet... 40 Years of Status Quo
Released: November 2005
Label: Warner Music Vision
Formats: 2xDVD
BPI: Gold[18]
The One and Only Status Quo
Released: September 2006
Label: Universal Music TV
Formats: DVD
Just Doin' It Live
Released: 6 November 2006[48]
Label: Warner Music Vision
Formats: DVD
BPI: Gold[18]
ARIA: Gold[49]
Pictures – Live at Montreux 2009
Released: 12 October 2009
Label: Eagle Vision/Montreux Sounds
Formats: DVD, Blu-ray
Live at the BBC
Released: 22 October 2010
Label: Mercury/Universal
Formats: DVD
Hello Quo!
Released: 29 October 2012
Label: Anchor Bay Entertainment
Formats: DVD, 2xDVD, Blu-ray, 2xBlu-ray
The Frantic Four Reunion 2013 – Live at Wembley Arena
Released: 3 October 2013
Label: earMUSIC
Formats: DVD, Blu-ray
The Frantic Four's Final Fling – Live at the Dublin O2 Arena
Released: 29 August 2014
Label: earMUSIC
Formats: DVD, Blu-ray
Aquostic – Live at the Roundhouse
Released: 13 April 2015
Label: earMUSIC
Formats: DVD, Blu-ray
Accept No Substitute! The Definitive Hits & More!
Released: 20 November 2015
Label: Universal Music TV
Formats: 2xDVD
The Last Night of the Electrics
Released: 14 July 2017
Label: earMUSIC
Formats: DVD, Blu-ray
Down Down & Dirty at Wacken
Released: 17 August 2018
Label: earMUSIC
Formats: DVD, Blu-ray
Music videos
[edit]
Year Title Media Director 1970 "Down the Dustpipe" Colour Film "In My Chair" Colour Film 1971 "Tune to the Music" Colour Film 1972 "Paper Plane" Colour Film 1975 "Down Down" Colour Film "Roll Over Lay Down" Colour VT 1976 "Rain" Colour VT "Mystery Song" Colour VT "Wild Side of Life" Colour VT 1977 "Rockin All Over the World" Colour VT "Rockers Rollin" Colour Film 1978 "Again and Again" Colour Film "Someone Show Me Home" Colour Film "Accident Prone" Colour Film "Let Me Fly" Colour Film 1979 "Whatever You Want" Colour VT "Who Asked You" Colour VT "Living on an Island" Colour VT "Runaway" Colour VT 1980 "What You're Proposing" Colour VT "Lies" Colour VT "Don't Drive My Car" Colour VT 1981 "Something 'Bout You Baby I Like" Colour VT Godley & Creme "Rock 'n' Roll" Colour VT 1982 "Dear John" Colour VT 1983 "Ol Rag Blues" Colour VT "A Mess of Blues" Colour Film Nigel Dick "Marguerita Time" Colour Film 1984 "Going Down Town Tonight" Colour Film "The Wanderer" Colour Film Sebastian Harris 1986 "Rollin' Home" Colour Film "Red Sky" Colour Film "In The Army Now" B&W/ Colour Film "Dreamin" Colour Film 1988 "Ain't Complaining" Colour Film Terry Bulley "Who Gets the Love" Colour Film Mike Brady "Running All Over the World" Colour Film "Burning Bridges" Colour Film 1989 "Not at All" Colour Film "Little Dreamer" Colour Film 1990 "The Anniversary Waltz - Part One" Colour Film "The Anniversary Waltz - Part Two" Colour Film 1991 "Can't Give You More" Colour VT 1992 "Rock Till You Drop" Colour VT 1994 "Come On You Reds" Colour VT "I Didn't Mean It" Colour Film "Sherri Don't Fail Me Now" Colour Film "Restless" B&W/ Colour Film 1996 "Fun, Fun, Fun" B&W/ Colour VT 2002 "Jam Side Down" Colour Film 2004 "You'll Come Round" Colour Film "Thinking of You" Colour Film 2007 "Beginning of the End" Colour VT John Keeling 2008 "Jump That Rock (Whatever You Want)" Colour Film Marc Schölermann "It's Christmas Time" Colour VT 2010 "In The Army Now - Reissue" Colour VT 2011 "Rock 'n' Roll 'n' You" Colour VT "Two Way Traffic" B&W VT "Let's Rock" B&W VT 2013 "Bula Bula Quo" Colour VT "Looking Out for Caroline" Colour VT "Go, Go, Go" B&W VT 2016 "That's a Fact!" Colour VT 2019 "Backbone" Colour VT "Liberty Lane" Colour Film
Notes
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Album Reviews
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Album Reviews |
Status Quo
Picturesque Matchstickable Messages 6 ( 1968 )
Black Veils Melancholy / When My Mind Is Not Live / Ice In The Sun / Elisabeth Dreams / Gentlemen Joe's Sidewalk Cafe / Paradise Flat / Technicolour Dreams / Spicks And Speeks / Shelia / Sunny Cellophane Skies / Pictures Of Matchstick Men
More and more music is heard the older a person gets. Well, that stands to reason, obviously. Not everyone will break out of their early music listening habits, however. There are various roads one can take. A teenage heavy-metal fan can continue listening to heavy metal throughout their life, branching out into regular classic rock and adult oriented rock as their years advance. A hip indie kid at College/University will usually find their initial great interest in this area wanes the older they get, either losing interest in music as their life takes on other directions and interests, or broadening their musical tastes. Very few individuals, it seems to me at least, have a growing interest in music the elder they get and also manage to branch out and widen their minds. Open their ears to groups they may have previously dismissed in their younger or more 'hip' days. Alternatively, I may be talking a load of old bollocks. Which kind of leads me nicely into discussing Status Quo. America largely holds early psychedelic Quo in high regard whilst ignoring the groups boogie rock material of the 70s. In Europe and the UK, the early psychedelic style spawned a couple of hits but the albums stiffed. It wasn't until 1972 infact that Quo had a charting album here. After which of course, they never looked back. Anyway, like the Quo or loathe the Quo, they exist ( even now! ) and they are more or less harmless. Ignore them by all means, but hating them seems kind of churlish and childish.
'Picturesque Matchstickable Messages' is the debut Quo album long-player. After hitting the top ten singles charts with the near title track, they cram in eleven other tunes in a similar, apparently mind-expanding style. We've heavy use of phased guitars, and phased vocals too, come to that. Vocals that are unrecognisable from the classic Quo sound of the 70s. Twelve songs, thirty four minutes of music and not all that much substance is to be found here. The album remains quite charming though and definitely has decent tunes in places. 'Spicks And Speeks' is a good example of this early Quo sound. Very much a period piece tied to the late sixties, very much of that era lyrically but still offering a catchy and endearing way with melody. 'Pictures Of Matchstick Men', the first big Quo hit remains the standout cut and reminds this listener of a weird hybrid of Byrds ( circa 1966 ), Beatles ( circa 1967 ) and Barrett era Pink Floyd. The guitar and melody is distinctive and the overall sound faintly sinister. Another favourite pick of mine from this set is 'Green Tambourine', a pop song born of the 'nuggets' era and sounding right at home on any nuggets inspired mix-tape. A few general comments to close, then? Ah, ok. The heavy overuse of phased vocals and production tricks and effects eventually becomes very tiresome. The rhythm section hint at the future Quo sound in places, with the bass in particular seemingly easily able to adapt itself to a different style and sound. The vocals and lyrics and songwriting in general, would need to be changed, and indeed were. If the Quo had continued with this style and sound for very many years, we'd all have forgotten them long ago.
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Readers Comments
Robbo rbz3779@yahoo.co.uk
Status Quo have to be to rock music what Keith Harris and Orville are to pop music.
CaptainSnapx chris@cjbphotography.co.uk
I've been trying to find out- to settle an argument in the pub last night- Is 'Pictures of Matchstick Men" anything to do with LS Lowrey. If not what the .... is it about?
John terry terry61@cwctv.net
some wanker likened quo to keith harris & orville. what a prick. if more people listened to early quo they might understand how good a band they are.
bill fathers wfathers@aol.com
i cant beleive someone compared quo to orville, i have been with quo from the start, quo rock! fashions and stupid statements come annd go, some people?
Spare Parts 6 ( 1969 )
Face Without A Soul / You're Just What I Was Looking For Today / Are You Growing Tired Of My Love / Antique Angelique / So Ends Another Life / Poor Old Man / Mr Mind Detector / The Clown / Velvet Curtains / Little Miss Nothing / When I Awake / Nothing At All
Fans of the groups debut will also find much to enjoy within the grooves of this, the groups second LP. It follows on directly from the first album, rooted in a psychedelic style virtually forced upon the group by their record label. Of the 12 songs here, only one was releases as a single, the mid-tempo psych-pop ballad, 'Are You Growing Tired Of My Love'. It's the kind of thing you might expect to find on a 60s Bee Gees album. Were Status Quo being pushed in that direction? Well, 'Spare Parts' failed to chart and the group got more of their own way come the third album. But that's another story and shall be told another time. In short, although by all accounts the band themselves were none too keen with continuing on the psychedelic road, 'Spare Parts' is a more assured effort than the debut. 'Little Miss Nothing', for example. It's a charming little song and the kind of 60s psychedelia that 80s bands would ape in an attempt to revive a lost age. I'm thinking in particular of XTC aka Dukes Of Stratosphere. 'Little Miss Nothing' and 'Spare Parts' as a whole is utter nonsense from beginning to end, but it does work. Well, more or less. It's not a record I hold especially dear to my heart. Ultimately it's forgettable, bar a few moments of genuinely good melody. The beginning of 'You're Just What I Was Looking For' sets you up. The vocals then arrive and their nasally style and whiny manner immediately put you off again. The music is of the day with violins, much arrangement, brass instruments. It's basically a weaker copy of The Beatles circa 'Magical Mystery Tour'. Many of the songs on the album follow this same style and format.
Other intriguing cuts to list alongside 'Little Miss Nothing' then? Well, 'Mr Mind Detector' is a minor psychedelic classic of the kind the famous 'Nuggets' box-sets are jam-packed with. The lead track 'Face Without A Soul' is wonderfully daft. That's about it for highlights, actually. Too many songs here share the same sonic palette. Status Quo, even in their boogie-rock pomp were never a group known for their stylistic diversity of course. So that seems a somewhat stupid critiscm. It's only important actually, because a good half of the album contains very mediocre songwriting. The other half is absolutely fine. That the album fell through a commercial black-hole and has largely been forgotten is entirely due to the fact this record didn't contain a hit and 'Picturesque Matchstickable Messages' did.
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Ma Kelly's Greasy Spoon 8½ ( 1970 )
Spinning Wheel Blues / Daughter / Everything / Shy Fly / April Spring Summer And Wednesdays / Junior's Waiting / Lakky Lady / Need Your Love / Lazy Poker Blues / Is It Really Me - Gotta Go Home
It's very easy to judge bands on the embarassments they later become. Is it that hard to believe that once upon a time Status Quo were actually quite good? Even Cliff Richard, once upon a time, was making vital if derivative Rock n Roll records, before releasing an odious vomit inducing Xmas single every December. What may surprise many music followers is how heavy Status Quo are here. Yes, 'Ma Kelly's' Greasy Spoon' saw a wholly succesful reinvention for the group. Out went the whimsy and the summer of love, in came long hair, long trousers and boogie rock n roll. They haven't quite reached the formula of later years, 'Ma Kelly's Greasy Spoon' is actually quite a varied album, within an admittedly narrow vision of music. It's all rock music, but we've elements of the blues, we've fast songs, slow songs. A decent rhythm section and a selection of songs that display good interplay between the band members. 'Lazy Poker Blues' for instance is a decent blues tune, utterly unoriginal of course, yet plenty of bands were unoriginal at the time. A stand-out arrives with the mighty 'April Spring Summer And Wednesdays', it's got a groove, man. Ah, are you a modern music lover? Have you heard Kings Of Leon? People that are old Quo fans, buy either of the first two Kings Of Leon records. Kings Of Leon fans? Buy 'Ma Kelly's Greasy Spoon'. I like going back into the past of music and linking it to new groups. Another highlight arrives with 'Shy Fly', speedy rock music with clashing cymbals, rumbling bass and decent lead guitar.
Of the later, famous Quo style, opening track 'Spinning Wheel Blues' clearly demonstrates where it came from. Another decent lead guitar part here. Well, Quo weren't virtuoso's, but they were pretty tight within what they were trying to do. It's so different to the first two albums as to almost be a different band altogether, they deserve credit for that, ditching the style that had brought them an international hit song with 'Pictures Of Matchstick Men'. Ah, good harmonica blasting away during the second part of 'Spinning Wheel Blues', in particular. Factor in that none of the tracks on this album come across as filler, add in the nine minute plus closing tune. A closing tune that ends with a lengthy jam session, an impressive one too. We dig the Quo! I could ask a stupid question right about now. Status Quo, whilst meaning nothing in the USA, have been hugely popular all across Europe. Yet there appears to be little discussion about them in terms of analysis on the web? I don't mean in-depth articles, even a decent comprehensive review page seems impossible to come across. Status Quo are far from being my favourite group, they did some pretty terrible stuff through the years and clearly influenced some of the sillier moments in Spinal Tap. Yet, credit where credit is due. And yes, I do intent to at least correct one thing. There will be a comprehensive review page, this one.
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Readers Comments
john, county kildare john.j.doyle@nuim.ie
it is fucking brilliant, innit!!! in fairness to the quo, this isn't their only top class album, as they were making decent records right up to the late 1970s before the formulaic vibe finally overpowered them. they're still fantastic live, even if their "creative" glory days are long gone.
Dog Of Two Head 7½ ( 1971 )
Umleitung / Nanana / Something Going On In My Head / Mean Girl / Nanana / Gerdundula / Railroad / Someone's Leaving / Nanana
Status Quo still weren't selling albums, so Pye records dropped them. Of course, much to Pye records dismay, the Quo became one of the biggest selling rock acts of the 70s shortly afterwards. Nice work there, Pye. Anyroad, 'Dog Of Two Head' is similar to 'Ma Kelly's Greasy Spoon', just not quite as dirty. The songs are blues rock based again, the famous Quo boogie sound more prominent than before. Things falling into place, for better or worse. The opening 'Umleitung' not only contains a great guitar solo, great bluesy piano bits and is water-tight, it's seven minutes long as well. It's a sterling opening tune for any album, I say. Onto the down side for a second. The song titled 'Nanana' you may notice appears three times. Once, right at the end of the album in its full two and a half minute glory and two more times, just the first fifty one seconds. The result of this is, discounting the two repeat showings, we've actually only got seven songs on the album. The songs that are here are decent though, so at least that's something. So yes, following on from the epic opening tune, we've got the catchy 'Something Going On In My Head'. We've a little marching section in the middle. Proper guitar. Boogie! Yes, we've got the Quo boogie. Moving onto 'Mean Girl', we get more Quo boogie, albeit in a faster tempo. Nice little tune and vocal, decent stuff. Although, as I hinted at earlier, formula was starting to infiltrate the Quo camp to the groups own detriment. 'Gerdundula' isn't formula at all, though, happily. It's a groovy eastern sounding acoustic number, the kind of delight present on these early Quo records. The kind of delight that makes any kind of long journey through their back-catalogue worthwhile. Which is just as well for me, as i've another twenty or so albums to go before this page is complete!
We've an album highlight, of course we do. 'Someone's Learning' showcases the full talents of the Quo at this stage during their career. There's the bluesy sections, the boogie sections, a right down and dirty jam section with genuinely stellar playing from all involved. We've a great distinctive guitar riff that opens the tune, then reappears for the songs reprise. Seven minutes elapse and we're then thrown into the folksy 'Nanana' to close the album, a tune which if you close your eyes and one ear, resembles the sound of The Kinks quite well. So, do the Quo have talent? Well, yes. The likes of 'Gerundula' and 'Nanana' showcase Status Quo as proper and dare I say it, thoughtful song-writers. The rockier tunes are starting to sound somewhat similar to each other though, and this thirty six minute long album is something of a let-down after the brilliant 'Ma Kelly's Greasy Spoon'. Still, a more than decent effort overall, though. Very listenable.
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Readers Comments
Mike Parker mcp666@blueyonder.co.uk
Your first 4 album reviews make interesting reading. I'm a fan of the Quo that your about to write up. I'm anticipating some keen insight and stirring of old memories. Keep up the good work.
Piledriver 8 ( 1972, UK pos 5 )
Don't Waste My Time / Oh Baby / A Year / Unspoken Words / Big Fat Mama / Paper Plane / All The Reasons / Roadhouse Blues
The Quo hit upon a now ( even then? ) familiar sounding riff that powers along 'Paper Plane' atop a rudimentary, yet effective, boogie-rock rhythm section. Suddenly Quo are having top ten hit singles and even managing to shift albums. 'Piledriver' peaked at number five within the UK, not a bad feat for their first charting album. To say the band never looked back from here on in hardly even needs stating. Let's talk about 'Paper Plane' seeing as that was the biggie, the big hit song. It was perfect for the glam-scene that was huge in Britain at the time. Alice Cooper and The Quo were the dangerous end of pop back in the early seventies, you know? It's not dangerous, suffice to say. It's pure and simple, a pop-infused, headbanging number that lasting for just over two and a half minutes, never outstays its welcome. I'll switch to the Quo's cover of The Doors 'Roadhouse Blues'. It's a genuinely authentic, stompingly enjoyable version with fantastic wailing harmonica. They chose a good time to cover the song, a time when The Doors were barely known within europe and the UK. Ah, the opening 'Don't Waste My Time' carries right on from the last couple of Quo albums, the story of Status Quo around about this period in history was one of pure consolidation and refinement towards their famous hit-making sounding, as it turned out. Beyond the hits, they could still turn in an interesting composition though, as evidenced by 'A Year', a slow burning and dramatic serious number that proves the Quo could do more than just boogie on the rock-dancefloor.
'Piledriver' isn't the most varied album of all time, but then you would have expected nothing else from the Quo. It is a nicely rounded set though with no real weak-points and a couple of nice blues numbers, particularly 'Unspoken Words'. It's not a song with tremendous awe-inspiring playing, although the solo is absolutely fine. It's just a song with a good amount of feeling, it feels genuine. The Quo just doing what they enjoy doing, and doing it well within the limitations they'd set themselves. No side long prog-rock epics from the Quo, no. Just enjoyable, unpretentious rock music.
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Hello 7 ( 1973, UK pos 1 )
Roll Over Lay Down / Claudie / Reason For Living / Blue Eyed Lady / Caroline / Softer Ride / And It's Better / Forty Five Hundred Times
The Quo go for broke now, of course. 'Piledriver' had done the trick, so now they narrow down on the parts of 'Piledriver' they thought worked critically and commercially and turn out an entire anlbum of the stuff. Of course, overall this makes for a less satisfying product, because the artistic horizons have shrunken terribly, even from just a year or two before. Now, they have one guitar sound. They have a rhythm section that seemingly do the exact same thing for every single track. I still wonder though about certain professional music critics. 'Claudie' is apparently 'beatle-esque'. In reality, it's no such thing, it's a softer, slower version of the hit song 'Paper Plane', with vocals and melodies that sound like Quo had suddenly lost all their edge in the space of a mere 12 months. The blues influenced 'Roll Over Lay Down' which opens the album is far better, staying true to the bands roots. The rhythm section do their boogie-rock mid-tempo thing, yet the lead guitar, vocals and lyrics are bluesy and convincing enough to please. Big hit, 'Caroline' follows on from the template set by 'Paper Plane' on 'Piledriver'. It's pleasing, relatively heavy, boogie riffing rock material. Nicely addictive for short periods of time, irritating for lengthy periods of time, which is why Status Quo in the eighties were a hideous proposition, because over-familiarity with their tricks and trade rendered them weak and fainting and critical, on life-support. Resting on past laurels, yet succesful thanks to more conservative daytime BBC radio one DJ's - and an entertaining, if unambitious, live show. Radio one 'roadshow' with Status Quo appearing live, miming onstage to their latest hit which sounds just like the last one! It hardly helped, let's face it. It starts here.
The remaining material filling out this LP includes 'Softer Ride' which starts OK, you think they are gonna do something properly bluesy, yet they end up in familiar boogie-rock territory. 'Blue Eyed Lady' the same, starts promisingly enough, yet ends up sounding like another potential 'Paper Plane follow-up, not a bad thing, as such. Not a bad thing as such, yet wearying over a full LP. 'Reason For Living' is more bluesy, 'And It's Better' is more poppy, leaving the closing, near ten minute long 'Forty Five Hundred Times' to impress us. The ending of the tune is good, they get looser as the song progresses and start to reach a point where they are genuinely doing something impressive, then the song ends. Still, it's an decent enough ending to a very commercial boogie-rock album full of pop hooks, severely lacking in variety, yet just enough to please overall. The more unsure, 'experimental', if that's the right word, 'Quo' of the previous few LPs was more satisfiying to my set of ears. A Quo trying to find themselves. They found themselves then stopped searching. There was still more to come, though. They weren't quite done with yet. 'Hello' was many a Quo fans first introduction to the group. I'm aware enough that it holds a special place in many fans hearts, yet it's not quite enough for me to be 'good', not quite bad enough to be 'average'. It veers between those two states, depending on my frame of mind.
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Quo 8 ( 1974, UK pos 2 )
Backwater / Just Take Me / Break The Rules / Drifting Away / Don't Think It Matters / Fine Fine Fine / Lonely Man / Slow Train
Status Quo had enough of a fanbase by now to propel almost everything they did straight into the higher reaches of the charts. Wanting to be taken seriously as an albums act, 'Quo' varies the successful formula ever so slightly. We generally get a harder edge to the songs and performances, with less emphasis on the poppier side of the band. 'Quo' therefore is heads down rock n roll. Some songs offer proper guitar solos, and/or duelling. Others offer plenty of heroics from the drummer, even though images of exploding drummers aka Spinal Tap constantly seem to enter my brain. It's all good fun at the end of the day, Quo having built up their fanbase through hard work and well received live sets. Staying true to form for my Quo reviews so far then, how about I talk about the single? 'Break The Rules' is a chugging, bluesy driving song with daft lyrics. It's simplicity in itself, the instrumental section adding a honk-tonk piano solo, then wailing harmonica. It's so unpretentious, so unartistic in one sense but dammit if I don't love this single to bits. As far as driving songs go, it's a good one, you see.
In general, although I don't rank this as my favourite Quo album so far, it's a good one. Nothing is especially weak, although the first two tunes appear to be rather inconsequential. I've had generally great feedback for the page so far, which is nice, and it's surprising to find so many people holding this period of Quo so dearly to their hearts. For every blunder, cheesy collaboration, poor cover version or future advertising jingle they'd later produce, these golden period Quo records really do hit the spot. For any Americans that may be reading, kind of like ZZ Top records, you know? I must investigate their early catalogue too, some day. So, 'Quo' is an album to please a rock fan, it's an album that contains a superbly solid mid-section, enough variation for a listener not to get bored and instant gratification when you first pick up the disc. You'll hopefully keep digging it out every now and then and be guaranteed a good time. That's all folks, until next time around
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On The Level 8 ( 1975, uk pos 1 )
Little Lady / Most Of The Time / I Saw The Light / Over And Done / Nightride / Down Down / Broken Man / What To Do / Where I Am / Bye Bye Johnny
Get down, deeper and indeed down. Im old enough to remember lots of people walking around with Quo jackets, playing their Quo albums and a popular song was always Down Down. Whatever your persuasion and potential for music snobbery, Down Down is one of those perennial dance-floor pleasers. The late-great John Peel would play the tune and it always went down a storm at his personal appearances and roadshows. The mid-seventies, it was a simpler time. Indeed, time moved more slowly, there were less people around and arent policman getting younger these days?!? Well, nostalgia is good for us all sometimes, as long as we dont get mired and rooted within it. Down Down is the centre-piece of On The Level, it was a number one single and everything the Quo could have wished it to be. The album version presented here is longer than the single version, basically more of the same. Arguably the single version is punchier, but in the end both versions are marvellous. A proper tune with a proper intro and proper catchy-ness. Anything with a bit of ness has got to be good, hasnt it? Well, unless its Robbie Williams-ness, obviously. Anyway, if Down Down is the nail that pins On The Level to the shed so to speak, what about the rest of the LP? Well, heres a quickie, a few notes compiled upon one of my earliest listening adventures with On The Level Ive just found in my bag at work, reproduced here completely unedited.
Little Lady, cools riffs, instant long haired rock disco party. Nifty little guitar instrumental breaks.
Most Of The Time, decent, mid-tempo soft then rock.
I Saw The Light, by now classic Quo rock boogie accomplished! Although have to be in the mood.
Over And Done, potential single, maybe? If treated as such. A classic Quo guitar sound!
Nightride, chugging.
Who sings broken man? The vocals are rubbish!
What To Do is pop Quo, jaunty and good.
Where I Am, soft. Bee Gees!
Bye Bye Johnny. Be good? Rock and roll. Poor.
I also made two further brief notes about the album as a whole, vinyl to MP3 crackles! and 3 pronged songwriting attack!. I apparently didnt make any notes about Down Down. I can understand that, the entire song is easily brought up from memory without having to actually play it to remind me how it goes. Thats actually a possible complaint I can level against the rest of the album. The majority of the tunes here arent imbedded within my soul, heart or brain. Apart from Down Down, this is very much a standard Quo set of the era and doesnt offer any surprises. Its a decent set, but again for me personally, not as good as the surprises and delights offered up by Ma Kellys Greasy Spoon. On that note and as the guys from Quo may well have said a few times in their career, Will this do?
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Blue For You 9 ( 1976, UK pos 1 )
Is There A Better Way (Lancaster/Rossi) / Mad About The Boy (Rossi/Young) / Ring Of A Change (Rossi/Young) / Blue For You (Lancaster) / Rain (Parfitt) / Rolling Home (Lancaster/Rossi) / That's A Fact (Rossi/Young) / Ease Your Mind (Lancaster) / Mystery Song (Parfitt/Young)
I've included the song-writing credits here as after this particular album it begins to become more significant. Young by the way is Bob Young, not a band member, but the groups tour manager. Lancaster is Alan Lancaster. Along with the groups drummer( John Coghlan ) and Bob Young he'd depart sometime during the eighties but we're getting ahead of ourselves, aren't we? 'Blue For You' was released at the height of Quo's seventies boogie-rock success and alters the formula slightly. The album has a real energy to it and sounds as serious and credible as any Quo album ever has. Although spawning a couple of top ten hits there isn't radio anthemn on 'Blue For You' as a 'Down Down' or a god forbid, 'Rocking All Over The World'. Instead, every single song is good. Which would you prefer? Let's take the opening 'Is There A Better Way'. An excellent song and no mistake, rolling bass, thrashing guitars and a very speedy little guitar solo. The Quo playing with almost the energy of punk-rock. Believe or not, but it's true. The sound of the entire album is great, very clear and very live, a little ommph is here that perhaps the earliest albums lacked. 'Rolling Home' is another Rossi/Young classic with duelling guitars, speedy delivery and wonderful, wailing harmonica courtesy of Bob Young. After three energetic rockers, Alan Lancaster delivers the albums title track, a restrained slice of blues/soul, a style Quo rarely ventured into and certainly not as successfully as they do here. A quick mention for 'Rain', although I haven't mentioned any weak songs yet, because really there aren't any. Sure, there's no great variety, but that's like telling a blind man he can't see when we're talking the Quo. You know, hardly the point. Uneccessary. 'Rain' as you can see from glancing above is written by Rick Parfitt, not at all a major contributer of songs to the Quo at this stage, the Rossi/Young, Rossi/Lancaster teams being the most prolific, although Parfitt had written some songs before. This has to be one of his finest efforts to this day. The song rocks really hard, almost borders on heavy metal in places. The sound retains all the crunch and pleasingly booming bass of all the other songs on 'Blue For You'.
The classics just keep on coming, most of them songs anybody who isn't a Quo fantatic will never have heard. So, the much maligned Quo create a sterling, catchy as flu riff to underpin the really dead groovy 'That's A Fact'. A more typical Quo/Blues boogie arrives with 'Ease Your Mind' and the Piano is welcome to add that little authenticity. A good minute and a half elapses before the closing 'Mystery Song' bursts properly into life, yet once it does, a blissful look crosses this listeners face. So, a Quo album without a single weak link? Check. A Quo album with healthy production sounds, a warm analogue feel even after remastering or transferring from LP to MP3? Check. The heaviest album they ever made? Check. Where are the pop anthemns? Well, there aren't any, but there are riffs and guitars and joy aplenty. Yes, it's Status Quo but yes, it's Status Quo. That sentence might make sense to somebody, hopefully.
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Rockin All Over The World 5 ( 1977, UK pos 5 )
Hard Time / Can't Give You More / Let's Ride / Baby Boy / You Don't Own Me / Rockers Rollin' / Rockin' All Over the World / Who Am I ? / Too Far Gone / For You / Dirty Water / Hold You Back
What on earth happened here? Even the album title lacks any kind of cool, let alone the contents within. A couple of changes had occured, Quo introduced an outside producer, some guy called Pip. Pip?? I ask you! Andy Bown enters on keyboards. Now, rubbish local rock bands also introduce keyboards for a 'different' element when their own imaginations have failed them. Great. What else is going on? Well, Quo made a concerted effort to crack America. They failed, but the introduction of an outside producer, keyboards, etc, etc? It all starts to fall into place, doesn't it. The mix considerably softens the guitars from Quo albums of yore. The result of all of this is the weakest sounding Quo album since their Psychedelic debut, and certainly their poppiest album since then. Now, i'm not some kind of 'rock' freak. I like Captain Beefheart and I like Kylie Minogue and then i'll switch to a bit of Quo followed by Aphex Twin followed by John Coltrane. So, the fact of lamenting the loss of the Quo's rockier edge doesn't immediately mean what's here in its place isn't as good, or indeed, very good. Just want to make that clear before I progress. Good? Right. The title song I may as well get out of the way first of all. It chugs and it's got the Quo boogie. It's a song with terribly cliched lyrics and the performance here? Well, it's not fast enough, the mid-tempo nature of it all plays it far too safe. More worryingly though, the drums have been made to sound like cardboard boxes, the bass has been mixed to all oblivion so now all it resembles is a constant, unmelodic thud. The guitars are here and the vocals are here, both of them very wimpy and insipid. The songs only three and a half minutes long, yet it sounds twice as long, possibly because there's only enough lyrics to fill out 70 seconds or so. I really don't like this song at all, not even the original version. For Quo it became an absolutely massively huge European hit single and opened Live Aid in 1985. So, what the fuck do I know?
Alan Lancaster contributes one of my favourite tunes here, 'Too Far Gone'. A song that even the hideous mixing and production can't ruin. The guitars could be far louder, there's some really nice guitar interplay here that deserves to be heard. 'Let's Ride' also has a good energy to it, but you just yearn for it to sound like the Quo of 'Blue For You' or 'On The Level', not this sanitised version of what Quo had become. 'Rockers Rollin'? What is this piece of crap? Well, Parfitt wrote this and it's hard to believe it's the same guy that wrote 'Rain' on the previous LP. Too many of the songs here 'chug' in the mid-tempo and the guitars sound frustratingly lack-lustre. 'Can't Give You More', written by the Rossi/Young team is decent enough to overcome the production. Poor production or not however, 'Rockin All Over The World' just isn't a good set of Quo songs. With the production, it's not an album I ever have a desire to listen to very often at all.
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Matt Sussex
Hi Adrian, can't agree. I have extensively listened to Quo since the 70's. Too Far Gone, Baby Boy, Hold You Back - a different flavour certainly, but classics!
If You Can't Stand The Heat 5 ( 1978 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The appallingly titled If You Cant Stand The Heat .. was not quite the commercial monster that Rockin All Over The World had been. The lack of a strong lead single was partly to blame. Not that Rockin All Over The World had provided a good strong lead single but its title track sold zillions anyway. The task fell to Again And Again this time around, one of the least inspired lead singles the Quo had ever released. Base, totally to formula and without even the granny or housewife appeal of Rockin All Over The World. It nestled just outside the top ten at number 13. The album predictably went top ten thanks to the massed ranks of the Quo army, but didnt stick around for very long. Having said all of this, weve variety for a Quo album. Rock alongside Pop and even a ballad. Shocking, I know. For the ballad, as the keyboard picks out a sickly sounding melody, Someone Show Me Home comes sliding slowly into the ear-drums. In the age of punk and soon to be new-wave, Quo seem to have aged a good twenty years. A boy-band would reject this material for being too sappy. Still, on the otherhand, Im Giving Up My Worrying has enough about it as a pop song to overcome any limitations it may have in terms of ambition or subdued guitars. You know, its a catchy song. All of this still seems a universe away from the likes of Down Down or Blue For You though, released a mere couple of years before. Overall, side one of the album is ok, if spectacularly average. At least theres a couple of semi-highlights in Again And Again and Im Giving Up My Worrying
Side two of the LP is almost without exception extremely mediocre, mediocre of course being behind average in this case. No highlights to speak of, no real rockers to speak of. In the age of disco, Quo dont exactly go disco, but they do encase several tunes within keyboards and disco sounding synthesizers. I mean, a song titled Accident Prone you expect to have some bite about it, but it doesnt. Only the closing Like A Good Girl Should even manages to provide a little feel-good-ness as far as side two is concerned. With side one not exactly jumping through hoops itself, where does this leave the album overall? Well, without too many redeeming features, to be honest with you. The songs as songs go arent dreadful, I dont want you to get the wrong idea. If we assume 1 is the worst music ever and 10 is the best music ever, most albums will sit somewhere around 5 or 6. Of course, Im only reviewing certain albums. If I had the chance to review for example, the entire Garth Brooks catalogue, Im sure that would decrease the average ratings Ive actually given out. Where does this leave Status Quo? Well, If You Cant Stand The Heat .. gets a 5. Thats it. Its not interesting, its not fascinating and if I was trying to prove to someone that actually, Quo arent rubbish, Id start them instead with On The Level, Blue For You or Ma Kellys Greasy Spoon.
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Readers Comments
CPJ JayCPJ@aol.com
Aw, cum on, it has to be a 7! You forgot to mention the excellent Long Legged Linda, Oh What A Night and Let Me Fly. Forget about I'm Giving Up My Worryin' - pure filler. IMHO! ;O)
Whatever You Want 7 ( 1979 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The Quo were back rock and rolling and twelve bar guitaring. Thank goodness. The previous two albums may have damaged the groups reputation rather than popularity, but fans quickly forgave them when 'Whatever You Want' appeared on LP. True, the title song is regarded amongst Quo fans as one of the bands classic songs, but not in our house. It's appropriation for the Argos adverts has meant drastic overkill in terms of airplay for a song that's four minutes long, yet only needs to be two minutes long. It's lazy in terms of composition, yet the saving grave is the guitar interplay. It's not enough, but there is a clutch of songs on the LP, all better than the title song. They are enough to ensure this album happily exceeds its disappointing predeccesors. The semi-acoustic 'Living On An Island' is one of those rare exceptions to the Quo boogie-rock rule. You know, it's a proper song with harmony vocals and everything! Most impressive, actually. On the rockier front, the concise three minutes of enjoyable heads down, hair in your face fun of 'Shady Lady' could have sat happily on any one of the classic Quo half-dozen LPs or so. The closing 'Breaking Away' really sets the rock among the pidgeons, though. After a few years of worrying whether Quo had gone soft, the Quo fan of 1979 may well have been overjoyed with 'Breaking Away'. It's boogie-rock excelsis, all six and a half minutes of it. 'I'm changing my tune' sing the Quo. 'No your not', we cry, you sound the same you've always done! Not entirely fare, but almost certainly the average rock fans reaction at hearing said words. Nevermind though, because 'Breaking Away' has sections and splendid drumming on an album where Quo try to rock and almost manage it. Well, 'Breaking Away' fully manages it.
What else? Well, not a lot. The filler material never descends into the dreadful, even the two songs with rock in the title on side two manage to be enjoyable, as if the band had to remind us that's what they were about. With the title song becoming another big hit, the massed ranks of the Quo army must have been feeling happy and optimistic following the release of the 'Whatever You Want' album and that's about it for now, folks. Until next time when we'll be sure to boogie on down to the Quo again. This page is neverending it seems, much like the Quo themselves!
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Just Supposin' 6 ( 1980 UK pos 4 )
What You're Proposing / Run to Mummy / Don't Drive My Car / Lies / Over the Edge / Wild Ones / Name of the Game / Coming and Going / Rock 'N' Roll
Recorded around the same time as its followup, 'Never Too Late'. Why didn't they go the whole hog and release a double? Really fire it up in the studio and just vary their album making formula, just slightly? Instead, we've another regular Quo album. Self-produced but still not resembling the rock for which they'd become famous. Well, even the Quo would claim you can't keeping churning out the same old, same old. Still, it's what in the place of the rock songs we need to consider, isn't it? Rock/pop, that's what! Whoa, radical change there! Anyway, the near title track 'What You're Proposing' is stellar pop/rock as it goes, always one of my favourite classic Quo singles. Great guitar sound, nifty riffs and stuff! Also released as a single was 'Lies' a watered down sound of a watered down sound, if that makes any sense? A four minute track full of repetition and lacking a strong hook, although the chorus must have been deemed catchy enough for single consideration. Hardly classic stuff, though. What about the sound of the album overall then? Well, the Quo guitars are still here, although down in the mix. Everything seems to be down in the mix. Someone decided to retain the synths, but then mix them down. Then complaining the synths can't be heard, everything else has been mixed down. Little seperation between instruments, basically. No space in the songs to allow them to breathe. It results in the strangely 80s US rock of 'Over The Edge', for example. The bass is mixed too high on that one! The album may well be self-produced and recorded live in the studio, then mixed by a proper engineer, but he did a lousy job if that's the case. The remaster is better I suppose, but the songs are mostly mediocre in any case.
Songs that aren't mediocre? Well, i'm struggling with this one. Past the title track, there's doesn't seem to be a lot else going on. Well, 'Coming And Going' is one of the rockier songs here, complete with harmonica and it's one of my favourites on the set. The closing 'Rock 'N' Roll' is a pop-ballad so mawkish and soppy and.... Argghh can't listen to it. What with the whistling? Was this Quo attempting to sound like Wings? Why not try and sound like something GOOD instead?! The familiar chug-boogie of 'Run To Mummy' is ok, although again the material itself is fairly weak, lyrically in particular. A six? Well, why not? It's a pretty average LP rather than an actively bad one, you see. It's dull, but there are moments here i'd excerpt onto a better album. Perhaps releasing a double album of the material the band recorded in 1980 isn't such a good idea after all, then? Perhaps not releasing either this or the follow-up and having waited until they had enough strong material for just the one good album, rather than two average ones? What do you mean you've never heard 'Never Too Late'?
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Never Too Late 6½ ( 1981 UK pos 2 )
Never Too Late / Something 'Bout You Baby I Like / Take Me Away / Never Too Late / Falling in, Falling Out / Carol / Long Ago / Mountain Lady / Don't Stop Me Now / Enough Is Enough / Riverside
Well, the last Quo album this is to feature original drummer John Coghlan. I guess he got fed up of not actually getting the chance to play his instrument for the kind of music he wanted to play it on. Or he just got fed up. One or the other. Quo were still in a transitional phase turning from a rock to a pop band. So, we get some rock songs recalling the Quo of yore and also get some 80s Quo pop attempts. Unsually for a Quo album, there's not really a single memorable song here in terms of hit songs, at least. 'Something Bout You Baby I Like' did enough to reach the top ten, but then again, they could have released almost anything as a single and it would have gone top ten back in those days. 'Something Bout You Baby' is an admirable attempt at Quo returning to their blues/rock mode of years earlier, but it lacks distinction and distinctiveness. A better single would have been 'Carol', the Chuck Berry tune. Quo turn it into a Quo tune and inject some energy into their performance. Not 'Blue For You' type energy, but at least some energy. The title track wasn't even a single! No other singles were taken from this set other than 'Something Bout You Baby'. Curiously, a single-edit of 'Rock N Roll' from 'Just Supposin' was issued after the promotional campaign for 'Never Too Late', which strikes me as being an odd thing to do. Back to the title track, it's one of the better songs here. A decent enough Quo slice of soft-boogie, yet the lyrics ( about the end of the world, it seems ) are sung with a little too much optimism to hit home convincingly.
'Falling In, Falling Out' might have made for a good pop single. It's guitar-pop. It's not brilliant or anything, it's only just above average in terms of performance, but the melody is strong. The keyboards/synths work very well here in conjunction with the rest of the band, by the way. 'Take Me Away' sounds like bits of lots of other Quo songs and lacks inspiration. 'Long Ago' is ok, 'Don't Stop Me Now' is pretty good with its groovy bass and all out action introduction. One of the rockier songs here and one of the songs with the most energy here. That it's also one of the best tracks perhaps isn't much of a coincidence then. Rossi/Parfitt seem to have been running out of steam. The bands drummer was about to quit and Alan Lancaster would follow shortly afterwards. Change ended up being forced upon the band whether they wanted to change, could change or not. The edging towards a poppier direction didn't seem to be pleasing anyone, so a wholesale move towards pop music would also follow.
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Naz Bracknell
What! no mention of mountain ladies that's a great tune it deserves a mention at least!
1+9+8+2 7 ( 1982 UK pos 1 )
She Don't Fool Me / Young Pretender / Get Out And Walk / Jealousy / I Love Rock And Roll / Resurrection / Dear John / Doesn't Matter / I Want The World To Know / I Should Have Known / Big Man
Reached number one, just to prove the Quo were as popular as ever. The drummer left half-way through the sessions and not all was well exactly, but the Quo inevitably survived. Status Quo and the cockroaches. That's all that will be left come the armageddon. Happy things though. '1982' sounds more 'real' than the previous couple of Quo efforts. The synths aren't as much on show, they rely on bass, guitar drums. True, the songs hardly rank amongst their best, although at least one wouldn't be out of place during their classic run. Well, naturally, most people deny Status Quo even had a classic run, but they did. Any act that's huge for some reason unknown to younger listeners must have done something worthy at some point. Well, unless they're Green Day, but the less said about them the better! So, 'Dear John'? Decent enough lyrics, not too samey. Decent riffs and guitar interplay. Fairly catchy and deserved to be top 10 in the singles charts. Quo fans may have justifiably had high hopes for the album. That it didn't reach the seventies peaks was hardly surprising during all the turmoil ( although, did Quo ever actually wreck a hotel room, or get drunk even? ) 'Get Out And Walk', decent track. Actually, getting all this Quo vinyl transferred to MP3 is great. It sounds way better than the CD versions I have, even the remastered ones. Quo needed vinyl and didn't need the digital eighties. It made them sound even older than they'd become.
It's disappointing that there's no real classic slices of Quo. It's disappointing that nearly all the songs are two to three minutes and that the album doesn't provide anything meaty to get your teeth into. 'Young Pretender' for example is perfectly fine, but it's not astonishing and it's not excellent, it's merely bordering on the good to average. It's not enough, however listenable the Quo's inate grasp of melody may be. To the advantage of '1982' is the fact barely a duff track is here. To the disadvantage is the fact there's nothing that really breaks from the mould, either. It's a fairly run of the mill thing, but the sound is good. You can hear the instruments and the synths are integrated well.
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Back To Back 6 ( 1983 UK pos 2 )
A Mess Of Blues / Ol' Rag Blues / Can't Be Done / Too Close To The Ground / No Contract / Win Or Lose / Marguerita Time / Your Kind Of Love / Stay The Night / Going Down Town Tonight
Trouble and strife. Rick and Francis had discussed ending the band, Rossi unwittingly upsetting Parfitt by declaring Ill be ok as the voice and face of the band. Alan Lancaster, happy that his tune Ol Rag Blues was being released as a single wasnt happy enough that he didnt also insist he should be allowed to sing it, as well. This wasnt terribly likely to happen, the record company dont like things like bass-players doing vocals for singles. Two versions were recorded in the end to placate Alan, one him on vocals. Unsurprisingly, the record label fail to pick Alans version, much to Alans growing disillusionment with the entire Status Quo affair. Even more distressing for Alan and almost certainly the final straw of all was the release of Marguerita Time as a single. He was dead against this lightweight slice of Butlins and house-wife pleasing nostalgia and watched even more unhappily as it sailed inevitably towards the top of the charts. So, this may have been the last ever Quo album, if it hadnt been for Live Aid later reactivating the band, albeit in minus Alan Lancaster form, ultimately. As for Maguerita Time, Im not against the tune as such, but Im against the simplistic lyrics and the irritating way theyre sung. Im against the cosy cheeriness of it all and the safe, sterile atmosphere it presents. Far better for instance is Ol Rag Blues, proper Quo nostalgia and an excellent way to update their seventies sound. its got energy, a nice catchy hook and pleasing lyrics.
A Mess Of Blues hit top twenty and opens the album with a bang. Bar one dreary ballad side one of the album is pleasing enough, in that A Mess Of Blues and Ol Rag Blues manage to be better than average. Side two unfortunately is entirely forgettable. The band fall between two stools far too often, the rock and the pop side not always convincingly placed next to each other, even within the same song. Believing themselves to be a rock band at heart, the sound had simply softened too much to the point where rock fans didnt believe in the band anymore and pop fans just dug the singles. The albums had ceased to be cherished events, something which upset the groups core 70s fanbase in particular. Had John Coughlan been right in bailing out when he did? Should he have left sooner? Should the Quo indeed have been put to bed following the release of this album? Was Marguerita Time being soft enough to get the band appearances on Little And Large really cause for celebration, or a sign that Alan Lancaster perhaps had the right to be embarrassed, after all? The dreary In The Army Now would follow, but thats another story and shall be told another time. For now, a slightly negative but not really 6 is the fate of Back To Back.
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In The Army Now 4 ( 1986 UK pos 7 )
Rollin Home / Calling / In Your Eyes / Save Me / In The Army Now / Dreamin' / End Of The Line / Invitation / Red Sky / Speechless / Overdose
Lancaster gone and seemingly with him the last of Quo's rock credibility. Rossi, Parfitt and keyboardist Bown get together seemingly as equal partners, much to the distress of listeners everywhere flinching at the plastic, fairground novelty keyboard sounds playing in a lowest of the low creative manner. Rossi and Parfitt carry on as normal, more or less. Pop Quo much to the fore even on the rock material. The production evens and smooths out any rough edges that probably weren't even there in the first place. To be fair, 'Quo' had sounded dated for a few years, but 'In The Army Now' is an LP where it's so blindingly clear the band are re-writing themselves, let alone the same combination of boogie-rock riffs they'd been mining for a decade or more. Are there any interesting cuts here then? Well, two. The ZZ Top-isms for 'Red Sky' seem to work ok. The title track which has a love it or loathe it reputation amongst the Quo fans at least proves Quo could turn their hands to then contemporary rock music, have a big hit and not look silly with it.
So, what else is old? Well, 'Invitation' is a hideous country tune, 'Speechless' makes even a synth act like Dollar seem cutting edge. The opening 'Rollin Home' might have made it were it not for the terribly plastic and weak sound. Keyboards on an equal par with the guitars all three instruments disappearing into a generic, soft-mor rock sound. It's very sad to say so but take away the title track, bearing in mind how maligned it is in Quo's fanbase, would this album have then seen a release by any kind of notable, major label? It's doubtful. Increasingly un-hip and irrelevant, 'Margeurita Time' and the title track of 'In The Army Now' lost Quo a big part of their original audience. A 3 then? Well, I quite like 'In Your Eyes' actually. It may not be innovative at all, but at least it has a decent tune. A couple of other songs i've already mentioned, yes, including the title track at least manage to be average. So, a low '4' rating for this unhappy collection of meaningless rock tunes in search of a reason to exist
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Ain't Complaining 3 ( 1988 UK pos 12 )
Ain't Complaining / Everytime I Think Of You / One For The Money / Another Shipwreck / Don't Mind If I Do / I Know You're Leaving / Cross That Bridge / Cream Of The Crop / Loving Game / Who Gets The Love / Burning Bridges / Magic
Please no. God no, no, no.... Status Quo go from bad to worse. Unsure what direction to go into, they do a bunch of songs trying out other people's styles instead. Ever heard a dance-quo tune? It's here, the miami vice alike horror that is 'One For The Money'. Inspid Peter Cetera type material such as 'I Know You're Leaving' jostle side by side with the novelty hit ( the bands last ever sizeable hit song ) 'Burning Bridges'. Well, at least the jig-rock of 'Burning Bridges' ( Pogues done by Status Quo? ) has a little life about it. The title track also at least attempts to inject some energy into proceedings. It reminds me of the odious Robert Palmer, though. Why was it all the styles Quo were borrowing were from the early to mid-eighties when it was 1988 by the time the album was released? 'Don't Mind If I Do' is a half-decent tune, I suppose. It at least sounds like Status Quo, which is something when it's a song that's on a Status Quo album. Ah, but that's not fair is it? We complain that Quo stuck to their three chords and never changed, yet they did change. They just didn't evolve very well during the eighties and changing fashions ( radio 1 all but banning them from the airwaves circa 1989 ) would seek to wipe Quo off the musical map altogether. At least we have to give them credit for persisting, I suppose.
Ah, 'Cross That Bridge' is Cochrans 'Something Else' with a fiddle on it, to all intents and purposes. Played by a band that were old and sounded old. Guys in their forties or fifties can indeed sound young as long as the drive and passion remains. We can only conclude 'Cross That Bridge' is a tune where Quo took to trying to insult not only their heroes but themselves. Did they have no pride when playing back this 'Ain't Complaining' LP? Did they really consider it a good work themselves? I guess they must of done. Makes me wonder, does that. Perhaps they'd all gone deaf, what do we think? Ok, i'll stop now. Overall, this album is perfectly professionally played and the production is a tad beyond 'In The Army Now'. Individual songs for the most part come and go and don't stink the house out. Yet, the whole is by far less than the sum of it's parts, because nothing on the album with the possible exception of 'Burning Bridges' really stands-out.
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Perfect Remedy 5 ( 1989 )
Ain't Little Dreamer / Not at All / Heart on Hold / Perfect Remedy / Address Book / The Power of Rock / The Way I Am / Tommy's in Love / Man Overboard / Going Down for the First Time / Throw Her a Line / 1000 Years
'Perfect Remedy' failed to chart, the first occasion that had happened to Status Quo since 1971. So yes, i'm reviewing an album even Quo fans hardly know about or heard and nobody else will care anyway. That's me, always pandering to the popular masses, haha! Even more so when I suggest that this album, whilst hardly a rocking Quo classic, is actually far better than its reputation deserves. The keyboards are toned down and the band are playing to their strengths once more. True, there's no classic material here and many of the tracks are worthy but just a little dull. The band performances lack energy somehow, as if producer Pip Williams sucked it all out of them upon entering the studio. A problem with the mix, perhaps? Had the Quo got the guitars right back to the fore, i'm sure this album would have fared better. This mix turns down the guitars although there's not actually anything else to put in their place. Everything ends up at the same level, there's no seperation and it just doesn't sound like four/five guys playing in a studio. It's a shame because the title track is really good. I mean, it's as good a song as the Quo had written in years. The opening 'Little Dreamer' is also a fine track. It doesn't quite manage a distinctive intro, although it tries. The drums are too loud, but they try. The song rides along quite enjoyably even with a flaw here and there. It's catchy material from the off, actually.
'The Power Of Rock' is a keyboard led power ballad with a hint or Irish folk music and it stinks. 'Throw Her A Line' is uptempo and could have sounded great with a 'live' production. The song ain't no classic, but at least try and give yourselves a fighting chance. 'Perfect Remedy' ultimately doesn't have direction and that's its main fault. It seems to be a compromised set and as such, failed to hit home with fans who by now wanted something a little rawer from the guys. Still, it can be seen retrospectively as a step in the right direction. The poor commercial reception for the record ultimately wasn't the encouragement the band needed to try and fine themselves making real music again and again.
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Readers Comments
mayhem16uk UK
being a massive quo fan and seeing them over a hundred times i actually believe the power of rock to be an absolute classic. one that should definatly be played live!
Rock Til You Drop 7½ ( 1991, UK Pos 10 )
Like a zombie / All we really wanna do / Fakin' the blues / One man band / Rock 'til you drop / Can't give you more / Warning shot / Let's work together / Bring it on home / No problems / Good sign / Tommy / Nothing comes easy / Fame or money / Price of love / Forty five hundred times
Let us write some proper songs and stop pissing about. Our last album didn't even CHART! Whilst there are no out and out Quo classics here, this is easily their most satisfying album for quite some time. 'Warning Shot' for example, which appears right in the middle of this set is good enough to appear on a recent Fairport Convention album and I do make that comparison deliberately. On the otherhand, 'Let's Work Together', better known as 'Let's Stick Together' is an utterly pointless if convincing cover thanks to the stellar harmonica and lead guitar work. We don't expect originality from a Quo album and we don't get any. We also don't get any nods towards any musical styles that will appeal to anybody under the age of thirty, which just discounts over half of my readership. With an open mind however, just listening to this stuff, you should appreciate a great deal of it. 'Bring It On Home' is a convincing blues number, thanks to the guitar work. Indeed, across the whole album the sound is natural and the Quo seem to have remembered their roots. Some of these tunes I swear i've heard before, yet Oasis get away with ripping off others tunes left right and centre, give these Quo guys a break! Especially if you don't want to, I know people whom would rather have a labotomy than listen to a Status Quo album, even one as fine as any from their peak period. I know people who despise everything Status Quo stand for, and I was one of those people until I grew up, met some musicians, listened and learned. Readers of N.M.E take note. The closing 'Forty Five Hundred Blues' is good enough to be metallica with a little old fashioned british imagination. Obviously, it sounds nothing like metallica, but if metallica apparently have conviction, this does too.
'Fakin The Blues' and the storming opener, 'Like A Zombie' both could have been hits for the Quo in times gone by. 'Fakin The Blues' is one of the most satisfying Quo compositions for several years, properly constructed and with just enough bite, although not all that much. Again properly constructed is 'One Man Band', a storming guitar twirler, a proper rock n roll performance far in excess of the filler album tracks Quo introduced in the eighties. The title track is lyrically cliched, yet the music and performance convinces. A good Quo album? Well yes, and we never thought we'd say that in the first place, let alone say it again.
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Thirsty Work 6½ ( 1994, UK Pos 13 )
Goin' Nowhere / I Didn't Mean It / Confidence / Point of No Return / Sail Away / Like It or Not / Soft in the Head / Queenie / Lover of the Human Race / Sherri Don't Fail Me Now! / Rude Awakening Time / Back on My Feet / Restless / Ciao-Ciao / Tango / Sorry
Three hit singles for the Quo in 1994. 'I Didn't Mean It' hit a peak of number 21 in August. 'Sherri Don't Fail Me Now' reached #38 and 'Restless' hit #39. Obviously, they'd had far better commercial days in the past. The album itself, supported by Quo's still respectable fanbase, went straight in at number 13 on the album charts. The three singles, then? Well, 'I Didn't Mean It' is a more than decent Quo rocker with a spirited energy and a strong chorus. It's no 'Down Down', but it more than stands up to then recent Quo single releases. Would sound great played live, of that i've no doubt. Love the rock n roll piano rolls in this song in particular. 'Sherri Don't Fail Me Now' is a Quo pop song that leans heavily on keyboards and sounds somewhat dated, very 80s. The song has fine construction but the chorus isn't really at the expected Quo singles standard. The third and final single released from 'Thirsty Work', then? Well, 'Restless' is a keyboard led ballad, nothing wrong with it in particular if treated as an album track to provide variety, but highly unlikely to succeed as a single. Indeed it didn't, scraping into the top 40 on the strength, no doubt, of the Quo fanbase alone. Kind of sounds like a singer/songwriter 70s MOR ballad. What songs could the Quo have chosen then for the 2nd or 3rd single release choices? Well, how about the storming 'Queenie' for one? Even something like 'Sail Away', which borders on novelty thanks to the production values, but remains a strong tune. The production values? The Quo sound tamed, they sound like they are playing in a cheap, seaside resort. Whilst you can hear the drums, guitar and especially the keyboards and everything is well performed, there is a sense that the sound isn't quite appropriate. Sure, they needed a couple of 'safe' sounding tunes to aim for the radio, I guess. That's no excuse for making the album sound so inoffensive, though.
I like something like the three minute 'Back On My Feet'. It's the kind of song the Quo have written dozens of times before. It doesn't however outstay its welcome at all and has nice guitar parts to provide the album with a much needed injection of ROCK. Even better is 'Soft In The Head'. Finally, 'Thirsty Work' provides something alongside 'Queenie' and 'I Didn't Mean It' which sounds like a proper rock n roll boogie stomper. Come to think of it, this also would have made a better single than either 'Restless' or 'Sherri Don't Fail Me Now'. So, in support of 'Thirsty Work', it has a clutch of very good Quo songs. The more negative side includes the production and sound of the actual album, which i'm not altogether comfortable with. Along with that, 16 songs running to an hour of music is perhaps four songs of filler too many. Not everything here works and the album does sag in places. Still better than their 80s nadir, though.
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Don't Stop 3 ( 1996, UK Pos 2 )
Fun, Fun, Fun / When You Walk In The Room / I Can Hear The Grass Grow / You Can Never Tell / Get Back / Safety Dance / Raining In My Heart / Don't Stop / Sorrow / Proud Mary / Lucille / Johnny And Mary / Get Out Of Denver / The Futures So Bright / All Around My Hat
The 30th anniversary album. A large amount of promotion on the bands part saw this effort reach number two in the UK album charts, right in the middle of britpop. Seems almost impossible to believe, doesn't it? And why oh why oh why do I punish myself so? Status Quo and Mike Love of The Beach Boys got together for the Quo cover of 'Fun Fun Fun' and Brian Wilson was dragged onstage to promote the song for a daytime UK tv show. It was one of the most horrific public appearences Brian Wilson had ever made. He clearly didn't want to be there. The Beach Boys themselves hadn't been played on Radio One for twenty years, Quo for a good five years. Quo decide to therefore kick up a fuss that Radio One wouldn't playlist this cover of a forty plus year old song recorded by two ageing bands well past their peak. They lost their case and Radio One indeed, quite rightly, weren't forced to place the song on their playlist, however popular the Quo claimed the recording to be. For the record, this cover is one of the most hideous things to come out of popular music in recent years. The entire album suffers from poor, unimaginative production values, making the once mighty Quo sound like a competent bar band and little more. The very idea of a covers album is almost enough to make me retch in the first place. That's whoever decides to do one, there have been very few worthy cover albums ever, let's face it. Still, The Quo's very of Men In Hats every eighties synth novelty hit 'Safety Dance' is entertaining, although I prefer the cover by Homer Simpson, it must be said.
The title track is the one track here that most resembles the sound of Quo. The Quo's take on this Fleetwood Mac effort having fully the Quo mark stamped upon it. 'Sorrow' is a decent cover and 'Lucille' at least sounds like rock n roll, albeit sanitised. 'Get Out Of Denver' has energy and sounds like the Quo, but where are those duelling Quo guitars of old? The closing tune is a cover of Steeleye Span's 'All Around My Hat'. Released as a Quo single, it stalled just outside the top 40, despite the obvious quality of the tune. Quo naturally stick their boogie-stomp on the folk classic. It doesn't quite work, but it's better than the majority of the album, it's fair to say. All in all, this album is utterly missable even for the Quo fanatic. Download 'All Around My Hat', the title track and 'Safety Dance' by Homer Simpson.
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Under The Influence 6 ( 1999, UK Pos 26 )
Twenty Wild Horses / Under The Influence / Round & Round / Shine On / Little White Lies / Keep 'Em Coming / Little Me And You / Making Waves / Blessed Are The Meek / Roll The Dice / Way It Goes / Not Fade Away
Dull, boring, safe, competent and predictable are just some of the words I could use to describe this album. At least we do have some energy in places, notably the enjoyable title track which could almost pass for prime-time Quo. We do need to give the band credit where it's due, even if we don't want to. Still here in the 21st century? Check. Unchanged, stable line up of rossi, parfitt, bown, edwards and rich since 1986? Check. A good title track where we get proper actual guitars as well as a nifty blues feel and a great instrumental break. Have I gone mad? Well, no. Those words I plucked up for the first sentence still stand when considering the album as a whole. Another positive? Well, only one hit single from the album, 'Way It Goes', but it's a good one, certainly. Again, the guitars are to the fore, which is always how we want our Status Quo to sound. I like the album cover, too! They'd make good landlords would Rossi and Parfitt. Maybe they can work that one into the old retirement plan ( as if! ). They let themselves down though with a good intentioned maybe, but needless cover of Buddy Holly's 'Not Fade Away'. They try and give it a new shine, but it doesn't quite work. Speaking of 'Shine', 'Shine On' is an awful, clumsy and downright dull tune that i'll pass over quickly because I don't like listening to this attempted late night modern soulless blues.
'Roll The Dice' is typical Quo, they strike up a boogie with the guitars, which sounds decent, although ultimately the song goes nowhere. Songs like 'Keep Them Coming' are both good and bad. At least the sound is there and the effort is there. A spirited vocal and the guitars sound fresh. Not quality material though when compared to the bands finer work from the past. Let's find another good song, then? I like 'Round & Round', it does what it sense on the tin and it's a lot of boogie rock fun. Lead track 'Twenty Wild Horses' is decent, although lyrically challenged, as much of the album sadly appears to be. I can't and won't write the Quo off just yet, though. There's half a very good album here.
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Famous In The Last Century 4 ( 2000, UK Pos 21 )
Famous In The Last Century / Old Time Rock 'n' Roll / Way Down / Rave On / Roll Over Beethoven / When I'm Dead And Gone / Memphis Tennesse / Sweet Home Chicago / Crawling From The Wreckage / Good Golly Miss Molly / Claudette / Rock 'n' Me / Hound Dog / Runaround Sue / Once Bitten Twice Shy / Mony Mony / Famous In The Last Century
A contractual obligation album, another covers album and according to the band themselves, not a very good album. To quote leader Francis Rossi, Or, put another way, another bloody covers album! We went along with it, as usual, but inside I felt like a fraud...for me it was the worst Quo album there had ever been - or ever will be!' So, where do we even start with 'Famous In The Last Century'? Well, the music is as you would expect. The guitars and no-frills boogie rock of the Quo is present and correct. 'Roll Over Beethoven' is one of the worst offenders on this over-lengthy album, a squeak as opposed to a roar. Clumsy where it should be racing elegantly ahead. Better is the Buddy Holly tune 'Rave On', given a spicy little Quo guitar solo in the middle. The one original tune here is the title track which bookends the album. A mere minute or so long, it would have been nice if it had been a little longer. It had an idea and a decent guitar sound. We move on though, The Everly Brothers 'Claudette' is turned into a lifeless attempted Quo stomp and loses all charm as a song in the process. 'Mony Mony'? I mean, jesus, do we really need a new version of this dog-tired old supposed 'classic'? No, we don't, in all honesty.
A highlight or two, then? Well, the brief title track is one. 'Way Down' is another, is has an actual genuine energy, isn't an old cliched piece of dusty overdone rock'n'roll and is given the Quo twist, without sounding like everything else they've ever done. 'Memphis Tennessee' starts out great, suffers a little through the not dangerous enough and far too clean production, but still provides enjoyment, all the same. Best song? 'Once Bitten Twice Shy', a real rock'n'roll boogie that suits the Quo down to the ground. It's not enough for the album to be utterly forgettable, though.
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Heavy Traffic 7½ ( 2002, UK Pos 15 )
Blues And Rhythm / All Stand Up (Never Say Never) / The Oriental / Creepin Up On You / Heavy Traffic / Solid Gold / Green / Jam Side Down / Diggin' Burt Bacharach / Do It Again / Another Day / I Don't Remember Anymore / Money Don't Matter / Rhythm Of Life
The Quo's habit for carrying on, turning up and never-changing was bound to produce dividends eventually and so it is here with one of their strongest album releases. Even 'allmusic.com' have declared it to be a masterpiece and what a Quo album should be, the guys simply playing live in the studio and not relying on production and technology to sway them. Certain excitable Quo fans though have proclaimed this album as right up their with 'Blue For You', etc. Not quite, the second half of the album trails away without a firm conclusion. As it is though, we've a handful of strong tracks where 'Heavy Traffic' gets it's pulsebeat from. It's a joy to hear Quo songs again so firmly rooted in the blues-boogie they used to do with their eyes shut. Right from 'Blues & Rhythm' we can sense a renewed purpose within the band. 'All Stand Up' has genuine energy, for example. 'The Oriental' is catchy and fun, 'Creepin Up On You' a genuinely quality composition wih blues guitar and that Quo boogie backing it up to fine effect. The lead single was 'Jam Side Down', becoming the first Quo original to make the top twenty of the UK singles charts for quite some time. It sounds like it could have been released by Quo at any stage within the past thirty years. That may not seem a good thing, but when we're speaking of the Quo, it means the song has a certain Quo quality that benefits 'Jam Side Down' being a charting Quo single. Harmonica see-sails right through 'Solid Gold' and it's a joy to hear. 'Green' is an intriguing track complete with acoustic guitars. It sounds atypical of the Quo, yet absolutely works. It sounds real and is perhaps my favourite song here.
'Do It Again' is an anthemic tune that sounds absolutely committed as the group kick up a storm that belies the guys ages. They may be 400 years old or something between them, but 'Heavy Traffic' is a convincing argument for old guys making rock n roll music. They could have knocked a couple of the tracks off towards the end of the LP to ensure the whole came in under forty minutes. As it is, this still manages to be a wholly convincing argument as to why the Quo do and should still exist.
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The Party Ain't Over Yet 7 ( 2005 )
The Party Ain't Over Yet / Gotta Get Up And Go / All That Counts Is Love / Familiar Blues / The Bubble / Belavista Man / Nevashooda / Velvet Train / Goodbye Baby / You Never Stop / Kick Me When I'm Down / Cupid Stupid / This Is Me
It's new years day, 2008, at the time of writing. My phone and internet connection is down and the internet connection may be down for a week or more. What to do? Well, my normal reasearch avenues are down, for a start. I have a few books, but not a library, you understand. So, i'm picking and choosing artists to review where really, the music matters above and beyond all else. Status Quo, love em or loathe em, are just such an act. Yes, for all their often embarassing TV appearences whoring themselves out to get their music heard in the absence of radio play ( for which I don't actually blame them for, and besides, one of their most recent was with the wonderful Adrian Chiles on 'The One Show' ) you know the Quo are in this for the love of music. 'The Party Ain't Over Yet' is an album containing solid original Quo songs and they sound like a band, continuing on from 'Heavy Traffic' stylistically. We've brief tantalising glipses of the classic Quo duelling guitar sound from the Seventies and generally interesting guitar parts elsewhere. Certain songs are saved by such sections, lifting average material to a good level otherwise unobtainable. The title track sent the Quo back into the UK top twenty, yet another hit single in a seemingly neverending line of hit singles for the group. It's pretty much Quo by numbers, enjoyable enough but nothing genuinely exciting. Genuinely exciting? Well, take 'Velvet Train' for example. See-sawing harmonica parts lends a genuine edge and the guitars chug with intent, oh yes they do! We've also got a great instrumental break with guitar solo, harmonica solo and it comes across not so much as a velvet train, but a steaming, mechanical monster.
How about a moment then that rescues an otherwise plodding tune? The harmonica parts through 'Belavista Man' raises the stakes and means the song appears to improve as it goes along, quite strange for a song that's all circles of guitars and a very traditional blues rock type structure. 'Gotta Get Up And Go' begins like utter classic Quo material, the guitars sound right and we wait through the opening seconds awaiting an explosion. Instead of the expected explosion, although the energy of the tune is retained, it never really reaches a higher level. Still a decent enough song, mind you. A harmless, catchy highlight arrives with 'All That Counts Is Love'. Again, Quo fail to resort to mid-tempo plodding, keep the energy up and this could have been a hit, for my money. What else? Well, a few tracks, 'Familiar Blues' being the worst offender, just simply fail to go anywhere. Indeed, 'Familiar Blues' and 'The Bubble' are ten minutes long between them right next to each other on the LP and sleeping is possibly advised during this section. Well, 'The Bubble' would be ok if it didn't resemble 80s AOR. Nevertheless, 'The Party Ain't Over Yet' is an album with more highs than lows, a solid collection for fans to enjoy.
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In Search Of The Fourth Chord 7 ( 2007 )
Beginning of the End / Alright / Pennsylvania Blues Tonight / I Don't Wanna Hurt You Anymore / Electric Arena / Gravy Train / Figure of Eight / You're the One for Me / My Little Heartbreaker / Hold Me / Saddling Up / Bad News / Tongue Tied
The ironically titled 'In Searth Of The Fourth Chord' is the Quo's umpteenth album and continues their recent return to some kind of boogie-rock roots. Their sound remains uninventive, their lyrics remain unimaginative yet Status Quo still manage to demonstrate enthusiasm and energy, which is quite something after so many years in the job. We even get something of a first, bassist John "Rhino" Edwards handles the vocal duties on 'Bad News', the first time he gets a lead vocal in twenty odd years as part of the Quo line-up. It's a strongish rocker and his vocals are decent and suitably gritty. The strangely weak vocal that decorates 'Tongue Tied', a ballad in search of a tune undoes a lot of the good work 'Bad News' performs towards the close of the album, however. At the other end of things, the lead single opens up the album with a bang, catchy riffs and a memorable chorus. It's no 'Caroline' or 'Down Down' of course, yet the guitars combine well to create an impressive sound all the same. A potential second single, should they choose to release one, could well be the powerful 'Gravy Train', a great chugging thing with sterling keyboard work combine with the vocals to remind this listener of the rockier moments from classic Sixties group, The Doors.
'You're The One For Me' revolves around another guitar riff variation sounding suspiciously similar to dozens of other Quo tunes, yet we're going back to 70s Quo rather than 80s, so that's not a bad thing. Indeed, the energy and refreshingly natural sound of 'You're The One For Me' is almost enough to remind a listener of the Quo's classic run of albums in the early to mid-seventies. Another welcome highlight has to be 'Pennsylvania Blues Tonight', a surprisingly modern sounding rhythm section provide an insistent groove, hence a groove based rather than riff based Quo tune, although a catchy little guitar figure pops up here and there to move the tune forwards. Inbetween said highlights, we have a few near-clunkers, undistinguished material not likely to lodge itself in your brain in the first place, let alone stay around. So, material like 'My Little Heartbreaker' is all the more fun inbetween such material. Not a classic Quo set then by any means, yet certainly listenable and matching the quality of the groups best recent works.
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Live At The BBC 8 ( 2010 )
Gloria / I (Who Have Nothing) / Neighbour, Neighbour / Bloodhound / Bird Dog / I Don't Want You / Almost But Not Quite There / Spicks and Specks / It Takes Two / Spicks And Specks / Judy In Disguise (With Glasses) / Pictures Of Matchstick Men / Things Get Better / Pictures of Matchstick Men / Gloria / Bloodhound / Black Veils Of Melancholy / Ice In The Sun / Paradise Flat / When My Mind Is Not Live / Make Me Stay A Bit Longer / Are You Growing Tired of My Love / The Price Of Love / The Price Of Love / Junior's Wailing / Spinning Wheel Bluesv Down The Dustpipe / In My Chair / Need Your Love / Mean Girl / Don't Waste My Time / Oh Baby / Paper Plane / Softer Ride / Paper Plane / Softer Ride / Don't Waste My Time / In My Chair / Caroline / From A Jack To A King / Down The Dustpipe / Railroad / Caroline / The Party Ain't Over Yet / Whatever You Want / Belavista Man / Rockin' All Over The World / Junior's Wailing / Someone's Learning / In My Chair / Railroad / Don't Waste My Time / Paper Plane / Roadhouse Blues / Bye Bye Johnny / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Over The Edge / Don't Waste My Time / Dirty Water / 4500 Times / Big Fat Mama / Roadhouse Blues / Rain / Down Down / Bye Bye Johnny / Whatever You Want / Little Lady / Roll Over Lay Down / Cream Of The Crop / Who Gets The Love? / Hold You Back / Don't Drive My Car / Dirty Water / In The Army Now / Rockin' All Over The World / Don't Waste My Time / Bye Bye Johnny / Whatever You Want / In The Army Now / Burning Bridges / Rockin' All Over The World / Roadhouse Blues/The Wanderer/Marguerita Time/Living On An Island/Break The Rules/Something 'Bout You Baby I Like/The Price Of Love/Roadhouse Blues Caroline / Paper Plane / The Wanderer / Proud Mary / Wild Side Of Life /Rollin' Home/Again And Again/Slow Train / Get Back / Whatever You Want / In The Army Now / Something 'Bout You Baby I Like / Don't Waste My Time / Rockin All Over The World / Roadhouse Blues / Caroline / All Around My Hat (with Maddy Prior) / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Dirty Water / Down Down / Don't Waste My Time
Beginning with a cover of Van Morrison's 'Gloria' and ending with tracks recorded for the BBC in 1996 this set covers a selection of recordings The Quo made for BBC radio. When 'GLoria' kicks into gear Status Quo are still known as The Spectres. In 1996 they had become a somewhat derided national institution, albeit one with a committed and appreciated fanbase, particularly on the live circuit. 'Roadhouse Blues' from one of these 1996 live performances for instance displays an immensely impressive powerful performance from Quo, proof at last that they'd actually lost none of their Seventies firepower, at least when they put their minds to it. These 1996 live performances bristle with intent, 'Paper Plane' sounds like a tank about to destroy an entire village. Switching to live performances from 1992 contained on disc six is therefore a bit of a surprise. A much more crowd-pleasing set full of hits, 'Whatever You Want', 'Burning Bridges', 'Rockin All Over The World', etc. Just comparing the 1992 and 1996 performances of 'Roadhouse Blues' is revealing for me. The 1992 version hasmarkedly less power coming from the rhythm section and coarser lead vocals.
In 1988 live at Wembley Arena we open with a perfuntory run through of Argos favourite 'Whatever You Want', move into a throroughly entertaining and energetic 'Little Lady' moving through some 'select' album tracks from 'Ain't Complaining', my least favourite Status Quo album ever. The energy levels drop and they turn into some kind of American arena act, losing much of their character in the process. Let's compare and contrast 1988's 'Whatever You Want' then with 1982's 'Whatever You Want' recorded at the Birmingham NEC. The classic Quo guitar boogie sparkles for one and a version of 'Caroline' taken from the same gig may have slightly bored sounding vocals but the band themselves sound pretty good when blasting through my ears. The live tracks taken from 1973 sound like a band in transition even though the transition to the boogie monsters they were famous for being by then was already complete. Just goes to show how much the Quo continued to improve throughout that decade. Although their albums may not have sounded very different at all to each other, live at least they were still developing and honing themselves both as a unit and as individual performers.
Personally, being a massive fan of the late, lamented John Peel, hearing two tracks recorded for a Peel Session in 1972 was revelatory. Re-writen history would pretent that Peel arrived when punk did and listened to nothing but noisy white boys who would later crop up in the pages of NME. So, a run through of 'Paper Plane' and also 'Softer Ride' which has insistent guitar riffs and a proper bluesy feel - albeit all done at 100 miles an hour. Best thing on the box-set? Well, quite possibly, at least in our house. Seven songs from a 1972 'Sound Of The Seventies' demonstrates well why Quo blossomed into the huge act they became, particularly a roaring version 'Oh Baby'. I like the way the highlights of this box overall aren't necessarily the ones you would expect. Yeah, the sound quality is variable throughout although that doesn't detract one bit from the overall pleasure to be had. Yes, Quo=pleasure. Well, at least they should do for any reasonable thinking person, especially when dipping into the early to mid-seventies output of Quo.
A quick word about formats. The deluxe edition contains seven CDs and one DVD. There's a four disc box and also a 2CD version. A veritable feast for Quo fans. I mean, those early sessions when Quo were known as The Spectres showcase a promising rhythm and blues outfit. Four tracks as 'The Traffic Jam' are caught somewhere inbetween the rhythm and blues and the pyschedelic outfit they would become. The songs from 1968 showcase a number of covers and also an airing of 'Pictures Of Matchstick Men' their first chart-breakthrough. Still sounds good some astonishing 42 years later. A very posh sounding Hairy Cornflake then takes us through three or four tracks when Quo had all but completed their move back to the blues, to rhythm and blues and well towards developing into that mighty seventies behemoth they became.
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Quid Pro Quo 8 ( 2011 )
Two Way Traffic / Rock 'n' Roll 'n' You / Dust To Gold / Let's Rock / Can't See For Looking / Better Than That / Movin' On / Leave A Little Light On (Parfitt/Morris) / Any Way You Like It / Frozen Hero / Reality Cheque / The Winner / It's All About You / My Old Ways
Reaching number 10 in the UK album charts for a band that has been around as long as Status Quo have is a very impressive feat. Well, let's think of it this way. Will U2 still be charting in the top ten come 2020? Bono will have no voice, The Edge will be deaf and the rhythm section fat and bald. Francis Rossi still composes the majority of Quo tracks, by the way, yet the Parfitt/Bown axis get plenty of writing credits also, although curiously no songs are Rossi/Parfitt co-writes, they rarely ever did write together if my memory serves me correctly. Anyway, 'Quid Pro Quo' captures the sound of the band playing live, there's very few overdubs and it's a guitar heavy sound. The songs are lyrically reminding one of their previous hits yet musically rush along in a manner no forty year old band have any right to be able to achieve.
Salient points lazily cribbed from Amazon reader reviews follow.
"To me, Quid Pro Quo sounds like the culmination of Status Quo rediscovering their soul (their 'Quoness' if you like) that started with Under the Influence in 1999"
"I have a massive soft spot for the Quo. I used to listen on a Saturday afternoon to the Alan "Fluff" Freeman radio show praying he would play a Quo track...and he did lots of them! I go back as far as Ma Kellys Greasy Spoon"
"Following on from poor efforts in the 80s and 90s Quo are starting to produce some good albums again."
"Bought this for my hubby as he is a Quo fan! Cant comment on the album as I m not particularly a quo fan myself but I have a happy hubby"
Isn't that what music is all about? Following that final comment, I may get my wife to go-to a Quo gig instead of me going to a Take That gig. Well, I'm not a Quo fan, as such, but the live disc here gets my curiosity juices flowing - to think, when I started this page I thought I absolutely despised the group and everything they stood for? True, the lyrics are as cliche as Jeremy Clarkson yet when did that ever stop him being popular? The music is rock, the rockiest they've been for quite for years, consistently so rather than just the odd track here and there. I mean, Parfitt can even get away with 'Let's ROCK, Let's ROCKIT' and we don't mind. Not enough bands do rock these days, I mean, who has even come through in the past few years? 'Reality Cheque' and 'Leave A Little Light On' are also Parfitt co-writes and he seems on fine form throughout this LP set. LP? See what I did there - trying to confuse the already bewildered youngsters!
Andy Bown plays keyboards that sound like Piano and Organ - perhaps they are. It all adds to a very real sounding Quo set that doesn't scream out 2011, as it very much shouldn't do, and what's this? 'Frozen Hero' penned largely by Rossi sounds like a Quo classic if ever there was one, a song to slip seamlessly into any Quo live set. The guitars spiral and turn and the chorus is mighty and why the hell didn't they release this as a single anyway? Well, their days of hit singles are quite probably way behind them yet I'm glad to report they've still got it in them to try.
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Readers Comments
Paul Lillis Republic Of Ireland
only after finding your website and what a pleasure it is to read your reviews and there are very good have all these albums you talked about and i must say i agreed with you on what you said. but tou didnt review to be or not to be album i think release in 1979, in my opinion i think this would only recieve a 4 rating one of there poorer albums i love the quo and always get there albums but havnt bought much of there new stuff prefer there music from the early 70s thanks again it was great to find your site
Bula Quo! 7½ ( 2013 )
1. Looking Out For Caroline / GoGoGo / Run And Hide (The Gun Song) / Running Inside My Head / Mystery Island / All That Money / Never Leave a Friend Behind / Fiji Time / Bula Bula Quo (Kua Ni Lega) / Living On An Island / Frozen Hero / Reality Cheque / Rockin' All Over The World / Caroline / Beginning Of The End / Don't Drive My Car / Pictures Of Matchstick Men / Whatever You Want / Down Down
Status Quo have gone silver screen in Kiss fashion with a film Bula Quo, disappointingly, this isn't 'Family Guy Kiss Do Christmas' but was perhaps an inevitable concept from a band searching for ways to remain in the news and to remain relevant. You do suspect though a lot of the dodgier concepts coming from the Quo camp are Rick Parfitt ideas - these guys appeared on TV and Rossi just nodded politely. 'Bula Bula Quo' becomes, astonisingly, the groups 100th single. That's a staggering fact, surely?
As for the film, "Rocking All Over The World, Status Quo witnesses a gang murder in Fiji. They flee with crucial evidence; have they played their last gig? Rock legends Status Quo are finishing their 50 Year Celebration tour. They come off stage to thunderous applause and slip away for a quiet drink. Suspecting a bigger party is going on in the back bar, Francis Rossi and Rick Parfitt slip through security and gate crash the event. They witness a gambling ring forcing competitors to play Russian Roulette. The winner gets dinner. The other loses their head. Parfitt and Rossi grab evidence of the murder and create a commotion so they can get away. Wilson (Jon Lovitz Happiness, The Wedding Singer, Friends), the lead gangster, catches sight of them and orders their heads. Parfitt and Rossi are on the run. Simon (Craig Fairbrass Cliff Hanger, Rise of The Footsoldier), their manager, and Caroline (Laura Aikman - Keith lemon Movie, Freight, Blood Monkey etc), a cheeky intern, are tasked with keeping the press in the dark while protecting Status Quo. An ambitious reporter, Dave (Matt Kennard - Freight, BBC TV Doctors), senses there is a story. Caroline holds him off as long as possible, but as the situation escalates, enlists his help. Using sea-planes, speed boats, jet skis, golf carts and scuba gear, Status Quo and their entourage evade capture and manage to leave paradise."
First thing I notice listening to this, it's very produced, it's very commercial with almost every song tipping its hat towards the charts, if only it were twenty years ago, of course. That's a fact Quo live to ignore, so we have 'GoGoGo' which is a genuinely brilliant track, with an actual thrilling guitar solo of the type you would not readily associate with Status Quo. The opening 'Looking Out For Caroline' is decent, although a little too familiar for what we expect from Quo. 'Run And Hide' has some heavy bass guitar work which is nice and 'Running Inside My Head' is faintly bluesy and lots of fun, if not exactly serious. We'll skip 'Mystery Island' for being a piss-poor attempt at a Beach Boys 'Kokomo' and the single 'Bula Bula Quo' is just weird, tribal drumming and an all too jaunty lead vocal. The 2nd disc consists of remakes of Quo songs and a few live numbers, ancient Quo number 'Pictures Of Matchstick Men' being done particularly well.
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Readers Comments
ChristianAustria
Thx for all the great Reviews, cant wait for the AQUOSTIC review. rock on
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this page last updated 230/08/15
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Template:Use British English Template:Use dmy dates Template:Infobox musical artist Status Quo are an English rock band who play a brand of boogie rock. The group originated in The Spectres, founded by schoolboys Francis Rossi and Alan Lancaster in 1962. After a number of lineup changes, which...
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Template:Use British English Template:Use dmy dates
Template:Infobox musical artist
Status Quo are an English rock band who play a brand of boogie rock. The group originated in The Spectres, founded by schoolboys Francis Rossi and Alan Lancaster in 1962.[1] After a number of lineup changes, which included the introduction of Rick Parfitt in 1967, the band became The Status Quo in 1967 and Status Quo in 1969.
They have had over 60 chart hits in the UK, more than any other rock band,[2] including "Pictures of Matchstick Men" in 1968, "Whatever You Want" in 1979 and "In the Army Now" in 1986 and 2010. Twenty-two of these reached the Top 10 in the UK Singles Chart. In July 1985 the band opened Live Aid at Wembley Stadium with "Rockin' All Over the World". In 1991, Status Quo received a Brit Award for Outstanding Contribution to Music.[3]
Status Quo starred in their first feature film, Bula Quo!, which was released to cinemas in July 2013. The film coincided with the release of the soundtrack album Bula Quo!, which peaked at number 10 in the UK Albums Chart. The first single from the album, "Bula Bula Quo" was released in June 2013, and is Status Quo's one hundredth single release.[4]
Career[]
1962-68: Formative years[]
Status Quo was formed in 1962 under the name "The Scorpions" by Francis Rossi and Alan Lancaster at Sedgehill Comprehensive School, Catford, along with classmates Jess Jaworski (keyboards) and Alan Key (drums).[5] Rossi and Lancaster played their first gig at the Samuel Jones Sports Club in Dulwich, London. In 1963, Key was replaced by John Coghlan and the band changed name to "The Spectres".[1][6] In 1965, when Rossi, Lancaster, and Jaworski had reached the end of their school education, Jaworski opted to leave the band, and was replaced by Roy Lynes.[7]
They began writing their own material and later that year met Rick Parfitt who was playing with a cabaret band called The Highlights. By the end of 1965, Rossi and Parfitt, who had become close friends, made a commitment to continue working together. On 18 July 1966, The Spectres signed a five-year deal with Piccadilly Records, releasing two singles that year, "I (Who Have Nothing)" and "Hurdy Gurdy Man" (written by Alan Lancaster), and one the next year called "(We Ain't Got) Nothin' Yet" (a song originally recorded by New York psychedelic band The Blues Magoos).[6] All three singles failed to make an impact on the charts.[1]
By 1967, the group had discovered psychedelia and named themselves Traffic, but were soon forced to change it to "Traffic Jam" to avoid confusion with Steve Winwood's Traffic, following an argument over who had registered the name first.[1] The band secured an appearance on BBC Radio's Saturday Club, but in June their next single, "Almost But Not Quite There", underperformed. The following month saw Parfitt, at the request of manager Pat Barlow, joining the band as rhythm guitarist and vocalist. Shortly after Parfitt's recruitment, in August 1967, the band officially became Status Quo.[8]
1968-70: "Pictures of Matchstick Men" and psychedelic years[]
In January 1968 released the psychedelic-flavoured "Pictures of Matchstick Men".[1] Rick Parfitt was invited to join the band just as the song hit the UK Singles Chart, reaching number seven; "Matchstick Men" additionally became the group's only Top 40 hit in the United States, peaking at number twelve on the Billboard Hot 100.[6] Although Status Quo's albums have been released in the United States throughout their career, they never achieved the same level of success as they have in their home country.[6] Though the follow-up was the unsuccessful single, "Black Veils of Melancholy", they had a hit again the same year with a pop song penned by Marty Wilde, "Ice in the Sun", which climbed to number eight.[1] After the breakthrough, the band management hired Bob Young as a roadie and tour manager. Over the years Young became one of the most important songwriting partners for Status Quo, in addition to playing harmonica with them on stage and on record.
1970-81: Piledriver and Rockin' All Over The World[]
After their second album Spare Parts failed to impact commercially, the band abandoned psychedelia and Carnaby Street fashions in favour of a hard rock/boogie sound, faded denims and T-shirts, an image which was to become their trademark throughout the 1970s.[1] Lynes left the band in 1970 and was replaced in the studio by guests including keyboard player Jimmy Horowitz and Tom Parker.[9] By 1976, ex-The Herd, Judas Jump and Peter Frampton Band member Andy Bown was brought in to cover keyboards although as he was contracted as a solo artist with EMI he was not credited as an official member of Status Quo until 1982.
After two relatively poor-selling albums, Ma Kelly's Greasy Spoon and Dog of Two Head in 1970 and 1971, their major breakthrough came when they signed with the heavy rock and progressive label Vertigo.[6] Their first album for Vertigo, Piledriver, was released in 1972 and heralded an even heavier, self-produced sound.[1] This album was essentially the stylistic template for each album they released up until Blue for You in 1976.[6] Quo's more popular songs from this era include "Paper Plane" (No 8 in the |UK chart) (1972), "Caroline" (No 5 in the UK chart) (1973), "Break The Rules", (No 8 in the UK Chart) (1974), "Down Down" (No 1 in the UK chart) (1975), "Rain" (No 7 in the UK chart) (1976), "Mystery Song" (No 11 in the UK Chart) (1976), Rockin' All Over the World" (No 3 in the UK chart) (1977) and "Whatever You Want" (No 4 in the UK Chart) (1979). "Down Down" topped the UK Singles Chart in January 1975, becoming their only UK No 1 single to date.[10] In 1976, they signed a pioneering sponsorship deal with Levi's.[1] Quo have now sold approximately 118 million records worldwide.[11]
From 1977 onwards, the band's sound became more polished as they began to employ outside producers. These included Pip Williams, Roger Glover, and John Eden. Glover was the first outside producer to work with Quo since Pye's John Schroeder in the early 1970s, and produced "Wild Side of Life" and its B-side "All Through The Night" in 1976.
1977's Rockin' All Over the World's title track, a minor hit for its writer John Fogerty (formerly of Creedence Clearwater Revival) became one of Status Quo's most enduring anthems.[1] Sales remained high in the UK throughout the 1980s.
1981-91: Lineup changes, Live Aid and In The Army Now[]
Tensions within the band saw founding member John Coghlan leaving the band late in 1981.[6] His replacement early the following year was Pete Kircher from the 1960s pop band Honeybus.[6] It was at this time that Andy Bown joined the band in an official capacity. This line-up played its last full-length gig in 1984 at the Milton Keynes Bowl, although the band were contracted to record more albums. Status Quo's final appearance with the Kircher line-up opened the Live Aid charity event at Wembley in July 1985.
That year, Rossi recorded and released two solo singles with long-time writing partner Bernie Frost. Parfitt also recorded a solo album, Recorded Delivery, with bass player John "Rhino" Edwards and drummer Jeff Rich. The album remains unreleased, although some tracks were reworked and released sporadically as Status Quo B-sides until 1987.
In mid-1985, Rossi, Parfitt and Bown, along with Edwards and Rich, started work on a new Status Quo album. Lancaster, who by this time had more or less settled in Australia, took out a legal injunction to stop the band from using the Status Quo name on any records, citing his increasing musical differences with the group, notably during the sessions for the 1983 album Back to Back. The specific dispute concerned two tracks which became hit singles for the group around that time. Lancaster had written the track "Ol' Rag Blues", but was angered when the producers chose to release a version with Rossi singing the lead vocal in preference to the one sung by himself. The injunction also prevented the release of a single, "Naughty Girl", for which a catalogue number was issued by Vertigo.
An out-of-court settlement was made in January 1986, enabling the new Status Quo to continue recording the In The Army Now album, of which "Naughty Girl" was reworked as "Dreamin'". Lancaster remained in Australia, and in 1986 joined an Australian super group, The Party Boys, which featured Angry Anderson of Rose Tattoo, John Brewster of The Angels and Kevin Borich, but achieved little success outside Australia. Lancaster left Status Quo formally in 1987.
On 11 and 12 July 1986 they played at Queen's Live at Wembley '86 concert. The band also supported Queen at Knebworth and Queen's European shows.[1] The commercially successful In the Army Now album was released in 1986, the single of the same name becoming one of the band's biggest selling UK singles, reaching number 2.[1] The following album, Ain't Complaining, released in 1988, was less successful but did produce the hit single "Burning Bridges" which got to number 5. This was later re-recorded (with new lyrics) in April 1994 with Manchester United F.C. as "Come On You Reds" which would have given the band their second UK Number 1, but the single was released as 'by Manchester United'.
1991-2010: Rock 'Til You Drop, "Fun, Fun, Fun" and touring[]
The early-to-mid-1990s saw falling album sales for the band. To promote the release of the Rock 'Til You Drop album (1991), Quo performed four arena gigs across the UK in the space of a single day, earning them a place in the Guinness Book of Records. The 1994 Quo album Thirsty Work included a cover of the Jennifer Warnes song "I'm Restless" revealing an alternative and lighter sound to the band.[1] Don't Stop (1996), and Famous in the Last Century (2000) consisted almost entirely of cover versions, (with the only exception being the title track to the latter). The former brought some chart success for Quo with covers of Fleetwood Mac's "Don't Stop" and The Beach Boys' "Fun, Fun, Fun". The band became involved in an acrimonious dispute with Radio 1 after the station refused to include the "Fun Fun Fun" single on the radio station's playlist.[1]
In 1993, Francis Rossi and Rick Parfitt attracted a crowd of over 25,000 when they performed the annual Blackpool Illuminations lights switch on.
Parfitt underwent quadruple by-pass surgery in 1997 but was able to make a full recovery and returned with a performance at the Norwich City Football Club ground three months later. Status Quo also returned to Australia in 1997, completing their first tour there since 1978. A greatest hits compilation, Whatever You Want – The Very Best of Status Quo was also released, achieving silver sales in the UK that year. In 1999, Quo toured Germany, the Netherlands and Switzerland. Dubbed the 'Last Night of the Proms', the band were backed by a full orchestra during the concerts.
Rich left in 2000 and was replaced by Matt Letley. Andrew Bown also took a year off at the same time following the death of his wife, and was temporarily replaced on stage by Paul Hirsh, formerly of Voyager.
In November 2000, the band played a gig at Grandchester in the outback in Australia, performing on a carriage of Australia's Orient Express, the Great South Pacific Express.
In 2005 Rossi and Parfitt made cameo appearances in the long-running ITV soap opera Coronation Street in a storyline which involved them being sued by the notorious layabout Les Battersby, and performing live at his wedding as compensation.
In December 2005, it was announced that Parfitt had been taken ill and was undergoing tests for throat cancer. All subsequent dates of the UK tour were cancelled as a result. However, the growths in Parfitt's throat were later found to be benign and were successfully removed. In May 2006, a fully recovered Parfitt and the band returned to the NEC Birmingham to play the show that they had postponed in December. This was their 40th show at the venue, and was recorded for a DVD, entitled "Just Doin' It".
On 1 July 2007, they performed in front of 63,000 people at the newly built Wembley Stadium as part of the Concert for Diana. They also appeared on the TV programme Tiswas Reunited, in which the band got the usual greeting of custard pies and buckets of water whilst playing the song, "Gerdundula".
Their twenty-eighth studio album, In Search of the Fourth Chord, was released on the band's own Fourth Chord label in September 2007 in the UK, and on Edel Records in the rest of Europe. Produced by veteran producer Pip Williams, who had worked with Quo in the studio since 1977, the album was only moderately successful.
In 2008, they teamed up with German techno group Scooter to record a jumpstyle version of their 1979 single "Whatever You Want" entitled "Jump That Rock (Whatever You Want)".[12] In December 2008, they released their 75th single and first Christmas single, entitled "It's Christmas Time", which peaked at No. 40 in the UK Singles Chart.[13]
2010-13: Hello Quo, "Frantic Four" reunion tours and Bula Quo![]
Rossi and Parfitt were each awarded the OBE in the 2010 New Year Honours for services to music. Their long-standing work for charities includes The Prince's Trust, British Heart Foundation and Nordoff-Robbins Music Therapy.
Classic Rock magazine had reported on 17 March 2010 that the band had patched up their relationship with Alan Lancaster, and were discussing the possibility of a future collaboration.[14] The article stated "While the band are back on friendly terms with Alan, it's unlikely we'll see any future reunion, with Quo continuing as normal and Lancaster busy with charity events and overseeing the activities of his son's band The Presence".[14]
On 20 September 2010, Status Quo was honoured with a PRS for Music plaque commemorating their first gig at the Welcome Inn in Well Hall Road, Eltham, where the band first performed in 1967.[15]
On 26 September 2010, a new version of "In the Army Now" was released through Universal / UMC. All profits from this updated and lyrically reworked version will be donated equally to the British Forces Foundation and Help for Heroes charities.[16][17]
A box set of sessions, live concerts and TV appearances at the BBC was released on 25 October 2010, titled Live at the BBC. The full 7CD version (+DVD) covers almost all appearances, while the 2CD and 4CD version present some highlights.
Their twenty ninth studio album, Quid Pro Quo, was released in a deluxe format exclusively at Tesco on 30 May 2011. The regular edition was released elsewhere on 7 June. The album peaked at number 10 in the UK chart.
December 2011 saw Status Quo undertake their first all-arenas UK winter tour. Quo also performed for the first time at the The O2 in London. The tour was dubbed Quofest and featured Roy Wood and Kim Wilde as support for all shows. They joined the band during the encore.
In August 2011, Status Quo began filming their first cinematic documentary with film director Alan G. Parker. Entitled Hello Quo!, the production opened in cinemas on 22 October 2012. A Blu-ray/DVD release followed, through Anchor Bay Productions, on 29 October. The movie included contributions from Brian May, Jeff Lynne, Cliff Richard, Joe Elliott, Paul Weller, Joe Brown, Jim Lea, Andy Scott and Steve Diggle.
In April 2012, Status Quo announced they were shooting their first feature film, over several weeks in Fiji. A 90-minute action comedy, entitled Bula Quo!, taking its name from the islanders' traditional Fijian greeting, and also referencing the title of the band's best-selling album, Hello! featuring the band as themselves, and also starring Jon Lovitz, Craig Fairbrass and Laura Aikman.[18] The film was directed by Stuart St. Paul, produced by Tim Major and was released in cinemas on 5 July 2013. The film was accompanied by a soundtrack album of the same name, the band's 30th studio album, released on 10 June. It featured nine new songs and ten re-records and live tracks, and debuted in the UK chart at number 10.[19]
On 9 July 2012, the band released the single "The Winner" for the 2012 Summer Olympics. In July 2012 Coles, an Australian national supermarket chain, signed Status Quo to record a version of "Down Down" using Coles' tag line 'Down, down, prices are down'.[20] In November 2012, Coles continued their association with Status Quo, producing a series of television adverts with the band appearing and performing "It's Christmas Time". In 2013, new adverts were released by Coles with Quo using "Whatever You Want" as the new jingle.
In December that year, Quo toured under the Quofest banner for a second year, this time supported by Bonnie Tyler and Eddie and the Hot Rods. On 17 December 2012, Matt Letley announced his decision to leave the band after 12 years, and subsequently departed following completion of their 2012 winter tour. However, Letley toured with Quo their Australia and Mexico tour in March and April 2013, due to limited time to find a new drummer after the Frantic Four Tour.
The 1970–76 line-up (Francis Rossi, Rick Parfitt, Alan Lancaster and John Coghlan) reunited in March 2013 for a series of dates in Manchester, Wolverhampton, Glasgow and London. The last date of the tour, at Wembley Arena on 17 March, was filmed for a DVD, released in September 2013.[21]
In May 2013 Leon Cave became Quo's new drummer.[18] In the latter months of 2013, Status Quo embarked on their Bula Quo tour, supported by Uriah Heep on German dates, and by 10cc in the UK.Template:Citation needed This was followed by nine concert dates in the UK during 2014.[22] On 25 November 2013, it was announced that Status Quo would headline the second stage at the Download Festival in June 2014.
2014-present: Aquostic, final electric tours and Parfitt's death[]
In January 2014, Wychwood Brewery announced they would be releasing a Status Quo brand of beer, named after their 1972 album Piledriver, exclusively in JD Wetherspoon pubs across the UK in February, before going on general sale in April. March 2014 saw the second 'Frantic Four' reunion tour featuring Rossi and Parfitt with original members Alan Lancaster and John Coghlan with their last gig being at the The O2 in Dublin. Rossi indicated that this would be the last ever reunion tour of the 'Frantic Four' line-up.[23] On 8 March 2014, Rossi and Parfitt appeared on ITV show Ant & Dec's Saturday Night Takeaway performing "Rockin' All Over The World" with McBusted.
In August 2014, it was reported that founding keyboardist Jess Jaworski had died.[24] In October 2014, Parfitt and Rossi appeared on BBC's The One Show, performing an acoustic version of "Pictures of Matchstick Men".[25] In May 2015, the twosome appeared on BBC's Later... with Jools Holland, to talk about their Aquostic (Stripped Bare) album. On 9 May 2015, they performed "In the Army Now" at the VE Day 70: A Party to Remember.[26]
On 22 October 2014 the band launched the Aquostic album with a 90-minute performance at London's Roundhouse, with the concert recorded and broadcast live by BBC Radio 2 as part of their In Concert series.[27][28] Footage from the concert was later used, interspersed with interviews with Rossi and Parfitt, in BBC Four's Status Quo: Live and Acoustic, in January 2017.[29]
On 5 June 2015 Status Quo were the headline act at Palmerston Park in Dumfries, at the stadium of Queen of the South and were supported by Reef and Big Country, in the first ever live concert at the venue. [30]
On 1 February 2016, it was officially announced that Status Quo, in addition to the spring and summer dates already scheduled, would tour Europe starting in October. The final dates would take place in the UK towards the end of the year, after which the group would retire from playing 'electric' tours.[31] The 'Last of The Electrics' tour was subsequently extended into 2017, with additional concerts outside the UK.
In September 2016 the band performed, in Aquostic line-up, at BBC Radio 2's Live in Hyde Park from Hyde Park, London.[32]
The band's latest album Aquostic II – That’s a Fact! was released on 21 October 2016.[33]
On 28 October 2016, Parfitt permanently retired from live performances after suffering a heart attack earlier the same year.[34][35] On 24 December, he died in hospital in Marbella, Spain as a result of severe infection, after suffering an injury to his shoulder.[36] Parfitt's funeral was held at Woking Crematorium on 19 January 2017. Irish guitarist Richie Malone, who had substituted for Parfitt during some 2016 live shows, took his place on rhythm guitar.[37]
Personnel[]
Members[]
Current members
Francis Rossi – lead guitar, vocals (1962–present)
Andy Bown – keyboards, rhythm guitar, harmonica, vocals (1976-present)
John "Rhino" Edwards – bass, vocals (1985–present)
Leon Cave – drums, percussion (2013–present)
Richie Malone – rhythm guitar (2016–present)
Former members
Alan Lancaster – bass, vocals (1962–1985; reunion - 2013–2014)
Jess Jaworski – keyboards (1962–1965, died 2014)
Alan Key – drums, percussion (1962–1963)
John Coghlan – drums, percussion (1963–1981; reunion - 2013–2014)
Roy Lynes – keyboards, vocals (1965–1970)
Rick Parfitt – rhythm guitar, vocals (1967–2016; his death)
Pete Kircher – drums, percussion (1982–1985)
Jeff Rich – drums, percussion (1985–2000)
Matt Letley – drums, percussion (2000–2013)
Former live members
Bob Young - harmonica (1970–1979; reunion - 2013–2014)
Paul Hirsh - keyboards, rhythm guitar, harmonica (2000-2002)
Freddie Edwards - rhythm guitar (2016)
Timeline[]
Lineups[]
1962–1963
(The Scorpions) 1963–1965
(The Spectres) 1965–1967
(The Spectres / Traffic Jam) 1967–1970
(Traffic Jam / Status Quo)
Francis Rossi – lead guitar, vocals
Alan Lancaster – bass, vocals
Jess Jaworski – keyboards
Alan Key – drums, percussion
Francis Rossi – lead guitar, vocals
Alan Lancaster – bass, vocals
Jess Jaworski – keyboards
John Coghlan – drums, percussion
Francis Rossi – lead guitar, vocals
Alan Lancaster – bass, vocals
Roy Lynes – keyboards, vocals
John Coghlan – drums, percussion
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
Alan Lancaster – bass, vocals
Roy Lynes – keyboards, vocals
John Coghlan – drums, percussion
1970–1981
(Classic Lineup)
Reunion tours: 2013 and 2014 1982–1985 1985–2000 2000–2013
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
Alan Lancaster – bass, vocals
John Coghlan – drums, percussion
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
Alan Lancaster – bass, vocals
Andy Bown – keyboards, rhythm guitar, harmonica, vocals
Pete Kircher – drums, percussion, vocals
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
John "Rhino" Edwards – bass, vocals
Andy Bown – keyboards, rhythm guitar, harmonica, vocals
Jeff Rich – drums, percussion
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
John "Rhino" Edwards – bass, vocals
Andy Bown – keyboards, rhythm guitar, harmonica, vocals
Matt Letley – drums, percussion
2013–2016 2016–present
Francis Rossi – lead guitar, vocals
Rick Parfitt – rhythm guitar, vocals
John "Rhino" Edwards – bass, vocals
Andy Bown – keyboards, rhythm guitar, harmonica, vocals
Leon Cave – drums, percussion
Francis Rossi – lead guitar, vocals
Richie Malone – rhythm guitar
John "Rhino" Edwards – bass, vocals
Andy Bown – keyboards, rhythm guitar, harmonica, vocals
Leon Cave – drums, percussion
Discography[]
Template:Details
Picturesque Matchstickable Messages from the Status Quo (1968)
Spare Parts (1969)
Ma Kelly's Greasy Spoon (1970)
Dog of Two Head (1971)
Piledriver (1972)
Hello! (1973)
Quo (1974)
On the Level (1975)
Blue for You (1976)
Rockin' All Over the World (1977)
If You Can't Stand the Heat... (1978)
Whatever You Want (1979)
Just Supposin' (1980)
Never Too Late (1981)
1+9+8+2 (1982)
Back to Back (1983)
In The Army Now (1986)
Ain't Complaining (1988)
Perfect Remedy (1989)
Rock 'til You Drop (1991)
Thirsty Work (1994)
Don't Stop (1996)
Under The Influence (1999)
Famous in the Last Century (2000)
Heavy Traffic (2002)
Riffs (2003)
The Party Ain't Over Yet (2005)
In Search of the Fourth Chord (2007)
Quid Pro Quo (2011)
Bula Quo! (2013)
Aquostic: Stripped Bare (2014)
Aquostic II: That's a Fact (2016)
Remakes and cover versions[]
Template:Refimprove section
Dutch group Bolland & Bolland recorded original version of "You're In The Army Now" in 1981.[38]
In 1989, American alternative rock group Camper Van Beethoven scored a number one hit on Billboard magazine's Modern Rock Tracks chart with a cover version of "Pictures of Matchstick Men". The song is from their album Key Lime Pie.
The 1996 re-issue of the album Too-Rye-Ay by Dexys Midnight Runners contained a cover version of "Marguerita Time".
Ozzy Osbourne, backed by Type O Negative, covered "Pictures of Matchstick Men" as part of the soundtrack to the Howard Stern biographical movie Private Parts in 1997.
Dr. Feelgood, covered "Gerdundula" after Rossi suggested it to them on their shared tour in 2001.
At the 2005 London Live 8 concert Coldplay's Chris Martin sang the chorus to "Rockin' All Over the World" in their song, "In My Place", in reference to Status Quo having opened Live Aid with "Rockin' All Over The World"
Oakland, California-based electronica/dance/pop group Persephone's Bees covered "Paper Plane" on their 2006 album Notes from the Underworld.
Towards the end of his life, DJ John Peel was known for playing "Down Down" as part of his eclectic DJ sets.[39]
Arjen Lucassen (from the Dutch project Ayreon) covered "Pictures Of Matchstick Men" and "Ice in the Sun" on his solo album Strange Hobby.
Folk metal band Mägo de Oz recorded an instrumental version of "Gerdundula" on their La Bruja EP.
Celtic music ensemble Luar Na Lubre covered "Gerdundula" on the album Camiños Da Fin Da Terra.
Spanish rock band Platero y Tu did a Spanish cover of "Rockin' All Over the World", titled "Si Tu te Vas", on their album Voy a acabar borracho.
German techno band Scooter sampled "Whatever You Want" on their song "Jump That Rock (Whatever You Want)", from the 2008 UK version of their album Jumping All Over the World.
Dutch football club Vitesse Arnhem has a cover version of "Whatever You Want", entitled "Daar zijn de boys", as their home song.
Bad Religion guitarist Brett Gurewitz recorded a cover version of "Pictures of Matchstick Men", on his 1985 solo album Seeing Eye Gods.
German Power metal band Helloween covered "Rain" for their single "Power". It can also be found on the bonus disc of the special edition of their 1996 album, The Time of the Oath.
The Swedish Doom metal band Lake of Tears covered "Is There a Better Way" on their album Moons and Mushrooms in 2007.
Swedish Power metal band Sabaton covered "You're In the Army Now" on their album Carolus Rex.
Dutch band Bertus Staigerpaip released a 1994 album Quo Bertus Quo, containing eleven Quo hits with new lyrics written and sung in Dutch.
References[]
Further reading[]
John Shearlaw, Bob Young: Again & Again. Sidgwick & Jackson, October 1984, Paperback, ISBN 0-283-99101-1 (1st edition (1979) and 2nd edition (1982) as The Authorised Biography by John Shearlaw)
Tom Hibbert: Status Quo. Omnibus Press, 1982, ISBN 0-86001-957-8
Neil Jeffries: Rockin' All Over the World. Proteus Books, March 1985, Paperback, ISBN 0-86276-272-3
Bob Young: Quotographs – Celebrating 30 Years of Status Quo, IMP International Music Publications Limited, 1985, ISBN 1-85909-291-8
Francis Rossi, Rick Parfitt: Just For The Record. Bantam Press, September 1994, hardcover, ISBN 0-593-03546-1
Patti Parfitt: Laughing All over the World: My Life Married to Status Quo. Blake Publishing Ltd, Oktober 1998, ISBN 1-85782-198-X
David J. Oxley: Rockers Rollin' – The Story of Status Quo. ST Publishing, Januar 2000, Paperback, ISBN 1-898927-80-4
David J. Oxley: Tuned To The Music of Status Quo. ST Publishing, 2001, Paperback, ISBN 1-898927-90-1
Francis Rossi, Rick Parfitt, Mick Wall: Status Quo. XS All Areas. Sidgwick & Jackson, September 2004, hardcover, ISBN 0-283-07375-6 (paperback edition: Macmillan Publishers Ltd, August 2005, ISBN 0-330-41962-5)
Francis Rossi, Rick Parfitt, Bob Young: Status Quo": The Official 40th Anniversary Edition . Cassell Illustrated, Oktober 2006, hardcover, ISBN 978-1-84403-562-5.
Status Quo: La Route Sans Fin, foreword by Bob Young – ISBN 2-910196-42-9
[]
Template:Commons category Template:Wikipedia books
Status Quo official website
BBC Norfolk: Status Quo gig gallery – Thetford Forest 2008
Status Quo's Francis Rossi talking to Gigging Northern Ireland
Francis Rossi, Interview: "I Have Eight Children, and They All Vary" 18 May 2011
Status Quo's ultimate gig history compiled by Thomas Franck
Template:Status Quo
Template:Authority control
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Status Quo Vinyl Records and CDs For Sale
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Status Quo records, LPs and CDs
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MusicStack
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https://www.musicstack.com/records-cds/status+quo
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Two south London fellows called Alan Lancaster (bass) and Francis Rossi (guitar - known as during the band's early years) founded the band in 1962. First name The Paladins soon changed to The Spectres (another previously-documented early name, The Scorpions, is disputed). In 1966, the band changed their name to "The Traffic", shortly thereafter to The Traffic Jam. The lineup consisted of Lancaster, Rossi, John Coghlan (drums) and Roy Lynes (keyboard). A year later, the band changed name once again to "The Status Quo". Rick Parfitt (guitar) joined the band. Their first hit record, "Pictures of Matchstick Men", was released. "The" was omitted from the name of the band in 1969, known thereafter as just "Status Quo"
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The First Time: Paul Russell – Status Quo, Hammersmith Apollo, 27th June 1979
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2023-01-24T11:00:37+00:00
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Memories, memories. Looking back at one’s youth is sometimes a very embarrassing thing. My first venture into the wonderful world of popular music was buying a series of vinyl singles. My initial p…
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en
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Americana UK
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https://americana-uk.com/the-first-time-paul-russell-status-quo-hammersmith-apollo-27th-june-1979
|
Memories, memories. Looking back at one’s youth is sometimes a very embarrassing thing. My first venture into the wonderful world of popular music was buying a series of vinyl singles. My initial purchases, which I bought with my hard earned pocket money, were a mixed bag. Nemo (Jonathan King) – ‘The Sun Has Got His Hat On’; Chicory Tip – ‘Son Of My Father’; Hot Butter – ‘Popcorn’; Terry Dactyl and the Dinosaurs – ‘Sea Side Shuffle’; Blackfoot Sue – ‘Standing In The Road’ amongst many others. (The latter always intrigued me as it was on The Jam Record Label and the centre of the single had this dollop of jam on it – something that was quite bewildering and mesmerising to look at as the vinyl span around my humble record player).
Whilst buying singles were a rite of passage – saving enough money to buy my first album was a serious thing. I didn’t have to think too hard though, as Status Quo were fast becoming my favourite band. Having heard and bought their singles ‘Paper Plane’, ‘Caroline’ and ‘Down Down’, I was thrilled to be able to have enough money to buy their album ‘Quo’ in 1974. And what a mighty fine album it was – choc full of glorious songs and the highlight for me being their barn-storming closer ‘Slow Train’. That song mesmerised me with it’s pounding rhythm and John Coghlan’s superb drumming – and it was 7 minutes 55 seconds long! How cool was that.
I had to go and see this band live. It was quite an adventure, as I was a late developer when it came to gigs – for a range of very boring and unimportant reasons. So, a mate and I took the bull by the horns and booked tickets to see Quo at the legendary Hammersmith Apollo, which on the night was a lovely summer Wednesday evening in June 1979. Although we were big fans, there was an element of trepidation and apprehension at the thought of this ‘big’ gig. We rocked up to the Apollo and were met both outside the venue and in the foyer by a sea of denim. I knew that this form of clothing was an important element of the Quo look – but I had never imagined to see such a cavalcade of blue.
The added element was the abundance of patches – Quo patches were everywhere on our fellow gig-goers. Patches on their back pockets; on their shirts; on their t shirts; on their denim hats; on their bags – everywhere.
Needless to say my friend and I stood out like a sore thumb as, whilst we had jeans, that was about the limit to our denim adornment. We decided that rather than look foolish, we got to our seats. And were we pleased with our ticket choice – we had seats in the front row of the first floor circle. Ok, it wasn’t from row of the stalls – but we were chuffed.
The anticipation before Quo gigs are always amazing – and this debut venture on our part didn’t disappoint, with the crowd going wild with ‘whoa oh oh oh oh’s’ being sung with incredible fervour. Expectation was building to almost fever like feelings, when it was finally announced that the band were about to come on stage. Great – no support act.
Opener ‘Caroline’ set the tone for the evening, with a blisteringly accomplished version, at a time when the band played really fast. Things didn’t let up over the next 90 minutes with fantastic live interpretations of the likes of ‘Hold You Back’; ‘Rockin’ All Over The World’; ‘Big Fat Mama’; ‘Down Down’ and closer ‘Bye Bye Johnny’. All the way through this set – I had never experienced such a euphoric feeling – a simply wonderful mixture of exhilaration and utter joy. This feeling, shared by your fellow fan surrounding you, was completely new to me and something I was genuinely blown away with.
The other simply astonishing things was the volume – earth shatteringly loud. So loud that as we put our hands on the edge of the circle, we swore we could feel the whole of the circle moving in time with the music.
Rossi, Parfitt, Lancaster and Coghlan were joined by Bob Young on harmonica (who, at the time, I had no idea was one of the main song co-writers with Rossi) and Andy Bown on keyboards. This was the last date of their tour and was the 32nd gig they’d performed that summer. But you’d never had known – they looked as though this was the first date of the tour, such was their passion and energy. We left that gig unable to hear what each other was saying – but with a Cheshire Cat smile on both our faces. Life would never be the same again.
This was such a mind blowing experience for this teenager that it was literally life changing. My love and respect for this band has continued from that memorable evening to today and I have seen the band perform live so many times now it’s a little embarrassing. Every single gig, though, exemplifies what a stunning live act Quo are. Yes, the music is a little limited in it’s range – but the sheer bravura they bring to these gigs is astonishing.
Although we’ve lost a couple of the main band – they’re still a live force to be reckoned with and I’m not in the least bit embarrassed to say they’re my favourite band of all time and they’d be one of my Desert Island Discs artists. No higher praise.
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Album Reviews
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Album Reviews |
Status Quo
Picturesque Matchstickable Messages 6 ( 1968 )
Black Veils Melancholy / When My Mind Is Not Live / Ice In The Sun / Elisabeth Dreams / Gentlemen Joe's Sidewalk Cafe / Paradise Flat / Technicolour Dreams / Spicks And Speeks / Shelia / Sunny Cellophane Skies / Pictures Of Matchstick Men
More and more music is heard the older a person gets. Well, that stands to reason, obviously. Not everyone will break out of their early music listening habits, however. There are various roads one can take. A teenage heavy-metal fan can continue listening to heavy metal throughout their life, branching out into regular classic rock and adult oriented rock as their years advance. A hip indie kid at College/University will usually find their initial great interest in this area wanes the older they get, either losing interest in music as their life takes on other directions and interests, or broadening their musical tastes. Very few individuals, it seems to me at least, have a growing interest in music the elder they get and also manage to branch out and widen their minds. Open their ears to groups they may have previously dismissed in their younger or more 'hip' days. Alternatively, I may be talking a load of old bollocks. Which kind of leads me nicely into discussing Status Quo. America largely holds early psychedelic Quo in high regard whilst ignoring the groups boogie rock material of the 70s. In Europe and the UK, the early psychedelic style spawned a couple of hits but the albums stiffed. It wasn't until 1972 infact that Quo had a charting album here. After which of course, they never looked back. Anyway, like the Quo or loathe the Quo, they exist ( even now! ) and they are more or less harmless. Ignore them by all means, but hating them seems kind of churlish and childish.
'Picturesque Matchstickable Messages' is the debut Quo album long-player. After hitting the top ten singles charts with the near title track, they cram in eleven other tunes in a similar, apparently mind-expanding style. We've heavy use of phased guitars, and phased vocals too, come to that. Vocals that are unrecognisable from the classic Quo sound of the 70s. Twelve songs, thirty four minutes of music and not all that much substance is to be found here. The album remains quite charming though and definitely has decent tunes in places. 'Spicks And Speeks' is a good example of this early Quo sound. Very much a period piece tied to the late sixties, very much of that era lyrically but still offering a catchy and endearing way with melody. 'Pictures Of Matchstick Men', the first big Quo hit remains the standout cut and reminds this listener of a weird hybrid of Byrds ( circa 1966 ), Beatles ( circa 1967 ) and Barrett era Pink Floyd. The guitar and melody is distinctive and the overall sound faintly sinister. Another favourite pick of mine from this set is 'Green Tambourine', a pop song born of the 'nuggets' era and sounding right at home on any nuggets inspired mix-tape. A few general comments to close, then? Ah, ok. The heavy overuse of phased vocals and production tricks and effects eventually becomes very tiresome. The rhythm section hint at the future Quo sound in places, with the bass in particular seemingly easily able to adapt itself to a different style and sound. The vocals and lyrics and songwriting in general, would need to be changed, and indeed were. If the Quo had continued with this style and sound for very many years, we'd all have forgotten them long ago.
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Readers Comments
Robbo rbz3779@yahoo.co.uk
Status Quo have to be to rock music what Keith Harris and Orville are to pop music.
CaptainSnapx chris@cjbphotography.co.uk
I've been trying to find out- to settle an argument in the pub last night- Is 'Pictures of Matchstick Men" anything to do with LS Lowrey. If not what the .... is it about?
John terry terry61@cwctv.net
some wanker likened quo to keith harris & orville. what a prick. if more people listened to early quo they might understand how good a band they are.
bill fathers wfathers@aol.com
i cant beleive someone compared quo to orville, i have been with quo from the start, quo rock! fashions and stupid statements come annd go, some people?
Spare Parts 6 ( 1969 )
Face Without A Soul / You're Just What I Was Looking For Today / Are You Growing Tired Of My Love / Antique Angelique / So Ends Another Life / Poor Old Man / Mr Mind Detector / The Clown / Velvet Curtains / Little Miss Nothing / When I Awake / Nothing At All
Fans of the groups debut will also find much to enjoy within the grooves of this, the groups second LP. It follows on directly from the first album, rooted in a psychedelic style virtually forced upon the group by their record label. Of the 12 songs here, only one was releases as a single, the mid-tempo psych-pop ballad, 'Are You Growing Tired Of My Love'. It's the kind of thing you might expect to find on a 60s Bee Gees album. Were Status Quo being pushed in that direction? Well, 'Spare Parts' failed to chart and the group got more of their own way come the third album. But that's another story and shall be told another time. In short, although by all accounts the band themselves were none too keen with continuing on the psychedelic road, 'Spare Parts' is a more assured effort than the debut. 'Little Miss Nothing', for example. It's a charming little song and the kind of 60s psychedelia that 80s bands would ape in an attempt to revive a lost age. I'm thinking in particular of XTC aka Dukes Of Stratosphere. 'Little Miss Nothing' and 'Spare Parts' as a whole is utter nonsense from beginning to end, but it does work. Well, more or less. It's not a record I hold especially dear to my heart. Ultimately it's forgettable, bar a few moments of genuinely good melody. The beginning of 'You're Just What I Was Looking For' sets you up. The vocals then arrive and their nasally style and whiny manner immediately put you off again. The music is of the day with violins, much arrangement, brass instruments. It's basically a weaker copy of The Beatles circa 'Magical Mystery Tour'. Many of the songs on the album follow this same style and format.
Other intriguing cuts to list alongside 'Little Miss Nothing' then? Well, 'Mr Mind Detector' is a minor psychedelic classic of the kind the famous 'Nuggets' box-sets are jam-packed with. The lead track 'Face Without A Soul' is wonderfully daft. That's about it for highlights, actually. Too many songs here share the same sonic palette. Status Quo, even in their boogie-rock pomp were never a group known for their stylistic diversity of course. So that seems a somewhat stupid critiscm. It's only important actually, because a good half of the album contains very mediocre songwriting. The other half is absolutely fine. That the album fell through a commercial black-hole and has largely been forgotten is entirely due to the fact this record didn't contain a hit and 'Picturesque Matchstickable Messages' did.
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Ma Kelly's Greasy Spoon 8½ ( 1970 )
Spinning Wheel Blues / Daughter / Everything / Shy Fly / April Spring Summer And Wednesdays / Junior's Waiting / Lakky Lady / Need Your Love / Lazy Poker Blues / Is It Really Me - Gotta Go Home
It's very easy to judge bands on the embarassments they later become. Is it that hard to believe that once upon a time Status Quo were actually quite good? Even Cliff Richard, once upon a time, was making vital if derivative Rock n Roll records, before releasing an odious vomit inducing Xmas single every December. What may surprise many music followers is how heavy Status Quo are here. Yes, 'Ma Kelly's' Greasy Spoon' saw a wholly succesful reinvention for the group. Out went the whimsy and the summer of love, in came long hair, long trousers and boogie rock n roll. They haven't quite reached the formula of later years, 'Ma Kelly's Greasy Spoon' is actually quite a varied album, within an admittedly narrow vision of music. It's all rock music, but we've elements of the blues, we've fast songs, slow songs. A decent rhythm section and a selection of songs that display good interplay between the band members. 'Lazy Poker Blues' for instance is a decent blues tune, utterly unoriginal of course, yet plenty of bands were unoriginal at the time. A stand-out arrives with the mighty 'April Spring Summer And Wednesdays', it's got a groove, man. Ah, are you a modern music lover? Have you heard Kings Of Leon? People that are old Quo fans, buy either of the first two Kings Of Leon records. Kings Of Leon fans? Buy 'Ma Kelly's Greasy Spoon'. I like going back into the past of music and linking it to new groups. Another highlight arrives with 'Shy Fly', speedy rock music with clashing cymbals, rumbling bass and decent lead guitar.
Of the later, famous Quo style, opening track 'Spinning Wheel Blues' clearly demonstrates where it came from. Another decent lead guitar part here. Well, Quo weren't virtuoso's, but they were pretty tight within what they were trying to do. It's so different to the first two albums as to almost be a different band altogether, they deserve credit for that, ditching the style that had brought them an international hit song with 'Pictures Of Matchstick Men'. Ah, good harmonica blasting away during the second part of 'Spinning Wheel Blues', in particular. Factor in that none of the tracks on this album come across as filler, add in the nine minute plus closing tune. A closing tune that ends with a lengthy jam session, an impressive one too. We dig the Quo! I could ask a stupid question right about now. Status Quo, whilst meaning nothing in the USA, have been hugely popular all across Europe. Yet there appears to be little discussion about them in terms of analysis on the web? I don't mean in-depth articles, even a decent comprehensive review page seems impossible to come across. Status Quo are far from being my favourite group, they did some pretty terrible stuff through the years and clearly influenced some of the sillier moments in Spinal Tap. Yet, credit where credit is due. And yes, I do intent to at least correct one thing. There will be a comprehensive review page, this one.
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john, county kildare john.j.doyle@nuim.ie
it is fucking brilliant, innit!!! in fairness to the quo, this isn't their only top class album, as they were making decent records right up to the late 1970s before the formulaic vibe finally overpowered them. they're still fantastic live, even if their "creative" glory days are long gone.
Dog Of Two Head 7½ ( 1971 )
Umleitung / Nanana / Something Going On In My Head / Mean Girl / Nanana / Gerdundula / Railroad / Someone's Leaving / Nanana
Status Quo still weren't selling albums, so Pye records dropped them. Of course, much to Pye records dismay, the Quo became one of the biggest selling rock acts of the 70s shortly afterwards. Nice work there, Pye. Anyroad, 'Dog Of Two Head' is similar to 'Ma Kelly's Greasy Spoon', just not quite as dirty. The songs are blues rock based again, the famous Quo boogie sound more prominent than before. Things falling into place, for better or worse. The opening 'Umleitung' not only contains a great guitar solo, great bluesy piano bits and is water-tight, it's seven minutes long as well. It's a sterling opening tune for any album, I say. Onto the down side for a second. The song titled 'Nanana' you may notice appears three times. Once, right at the end of the album in its full two and a half minute glory and two more times, just the first fifty one seconds. The result of this is, discounting the two repeat showings, we've actually only got seven songs on the album. The songs that are here are decent though, so at least that's something. So yes, following on from the epic opening tune, we've got the catchy 'Something Going On In My Head'. We've a little marching section in the middle. Proper guitar. Boogie! Yes, we've got the Quo boogie. Moving onto 'Mean Girl', we get more Quo boogie, albeit in a faster tempo. Nice little tune and vocal, decent stuff. Although, as I hinted at earlier, formula was starting to infiltrate the Quo camp to the groups own detriment. 'Gerdundula' isn't formula at all, though, happily. It's a groovy eastern sounding acoustic number, the kind of delight present on these early Quo records. The kind of delight that makes any kind of long journey through their back-catalogue worthwhile. Which is just as well for me, as i've another twenty or so albums to go before this page is complete!
We've an album highlight, of course we do. 'Someone's Learning' showcases the full talents of the Quo at this stage during their career. There's the bluesy sections, the boogie sections, a right down and dirty jam section with genuinely stellar playing from all involved. We've a great distinctive guitar riff that opens the tune, then reappears for the songs reprise. Seven minutes elapse and we're then thrown into the folksy 'Nanana' to close the album, a tune which if you close your eyes and one ear, resembles the sound of The Kinks quite well. So, do the Quo have talent? Well, yes. The likes of 'Gerundula' and 'Nanana' showcase Status Quo as proper and dare I say it, thoughtful song-writers. The rockier tunes are starting to sound somewhat similar to each other though, and this thirty six minute long album is something of a let-down after the brilliant 'Ma Kelly's Greasy Spoon'. Still, a more than decent effort overall, though. Very listenable.
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Mike Parker mcp666@blueyonder.co.uk
Your first 4 album reviews make interesting reading. I'm a fan of the Quo that your about to write up. I'm anticipating some keen insight and stirring of old memories. Keep up the good work.
Piledriver 8 ( 1972, UK pos 5 )
Don't Waste My Time / Oh Baby / A Year / Unspoken Words / Big Fat Mama / Paper Plane / All The Reasons / Roadhouse Blues
The Quo hit upon a now ( even then? ) familiar sounding riff that powers along 'Paper Plane' atop a rudimentary, yet effective, boogie-rock rhythm section. Suddenly Quo are having top ten hit singles and even managing to shift albums. 'Piledriver' peaked at number five within the UK, not a bad feat for their first charting album. To say the band never looked back from here on in hardly even needs stating. Let's talk about 'Paper Plane' seeing as that was the biggie, the big hit song. It was perfect for the glam-scene that was huge in Britain at the time. Alice Cooper and The Quo were the dangerous end of pop back in the early seventies, you know? It's not dangerous, suffice to say. It's pure and simple, a pop-infused, headbanging number that lasting for just over two and a half minutes, never outstays its welcome. I'll switch to the Quo's cover of The Doors 'Roadhouse Blues'. It's a genuinely authentic, stompingly enjoyable version with fantastic wailing harmonica. They chose a good time to cover the song, a time when The Doors were barely known within europe and the UK. Ah, the opening 'Don't Waste My Time' carries right on from the last couple of Quo albums, the story of Status Quo around about this period in history was one of pure consolidation and refinement towards their famous hit-making sounding, as it turned out. Beyond the hits, they could still turn in an interesting composition though, as evidenced by 'A Year', a slow burning and dramatic serious number that proves the Quo could do more than just boogie on the rock-dancefloor.
'Piledriver' isn't the most varied album of all time, but then you would have expected nothing else from the Quo. It is a nicely rounded set though with no real weak-points and a couple of nice blues numbers, particularly 'Unspoken Words'. It's not a song with tremendous awe-inspiring playing, although the solo is absolutely fine. It's just a song with a good amount of feeling, it feels genuine. The Quo just doing what they enjoy doing, and doing it well within the limitations they'd set themselves. No side long prog-rock epics from the Quo, no. Just enjoyable, unpretentious rock music.
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Hello 7 ( 1973, UK pos 1 )
Roll Over Lay Down / Claudie / Reason For Living / Blue Eyed Lady / Caroline / Softer Ride / And It's Better / Forty Five Hundred Times
The Quo go for broke now, of course. 'Piledriver' had done the trick, so now they narrow down on the parts of 'Piledriver' they thought worked critically and commercially and turn out an entire anlbum of the stuff. Of course, overall this makes for a less satisfying product, because the artistic horizons have shrunken terribly, even from just a year or two before. Now, they have one guitar sound. They have a rhythm section that seemingly do the exact same thing for every single track. I still wonder though about certain professional music critics. 'Claudie' is apparently 'beatle-esque'. In reality, it's no such thing, it's a softer, slower version of the hit song 'Paper Plane', with vocals and melodies that sound like Quo had suddenly lost all their edge in the space of a mere 12 months. The blues influenced 'Roll Over Lay Down' which opens the album is far better, staying true to the bands roots. The rhythm section do their boogie-rock mid-tempo thing, yet the lead guitar, vocals and lyrics are bluesy and convincing enough to please. Big hit, 'Caroline' follows on from the template set by 'Paper Plane' on 'Piledriver'. It's pleasing, relatively heavy, boogie riffing rock material. Nicely addictive for short periods of time, irritating for lengthy periods of time, which is why Status Quo in the eighties were a hideous proposition, because over-familiarity with their tricks and trade rendered them weak and fainting and critical, on life-support. Resting on past laurels, yet succesful thanks to more conservative daytime BBC radio one DJ's - and an entertaining, if unambitious, live show. Radio one 'roadshow' with Status Quo appearing live, miming onstage to their latest hit which sounds just like the last one! It hardly helped, let's face it. It starts here.
The remaining material filling out this LP includes 'Softer Ride' which starts OK, you think they are gonna do something properly bluesy, yet they end up in familiar boogie-rock territory. 'Blue Eyed Lady' the same, starts promisingly enough, yet ends up sounding like another potential 'Paper Plane follow-up, not a bad thing, as such. Not a bad thing as such, yet wearying over a full LP. 'Reason For Living' is more bluesy, 'And It's Better' is more poppy, leaving the closing, near ten minute long 'Forty Five Hundred Times' to impress us. The ending of the tune is good, they get looser as the song progresses and start to reach a point where they are genuinely doing something impressive, then the song ends. Still, it's an decent enough ending to a very commercial boogie-rock album full of pop hooks, severely lacking in variety, yet just enough to please overall. The more unsure, 'experimental', if that's the right word, 'Quo' of the previous few LPs was more satisfiying to my set of ears. A Quo trying to find themselves. They found themselves then stopped searching. There was still more to come, though. They weren't quite done with yet. 'Hello' was many a Quo fans first introduction to the group. I'm aware enough that it holds a special place in many fans hearts, yet it's not quite enough for me to be 'good', not quite bad enough to be 'average'. It veers between those two states, depending on my frame of mind.
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Quo 8 ( 1974, UK pos 2 )
Backwater / Just Take Me / Break The Rules / Drifting Away / Don't Think It Matters / Fine Fine Fine / Lonely Man / Slow Train
Status Quo had enough of a fanbase by now to propel almost everything they did straight into the higher reaches of the charts. Wanting to be taken seriously as an albums act, 'Quo' varies the successful formula ever so slightly. We generally get a harder edge to the songs and performances, with less emphasis on the poppier side of the band. 'Quo' therefore is heads down rock n roll. Some songs offer proper guitar solos, and/or duelling. Others offer plenty of heroics from the drummer, even though images of exploding drummers aka Spinal Tap constantly seem to enter my brain. It's all good fun at the end of the day, Quo having built up their fanbase through hard work and well received live sets. Staying true to form for my Quo reviews so far then, how about I talk about the single? 'Break The Rules' is a chugging, bluesy driving song with daft lyrics. It's simplicity in itself, the instrumental section adding a honk-tonk piano solo, then wailing harmonica. It's so unpretentious, so unartistic in one sense but dammit if I don't love this single to bits. As far as driving songs go, it's a good one, you see.
In general, although I don't rank this as my favourite Quo album so far, it's a good one. Nothing is especially weak, although the first two tunes appear to be rather inconsequential. I've had generally great feedback for the page so far, which is nice, and it's surprising to find so many people holding this period of Quo so dearly to their hearts. For every blunder, cheesy collaboration, poor cover version or future advertising jingle they'd later produce, these golden period Quo records really do hit the spot. For any Americans that may be reading, kind of like ZZ Top records, you know? I must investigate their early catalogue too, some day. So, 'Quo' is an album to please a rock fan, it's an album that contains a superbly solid mid-section, enough variation for a listener not to get bored and instant gratification when you first pick up the disc. You'll hopefully keep digging it out every now and then and be guaranteed a good time. That's all folks, until next time around
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On The Level 8 ( 1975, uk pos 1 )
Little Lady / Most Of The Time / I Saw The Light / Over And Done / Nightride / Down Down / Broken Man / What To Do / Where I Am / Bye Bye Johnny
Get down, deeper and indeed down. Im old enough to remember lots of people walking around with Quo jackets, playing their Quo albums and a popular song was always Down Down. Whatever your persuasion and potential for music snobbery, Down Down is one of those perennial dance-floor pleasers. The late-great John Peel would play the tune and it always went down a storm at his personal appearances and roadshows. The mid-seventies, it was a simpler time. Indeed, time moved more slowly, there were less people around and arent policman getting younger these days?!? Well, nostalgia is good for us all sometimes, as long as we dont get mired and rooted within it. Down Down is the centre-piece of On The Level, it was a number one single and everything the Quo could have wished it to be. The album version presented here is longer than the single version, basically more of the same. Arguably the single version is punchier, but in the end both versions are marvellous. A proper tune with a proper intro and proper catchy-ness. Anything with a bit of ness has got to be good, hasnt it? Well, unless its Robbie Williams-ness, obviously. Anyway, if Down Down is the nail that pins On The Level to the shed so to speak, what about the rest of the LP? Well, heres a quickie, a few notes compiled upon one of my earliest listening adventures with On The Level Ive just found in my bag at work, reproduced here completely unedited.
Little Lady, cools riffs, instant long haired rock disco party. Nifty little guitar instrumental breaks.
Most Of The Time, decent, mid-tempo soft then rock.
I Saw The Light, by now classic Quo rock boogie accomplished! Although have to be in the mood.
Over And Done, potential single, maybe? If treated as such. A classic Quo guitar sound!
Nightride, chugging.
Who sings broken man? The vocals are rubbish!
What To Do is pop Quo, jaunty and good.
Where I Am, soft. Bee Gees!
Bye Bye Johnny. Be good? Rock and roll. Poor.
I also made two further brief notes about the album as a whole, vinyl to MP3 crackles! and 3 pronged songwriting attack!. I apparently didnt make any notes about Down Down. I can understand that, the entire song is easily brought up from memory without having to actually play it to remind me how it goes. Thats actually a possible complaint I can level against the rest of the album. The majority of the tunes here arent imbedded within my soul, heart or brain. Apart from Down Down, this is very much a standard Quo set of the era and doesnt offer any surprises. Its a decent set, but again for me personally, not as good as the surprises and delights offered up by Ma Kellys Greasy Spoon. On that note and as the guys from Quo may well have said a few times in their career, Will this do?
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Blue For You 9 ( 1976, UK pos 1 )
Is There A Better Way (Lancaster/Rossi) / Mad About The Boy (Rossi/Young) / Ring Of A Change (Rossi/Young) / Blue For You (Lancaster) / Rain (Parfitt) / Rolling Home (Lancaster/Rossi) / That's A Fact (Rossi/Young) / Ease Your Mind (Lancaster) / Mystery Song (Parfitt/Young)
I've included the song-writing credits here as after this particular album it begins to become more significant. Young by the way is Bob Young, not a band member, but the groups tour manager. Lancaster is Alan Lancaster. Along with the groups drummer( John Coghlan ) and Bob Young he'd depart sometime during the eighties but we're getting ahead of ourselves, aren't we? 'Blue For You' was released at the height of Quo's seventies boogie-rock success and alters the formula slightly. The album has a real energy to it and sounds as serious and credible as any Quo album ever has. Although spawning a couple of top ten hits there isn't radio anthemn on 'Blue For You' as a 'Down Down' or a god forbid, 'Rocking All Over The World'. Instead, every single song is good. Which would you prefer? Let's take the opening 'Is There A Better Way'. An excellent song and no mistake, rolling bass, thrashing guitars and a very speedy little guitar solo. The Quo playing with almost the energy of punk-rock. Believe or not, but it's true. The sound of the entire album is great, very clear and very live, a little ommph is here that perhaps the earliest albums lacked. 'Rolling Home' is another Rossi/Young classic with duelling guitars, speedy delivery and wonderful, wailing harmonica courtesy of Bob Young. After three energetic rockers, Alan Lancaster delivers the albums title track, a restrained slice of blues/soul, a style Quo rarely ventured into and certainly not as successfully as they do here. A quick mention for 'Rain', although I haven't mentioned any weak songs yet, because really there aren't any. Sure, there's no great variety, but that's like telling a blind man he can't see when we're talking the Quo. You know, hardly the point. Uneccessary. 'Rain' as you can see from glancing above is written by Rick Parfitt, not at all a major contributer of songs to the Quo at this stage, the Rossi/Young, Rossi/Lancaster teams being the most prolific, although Parfitt had written some songs before. This has to be one of his finest efforts to this day. The song rocks really hard, almost borders on heavy metal in places. The sound retains all the crunch and pleasingly booming bass of all the other songs on 'Blue For You'.
The classics just keep on coming, most of them songs anybody who isn't a Quo fantatic will never have heard. So, the much maligned Quo create a sterling, catchy as flu riff to underpin the really dead groovy 'That's A Fact'. A more typical Quo/Blues boogie arrives with 'Ease Your Mind' and the Piano is welcome to add that little authenticity. A good minute and a half elapses before the closing 'Mystery Song' bursts properly into life, yet once it does, a blissful look crosses this listeners face. So, a Quo album without a single weak link? Check. A Quo album with healthy production sounds, a warm analogue feel even after remastering or transferring from LP to MP3? Check. The heaviest album they ever made? Check. Where are the pop anthemns? Well, there aren't any, but there are riffs and guitars and joy aplenty. Yes, it's Status Quo but yes, it's Status Quo. That sentence might make sense to somebody, hopefully.
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Rockin All Over The World 5 ( 1977, UK pos 5 )
Hard Time / Can't Give You More / Let's Ride / Baby Boy / You Don't Own Me / Rockers Rollin' / Rockin' All Over the World / Who Am I ? / Too Far Gone / For You / Dirty Water / Hold You Back
What on earth happened here? Even the album title lacks any kind of cool, let alone the contents within. A couple of changes had occured, Quo introduced an outside producer, some guy called Pip. Pip?? I ask you! Andy Bown enters on keyboards. Now, rubbish local rock bands also introduce keyboards for a 'different' element when their own imaginations have failed them. Great. What else is going on? Well, Quo made a concerted effort to crack America. They failed, but the introduction of an outside producer, keyboards, etc, etc? It all starts to fall into place, doesn't it. The mix considerably softens the guitars from Quo albums of yore. The result of all of this is the weakest sounding Quo album since their Psychedelic debut, and certainly their poppiest album since then. Now, i'm not some kind of 'rock' freak. I like Captain Beefheart and I like Kylie Minogue and then i'll switch to a bit of Quo followed by Aphex Twin followed by John Coltrane. So, the fact of lamenting the loss of the Quo's rockier edge doesn't immediately mean what's here in its place isn't as good, or indeed, very good. Just want to make that clear before I progress. Good? Right. The title song I may as well get out of the way first of all. It chugs and it's got the Quo boogie. It's a song with terribly cliched lyrics and the performance here? Well, it's not fast enough, the mid-tempo nature of it all plays it far too safe. More worryingly though, the drums have been made to sound like cardboard boxes, the bass has been mixed to all oblivion so now all it resembles is a constant, unmelodic thud. The guitars are here and the vocals are here, both of them very wimpy and insipid. The songs only three and a half minutes long, yet it sounds twice as long, possibly because there's only enough lyrics to fill out 70 seconds or so. I really don't like this song at all, not even the original version. For Quo it became an absolutely massively huge European hit single and opened Live Aid in 1985. So, what the fuck do I know?
Alan Lancaster contributes one of my favourite tunes here, 'Too Far Gone'. A song that even the hideous mixing and production can't ruin. The guitars could be far louder, there's some really nice guitar interplay here that deserves to be heard. 'Let's Ride' also has a good energy to it, but you just yearn for it to sound like the Quo of 'Blue For You' or 'On The Level', not this sanitised version of what Quo had become. 'Rockers Rollin'? What is this piece of crap? Well, Parfitt wrote this and it's hard to believe it's the same guy that wrote 'Rain' on the previous LP. Too many of the songs here 'chug' in the mid-tempo and the guitars sound frustratingly lack-lustre. 'Can't Give You More', written by the Rossi/Young team is decent enough to overcome the production. Poor production or not however, 'Rockin All Over The World' just isn't a good set of Quo songs. With the production, it's not an album I ever have a desire to listen to very often at all.
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Matt Sussex
Hi Adrian, can't agree. I have extensively listened to Quo since the 70's. Too Far Gone, Baby Boy, Hold You Back - a different flavour certainly, but classics!
If You Can't Stand The Heat 5 ( 1978 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The appallingly titled If You Cant Stand The Heat .. was not quite the commercial monster that Rockin All Over The World had been. The lack of a strong lead single was partly to blame. Not that Rockin All Over The World had provided a good strong lead single but its title track sold zillions anyway. The task fell to Again And Again this time around, one of the least inspired lead singles the Quo had ever released. Base, totally to formula and without even the granny or housewife appeal of Rockin All Over The World. It nestled just outside the top ten at number 13. The album predictably went top ten thanks to the massed ranks of the Quo army, but didnt stick around for very long. Having said all of this, weve variety for a Quo album. Rock alongside Pop and even a ballad. Shocking, I know. For the ballad, as the keyboard picks out a sickly sounding melody, Someone Show Me Home comes sliding slowly into the ear-drums. In the age of punk and soon to be new-wave, Quo seem to have aged a good twenty years. A boy-band would reject this material for being too sappy. Still, on the otherhand, Im Giving Up My Worrying has enough about it as a pop song to overcome any limitations it may have in terms of ambition or subdued guitars. You know, its a catchy song. All of this still seems a universe away from the likes of Down Down or Blue For You though, released a mere couple of years before. Overall, side one of the album is ok, if spectacularly average. At least theres a couple of semi-highlights in Again And Again and Im Giving Up My Worrying
Side two of the LP is almost without exception extremely mediocre, mediocre of course being behind average in this case. No highlights to speak of, no real rockers to speak of. In the age of disco, Quo dont exactly go disco, but they do encase several tunes within keyboards and disco sounding synthesizers. I mean, a song titled Accident Prone you expect to have some bite about it, but it doesnt. Only the closing Like A Good Girl Should even manages to provide a little feel-good-ness as far as side two is concerned. With side one not exactly jumping through hoops itself, where does this leave the album overall? Well, without too many redeeming features, to be honest with you. The songs as songs go arent dreadful, I dont want you to get the wrong idea. If we assume 1 is the worst music ever and 10 is the best music ever, most albums will sit somewhere around 5 or 6. Of course, Im only reviewing certain albums. If I had the chance to review for example, the entire Garth Brooks catalogue, Im sure that would decrease the average ratings Ive actually given out. Where does this leave Status Quo? Well, If You Cant Stand The Heat .. gets a 5. Thats it. Its not interesting, its not fascinating and if I was trying to prove to someone that actually, Quo arent rubbish, Id start them instead with On The Level, Blue For You or Ma Kellys Greasy Spoon.
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CPJ JayCPJ@aol.com
Aw, cum on, it has to be a 7! You forgot to mention the excellent Long Legged Linda, Oh What A Night and Let Me Fly. Forget about I'm Giving Up My Worryin' - pure filler. IMHO! ;O)
Whatever You Want 7 ( 1979 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The Quo were back rock and rolling and twelve bar guitaring. Thank goodness. The previous two albums may have damaged the groups reputation rather than popularity, but fans quickly forgave them when 'Whatever You Want' appeared on LP. True, the title song is regarded amongst Quo fans as one of the bands classic songs, but not in our house. It's appropriation for the Argos adverts has meant drastic overkill in terms of airplay for a song that's four minutes long, yet only needs to be two minutes long. It's lazy in terms of composition, yet the saving grave is the guitar interplay. It's not enough, but there is a clutch of songs on the LP, all better than the title song. They are enough to ensure this album happily exceeds its disappointing predeccesors. The semi-acoustic 'Living On An Island' is one of those rare exceptions to the Quo boogie-rock rule. You know, it's a proper song with harmony vocals and everything! Most impressive, actually. On the rockier front, the concise three minutes of enjoyable heads down, hair in your face fun of 'Shady Lady' could have sat happily on any one of the classic Quo half-dozen LPs or so. The closing 'Breaking Away' really sets the rock among the pidgeons, though. After a few years of worrying whether Quo had gone soft, the Quo fan of 1979 may well have been overjoyed with 'Breaking Away'. It's boogie-rock excelsis, all six and a half minutes of it. 'I'm changing my tune' sing the Quo. 'No your not', we cry, you sound the same you've always done! Not entirely fare, but almost certainly the average rock fans reaction at hearing said words. Nevermind though, because 'Breaking Away' has sections and splendid drumming on an album where Quo try to rock and almost manage it. Well, 'Breaking Away' fully manages it.
What else? Well, not a lot. The filler material never descends into the dreadful, even the two songs with rock in the title on side two manage to be enjoyable, as if the band had to remind us that's what they were about. With the title song becoming another big hit, the massed ranks of the Quo army must have been feeling happy and optimistic following the release of the 'Whatever You Want' album and that's about it for now, folks. Until next time when we'll be sure to boogie on down to the Quo again. This page is neverending it seems, much like the Quo themselves!
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Just Supposin' 6 ( 1980 UK pos 4 )
What You're Proposing / Run to Mummy / Don't Drive My Car / Lies / Over the Edge / Wild Ones / Name of the Game / Coming and Going / Rock 'N' Roll
Recorded around the same time as its followup, 'Never Too Late'. Why didn't they go the whole hog and release a double? Really fire it up in the studio and just vary their album making formula, just slightly? Instead, we've another regular Quo album. Self-produced but still not resembling the rock for which they'd become famous. Well, even the Quo would claim you can't keeping churning out the same old, same old. Still, it's what in the place of the rock songs we need to consider, isn't it? Rock/pop, that's what! Whoa, radical change there! Anyway, the near title track 'What You're Proposing' is stellar pop/rock as it goes, always one of my favourite classic Quo singles. Great guitar sound, nifty riffs and stuff! Also released as a single was 'Lies' a watered down sound of a watered down sound, if that makes any sense? A four minute track full of repetition and lacking a strong hook, although the chorus must have been deemed catchy enough for single consideration. Hardly classic stuff, though. What about the sound of the album overall then? Well, the Quo guitars are still here, although down in the mix. Everything seems to be down in the mix. Someone decided to retain the synths, but then mix them down. Then complaining the synths can't be heard, everything else has been mixed down. Little seperation between instruments, basically. No space in the songs to allow them to breathe. It results in the strangely 80s US rock of 'Over The Edge', for example. The bass is mixed too high on that one! The album may well be self-produced and recorded live in the studio, then mixed by a proper engineer, but he did a lousy job if that's the case. The remaster is better I suppose, but the songs are mostly mediocre in any case.
Songs that aren't mediocre? Well, i'm struggling with this one. Past the title track, there's doesn't seem to be a lot else going on. Well, 'Coming And Going' is one of the rockier songs here, complete with harmonica and it's one of my favourites on the set. The closing 'Rock 'N' Roll' is a pop-ballad so mawkish and soppy and.... Argghh can't listen to it. What with the whistling? Was this Quo attempting to sound like Wings? Why not try and sound like something GOOD instead?! The familiar chug-boogie of 'Run To Mummy' is ok, although again the material itself is fairly weak, lyrically in particular. A six? Well, why not? It's a pretty average LP rather than an actively bad one, you see. It's dull, but there are moments here i'd excerpt onto a better album. Perhaps releasing a double album of the material the band recorded in 1980 isn't such a good idea after all, then? Perhaps not releasing either this or the follow-up and having waited until they had enough strong material for just the one good album, rather than two average ones? What do you mean you've never heard 'Never Too Late'?
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Never Too Late 6½ ( 1981 UK pos 2 )
Never Too Late / Something 'Bout You Baby I Like / Take Me Away / Never Too Late / Falling in, Falling Out / Carol / Long Ago / Mountain Lady / Don't Stop Me Now / Enough Is Enough / Riverside
Well, the last Quo album this is to feature original drummer John Coghlan. I guess he got fed up of not actually getting the chance to play his instrument for the kind of music he wanted to play it on. Or he just got fed up. One or the other. Quo were still in a transitional phase turning from a rock to a pop band. So, we get some rock songs recalling the Quo of yore and also get some 80s Quo pop attempts. Unsually for a Quo album, there's not really a single memorable song here in terms of hit songs, at least. 'Something Bout You Baby I Like' did enough to reach the top ten, but then again, they could have released almost anything as a single and it would have gone top ten back in those days. 'Something Bout You Baby' is an admirable attempt at Quo returning to their blues/rock mode of years earlier, but it lacks distinction and distinctiveness. A better single would have been 'Carol', the Chuck Berry tune. Quo turn it into a Quo tune and inject some energy into their performance. Not 'Blue For You' type energy, but at least some energy. The title track wasn't even a single! No other singles were taken from this set other than 'Something Bout You Baby'. Curiously, a single-edit of 'Rock N Roll' from 'Just Supposin' was issued after the promotional campaign for 'Never Too Late', which strikes me as being an odd thing to do. Back to the title track, it's one of the better songs here. A decent enough Quo slice of soft-boogie, yet the lyrics ( about the end of the world, it seems ) are sung with a little too much optimism to hit home convincingly.
'Falling In, Falling Out' might have made for a good pop single. It's guitar-pop. It's not brilliant or anything, it's only just above average in terms of performance, but the melody is strong. The keyboards/synths work very well here in conjunction with the rest of the band, by the way. 'Take Me Away' sounds like bits of lots of other Quo songs and lacks inspiration. 'Long Ago' is ok, 'Don't Stop Me Now' is pretty good with its groovy bass and all out action introduction. One of the rockier songs here and one of the songs with the most energy here. That it's also one of the best tracks perhaps isn't much of a coincidence then. Rossi/Parfitt seem to have been running out of steam. The bands drummer was about to quit and Alan Lancaster would follow shortly afterwards. Change ended up being forced upon the band whether they wanted to change, could change or not. The edging towards a poppier direction didn't seem to be pleasing anyone, so a wholesale move towards pop music would also follow.
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Naz Bracknell
What! no mention of mountain ladies that's a great tune it deserves a mention at least!
1+9+8+2 7 ( 1982 UK pos 1 )
She Don't Fool Me / Young Pretender / Get Out And Walk / Jealousy / I Love Rock And Roll / Resurrection / Dear John / Doesn't Matter / I Want The World To Know / I Should Have Known / Big Man
Reached number one, just to prove the Quo were as popular as ever. The drummer left half-way through the sessions and not all was well exactly, but the Quo inevitably survived. Status Quo and the cockroaches. That's all that will be left come the armageddon. Happy things though. '1982' sounds more 'real' than the previous couple of Quo efforts. The synths aren't as much on show, they rely on bass, guitar drums. True, the songs hardly rank amongst their best, although at least one wouldn't be out of place during their classic run. Well, naturally, most people deny Status Quo even had a classic run, but they did. Any act that's huge for some reason unknown to younger listeners must have done something worthy at some point. Well, unless they're Green Day, but the less said about them the better! So, 'Dear John'? Decent enough lyrics, not too samey. Decent riffs and guitar interplay. Fairly catchy and deserved to be top 10 in the singles charts. Quo fans may have justifiably had high hopes for the album. That it didn't reach the seventies peaks was hardly surprising during all the turmoil ( although, did Quo ever actually wreck a hotel room, or get drunk even? ) 'Get Out And Walk', decent track. Actually, getting all this Quo vinyl transferred to MP3 is great. It sounds way better than the CD versions I have, even the remastered ones. Quo needed vinyl and didn't need the digital eighties. It made them sound even older than they'd become.
It's disappointing that there's no real classic slices of Quo. It's disappointing that nearly all the songs are two to three minutes and that the album doesn't provide anything meaty to get your teeth into. 'Young Pretender' for example is perfectly fine, but it's not astonishing and it's not excellent, it's merely bordering on the good to average. It's not enough, however listenable the Quo's inate grasp of melody may be. To the advantage of '1982' is the fact barely a duff track is here. To the disadvantage is the fact there's nothing that really breaks from the mould, either. It's a fairly run of the mill thing, but the sound is good. You can hear the instruments and the synths are integrated well.
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Back To Back 6 ( 1983 UK pos 2 )
A Mess Of Blues / Ol' Rag Blues / Can't Be Done / Too Close To The Ground / No Contract / Win Or Lose / Marguerita Time / Your Kind Of Love / Stay The Night / Going Down Town Tonight
Trouble and strife. Rick and Francis had discussed ending the band, Rossi unwittingly upsetting Parfitt by declaring Ill be ok as the voice and face of the band. Alan Lancaster, happy that his tune Ol Rag Blues was being released as a single wasnt happy enough that he didnt also insist he should be allowed to sing it, as well. This wasnt terribly likely to happen, the record company dont like things like bass-players doing vocals for singles. Two versions were recorded in the end to placate Alan, one him on vocals. Unsurprisingly, the record label fail to pick Alans version, much to Alans growing disillusionment with the entire Status Quo affair. Even more distressing for Alan and almost certainly the final straw of all was the release of Marguerita Time as a single. He was dead against this lightweight slice of Butlins and house-wife pleasing nostalgia and watched even more unhappily as it sailed inevitably towards the top of the charts. So, this may have been the last ever Quo album, if it hadnt been for Live Aid later reactivating the band, albeit in minus Alan Lancaster form, ultimately. As for Maguerita Time, Im not against the tune as such, but Im against the simplistic lyrics and the irritating way theyre sung. Im against the cosy cheeriness of it all and the safe, sterile atmosphere it presents. Far better for instance is Ol Rag Blues, proper Quo nostalgia and an excellent way to update their seventies sound. its got energy, a nice catchy hook and pleasing lyrics.
A Mess Of Blues hit top twenty and opens the album with a bang. Bar one dreary ballad side one of the album is pleasing enough, in that A Mess Of Blues and Ol Rag Blues manage to be better than average. Side two unfortunately is entirely forgettable. The band fall between two stools far too often, the rock and the pop side not always convincingly placed next to each other, even within the same song. Believing themselves to be a rock band at heart, the sound had simply softened too much to the point where rock fans didnt believe in the band anymore and pop fans just dug the singles. The albums had ceased to be cherished events, something which upset the groups core 70s fanbase in particular. Had John Coughlan been right in bailing out when he did? Should he have left sooner? Should the Quo indeed have been put to bed following the release of this album? Was Marguerita Time being soft enough to get the band appearances on Little And Large really cause for celebration, or a sign that Alan Lancaster perhaps had the right to be embarrassed, after all? The dreary In The Army Now would follow, but thats another story and shall be told another time. For now, a slightly negative but not really 6 is the fate of Back To Back.
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In The Army Now 4 ( 1986 UK pos 7 )
Rollin Home / Calling / In Your Eyes / Save Me / In The Army Now / Dreamin' / End Of The Line / Invitation / Red Sky / Speechless / Overdose
Lancaster gone and seemingly with him the last of Quo's rock credibility. Rossi, Parfitt and keyboardist Bown get together seemingly as equal partners, much to the distress of listeners everywhere flinching at the plastic, fairground novelty keyboard sounds playing in a lowest of the low creative manner. Rossi and Parfitt carry on as normal, more or less. Pop Quo much to the fore even on the rock material. The production evens and smooths out any rough edges that probably weren't even there in the first place. To be fair, 'Quo' had sounded dated for a few years, but 'In The Army Now' is an LP where it's so blindingly clear the band are re-writing themselves, let alone the same combination of boogie-rock riffs they'd been mining for a decade or more. Are there any interesting cuts here then? Well, two. The ZZ Top-isms for 'Red Sky' seem to work ok. The title track which has a love it or loathe it reputation amongst the Quo fans at least proves Quo could turn their hands to then contemporary rock music, have a big hit and not look silly with it.
So, what else is old? Well, 'Invitation' is a hideous country tune, 'Speechless' makes even a synth act like Dollar seem cutting edge. The opening 'Rollin Home' might have made it were it not for the terribly plastic and weak sound. Keyboards on an equal par with the guitars all three instruments disappearing into a generic, soft-mor rock sound. It's very sad to say so but take away the title track, bearing in mind how maligned it is in Quo's fanbase, would this album have then seen a release by any kind of notable, major label? It's doubtful. Increasingly un-hip and irrelevant, 'Margeurita Time' and the title track of 'In The Army Now' lost Quo a big part of their original audience. A 3 then? Well, I quite like 'In Your Eyes' actually. It may not be innovative at all, but at least it has a decent tune. A couple of other songs i've already mentioned, yes, including the title track at least manage to be average. So, a low '4' rating for this unhappy collection of meaningless rock tunes in search of a reason to exist
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Ain't Complaining 3 ( 1988 UK pos 12 )
Ain't Complaining / Everytime I Think Of You / One For The Money / Another Shipwreck / Don't Mind If I Do / I Know You're Leaving / Cross That Bridge / Cream Of The Crop / Loving Game / Who Gets The Love / Burning Bridges / Magic
Please no. God no, no, no.... Status Quo go from bad to worse. Unsure what direction to go into, they do a bunch of songs trying out other people's styles instead. Ever heard a dance-quo tune? It's here, the miami vice alike horror that is 'One For The Money'. Inspid Peter Cetera type material such as 'I Know You're Leaving' jostle side by side with the novelty hit ( the bands last ever sizeable hit song ) 'Burning Bridges'. Well, at least the jig-rock of 'Burning Bridges' ( Pogues done by Status Quo? ) has a little life about it. The title track also at least attempts to inject some energy into proceedings. It reminds me of the odious Robert Palmer, though. Why was it all the styles Quo were borrowing were from the early to mid-eighties when it was 1988 by the time the album was released? 'Don't Mind If I Do' is a half-decent tune, I suppose. It at least sounds like Status Quo, which is something when it's a song that's on a Status Quo album. Ah, but that's not fair is it? We complain that Quo stuck to their three chords and never changed, yet they did change. They just didn't evolve very well during the eighties and changing fashions ( radio 1 all but banning them from the airwaves circa 1989 ) would seek to wipe Quo off the musical map altogether. At least we have to give them credit for persisting, I suppose.
Ah, 'Cross That Bridge' is Cochrans 'Something Else' with a fiddle on it, to all intents and purposes. Played by a band that were old and sounded old. Guys in their forties or fifties can indeed sound young as long as the drive and passion remains. We can only conclude 'Cross That Bridge' is a tune where Quo took to trying to insult not only their heroes but themselves. Did they have no pride when playing back this 'Ain't Complaining' LP? Did they really consider it a good work themselves? I guess they must of done. Makes me wonder, does that. Perhaps they'd all gone deaf, what do we think? Ok, i'll stop now. Overall, this album is perfectly professionally played and the production is a tad beyond 'In The Army Now'. Individual songs for the most part come and go and don't stink the house out. Yet, the whole is by far less than the sum of it's parts, because nothing on the album with the possible exception of 'Burning Bridges' really stands-out.
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Perfect Remedy 5 ( 1989 )
Ain't Little Dreamer / Not at All / Heart on Hold / Perfect Remedy / Address Book / The Power of Rock / The Way I Am / Tommy's in Love / Man Overboard / Going Down for the First Time / Throw Her a Line / 1000 Years
'Perfect Remedy' failed to chart, the first occasion that had happened to Status Quo since 1971. So yes, i'm reviewing an album even Quo fans hardly know about or heard and nobody else will care anyway. That's me, always pandering to the popular masses, haha! Even more so when I suggest that this album, whilst hardly a rocking Quo classic, is actually far better than its reputation deserves. The keyboards are toned down and the band are playing to their strengths once more. True, there's no classic material here and many of the tracks are worthy but just a little dull. The band performances lack energy somehow, as if producer Pip Williams sucked it all out of them upon entering the studio. A problem with the mix, perhaps? Had the Quo got the guitars right back to the fore, i'm sure this album would have fared better. This mix turns down the guitars although there's not actually anything else to put in their place. Everything ends up at the same level, there's no seperation and it just doesn't sound like four/five guys playing in a studio. It's a shame because the title track is really good. I mean, it's as good a song as the Quo had written in years. The opening 'Little Dreamer' is also a fine track. It doesn't quite manage a distinctive intro, although it tries. The drums are too loud, but they try. The song rides along quite enjoyably even with a flaw here and there. It's catchy material from the off, actually.
'The Power Of Rock' is a keyboard led power ballad with a hint or Irish folk music and it stinks. 'Throw Her A Line' is uptempo and could have sounded great with a 'live' production. The song ain't no classic, but at least try and give yourselves a fighting chance. 'Perfect Remedy' ultimately doesn't have direction and that's its main fault. It seems to be a compromised set and as such, failed to hit home with fans who by now wanted something a little rawer from the guys. Still, it can be seen retrospectively as a step in the right direction. The poor commercial reception for the record ultimately wasn't the encouragement the band needed to try and fine themselves making real music again and again.
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mayhem16uk UK
being a massive quo fan and seeing them over a hundred times i actually believe the power of rock to be an absolute classic. one that should definatly be played live!
Rock Til You Drop 7½ ( 1991, UK Pos 10 )
Like a zombie / All we really wanna do / Fakin' the blues / One man band / Rock 'til you drop / Can't give you more / Warning shot / Let's work together / Bring it on home / No problems / Good sign / Tommy / Nothing comes easy / Fame or money / Price of love / Forty five hundred times
Let us write some proper songs and stop pissing about. Our last album didn't even CHART! Whilst there are no out and out Quo classics here, this is easily their most satisfying album for quite some time. 'Warning Shot' for example, which appears right in the middle of this set is good enough to appear on a recent Fairport Convention album and I do make that comparison deliberately. On the otherhand, 'Let's Work Together', better known as 'Let's Stick Together' is an utterly pointless if convincing cover thanks to the stellar harmonica and lead guitar work. We don't expect originality from a Quo album and we don't get any. We also don't get any nods towards any musical styles that will appeal to anybody under the age of thirty, which just discounts over half of my readership. With an open mind however, just listening to this stuff, you should appreciate a great deal of it. 'Bring It On Home' is a convincing blues number, thanks to the guitar work. Indeed, across the whole album the sound is natural and the Quo seem to have remembered their roots. Some of these tunes I swear i've heard before, yet Oasis get away with ripping off others tunes left right and centre, give these Quo guys a break! Especially if you don't want to, I know people whom would rather have a labotomy than listen to a Status Quo album, even one as fine as any from their peak period. I know people who despise everything Status Quo stand for, and I was one of those people until I grew up, met some musicians, listened and learned. Readers of N.M.E take note. The closing 'Forty Five Hundred Blues' is good enough to be metallica with a little old fashioned british imagination. Obviously, it sounds nothing like metallica, but if metallica apparently have conviction, this does too.
'Fakin The Blues' and the storming opener, 'Like A Zombie' both could have been hits for the Quo in times gone by. 'Fakin The Blues' is one of the most satisfying Quo compositions for several years, properly constructed and with just enough bite, although not all that much. Again properly constructed is 'One Man Band', a storming guitar twirler, a proper rock n roll performance far in excess of the filler album tracks Quo introduced in the eighties. The title track is lyrically cliched, yet the music and performance convinces. A good Quo album? Well yes, and we never thought we'd say that in the first place, let alone say it again.
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Thirsty Work 6½ ( 1994, UK Pos 13 )
Goin' Nowhere / I Didn't Mean It / Confidence / Point of No Return / Sail Away / Like It or Not / Soft in the Head / Queenie / Lover of the Human Race / Sherri Don't Fail Me Now! / Rude Awakening Time / Back on My Feet / Restless / Ciao-Ciao / Tango / Sorry
Three hit singles for the Quo in 1994. 'I Didn't Mean It' hit a peak of number 21 in August. 'Sherri Don't Fail Me Now' reached #38 and 'Restless' hit #39. Obviously, they'd had far better commercial days in the past. The album itself, supported by Quo's still respectable fanbase, went straight in at number 13 on the album charts. The three singles, then? Well, 'I Didn't Mean It' is a more than decent Quo rocker with a spirited energy and a strong chorus. It's no 'Down Down', but it more than stands up to then recent Quo single releases. Would sound great played live, of that i've no doubt. Love the rock n roll piano rolls in this song in particular. 'Sherri Don't Fail Me Now' is a Quo pop song that leans heavily on keyboards and sounds somewhat dated, very 80s. The song has fine construction but the chorus isn't really at the expected Quo singles standard. The third and final single released from 'Thirsty Work', then? Well, 'Restless' is a keyboard led ballad, nothing wrong with it in particular if treated as an album track to provide variety, but highly unlikely to succeed as a single. Indeed it didn't, scraping into the top 40 on the strength, no doubt, of the Quo fanbase alone. Kind of sounds like a singer/songwriter 70s MOR ballad. What songs could the Quo have chosen then for the 2nd or 3rd single release choices? Well, how about the storming 'Queenie' for one? Even something like 'Sail Away', which borders on novelty thanks to the production values, but remains a strong tune. The production values? The Quo sound tamed, they sound like they are playing in a cheap, seaside resort. Whilst you can hear the drums, guitar and especially the keyboards and everything is well performed, there is a sense that the sound isn't quite appropriate. Sure, they needed a couple of 'safe' sounding tunes to aim for the radio, I guess. That's no excuse for making the album sound so inoffensive, though.
I like something like the three minute 'Back On My Feet'. It's the kind of song the Quo have written dozens of times before. It doesn't however outstay its welcome at all and has nice guitar parts to provide the album with a much needed injection of ROCK. Even better is 'Soft In The Head'. Finally, 'Thirsty Work' provides something alongside 'Queenie' and 'I Didn't Mean It' which sounds like a proper rock n roll boogie stomper. Come to think of it, this also would have made a better single than either 'Restless' or 'Sherri Don't Fail Me Now'. So, in support of 'Thirsty Work', it has a clutch of very good Quo songs. The more negative side includes the production and sound of the actual album, which i'm not altogether comfortable with. Along with that, 16 songs running to an hour of music is perhaps four songs of filler too many. Not everything here works and the album does sag in places. Still better than their 80s nadir, though.
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Don't Stop 3 ( 1996, UK Pos 2 )
Fun, Fun, Fun / When You Walk In The Room / I Can Hear The Grass Grow / You Can Never Tell / Get Back / Safety Dance / Raining In My Heart / Don't Stop / Sorrow / Proud Mary / Lucille / Johnny And Mary / Get Out Of Denver / The Futures So Bright / All Around My Hat
The 30th anniversary album. A large amount of promotion on the bands part saw this effort reach number two in the UK album charts, right in the middle of britpop. Seems almost impossible to believe, doesn't it? And why oh why oh why do I punish myself so? Status Quo and Mike Love of The Beach Boys got together for the Quo cover of 'Fun Fun Fun' and Brian Wilson was dragged onstage to promote the song for a daytime UK tv show. It was one of the most horrific public appearences Brian Wilson had ever made. He clearly didn't want to be there. The Beach Boys themselves hadn't been played on Radio One for twenty years, Quo for a good five years. Quo decide to therefore kick up a fuss that Radio One wouldn't playlist this cover of a forty plus year old song recorded by two ageing bands well past their peak. They lost their case and Radio One indeed, quite rightly, weren't forced to place the song on their playlist, however popular the Quo claimed the recording to be. For the record, this cover is one of the most hideous things to come out of popular music in recent years. The entire album suffers from poor, unimaginative production values, making the once mighty Quo sound like a competent bar band and little more. The very idea of a covers album is almost enough to make me retch in the first place. That's whoever decides to do one, there have been very few worthy cover albums ever, let's face it. Still, The Quo's very of Men In Hats every eighties synth novelty hit 'Safety Dance' is entertaining, although I prefer the cover by Homer Simpson, it must be said.
The title track is the one track here that most resembles the sound of Quo. The Quo's take on this Fleetwood Mac effort having fully the Quo mark stamped upon it. 'Sorrow' is a decent cover and 'Lucille' at least sounds like rock n roll, albeit sanitised. 'Get Out Of Denver' has energy and sounds like the Quo, but where are those duelling Quo guitars of old? The closing tune is a cover of Steeleye Span's 'All Around My Hat'. Released as a Quo single, it stalled just outside the top 40, despite the obvious quality of the tune. Quo naturally stick their boogie-stomp on the folk classic. It doesn't quite work, but it's better than the majority of the album, it's fair to say. All in all, this album is utterly missable even for the Quo fanatic. Download 'All Around My Hat', the title track and 'Safety Dance' by Homer Simpson.
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Under The Influence 6 ( 1999, UK Pos 26 )
Twenty Wild Horses / Under The Influence / Round & Round / Shine On / Little White Lies / Keep 'Em Coming / Little Me And You / Making Waves / Blessed Are The Meek / Roll The Dice / Way It Goes / Not Fade Away
Dull, boring, safe, competent and predictable are just some of the words I could use to describe this album. At least we do have some energy in places, notably the enjoyable title track which could almost pass for prime-time Quo. We do need to give the band credit where it's due, even if we don't want to. Still here in the 21st century? Check. Unchanged, stable line up of rossi, parfitt, bown, edwards and rich since 1986? Check. A good title track where we get proper actual guitars as well as a nifty blues feel and a great instrumental break. Have I gone mad? Well, no. Those words I plucked up for the first sentence still stand when considering the album as a whole. Another positive? Well, only one hit single from the album, 'Way It Goes', but it's a good one, certainly. Again, the guitars are to the fore, which is always how we want our Status Quo to sound. I like the album cover, too! They'd make good landlords would Rossi and Parfitt. Maybe they can work that one into the old retirement plan ( as if! ). They let themselves down though with a good intentioned maybe, but needless cover of Buddy Holly's 'Not Fade Away'. They try and give it a new shine, but it doesn't quite work. Speaking of 'Shine', 'Shine On' is an awful, clumsy and downright dull tune that i'll pass over quickly because I don't like listening to this attempted late night modern soulless blues.
'Roll The Dice' is typical Quo, they strike up a boogie with the guitars, which sounds decent, although ultimately the song goes nowhere. Songs like 'Keep Them Coming' are both good and bad. At least the sound is there and the effort is there. A spirited vocal and the guitars sound fresh. Not quality material though when compared to the bands finer work from the past. Let's find another good song, then? I like 'Round & Round', it does what it sense on the tin and it's a lot of boogie rock fun. Lead track 'Twenty Wild Horses' is decent, although lyrically challenged, as much of the album sadly appears to be. I can't and won't write the Quo off just yet, though. There's half a very good album here.
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Famous In The Last Century 4 ( 2000, UK Pos 21 )
Famous In The Last Century / Old Time Rock 'n' Roll / Way Down / Rave On / Roll Over Beethoven / When I'm Dead And Gone / Memphis Tennesse / Sweet Home Chicago / Crawling From The Wreckage / Good Golly Miss Molly / Claudette / Rock 'n' Me / Hound Dog / Runaround Sue / Once Bitten Twice Shy / Mony Mony / Famous In The Last Century
A contractual obligation album, another covers album and according to the band themselves, not a very good album. To quote leader Francis Rossi, Or, put another way, another bloody covers album! We went along with it, as usual, but inside I felt like a fraud...for me it was the worst Quo album there had ever been - or ever will be!' So, where do we even start with 'Famous In The Last Century'? Well, the music is as you would expect. The guitars and no-frills boogie rock of the Quo is present and correct. 'Roll Over Beethoven' is one of the worst offenders on this over-lengthy album, a squeak as opposed to a roar. Clumsy where it should be racing elegantly ahead. Better is the Buddy Holly tune 'Rave On', given a spicy little Quo guitar solo in the middle. The one original tune here is the title track which bookends the album. A mere minute or so long, it would have been nice if it had been a little longer. It had an idea and a decent guitar sound. We move on though, The Everly Brothers 'Claudette' is turned into a lifeless attempted Quo stomp and loses all charm as a song in the process. 'Mony Mony'? I mean, jesus, do we really need a new version of this dog-tired old supposed 'classic'? No, we don't, in all honesty.
A highlight or two, then? Well, the brief title track is one. 'Way Down' is another, is has an actual genuine energy, isn't an old cliched piece of dusty overdone rock'n'roll and is given the Quo twist, without sounding like everything else they've ever done. 'Memphis Tennessee' starts out great, suffers a little through the not dangerous enough and far too clean production, but still provides enjoyment, all the same. Best song? 'Once Bitten Twice Shy', a real rock'n'roll boogie that suits the Quo down to the ground. It's not enough for the album to be utterly forgettable, though.
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Heavy Traffic 7½ ( 2002, UK Pos 15 )
Blues And Rhythm / All Stand Up (Never Say Never) / The Oriental / Creepin Up On You / Heavy Traffic / Solid Gold / Green / Jam Side Down / Diggin' Burt Bacharach / Do It Again / Another Day / I Don't Remember Anymore / Money Don't Matter / Rhythm Of Life
The Quo's habit for carrying on, turning up and never-changing was bound to produce dividends eventually and so it is here with one of their strongest album releases. Even 'allmusic.com' have declared it to be a masterpiece and what a Quo album should be, the guys simply playing live in the studio and not relying on production and technology to sway them. Certain excitable Quo fans though have proclaimed this album as right up their with 'Blue For You', etc. Not quite, the second half of the album trails away without a firm conclusion. As it is though, we've a handful of strong tracks where 'Heavy Traffic' gets it's pulsebeat from. It's a joy to hear Quo songs again so firmly rooted in the blues-boogie they used to do with their eyes shut. Right from 'Blues & Rhythm' we can sense a renewed purpose within the band. 'All Stand Up' has genuine energy, for example. 'The Oriental' is catchy and fun, 'Creepin Up On You' a genuinely quality composition wih blues guitar and that Quo boogie backing it up to fine effect. The lead single was 'Jam Side Down', becoming the first Quo original to make the top twenty of the UK singles charts for quite some time. It sounds like it could have been released by Quo at any stage within the past thirty years. That may not seem a good thing, but when we're speaking of the Quo, it means the song has a certain Quo quality that benefits 'Jam Side Down' being a charting Quo single. Harmonica see-sails right through 'Solid Gold' and it's a joy to hear. 'Green' is an intriguing track complete with acoustic guitars. It sounds atypical of the Quo, yet absolutely works. It sounds real and is perhaps my favourite song here.
'Do It Again' is an anthemic tune that sounds absolutely committed as the group kick up a storm that belies the guys ages. They may be 400 years old or something between them, but 'Heavy Traffic' is a convincing argument for old guys making rock n roll music. They could have knocked a couple of the tracks off towards the end of the LP to ensure the whole came in under forty minutes. As it is, this still manages to be a wholly convincing argument as to why the Quo do and should still exist.
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The Party Ain't Over Yet 7 ( 2005 )
The Party Ain't Over Yet / Gotta Get Up And Go / All That Counts Is Love / Familiar Blues / The Bubble / Belavista Man / Nevashooda / Velvet Train / Goodbye Baby / You Never Stop / Kick Me When I'm Down / Cupid Stupid / This Is Me
It's new years day, 2008, at the time of writing. My phone and internet connection is down and the internet connection may be down for a week or more. What to do? Well, my normal reasearch avenues are down, for a start. I have a few books, but not a library, you understand. So, i'm picking and choosing artists to review where really, the music matters above and beyond all else. Status Quo, love em or loathe em, are just such an act. Yes, for all their often embarassing TV appearences whoring themselves out to get their music heard in the absence of radio play ( for which I don't actually blame them for, and besides, one of their most recent was with the wonderful Adrian Chiles on 'The One Show' ) you know the Quo are in this for the love of music. 'The Party Ain't Over Yet' is an album containing solid original Quo songs and they sound like a band, continuing on from 'Heavy Traffic' stylistically. We've brief tantalising glipses of the classic Quo duelling guitar sound from the Seventies and generally interesting guitar parts elsewhere. Certain songs are saved by such sections, lifting average material to a good level otherwise unobtainable. The title track sent the Quo back into the UK top twenty, yet another hit single in a seemingly neverending line of hit singles for the group. It's pretty much Quo by numbers, enjoyable enough but nothing genuinely exciting. Genuinely exciting? Well, take 'Velvet Train' for example. See-sawing harmonica parts lends a genuine edge and the guitars chug with intent, oh yes they do! We've also got a great instrumental break with guitar solo, harmonica solo and it comes across not so much as a velvet train, but a steaming, mechanical monster.
How about a moment then that rescues an otherwise plodding tune? The harmonica parts through 'Belavista Man' raises the stakes and means the song appears to improve as it goes along, quite strange for a song that's all circles of guitars and a very traditional blues rock type structure. 'Gotta Get Up And Go' begins like utter classic Quo material, the guitars sound right and we wait through the opening seconds awaiting an explosion. Instead of the expected explosion, although the energy of the tune is retained, it never really reaches a higher level. Still a decent enough song, mind you. A harmless, catchy highlight arrives with 'All That Counts Is Love'. Again, Quo fail to resort to mid-tempo plodding, keep the energy up and this could have been a hit, for my money. What else? Well, a few tracks, 'Familiar Blues' being the worst offender, just simply fail to go anywhere. Indeed, 'Familiar Blues' and 'The Bubble' are ten minutes long between them right next to each other on the LP and sleeping is possibly advised during this section. Well, 'The Bubble' would be ok if it didn't resemble 80s AOR. Nevertheless, 'The Party Ain't Over Yet' is an album with more highs than lows, a solid collection for fans to enjoy.
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In Search Of The Fourth Chord 7 ( 2007 )
Beginning of the End / Alright / Pennsylvania Blues Tonight / I Don't Wanna Hurt You Anymore / Electric Arena / Gravy Train / Figure of Eight / You're the One for Me / My Little Heartbreaker / Hold Me / Saddling Up / Bad News / Tongue Tied
The ironically titled 'In Searth Of The Fourth Chord' is the Quo's umpteenth album and continues their recent return to some kind of boogie-rock roots. Their sound remains uninventive, their lyrics remain unimaginative yet Status Quo still manage to demonstrate enthusiasm and energy, which is quite something after so many years in the job. We even get something of a first, bassist John "Rhino" Edwards handles the vocal duties on 'Bad News', the first time he gets a lead vocal in twenty odd years as part of the Quo line-up. It's a strongish rocker and his vocals are decent and suitably gritty. The strangely weak vocal that decorates 'Tongue Tied', a ballad in search of a tune undoes a lot of the good work 'Bad News' performs towards the close of the album, however. At the other end of things, the lead single opens up the album with a bang, catchy riffs and a memorable chorus. It's no 'Caroline' or 'Down Down' of course, yet the guitars combine well to create an impressive sound all the same. A potential second single, should they choose to release one, could well be the powerful 'Gravy Train', a great chugging thing with sterling keyboard work combine with the vocals to remind this listener of the rockier moments from classic Sixties group, The Doors.
'You're The One For Me' revolves around another guitar riff variation sounding suspiciously similar to dozens of other Quo tunes, yet we're going back to 70s Quo rather than 80s, so that's not a bad thing. Indeed, the energy and refreshingly natural sound of 'You're The One For Me' is almost enough to remind a listener of the Quo's classic run of albums in the early to mid-seventies. Another welcome highlight has to be 'Pennsylvania Blues Tonight', a surprisingly modern sounding rhythm section provide an insistent groove, hence a groove based rather than riff based Quo tune, although a catchy little guitar figure pops up here and there to move the tune forwards. Inbetween said highlights, we have a few near-clunkers, undistinguished material not likely to lodge itself in your brain in the first place, let alone stay around. So, material like 'My Little Heartbreaker' is all the more fun inbetween such material. Not a classic Quo set then by any means, yet certainly listenable and matching the quality of the groups best recent works.
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Live At The BBC 8 ( 2010 )
Gloria / I (Who Have Nothing) / Neighbour, Neighbour / Bloodhound / Bird Dog / I Don't Want You / Almost But Not Quite There / Spicks and Specks / It Takes Two / Spicks And Specks / Judy In Disguise (With Glasses) / Pictures Of Matchstick Men / Things Get Better / Pictures of Matchstick Men / Gloria / Bloodhound / Black Veils Of Melancholy / Ice In The Sun / Paradise Flat / When My Mind Is Not Live / Make Me Stay A Bit Longer / Are You Growing Tired of My Love / The Price Of Love / The Price Of Love / Junior's Wailing / Spinning Wheel Bluesv Down The Dustpipe / In My Chair / Need Your Love / Mean Girl / Don't Waste My Time / Oh Baby / Paper Plane / Softer Ride / Paper Plane / Softer Ride / Don't Waste My Time / In My Chair / Caroline / From A Jack To A King / Down The Dustpipe / Railroad / Caroline / The Party Ain't Over Yet / Whatever You Want / Belavista Man / Rockin' All Over The World / Junior's Wailing / Someone's Learning / In My Chair / Railroad / Don't Waste My Time / Paper Plane / Roadhouse Blues / Bye Bye Johnny / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Over The Edge / Don't Waste My Time / Dirty Water / 4500 Times / Big Fat Mama / Roadhouse Blues / Rain / Down Down / Bye Bye Johnny / Whatever You Want / Little Lady / Roll Over Lay Down / Cream Of The Crop / Who Gets The Love? / Hold You Back / Don't Drive My Car / Dirty Water / In The Army Now / Rockin' All Over The World / Don't Waste My Time / Bye Bye Johnny / Whatever You Want / In The Army Now / Burning Bridges / Rockin' All Over The World / Roadhouse Blues/The Wanderer/Marguerita Time/Living On An Island/Break The Rules/Something 'Bout You Baby I Like/The Price Of Love/Roadhouse Blues Caroline / Paper Plane / The Wanderer / Proud Mary / Wild Side Of Life /Rollin' Home/Again And Again/Slow Train / Get Back / Whatever You Want / In The Army Now / Something 'Bout You Baby I Like / Don't Waste My Time / Rockin All Over The World / Roadhouse Blues / Caroline / All Around My Hat (with Maddy Prior) / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Dirty Water / Down Down / Don't Waste My Time
Beginning with a cover of Van Morrison's 'Gloria' and ending with tracks recorded for the BBC in 1996 this set covers a selection of recordings The Quo made for BBC radio. When 'GLoria' kicks into gear Status Quo are still known as The Spectres. In 1996 they had become a somewhat derided national institution, albeit one with a committed and appreciated fanbase, particularly on the live circuit. 'Roadhouse Blues' from one of these 1996 live performances for instance displays an immensely impressive powerful performance from Quo, proof at last that they'd actually lost none of their Seventies firepower, at least when they put their minds to it. These 1996 live performances bristle with intent, 'Paper Plane' sounds like a tank about to destroy an entire village. Switching to live performances from 1992 contained on disc six is therefore a bit of a surprise. A much more crowd-pleasing set full of hits, 'Whatever You Want', 'Burning Bridges', 'Rockin All Over The World', etc. Just comparing the 1992 and 1996 performances of 'Roadhouse Blues' is revealing for me. The 1992 version hasmarkedly less power coming from the rhythm section and coarser lead vocals.
In 1988 live at Wembley Arena we open with a perfuntory run through of Argos favourite 'Whatever You Want', move into a throroughly entertaining and energetic 'Little Lady' moving through some 'select' album tracks from 'Ain't Complaining', my least favourite Status Quo album ever. The energy levels drop and they turn into some kind of American arena act, losing much of their character in the process. Let's compare and contrast 1988's 'Whatever You Want' then with 1982's 'Whatever You Want' recorded at the Birmingham NEC. The classic Quo guitar boogie sparkles for one and a version of 'Caroline' taken from the same gig may have slightly bored sounding vocals but the band themselves sound pretty good when blasting through my ears. The live tracks taken from 1973 sound like a band in transition even though the transition to the boogie monsters they were famous for being by then was already complete. Just goes to show how much the Quo continued to improve throughout that decade. Although their albums may not have sounded very different at all to each other, live at least they were still developing and honing themselves both as a unit and as individual performers.
Personally, being a massive fan of the late, lamented John Peel, hearing two tracks recorded for a Peel Session in 1972 was revelatory. Re-writen history would pretent that Peel arrived when punk did and listened to nothing but noisy white boys who would later crop up in the pages of NME. So, a run through of 'Paper Plane' and also 'Softer Ride' which has insistent guitar riffs and a proper bluesy feel - albeit all done at 100 miles an hour. Best thing on the box-set? Well, quite possibly, at least in our house. Seven songs from a 1972 'Sound Of The Seventies' demonstrates well why Quo blossomed into the huge act they became, particularly a roaring version 'Oh Baby'. I like the way the highlights of this box overall aren't necessarily the ones you would expect. Yeah, the sound quality is variable throughout although that doesn't detract one bit from the overall pleasure to be had. Yes, Quo=pleasure. Well, at least they should do for any reasonable thinking person, especially when dipping into the early to mid-seventies output of Quo.
A quick word about formats. The deluxe edition contains seven CDs and one DVD. There's a four disc box and also a 2CD version. A veritable feast for Quo fans. I mean, those early sessions when Quo were known as The Spectres showcase a promising rhythm and blues outfit. Four tracks as 'The Traffic Jam' are caught somewhere inbetween the rhythm and blues and the pyschedelic outfit they would become. The songs from 1968 showcase a number of covers and also an airing of 'Pictures Of Matchstick Men' their first chart-breakthrough. Still sounds good some astonishing 42 years later. A very posh sounding Hairy Cornflake then takes us through three or four tracks when Quo had all but completed their move back to the blues, to rhythm and blues and well towards developing into that mighty seventies behemoth they became.
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Quid Pro Quo 8 ( 2011 )
Two Way Traffic / Rock 'n' Roll 'n' You / Dust To Gold / Let's Rock / Can't See For Looking / Better Than That / Movin' On / Leave A Little Light On (Parfitt/Morris) / Any Way You Like It / Frozen Hero / Reality Cheque / The Winner / It's All About You / My Old Ways
Reaching number 10 in the UK album charts for a band that has been around as long as Status Quo have is a very impressive feat. Well, let's think of it this way. Will U2 still be charting in the top ten come 2020? Bono will have no voice, The Edge will be deaf and the rhythm section fat and bald. Francis Rossi still composes the majority of Quo tracks, by the way, yet the Parfitt/Bown axis get plenty of writing credits also, although curiously no songs are Rossi/Parfitt co-writes, they rarely ever did write together if my memory serves me correctly. Anyway, 'Quid Pro Quo' captures the sound of the band playing live, there's very few overdubs and it's a guitar heavy sound. The songs are lyrically reminding one of their previous hits yet musically rush along in a manner no forty year old band have any right to be able to achieve.
Salient points lazily cribbed from Amazon reader reviews follow.
"To me, Quid Pro Quo sounds like the culmination of Status Quo rediscovering their soul (their 'Quoness' if you like) that started with Under the Influence in 1999"
"I have a massive soft spot for the Quo. I used to listen on a Saturday afternoon to the Alan "Fluff" Freeman radio show praying he would play a Quo track...and he did lots of them! I go back as far as Ma Kellys Greasy Spoon"
"Following on from poor efforts in the 80s and 90s Quo are starting to produce some good albums again."
"Bought this for my hubby as he is a Quo fan! Cant comment on the album as I m not particularly a quo fan myself but I have a happy hubby"
Isn't that what music is all about? Following that final comment, I may get my wife to go-to a Quo gig instead of me going to a Take That gig. Well, I'm not a Quo fan, as such, but the live disc here gets my curiosity juices flowing - to think, when I started this page I thought I absolutely despised the group and everything they stood for? True, the lyrics are as cliche as Jeremy Clarkson yet when did that ever stop him being popular? The music is rock, the rockiest they've been for quite for years, consistently so rather than just the odd track here and there. I mean, Parfitt can even get away with 'Let's ROCK, Let's ROCKIT' and we don't mind. Not enough bands do rock these days, I mean, who has even come through in the past few years? 'Reality Cheque' and 'Leave A Little Light On' are also Parfitt co-writes and he seems on fine form throughout this LP set. LP? See what I did there - trying to confuse the already bewildered youngsters!
Andy Bown plays keyboards that sound like Piano and Organ - perhaps they are. It all adds to a very real sounding Quo set that doesn't scream out 2011, as it very much shouldn't do, and what's this? 'Frozen Hero' penned largely by Rossi sounds like a Quo classic if ever there was one, a song to slip seamlessly into any Quo live set. The guitars spiral and turn and the chorus is mighty and why the hell didn't they release this as a single anyway? Well, their days of hit singles are quite probably way behind them yet I'm glad to report they've still got it in them to try.
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Readers Comments
Paul Lillis Republic Of Ireland
only after finding your website and what a pleasure it is to read your reviews and there are very good have all these albums you talked about and i must say i agreed with you on what you said. but tou didnt review to be or not to be album i think release in 1979, in my opinion i think this would only recieve a 4 rating one of there poorer albums i love the quo and always get there albums but havnt bought much of there new stuff prefer there music from the early 70s thanks again it was great to find your site
Bula Quo! 7½ ( 2013 )
1. Looking Out For Caroline / GoGoGo / Run And Hide (The Gun Song) / Running Inside My Head / Mystery Island / All That Money / Never Leave a Friend Behind / Fiji Time / Bula Bula Quo (Kua Ni Lega) / Living On An Island / Frozen Hero / Reality Cheque / Rockin' All Over The World / Caroline / Beginning Of The End / Don't Drive My Car / Pictures Of Matchstick Men / Whatever You Want / Down Down
Status Quo have gone silver screen in Kiss fashion with a film Bula Quo, disappointingly, this isn't 'Family Guy Kiss Do Christmas' but was perhaps an inevitable concept from a band searching for ways to remain in the news and to remain relevant. You do suspect though a lot of the dodgier concepts coming from the Quo camp are Rick Parfitt ideas - these guys appeared on TV and Rossi just nodded politely. 'Bula Bula Quo' becomes, astonisingly, the groups 100th single. That's a staggering fact, surely?
As for the film, "Rocking All Over The World, Status Quo witnesses a gang murder in Fiji. They flee with crucial evidence; have they played their last gig? Rock legends Status Quo are finishing their 50 Year Celebration tour. They come off stage to thunderous applause and slip away for a quiet drink. Suspecting a bigger party is going on in the back bar, Francis Rossi and Rick Parfitt slip through security and gate crash the event. They witness a gambling ring forcing competitors to play Russian Roulette. The winner gets dinner. The other loses their head. Parfitt and Rossi grab evidence of the murder and create a commotion so they can get away. Wilson (Jon Lovitz Happiness, The Wedding Singer, Friends), the lead gangster, catches sight of them and orders their heads. Parfitt and Rossi are on the run. Simon (Craig Fairbrass Cliff Hanger, Rise of The Footsoldier), their manager, and Caroline (Laura Aikman - Keith lemon Movie, Freight, Blood Monkey etc), a cheeky intern, are tasked with keeping the press in the dark while protecting Status Quo. An ambitious reporter, Dave (Matt Kennard - Freight, BBC TV Doctors), senses there is a story. Caroline holds him off as long as possible, but as the situation escalates, enlists his help. Using sea-planes, speed boats, jet skis, golf carts and scuba gear, Status Quo and their entourage evade capture and manage to leave paradise."
First thing I notice listening to this, it's very produced, it's very commercial with almost every song tipping its hat towards the charts, if only it were twenty years ago, of course. That's a fact Quo live to ignore, so we have 'GoGoGo' which is a genuinely brilliant track, with an actual thrilling guitar solo of the type you would not readily associate with Status Quo. The opening 'Looking Out For Caroline' is decent, although a little too familiar for what we expect from Quo. 'Run And Hide' has some heavy bass guitar work which is nice and 'Running Inside My Head' is faintly bluesy and lots of fun, if not exactly serious. We'll skip 'Mystery Island' for being a piss-poor attempt at a Beach Boys 'Kokomo' and the single 'Bula Bula Quo' is just weird, tribal drumming and an all too jaunty lead vocal. The 2nd disc consists of remakes of Quo songs and a few live numbers, ancient Quo number 'Pictures Of Matchstick Men' being done particularly well.
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Readers Comments
ChristianAustria
Thx for all the great Reviews, cant wait for the AQUOSTIC review. rock on
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this page last updated 230/08/15
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2024-08-07T18:20:35+00:00
|
The producer’s team at Wasserman Music on how “creating moments in the now” reflects post-pandemic consumption patterns and represents the future of touring.
|
en
|
Billboard
|
https://www.billboard.com/pro/fred-again-touring-strategy-wasserman-music-interview/
|
In early 2021, Wasserman Music’s Tom Schroeder met with a rising electronic producer at the artist’s London studio. There was buzz around the producer, who had pivoted to making his own music after working the boards for artists like Ed Sheeran, but he wasn’t famous yet, and Schroeder was cautious.
“There was an assumption from the industry and other agents that this was going to be a runaway success,” Schroeder recalls. “I said to [some of these people], ‘You’re thinking the wrong way. No one really cares what producers do, you’ve got to work out what your story is.’”
Luckily, the nascent artist – the now globally-famous Fred again.. – had already figured out the narrative. In the studio, he showed Schroeder short videos of mundane scenes on his phone – the cleaning crew at a stadium, friends with their children – that he had scored with his music, giving the visuals a poignancy they wouldn’t have had on their own. The videos, he explained, would be the basis for the intimate feel and life-as-seen-through-a-phone-screen look of his shows. As time would tell, he also had a knack for using social media to engage fans in casual, conversational way, which would prove to help create momentum around live events.
“It was like, ‘Wow, this guy isn’t just an incredible musical genius, he’s thinking way beyond that,” says Schroeder, the executive vp/managing executive of Wasserman Music U.K., who signed Fred again.. in August 2021. “You could see the ambition. The confidence was something like I’d never seen before.”
In the three years since, Fred has fostered an ongoing discourse with fans, which has built excitement around new music and his mold-breaking live shows, ultimately leading to one of the most innovative and successful touring strategies in electronic music and the broader live music ecosystem. Amid his rise, Fred again.. has played increasingly large festival sets – including headlining slots at Coachella 2023, Glastonbury 2023 and Bonnaroo 2024 – along with historically long residencies at key venues and increasingly big and culturally resonant “pop up” shows that Fred himself announces just days before they happen.
His last pop up – a June 14 show at the L.A. Memorial Coliseum – was announced with just four days notice. It went on to sell 65,100 tickets and gross $6.4 million, according to numbers reported to Billboard Boxscore. The Rolling Stones are the only act with a bigger reported gross at the venue.
“He’s completely changed the game, and the scale only comes later. It’s almost secondary,” says Schroeder of these pop-up performances. “Now he’s changed the game with stadiums, but he changed the game from the start.”
Pent-Up Demand
It was a kind of kismet that Fred again..’s music – emotive, hooky and extremely current sounding electronic productions – gained traction during the pandemic, when live shows were impossible. When audiences could finally see Fred in concert, the pent-up energy created demand. Fred’s first U.S. performances were a pair of buzzy, sold-out shows at 500-capacity Roxy Theatre in Los Angeles in December 2021. That same week in L.A., he played his first U.S. pop-up at a Mid-City Chinese restaurant.
“It was 75 people in a restaurant, but everyone in Los Angeles was talking about it the next day,” says Wasserman senior vp Evan Hancock, who along with Schroeder and senior vp Ben Shprits make up the Fred again.. team at Wasserman. “We just tried to do that again and again.”
The interest around these early shows culminated in a pair of packed, sweaty sets at Coachella 2022, where the earnest sentimentality of the music and relatable iPhone bric-a-brac visuals whipped up big feelings for a crowd that was gathering for the first time since the pandemic. Things leveled up again in July 2022, when Fred’s euphoric set for online streaming platform Boiler Room went viral.
At this point, many artists would announce a major tour. That wasn’t Fred’s vision. “Do I think he’s ever going to put up a predictable tour nine months in advance?” says Schroeder. “No. I can’t see it. Why would he? What he wants to do is things that have never been done before.”
The team leaned into their pre-existing model, playing festival sets in Europe and the U.S. along with sold-out, multi-night runs at venues including Los Angeles’ Hollywood Forever Cemetery in September 2022 and three nights at New York City’s Terminal 5 that October. In early 2023, Fred, alongside friends and fellow producers and performers Skrillex and Four Tet (both also Wasserman clients) created an electronic scene frenzy when they played three pop-up shows in London and a few in New York ahead of a February 15 announcement that they’d be playing a headlining set at Madison Square Garden three days later. That show sold out in two minutes.
“Everyone in London, everyone in Sydney, everyone in Tokyo knew what had happened in New York,” says Schroeder. “We realized we could create these iconic moments and if we executed them at 10 out of 10, we didn’t have to replicate them, because they resonated everywhere.”
“Creating Moments In The Now”
The team agrees that the most crucial element of these pop-ups is less their size and more their immediacy. To wit, on Oct. 27, 2022, Fred announced he was riding a bike through London’s Hyde Park while playing his new album on portable speakers and that fans were welcome to ride with him. Hundreds of people turned up.
“What Fred’s doing is creating moments in the now,” says Schroeder. “He’s not having this ten-month delay [between putting shows on sale and playing them] where people can split up with their girlfriend or change their musical taste. He is living in the moment at a time when society is living in the moment much more than it used to, because the world is more uncertain than it was pre-pandemic. The world has moved to, ‘What are we doing next week?’, not ‘What are we doing next year?’, and Fred’s the best example of it.”
On June 1, Fred again.. and Skrillex sold 25,000 tickets for a show at the San Francisco Civic Center Plaza that was announced four days before it happened and was the first music event to take place at the government run space in years. At one point during the day they went on sale, 65,000 people were in the digital queue trying to buy them. When Fred landed in Australia this past February, 125,000 people attempted to buy tickets for his pop-up at the Sydney Opera House, which holds 2,250. Another seven pop-ups around the country created a sort of national hysteria akin to Willy Wonka’s Golden Ticket lottery. “I mean obviouslyyyy we didnt come all this way for one show….” Fred wrote on Instagram when announcing the events, which all sold out in minutes.
The team and most any fan who’s been part of it will attest that the last-minute aspect is part of the thrill. “There’s an excitement in making yourself available, changing your plans for Friday, hunting a ticket down, refreshing Fred’s socials to see what the clues are,” says Schroeder. “What we have with Fred is what I call active engagement, where fans are trying to find from out from Fred what’s about to happen, versus him presenting what’s about to happen.”
But the shows are planned well in advance. Another Planet Entertainment, the team’s partner on the June 1 San Francisco event, applied for the permit in February after Fred’s team reached out about doing an outdoor event in the city. Another Planet‘s president of concerts & festivals Allen Scott says that while producing the show was “definitely a workout” – given that the stage had to be built late at night so as not to not disrupt business at City Hall – the fact that tickets would sell out immediately “was the most known variable in the equation” based on Fred’s touring history and the “pent up demand” for the artist in the Bay Area. He says Mayor London Breed even had a watch party for the show on her balcony at city hall.
Meanwhile, while fans were only given four days notice for the L.A. Coliseum show (though Fred teased it by having “Los Angeles, June 14” printed in the liner notes of the vinyl for his Tiny Desk Concert, released a week prior to the event), it was on the calendar a year out. With these tentpole events in place to work around, the team was able to arrange unannounced Fred sets at EDC Las Vegas in May and Glastonbury in June.
All of this hype also helps feed the model’s residency element. In the fall of 2023, Fred played five shows at London’s Alexandra Palace, three at Forrest Hills Stadium in New York and nine at Los Angeles’ Shrine Expo Hall – the most consecutive shows a single artist has ever performed at the latter two venues.
“I think we originally proposed five or six Shrines,” says Hancock, “and Fred came back and said eight, then 20 minutes later came back and said nine.” Fred announced the shows on his Instagram, and all of them sold out within days. (The final Shrine show was announced the day of.) The Forrest Hils run grossed $2.9 million and sold 42,300 tickets, while the Shrine shows grossed $2.2 million and sold 45,000 tickets, according to numbers reported to Billboard Boxscore.
Still, says Hancock. “I’m not going to say that in the weeks and months leading up I wasn’t like, “What the f— are we doing?”
“Absolutely Huge Risk”
After all, Fred’s rapid growth appears to violate one of the key rules of agenting – when it comes to developing new talent, don’t skip steps. Most agents agree it’s not wise to go from night clubs to stadiums; long-term careers are built with the help of audiences who invest in artists. While hype tends to fade quickly, building a long-term fan base is a slow burn, and most of live music’s largest players are used to moving at a slower pace.
“I’ve been an agent a long time, and we’re used to doing things in a particular way, and the infrastructure around us is used to doing things in a particular way,” says Schroeder, “and at the front of it you’ve had Fred going, ‘I don’t care that that’s how it’s done. I want to do it differently.’”
A crucial element has thus been finding partners who are willing to take, says Schroeder, the “absolutely huge risk” inherent in announcing very big shows at the very last minute and many shows at the same venue all at once with no traditional marketing – “because your marketing means absolutely nothing, because it’s all him,” Schroeder adds. “And you’re going to have to cut a really tough deal, because he’s the hottest act in the world.”
The Wasserman teams also credits the “hive mind” of the entire Fred again.. team, which they say works more collaboratively than many artists they’ve seen. This all-hands-on deck mentality has involved Fred himself speaking with the mayor of Perth, the head of the NYPD and the San Francisco mayor’s office to help coax certain permissions for shows, like taking over control of the lights on San Francisco City Hall for the show. “He’s so confident in his vision for what he wants to do that he’s positive that if he can explain what he wants to do, ultimately they will let him,” says Shprits. “And ultimately that’s what happens.”
“Fred is changing how people see touring and how agents and promoters approach touring, and he’s unsettling a system that’s been in place for 50 or 60 years and turning it on its head,” Schroeder continues. “It’s a complete game changer that the industry isn’t talking about, because they can’t talk about it, because it’s so challenging to them and the status quo.”
Growing Influence – and Future Plans
But conversations on how other artists can replicate the model are currently happening, Schroeder says, “in every single planning meeting that you ever have about every artist.” It’s not a model most artists can pull off, although one can see the appeal, given that it cultivates incredible hype while also offering a solution to the longtime dilemma of artists, and particularly electronic artists, burning out with nonstop touring. “Fred wants a life,” says Schroeder. “He’s never going to do 250 shows a year, so it’s about making very, very special moments… This isn’t a model that’s appropriate for many artists, but it has completely shifted the game.”
But despite the success, the team still sees huge room for growth. Thus far Fred hasn’t played in Asia, has only done a handful of shows in South America, has done just two short runs through Europe and has focused his U.S. touring largely on the coasts. The latter is about to change; on Monday (August 5), he announced the Places We’ve Never Been Tour, which will follow the Sept. 6 release of his fourth studio album, ten days, and take him to stadiums and amphitheaters in the Midwest, northwest and southern U.S. and into Canada this September and October. (The run includes two-night stints in Denver, Seattle, East Troy, Wisconsin and Toronto.) On Instagram, Fred noted that additional dates will be added to this run – and given his track record, it also seems likely that pop-up shows will be incorporated into this and future runs as the touring footprints continues expanding.
“I think Fred is enormously underplayed,” says Schroeder. “Are we going to be able to go to all these countries we haven’t been to? A million percent, and I can’t wait to do it.”
|
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2833
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0
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https://www.theaudiodb.com/artist/112514-Status-Quo
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TheAudioDB.com
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[] | null |
Artist: Status Quo, MusicBrainzID: 1884ed9c-6fe1-468d-a7f8-8d19c9c4e441, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
|
en
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../images/ico/favicon.ico
| null |
Backbone (2019)
Aquostic II - That's a Fa (2016)
Aquostic (Stripped Bare) (2014)
Bula Quo! (2013)
Quid Pro Quo (2011)
In Search of the Fourth C (2007)
Riffs (2003)
Heavy Traffic (2002)
Famous in the Last Centur (2000)
Under the Influence (1999)
Don't Stop (1996)
Thirsty Work (1995)
Rock 'til You Drop (1991)
Perfect Remedy (1989)
Ain't Complaining (1988)
In the Army Now (1986)
Back to Back (1983)
1+9+8+2 (1982)
Never Too Late (1981)
Just Supposin' (1980)
Whatever You Want (1979)
If You Can't Stand the He (1978)
Rockin' All Over the Worl (1977)
Blue for You (1976)
On the Level (1975)
Quo (1974)
Piledriver (1973)
Hello! (1973)
Dog of Two Head (1971)
Ma Kelly's Greasy Spoon (1970)
|
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2833
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3
| 67
|
https://www.chattanoogan.com/2024/8/6/490555/Why-We-Have-Low-Voter-Turnout.aspx
|
en
|
Why We Have Low Voter Turnout
|
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2024-08-06T00:00:00
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https://www.chattanoogan.com/2024/8/6/490555/Why-We-Have-Low-Voter-Turnout.aspx
|
Unlike others, I don’t find myself surprised by the low voter turnout. I live in Bradley County. Our total turnout was 9.7 percent. I was, however, shocked by the number of people who said they were unaware there was even an election on Aug. 1.
When asked about the election signs everywhere, the most common response I’ve heard has been, “I thought they were gearing up for November.” I think this is indicative of a growing problem nationally. We don’t focus on what’s happening now. The pundits and talking heads are always focusing on what’s next. Come January, after the inauguration, they’ll immediately start talking about midterms and what’s to come in 2028. In that regard, I can see why people would believe that all the campaigning has been for November. Some people are suffering from political fatigue.
There’s, also, a lack of understanding about the process. There are people who genuinely do not understand there is a primary process. I suspect most people think local and state elections are decided by the November ballot. I’m not sure how to fix this issue. I don’t know if we need better civics education or if potential voters need to know the onus is on them to stay informed.
Apathy plays a big role, too. Some voters are happy with the status quo and the same candidates run cycle after cycle unopposed. If those candidates are going to win by default, some voters might not see the point in primary voting or voting at all. Additionally, most people truly don’t seem to understand that your local and state elections effect policy directly related to their communities. Again, I think part of this can be attributed to the constant discussion of national politics as opposed to state and local.
Other issues I’ve heard is a lack of candidates that represent the values of the voters; as well as the fact that primary voting happens on a Tuesday. Mind you, early voting happens for two weeks prior; but, people seem to not know that, too. I’ve seen suggested solutions that include mandatory mailing of ballots to registered voters; or extending election voting from one day to several.
I’m not saying any of what I’ve written is the answer or solution. I am suggesting that, instead of chastising people for not voting, perhaps we should be looking at why people don’t vote. You’d be surprised at how many times you’ll hear it’s because people think their vote doesn’t matter.
Robbie Nicholson
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https://vinyl-records.nl/rock/status-quo-vinyl-lp-albums-gallery-and-discography.html
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en
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STATUS QUO (Band) Album Cover Gallery & 12" Vinyl LP Discography Information #vinylrecords
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https://vinyl-records.nl/favicon.ico
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Status Quo (Band) Album Cover Gallery & 12" Vinyl LP Discography Information , This page has quality photos of album covers, record label and detailed description.
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/favicon.ico
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https://vinyl-records.nl/rock/status-quo-vinyl-lp-albums-gallery-and-discography.html
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STATUS QUO Band Information:
Status Quo is an English rock band that was formed in 1962 in London. The group consisted of Francis Rossi, Rick Parfitt, Alan Lancaster, and John Coghlan in the original lineup. They became known for their unique blend of boogie rock and catchy pop hooks that resulted in a string of hit singles and albums throughout the 1970s and 1980s.
They began as a rock and roll freakbeat band called the Spectres. By 1967, with very little commercial success, they discovered psychedelia and changed their name to Traffic (later Traffic Jam, to avoid confusion with Steve Winwood's Traffic.) At this time the line-up also included organist Roy Lynes and drummer John Coghlan. Late in 1967 they recruited second guitarist Rick Parfitt and became The Status Quo, scoring Top 10 singles with Pictures Of Matchstick Men and Ice in The Sun.Â
One of the defining characteristics of Status Quo's music was their use of the electric guitar, which was heavily distorted to produce a raw, powerful sound. Their early hits such as "Pictures of Matchstick Men" and "Ice in the Sun" showcased this distinctive sound and helped establish the band as a force to be reckoned with in the music industry.
However, it was during the 1970s that Status Quo truly cemented their place in rock music history. They released a series of albums that became iconic, including "Piledriver," "Hello!," and "Quo." These albums contained classic tracks such as "Caroline," "Down Down," and "Rockin' All Over the World," which remain popular to this day.
One of the hallmarks of Status Quo's music was their ability to blend traditional blues and rock elements with pop sensibilities. This resulted in songs that were both catchy and musically complex, featuring intricate guitar solos and driving rhythms. Their live shows were equally impressive, with the band renowned for their high-energy performances and elaborate stage setups.
However, Status Quo was not without their controversies. They were often criticized for their perceived lack of musical innovation, with some accusing them of simply churning out the same formulaic rock songs over and over again. Others accused them of selling out to commercial interests, as their music became increasingly polished and radio-friendly over the years.
Despite these criticisms, Status Quo remained one of the most popular and enduring bands in British rock music history. They continued to release albums and tour well into the 21st century, with Rossi and Parfitt remaining at the core of the band until Parfitt's death in 2016. Their influence can be heard in the music of countless other bands and artists, and their legacy as one of the greatest rock bands of all time remains secure.
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https://en.wikipedia.org/wiki/Status_Quo_(band)
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Status Quo (band)
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2003-04-18T06:35:17+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Status_Quo_(band)
|
For other uses, see Status Quo (disambiguation).
British rock band
Status Quo are a British rock band. The group originated in London and was founded in 1962 by Francis Rossi and Alan Lancaster while they were still schoolboys.[1][2] After a number of name and lineup changes, which included the introduction of John Coghlan in 1963 and Rick Parfitt in 1967, the band became The Status Quo in 1967 and Status Quo in 1969. As of 2022, the group have been active for 60 consecutive years (despite announcing a breakup in 1984, they played Live Aid the following year and resumed normal activities in 1986).[3]
They have had over 60 chart hits in the UK – more than any other band[4] – including "Pictures of Matchstick Men" (their first charting song), "Caroline" (their first top 5 hit), and "Down Down" (their only No. 1 hit). Twenty-two of these reached the Top 10 in the UK Singles Chart, and fifty-seven reached the Top 40.[5] They have released over 100 singles and 33 studio albums, most of which were bestsellers. Since reaching number 5 on the UK albums chart in 1972 with Piledriver, Status Quo have placed 29 consecutive studio albums on the UK charts, including 20 in the top ten studio albums, extending all the way up to their most recent release, Backbone, in 2019. In 2012, they were announced as the tenth best-selling group of all time on the UK Singles Chart with 7.2 million singles sales in their homeland alone.[6] As of 2015, they were one of only 50 artists to have achieved more than 500 total weeks on the UK Albums Chart.[7] With their various records for both single and album releases, Status Quo are one of the most successful and bestselling bands of all time, especially in their home country.
In July 1985 the band opened Live Aid at Wembley Stadium with "Rockin' All Over the World".[8] In 1991, Status Quo received a Brit Award for Outstanding Contribution to Music.[9] In 2014, preparing to headline that year's Download Festival, Status Quo won the Service to Rock award at the Kerrang! Awards.[10] Status Quo appeared on the BBC's Top of the Pops more than any other band.[11] Their success and longevity as well, in part, as their connections to the British Royal Family, including philanthropic work with the Prince's Trust, have seen them frequently described as a "national institution" by the media.[12][13][14] The band have sold approximately 108–118 million records worldwide.[15]
History
[edit]
1962–1967: Formative years
[edit]
Status Quo were formed in 1962 under the name The Paladins[16] by Francis Rossi (vocals, guitar) and Alan Lancaster (bass) at Sedgehill Comprehensive School, Catford, London, along with classmates Jess Jaworski (keyboards) and Alan Key (drums).[1] Rossi and Lancaster played their first gig at the Samuel Jones Sports Club in Dulwich, London. In 1963, Key was replaced by John Coghlan and the band changed their name to The Spectres.[2] After changing their name, Lancaster's father arranged for the group to perform weekly at a venue called the Samuel Jones Sports Club, where they were noticed by Pat Barlow, a gasfitter and budding pop music manager. Barlow became the group's manager and secured them spots at venues around London, such as El Partido in Lewisham and Café des Artistes in Chelsea.[17] In 1965, when Rossi, Lancaster and Jaworski left school, Jaworski opted to leave the band and was replaced by Roy Lynes.[18]
They began writing their own material, and later that year met Rick Parfitt who was playing with a cabaret band called The Highlights. By the end of 1965, Rossi and Parfitt – who had become close friends after meeting at Butlins – made a commitment to continue working together. On 18 July 1966, the Spectres signed a five-year deal with Piccadilly Records, releasing two singles that year, "I (Who Have Nothing)" (first recorded by Joe Sentieri and most famously covered by Tom Jones) and "Hurdy Gurdy Man" (an original song by Alan Lancaster), and one the next year called "(We Ain't Got) Nothin' Yet" (originally recorded by New York psychedelic band the Blues Magoos).[2] All three singles failed to make an impact on the charts.[19]
In 1967, the group's sound began moving towards psychedelia and they renamed themselves Traffic, but were soon forced to change it to Traffic Jam to avoid confusion with Steve Winwood's Traffic, following an argument over who had registered the name first.[19] The band secured an appearance on BBC Radio's Saturday Club, but in June their next single, "Almost But Not Quite There" (an original song by Francis Rossi), underperformed. The following month saw Parfitt, at the request of manager Pat Barlow, joining the band as rhythm guitarist and vocalist. Shortly after Parfitt's recruitment, in August 1967, the band officially became The Status Quo.[20]
1968–1971: Breakthrough and development of classic style
[edit]
In January 1968, the group released the psychedelic-flavoured "Pictures of Matchstick Men".[19] The song hit the UK Singles Chart, reaching number seven; "Matchstick Men" became the group's only Top 40 hit in the United States, peaking at number twelve on the Billboard Hot 100.[2] Although Status Quo's albums have been released in the United States throughout their career, they never achieved the same level of success there as they have in Britain.[2] Though the follow-up was the unsuccessful single "Black Veils of Melancholy", they had a hit again the same year with a pop song penned by Marty Wilde and Ronnie Scott, "Ice in the Sun", which climbed to number eight.[19] All three singles were included on the band's first album Picturesque Matchstickable Messages from the Status Quo, released in September 1968. After the breakthrough, the band management hired Bob Young as a roadie and tour manager. Over the years Young became one of the most important songwriting partners for Status Quo, in addition to occasionally playing harmonica with them on stage and on record.
After their second album, 1969's Spare Parts, failed commercially, the band's musical direction moved away from psychedelia towards a more hard rock/boogie rock sound. The change in sound also brought a change in image, away from Carnaby Street fashions to faded denims and T-shirts, an image which was to become their trademark throughout the 1970s.[19] The new direction was displayed on the band's third album, 1970's Ma Kelly's Greasy Spoon and its preceding single "Down the Dustpipe". Lynes left the band in 1970 with the remaining members continuing as a four-piece, although they were often joined in the studio by guest keyboard players including Jimmy Horowitz, Tom Parker and Andy Bown, the latter an ex-member of The Herd and Judas Jump and part of the Peter Frampton Band.[21] In 1976, Bown also began playing live with the band and was eventually made an official member of Status Quo in 1981. The band's first recording without Lynes was the late 1970 single "In My Chair", followed by their fourth album Dog of Two Head in 1971.
1972–1981: Signing to Vertigo and major success
[edit]
In 1972 the band left Pye Records and signed with the heavy rock and progressive label Vertigo Records.[2] Their first album for Vertigo, Piledriver, was released in 1972, going Top 5 in the UK. Piledriver heralded an even heavier, self-produced sound.[19] This album was essentially the stylistic template for their next four albums, Hello! (1973), Quo (1974), On the Level (1975) and Blue for You (1976).[2] Hello! was the band's first UK No. 1 album, while Quo reached No. 2 and On the Level and Blue for You both also reached No. 1. In 1976, they signed a pioneering sponsorship deal with Levi's.[19] The following year the group released a double Live! album, which reached No. 3 in the UK.
Quo's hit singles from this era, with peak UK chart position and year, include: "Paper Plane" (No. 8 in 1972), "Caroline" (No. 5 in 1973), "Break The Rules" (No. 8 in 1974), "Down Down" (No. 1 in 1975), "Roll Over Lay Down" (No. 10 in 1975), "Rain" (No. 7 in 1976), "Mystery Song" (No. 11 in 1976), "Wild Side of Life" (No. 9 in 1976), "Rockin' All Over the World" (No. 3 in 1977), "Again and Again" (No. 13 in 1978), "Whatever You Want" (No. 4 in 1979), "Living on an Island" (No. 16 in 1979), "What You're Proposing" (No. 2 in 1980), the double A-side "Lies" and "Don't Drive My Car" (No. 11 in 1980), "Somethin' 'Bout You Baby I Like" (No. 9 in 1981) and " Rock 'n' Roll" (No. 8 in 1981).[22] "Down Down" topped the UK Singles Chart in January 1975, becoming their only UK No. 1 single to date.[23]
From 1977 onwards, the band's sound became more polished as they began to employ outside producers. Roger Glover of Deep Purple and Rainbow was the first outside producer to work with Quo since Pye's John Schroeder in the early 1970s, and produced the non-album single "Wild Side of Life" and its B-side "All Through The Night" in 1976. The next three studio albums, Rockin' All Over the World (1977), If You Can't Stand the Heat... (1978) and Whatever You Want (1979), were produced by Pip Williams, while the band's first two albums of the 1980s, Just Supposin' (1980) and Never Too Late (1981), were produced by John Eden. All five of these albums went Top 5 in the UK. The title track of Rockin' All Over the World, a minor hit for its writer John Fogerty (formerly of Creedence Clearwater Revival), became one of Status Quo's most enduring anthems.[19] In 1980 the band released a No. 3 charting greatest hits album 12 Gold Bars.
1981–1990: Lineup changes, Live Aid and In The Army Now
[edit]
Tensions within the band saw Coghlan leaving late in 1981.[2] His replacement was Pete Kircher from the 1960s pop band Honeybus.[2] Andy Bown also became an official member of the band at this time. This line-up recorded three albums, 1+9+8+2, Live at the N.E.C. and Back to Back in 1982 and 1983. Although contracted to record more albums, this line-up played its last full-length gig on 21 July 1984 at the Milton Keynes Bowl. "Everybody was coked-up and hating each other", Rossi recalled, "and I'd started drinking tequila on that tour. I don't remember that show at all – the encores or anything; just falling flat on my back at one point."[24] "Deciding to retire from the road – all that was about was getting Francis a solo career," declared Lancaster. "Nobody on the outside knew it, but he didn't want to work with me or Rick anymore."[25] In 1984, the band released a cover of "The Wanderer" by Dion as a single from 12 Gold Bars Vol. 2, which reached No. 7 while the album reached No. 12.[26]
Status Quo's final appearance with the Kircher line-up opened the Live Aid charity event at Wembley Stadium in July 1985.[8] That year, Rossi recorded and released two solo singles with long-time writing partner Bernie Frost. Parfitt recorded a solo album, Recorded Delivery, with bass player John "Rhino" Edwards and drummer Jeff Rich. The album remains unreleased, although some tracks were reworked and released sporadically as Quo B-sides until 1987.
In mid-1985, Rossi, Parfitt and Bown, with Edwards and Rich, started work on a new Quo album. Lancaster – by this time more or less settled in Australia – took out a legal injunction to stop the band using the Status Quo name,[27] citing increasing musical differences, notably during sessions for Back to Back. The specific dispute concerned two tracks that became hits for the group around that time. Lancaster had co-written "Ol' Rag Blues", but was angered when the producers chose to release a version with Rossi singing the lead vocal instead of one sung by himself. The injunction also prevented the release of a single, "Naughty Girl", for which a catalogue number was issued by Vertigo.
An out-of-court settlement was made in January 1986, giving Rossi and Parfitt the rights to the band's name,[28] enabling the new Status Quo line-up to continue recording In The Army Now,[29] for which "Naughty Girl" was reworked as "Dreamin'". Lancaster remained in Australia, and in 1986 joined an Australian supergroup, The Party Boys, featuring Angry Anderson of Rose Tattoo, John Brewster of the Angels and Kevin Borich, but achieved little success outside Australia. Lancaster left Status Quo formally in 1987.
In 1986, Quo supported Queen on the latter's Magic Tour. The commercially successful In the Army Now album was released later that year, peaking at No. 7 on the UK Albums Chart.[26] Its title track became one of the band's biggest UK singles, reaching No. 2.[19] The following album, Ain't Complaining, in 1988, was less successful but produced the No. 5 hit "Burning Bridges".[26] Rerecorded (with new lyrics) in April 1994 with Manchester United F.C. as "Come On You Reds", the single would have given the band their second UK No. 1, but it was credited as 'by Manchester United'. The following album, 1989's Perfect Remedy, became their first since 1971's Dog of Two Head not to go Top 20 in the UK. In 1990 the band scored their last UK Top 10 single with "The Anniversary Waltz Part One", a medley of rock and roll classics to celebrate the 25th anniversary of Rossi and Parfitt's first meeting. The track was recorded for a new greatest hits album Rocking All Over the Years, which reached No. 1 in the UK, while a follow-up medley "The Anniversary Waltz Part Two" appeared as a single at the end of the year.[26]
1991–2009: Rock 'Til You Drop, "Fun, Fun, Fun" and touring
[edit]
The early-to-mid-1990s saw falling album sales for the band. To promote the release of the Rock 'til You Drop album (1991), Quo performed four arena gigs in Sheffield, Glasgow, Birmingham and London in the space of 12 hours, earning them a place in the Guinness Book of World Records.[30] 1992 brought the band's third live album, Live Alive Quo. The next studio album, 1994's Thirsty Work, included a cover of the Jennifer Warnes song "I'm Restless" revealing an alternative and lighter sound to the band.[19] Don't Stop (1996), and Famous in the Last Century (2000) consisted almost entirely of cover versions, (with the only exception being the title track to the latter). The former brought some chart success for Quo with covers of Fleetwood Mac's "Don't Stop" and The Beach Boys' "Fun, Fun, Fun". The band became involved in an acrimonious dispute with Radio 1 after the station refused to include the "Fun Fun Fun" single on the radio station's playlist.[19] In 1993, Francis Rossi and Rick Parfitt attracted a crowd of over 25,000 when they performed the annual Blackpool Illuminations lights switch-on.
Parfitt underwent quadruple by-pass surgery in 1997, but was able to make a full recovery and returned with a performance at the Norwich City Football Club ground Carrow Road three months later. Status Quo also returned to Australia in 1997, completing their first tour there since 1978. A greatest hits album, Whatever You Want – The Very Best of Status Quo was also released, achieving silver sales in the UK that year. In 1999, Quo toured Germany, the Netherlands and Switzerland. Dubbed the 'Last Night of the Proms', the band were backed by a full orchestra during the concerts. That same year also saw the release of the album Under the Influence.
Rich left in 2000 and was replaced by Matt Letley. Andrew Bown also took a year off at the same time following the death of his wife, and was temporarily replaced on stage by Paul Hirsh, formerly of Voyager. In November 2000, the band played a gig at Grandchester in the outback in Australia, performing on a carriage of Australia's Orient Express, the Great South Pacific Express.
Between 2002 and 2005, Quo released the albums Heavy Traffic, Riffs and The Party Ain't Over Yet. Another greatest hits album, XS All Areas – The Greatest Hits, appeared in 2004 with two new songs, "You'll Come 'Round" and "Thinking of You". In 2005 Rossi and Parfitt made cameo appearances in the long-running ITV soap opera Coronation Street in a storyline which involved them being sued by the notorious layabout Les Battersby, and performing live at his wedding as compensation.
In December 2005, it was announced that Parfitt had been taken ill and was undergoing tests for throat cancer. All subsequent dates of the UK tour were cancelled as a result. However, the growths in Parfitt's throat were later found to be benign and were successfully removed. In May 2006, a fully recovered Parfitt and the band returned to the NEC Birmingham to play the show that they had postponed in December. This was their 40th show at the venue, and was filmed for a DVD, entitled Just Doin' It.
On 1 July 2007, they performed in front of 63,000 people at the newly built Wembley Stadium as part of the Concert for Diana. They also appeared on the TV programme Tiswas Reunited, in which the band got the usual greeting of custard pies and buckets of water whilst playing the song, "Gerdundula". On 15 September 2007, Rossi and Parfitt appeared on ITV programme Who Wants To Be A Millionaire and won £50,000 for their 2 charities Ebbisham Association and Nordoff Robbins.
Their twenty-eighth studio album, In Search of the Fourth Chord, was released on the band's own Fourth Chord label in September 2007 in the UK, and on Edel Records in the rest of Europe. The title is a self-satirical response[31] to the frequent criticism that they are a three-chord band.[32] Produced by veteran producer Pip Williams, who had worked with Quo in the studio since 1977, the album was only moderately successful.
In 2008, they teamed up with German techno group Scooter to record a jumpstyle version of their 1979 single "Whatever You Want" entitled "Jump That Rock (Whatever You Want)".[33] In December 2008, they released their 75th single and first Christmas single, entitled "It's Christmas Time", which peaked at No. 40 in the UK Singles Chart.[34] The track was from the new Pictures – 40 Years of Hits greatest hits album. The following year a live album and DVD, Pictures – Live at Montreux, was released.
2010–2013: Hello Quo, "Frantic Four" reunion tours and Bula Quo!
[edit]
Rossi and Parfitt were each awarded the OBE in the 2010 New Year Honours for services to music and their long-standing charity work,[35] including for The Prince's Trust, British Heart Foundation and Nordoff-Robbins Music Therapy. Classic Rock magazine reported on 17 March 2010 that the band had patched up their relationship with Lancaster, and were discussing the possibility of a future collaboration.[36] The article stated "While the band are back on friendly terms with Alan, it's unlikely we'll see any future reunion, with Quo continuing as normal and Lancaster busy with charity events and overseeing the activities of his son's band The Presence".[36]
On 20 September 2010, Status Quo was honoured with a PRS for Music plaque commemorating their first gig at the Welcome Inn in Well Hall Road, Eltham, where the band first performed in 1967.[37] Later that month, on 26 September, a new version of "In the Army Now" was released through Universal / UMC, with all profits from this updated and lyrically reworked version donated equally to the British Forces Foundation and Help for Heroes charities.[38][39] Live at the BBC, a box set of sessions, live concerts and TV appearances at the BBC was released on 24 October 2010.[40] The set was released in various formats: a full 7CD and 1DVD version covering almost all appearances, while the 2CD and 4CD versions present some highlights; the DVD was also released individually.[40]
Their twenty-ninth studio album, Quid Pro Quo, was released in a deluxe format exclusively at Tesco on 30 May 2011. The regular edition was released elsewhere on 6 June.[41] The album peaked at No. 10 on the UK chart.[26] December 2011 saw Status Quo undertake their first all-arenas UK winter tour. Quo also performed for the first time at The O2 in London. The tour was dubbed Quofest and featured Roy Wood and Kim Wilde as support for all shows, and joining the band during the encore.
The band's first cinematic documentary, Hello Quo!, was filmed in 2011 with director Alan G. Parker;[42] it screened in cinemas on 22 October 2012, and was released on Blu-ray and DVD the following week.[43] The movie included contributions from Brian May, Jeff Lynne, Cliff Richard, Joe Elliott, Paul Weller, Joe Brown, Jim Lea, Andy Scott and Steve Diggle.
In April 2012, Status Quo announced they were shooting their first feature film, over several weeks in Fiji. A 90-minute action comedy, entitled Bula Quo!, taking its name from the islanders' traditional Fijian greeting, and also referencing the title of the band's best-selling album, Hello! featuring the band as themselves, and also starring Jon Lovitz, Craig Fairbrass and Laura Aikman.[44] The film was directed by Stuart St. Paul, produced by Tim Major and was released in cinemas on 5 July 2013. The film was accompanied by a soundtrack album of the same name, the band's 30th studio album, released on 10 June. It featured nine new songs and ten re-records and live tracks. Bula Quo! debuted in the UK chart at number 10.[45]
On 9 July 2012, the band released the single "The Winner" for the 2012 Summer Olympics. In July 2012 Coles, an Australian national supermarket chain, signed Status Quo to record a version of "Down Down" using Coles' tag line 'Down, down, prices are down'.[46] In September 2012, the band performed at Hyde Park for BBC Radio 2 Live in Hyde Park. In November 2012, Coles continued their association with Status Quo, producing a series of television adverts with the band appearing and performing "It's Christmas Time". In 2013, new adverts were released by Coles with Quo using "Whatever You Want" as the new jingle.
In December that year, Quo toured under the Quofest banner for a second year, this time supported by Bonnie Tyler and Eddie and the Hot Rods. In December 2012, Letley announced his decision to leave the band after 12 years, and subsequently departed following completion of their 2012 winter tour.[47] However, Letley toured with Quo their Australia and Mexico tour in March and April 2013, due to limited time to find a new drummer after the Frantic Four Tour.
The 1970–81 line-up (Rossi, Parfitt, Lancaster and Coghlan) reunited as "The Frantic Four" in March 2013 for a series of dates in Manchester, Wolverhampton, Glasgow and London. Three live albums were issued from the tour, covering the O2 Academy in Glasgow (9 and 10 March 2013), the Hammersmith Apollo (15 and 16 March 2013) and the last date of the tour at Wembley Arena (17 March 2013), with the Wembley show also being filmed for a DVD.[48]
In May 2013, Leon Cave became Quo's new drummer.[44] In the latter months of 2013, Status Quo embarked on their Bula Quo tour, supported by Uriah Heep on German dates, and by 10cc in the UK.[citation needed] This was followed by nine concert dates in the UK during 2014.[49] On 25 November 2013, it was announced that Status Quo would headline the second stage at the Download Festival in June 2014.
2014–present: Aquostic, Parfitt's death and Backbone
[edit]
In January 2014, Wychwood Brewery announced they would be releasing a Status Quo brand of beer, named after their 1972 album Piledriver, exclusively in JD Wetherspoon pubs across the UK in February, before going on general sale in April. March 2014 saw the second 'Frantic Four' reunion tour featuring Rossi and Parfitt with original members Lancaster and Coghlan with their last gig being at The O2 in Dublin, which was recorded and filmed for album and DVD release, both titled The Frantic Four's Final Fling. Rossi indicated that this would be the last reunion tour of the 'Frantic Four' line-up.[50] On 8 March 2014, Rossi and Parfitt appeared on ITV show Ant & Dec's Saturday Night Takeaway performing "Rockin' All Over the World" with McBusted.[51]
In August 2014, it was reported that founding keyboardist Jess Jaworski had died.[52] In October 2014, Parfitt and Rossi appeared on BBC's The One Show, performing an acoustic version of "Pictures of Matchstick Men".[53] In May 2015, the twosome appeared on BBC's Later... with Jools Holland, to talk about their Aquostic – Stripped Bare album. On 9 May 2015, they performed "In the Army Now" at the VE Day 70: A Party to Remember.[54]
On 22 October 2014, the band launched the Aquostic album with a 90-minute performance at London's Roundhouse, with the concert recorded and broadcast live by BBC Radio 2 as part of their In Concert series.[55][56] Footage from the concert was later used, interspersed with interviews with Rossi and Parfitt, in BBC Four's Status Quo: Live and Acoustic, in January 2017.[57] A live album and DVD of the concert, both titled Aquostic – Live at the Roundhouse, were issued in 2015. On 5 June 2015, Status Quo were the headline act at Palmerston Park in Dumfries, at the stadium of Queen of the South and were supported by Reef and Big Country, in the first ever live concert at the venue.[58]
On 1 February 2016, it was announced that Status Quo, in addition to the spring and summer dates already scheduled, would tour Europe starting in October. The final dates would take place in the UK towards the end of the year, after which the group would retire from playing 'electric' tours.[59] The 'Last of The Electrics' tour was subsequently extended into 2017, with additional concerts outside the UK. The band performed in Aquostic line-up at BBC Radio 2's Live in Hyde Park, in September 2016.[60] Their next album Aquostic II – That's a Fact! was released on 21 October that year.[61]
On 28 October 2016, Parfitt permanently retired from live performances after suffering a heart attack earlier the same year.[62][63] On 24 December, he died in hospital in Marbella, Spain as a result of severe infection, after suffering an injury to his shoulder.[64][65][66] Parfitt's funeral was held at Woking Crematorium on 19 January 2017. Irish guitarist Richie Malone, who had substituted for Parfitt during some 2016 live shows, took his place in the group on rhythm guitar, playing on both recorded material and at live shows.[67] The band had to postpone a concert in June 2017 after frontman Rossi became ill.[68]
2017 and 2018 saw the releases of three new live albums, The Last Night of the Electrics, Down Down and Dirty at Wacken and Down Down and Dignified at the Royal Albert Hall, with the former two also having companion DVD releases. In June 2019, Status Quo were the special guests for Lynyrd Skynyrd, on their UK farewell tour.[69]
On 14 June 2019, the band announced that they were working on Backbone, their 33rd studio album – the first Status Quo studio album not to feature Parfitt. On 25 August 2019, the band appeared on ITV show The Sara Cox Show where Rossi spoke about the new album Backbone and his autobiography I Talk Too Much, after which they performed an upcoming track called "Liberty Lane" as well as "Rockin' All Over the World".[71] Backbone was released on 6 September 2019 and reached number 6 in the UK Albums Chart.[26] On 15 September 2019, the band performed at BBC Radio 2's Live in Hyde Park from Hyde Park, London for the third time. They were third from top of the bill, playing in the early evening and followed by Westlife and then The Pet Shop Boys.[72] On Christmas Day 2019, the band appeared on Channel 4's The Great British Bake Off, performing "Rockin' All Over the World".[73] In August 2020, Status Quo cancelled their forty-date Backbone UK and European tour because of the COVID-19 pandemic; various commitments for the following year meant the band were unable to reschedule the shows in 2021.[74] On 26 September 2021, co-founder Alan Lancaster died at the age of 72 following a battle with multiple sclerosis.[75]
The band's next tour, Out Out Quoing, took place in 2022, starting off in the UK, followed by concerts in Germany.[76] On 2 November 2023, Rossi appeared on More4 show Little Trains and Big Names with Pete Waterman talking about his childhood and the raise of Status Quo and Waterman helps Rossi to build his first model railway layout. On 10 May 2024, Rossi appeared on ITV daytime show This Morning and spoke about his fitness and perparations for the summer shows which will be scheduled for May until late August.
Touring data
[edit]
Status Quo have performed a career total of at least 3700 documented gigs as of September 2022.[77][78][79] After the addition of early undocumented gigs and various lost performances, the concert total is likely to be higher and is estimated by the band to be over 6000, with an audience in excess of 25 million people.[80] The band have performed over a hundred gigs in a single year several times, with the recorded peak of 144 (1971), averaging a live show every 2.5 days.[79] The band calculated that after 48 years of touring activity, they had "travelled some four million miles and spent 23 years away from home".[80] With the sole exceptions of 1980 and 1985, Status Quo embarked on multinational tours every year between 1968 and 2019 (predominantly in Europe, though they have visited every populated continent).[79]
Personnel
[edit]
Current members
Francis Rossi – lead guitar, vocals (1962–present)
Andy Bown – keyboards, rhythm guitar, harmonica, vocals (1981–present; session musician in 1973, session/touring musician 1976–1981)
John "Rhino" Edwards – bass, rhythm guitar, vocals (1985–present)
Leon Cave – drums, percussion, backing vocals (2013–present)
Richie Malone – rhythm guitar, vocals (2016–present)
Former members
Alan Lancaster – bass, vocals (1962–1985; reunion during 2013–2014)
Alan Key – drums, percussion (1962–1963)
Jess Jaworski – keyboards (1962–1965)
John Coghlan – drums, percussion (1963–1981; reunion during 2013–2014)
Roy Lynes – keyboards, vocals (1965–1970)
Rick Parfitt – rhythm guitar, vocals (1967–2016)
Pete Kircher – drums, percussion, vocals (1981–1985)
Jeff Rich – drums, percussion (1985–2000)
Matt Letley – drums, percussion, vocals (2000–2013)
Discography
[edit]
Further information: Status Quo discography
Remakes and cover versions
[edit]
In 1989, American alternative rock group Camper Van Beethoven scored a number one hit on Billboard magazine's Modern Rock Tracks chart with a cover version of "Pictures of Matchstick Men". The song is from their album Key Lime Pie. British alternative rock band Kasabian released their own cover version of the same song as a B-side from their 2006 single Shoot the Runner.
The 1996 re-issue of the album Too-Rye-Ay by Dexys Midnight Runners contained a cover version of "Marguerita Time".
Ozzy Osbourne, backed by Type O Negative, covered "Pictures of Matchstick Men" as part of the soundtrack to the Howard Stern biographical movie Private Parts in 1997.
Towards the end of his life, DJ John Peel was known for playing "Down Down" as part of his eclectic DJ sets.[81]
Arjen Lucassen (from the Dutch project Ayreon) covered "Pictures Of Matchstick Men" and "Ice in the Sun" on his solo album Strange Hobby.
Bad Religion guitarist Brett Gurewitz recorded a cover version of "Pictures of Matchstick Men", on his 1985 solo album Seeing Eye Gods.
German power metal band Helloween covered "Rain" for their single "Power". It can also be found on the bonus disc of the special edition of their 1996 album, The Time of the Oath.
References
[edit]
Further reading
[edit]
John Shearlaw, Bob Young: Again & Again. Sidgwick & Jackson, October 1984, Paperback, ISBN 0-283-99101-1 (1st edition (1979) and 2nd edition (1982) as The Authorised Biography by John Shearlaw)
Tom Hibbert: Status Quo. Omnibus Press, 1982, ISBN 0-86001-957-8
Neil Jeffries: Rockin' All Over the World. Proteus Books, March 1985, Paperback, ISBN 0-86276-272-3
Bob Young: Quotographs – Celebrating 30 Years of Status Quo, IMP International Music Publications Limited, 1985, ISBN 1-85909-291-8
Francis Rossi, Rick Parfitt: Just For The Record. Bantam Press, September 1994, hardcover, ISBN 0-593-03546-1
Patti Parfitt: Laughing All over the World: My Life Married to Status Quo. Blake Publishing Ltd, October 1998, ISBN 1-85782-198-X
David J. Oxley: Rockers Rollin' – The Story of Status Quo. ST Publishing, Januar 2000, Paperback, ISBN 1-898927-80-4
David J. Oxley: Tuned To The Music of Status Quo. ST Publishing, 2001, Paperback, ISBN 1-898927-90-1
Francis Rossi, Rick Parfitt, Mick Wall: Status Quo. XS All Areas. Sidgwick & Jackson, September 2004, hardcover, ISBN 0-283-07375-6 (paperback edition: Macmillan Publishers Ltd, August 2005, ISBN 0-330-41962-5)
Francis Rossi, Rick Parfitt, Bob Young: Status Quo: The Official 40th Anniversary Edition. Cassell Illustrated, October 2006, hardcover, ISBN 978-1-84403-562-5.
Status Quo: La Route Sans Fin, foreword by Bob Young, ISBN 2-910196-42-9
Eduard Soronellas Vidal (2008 – Spanish). Status Quo: Sobran Acordes, foreword by John 'Rhino' Edwards. Barcelona: Lenoir Ediciones. ISBN 978-84-938163-9-1
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Grammys keep things status quo when it comes to Hip-Hop
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2018-01-30T00:00:00
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It appears that once again, criticisms of society that are political in any way are perfectly acceptable in performances or particular genres only, but not when it comes to the biggest award of the night. Kendrick Lamar won four Grammys at the 60th installment of the awards show, but could not get ahead of Bruno…
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Cypher Sessions
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https://cyphersessions.co/2018/01/30/grammys-keep-things-status-quo-when-it-comes-to-hip-hip/
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It appears that once again, criticisms of society that are political in any way are perfectly acceptable in performances or particular genres only, but not when it comes to the biggest award of the night.
Kendrick Lamar won four Grammys at the 60th installment of the awards show, but could not get ahead of Bruno Mars in categories that were open to every genre.
Of the five albums nominated for Album of The Year, the least political was Bruno Mars’ 24k Magic, which was, without question, the most apolitical and happy album of the bunch.
There’s nothing wrong with that; it’s just that it feels like another missed opportunity to reflect the actual tastes and feelings of a nation of listeners at unrest.
Choosing not to reflect that reaffirms that the Grammy committee isn’t ignorant of popular culture at large, but deliberately ignoring the changing demographics and tastes of a nation in flux, in favor of whoever sells the most and doesn’t make unwanted waves.
It’s not like there were many choices for the committee to choose from in the first place when it comes to the criteria listed above.
Lorde didn’t perform why, exactly?
Lorde’s album Melodrama was an examination of solitude and a working catharsis through that process and was most likely the runner-up in the Album of the Year category (though it’s unlikely we’ll ever know how each album was ranked).
While the committee could have easily chosen this album instead, it clearly didn’t value Lorde at all.
Reports surfaced the day of the show that Lorde was the only Album of the Year nominee not asked to have a solo performance, but instead was asked to perform as part of a group of performers, which she declined.
It’s understandable that she did, especially when the other four nominees were not asked to do the same thing. It yet again shows how far behind the Grammys are.
It’s also a reminder for someone like myself to stop expecting the Grammys to change; I was mostly disappointed at who won Rap Album of the Year.
Rap Album of the Year?
No puns intended, but DAMN was exactly that…DAMN good. There’s no denying Lamar had a solid album that strongly reflected the state of things when it comes to the mistreatment of underrepresented communities by law enforcement.
The album delivered a narrative similar to many listeners today who have experienced the institutional and societal violence practiced by some behind the badge; this is something restricted to the genre that most often discusses such topics, like hip-hop.
Jay-Z’s 4:44 spoke to similar topics via introspection from one of rap’s current elder statesmen. Migos’ Culture and Tyler, The Creator’s Flower Boy both reflected a different part of where hip-hop is right now, in terms of Billboard success and the alternative scene, respectively.
And then there was the fifth-ever woman nominated for a Grammy in the Rap Album of the Year category: Rapsody, the North Carolina veteran who’s been putting out music for over a decade.
Missed opportunity; why am I still surprised?
Rapsody had a really good album. Like, really good. Laila’s Wisdom is a soulful concoction that discusses Rapsody’s life, experiences, and topical issues ranging from relationships to abuse of power. It feels like an album made in the To Pimp A Butterfly era a few years ago, yet still different in a way.
Perhaps Rapsody didn’t win because not enough of the committee has heard of her before; perhaps it’s because her work didn’t sell the same numbers as Jay or Kendrick (which is the most likely reason).
Either way, rap fans knew she wasn’t going to win. Rapsody herself was excited to have been nominated and to be at the Grammys but also had a telling look that she knew she wasn’t going to win.
Why didn’t I know she was going to win? What could have made me possibly think she really was going to end a twenty-year span that dates back to Lauryn Hill?
Optimistic naivety is the most likely answer. But, things have to change eventually…one would hope.
Check back in twenty years from now to see if Rapsody or another very talented woman in hip-hop has broken this disappointing cycle.
Should Rapsody have won rap album of the year? Will a woman win this award sooner rather than later? Let us know your thoughts below!
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[
"STATUS QUO",
"hard rock",
"music",
"top albums",
"discography",
"biography",
"official website",
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"videos from YouTube",
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"EPs on CD",
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"LP",
"cassette",
"videos",
"Blu-ray",
"DVD",
"VHS"
] | null |
[] | null |
STATUS QUO is a hard rock music artist. This page includes STATUS QUO's : biography, official website, pictures, videos from YouTube, related forum topics, shouts, news, tour dates and events, live eBay auctions, online shopping sites, detailled reviews and ratings and the full discography of albums: studios, live, compilations (boxset), EPs on CD, Vinyl / LP or cassette and videos released on Blu-ray, DVD or VHS
|
en
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/faviconMMA.ico?nocache=1
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MetalMusicArchives.com
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https://www.metalmusicarchives.com/artist/status-quo
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https://suquill.com/2019/09/27/review-blink-182s-new-album-strays-from-status-quo/
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Review: Blink-182’s new album strays from status-quo
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[
"» Review: Blink-182’s new album strays from status-quo The Quill",
"The Quill"
] | null |
[
"The Quill"
] |
2019-09-27T00:00:00
|
» Review: Blink-182’s new album strays from status-quo The student newspaper of Susquehanna University
|
en
|
The Quill
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https://suquill.com/2019/09/27/review-blink-182s-new-album-strays-from-status-quo/
|
By Stephanie Shirk, Asst. to the Editor-in-chief
Blink-182 released their eighth album “NINE” on Sept. 20. This was the band’s first release in three years.
The group’s prior release was “California” in 2016. While “California” paid decent homage to their classic rough-punk sound, “NINE” plays more with electronic beats and pop-influenced vibes.
Slick riffs accompany fewer of their tracks than ever and we find each song contributing less to what the band is rooted in. “No Heart To Speak Of” offers the sound familiar that Blink’s original fan base fell in love with in the nineties, when punk was at its popularity peak.
Quick beats and hot tempos are heard through screams of Mark Hoppus and Matt Skiba in “Ransom,” something that fans may also find appealing and familiar.
However, “Darkside,” which was released earlier this year as a single, alludes to a more popular pop-punk sound, indicating a possible pull for a younger audience. The same can be said for “Pin the Grenade,” which is another of the album’s 15 tracks that allude to being in love with someone who wants nothing to do with you.
I will say that “Heaven” holds a beautiful message for its audience. It pays tribute to bass guitarist Mark Hoppus and guitarist Matt Skiba’s recent advocation for public safety in spaces such as bars and schools.
The song “Heaven” originated from drummer Travis Barker’s rattling experience of being less than two miles from a mass shooting near his home in 2018, according to interview from The Los Angeles Times.
The songs of “NINE” are more pop-centered than the band’s earlier releases. Having risen to popularity in the nineties, it stands to reason that the band’s core sound has changed over the years.
The band is on the up-and-up, possibly for the better. I think the band’s efforts to create a new-age sound for themselves is commendable; it’ll be interesting to see where they go from here, and how they’ll try to adjust their sound in upcoming albums to keep the pop vibes they’ve given their listeners with “NINE,” or try to retreat back to their usual, punk roots.
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Status Quo Fan Forum
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https://storage.proboards.com/3676547/images/_3rUUl51OEETqhYJJZ6q.ico
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""
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[] | null |
Luv this track.
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https://storage.proboards.com/3676547/images/_3rUUl51OEETqhYJJZ6q.ico
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https://statusquo.boards.net/thread/14993/oh-baby
|
Post by mortified on
Me too. Always have. And it was brilliant (and surprising) live. Francis nailed the solo and then made it even better than the original.
The track seems to have always divided opinion more than I'd have expected. I have seen the odd negative post about it over the years.
Post by railroad007 on
I'd heard Paper Plane on TOTP, been given the album by my brothers friend who thought I might like it, listened to Don't Waste My Time and then was confirmed as a Quo fan by Oh Baby, as soon as the "Piledriving" riff kicked in after the quiet build up that was that for me...A whole 5 minutes since my first sticking the album on, didn't finish the song first time around,skipped back to the intro and the riff at least 10 times before Rossi sang a note! I always wanted to hear it played live, I did and it was still the original Piledriving song. I like to think that the guitar solo and the middle part are the inspiration for the album title.
They were perfection back then, If they only made one album and fcuked off Piledriver was good enough.
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Album Reviews |
Status Quo
Picturesque Matchstickable Messages 6 ( 1968 )
Black Veils Melancholy / When My Mind Is Not Live / Ice In The Sun / Elisabeth Dreams / Gentlemen Joe's Sidewalk Cafe / Paradise Flat / Technicolour Dreams / Spicks And Speeks / Shelia / Sunny Cellophane Skies / Pictures Of Matchstick Men
More and more music is heard the older a person gets. Well, that stands to reason, obviously. Not everyone will break out of their early music listening habits, however. There are various roads one can take. A teenage heavy-metal fan can continue listening to heavy metal throughout their life, branching out into regular classic rock and adult oriented rock as their years advance. A hip indie kid at College/University will usually find their initial great interest in this area wanes the older they get, either losing interest in music as their life takes on other directions and interests, or broadening their musical tastes. Very few individuals, it seems to me at least, have a growing interest in music the elder they get and also manage to branch out and widen their minds. Open their ears to groups they may have previously dismissed in their younger or more 'hip' days. Alternatively, I may be talking a load of old bollocks. Which kind of leads me nicely into discussing Status Quo. America largely holds early psychedelic Quo in high regard whilst ignoring the groups boogie rock material of the 70s. In Europe and the UK, the early psychedelic style spawned a couple of hits but the albums stiffed. It wasn't until 1972 infact that Quo had a charting album here. After which of course, they never looked back. Anyway, like the Quo or loathe the Quo, they exist ( even now! ) and they are more or less harmless. Ignore them by all means, but hating them seems kind of churlish and childish.
'Picturesque Matchstickable Messages' is the debut Quo album long-player. After hitting the top ten singles charts with the near title track, they cram in eleven other tunes in a similar, apparently mind-expanding style. We've heavy use of phased guitars, and phased vocals too, come to that. Vocals that are unrecognisable from the classic Quo sound of the 70s. Twelve songs, thirty four minutes of music and not all that much substance is to be found here. The album remains quite charming though and definitely has decent tunes in places. 'Spicks And Speeks' is a good example of this early Quo sound. Very much a period piece tied to the late sixties, very much of that era lyrically but still offering a catchy and endearing way with melody. 'Pictures Of Matchstick Men', the first big Quo hit remains the standout cut and reminds this listener of a weird hybrid of Byrds ( circa 1966 ), Beatles ( circa 1967 ) and Barrett era Pink Floyd. The guitar and melody is distinctive and the overall sound faintly sinister. Another favourite pick of mine from this set is 'Green Tambourine', a pop song born of the 'nuggets' era and sounding right at home on any nuggets inspired mix-tape. A few general comments to close, then? Ah, ok. The heavy overuse of phased vocals and production tricks and effects eventually becomes very tiresome. The rhythm section hint at the future Quo sound in places, with the bass in particular seemingly easily able to adapt itself to a different style and sound. The vocals and lyrics and songwriting in general, would need to be changed, and indeed were. If the Quo had continued with this style and sound for very many years, we'd all have forgotten them long ago.
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Readers Comments
Robbo rbz3779@yahoo.co.uk
Status Quo have to be to rock music what Keith Harris and Orville are to pop music.
CaptainSnapx chris@cjbphotography.co.uk
I've been trying to find out- to settle an argument in the pub last night- Is 'Pictures of Matchstick Men" anything to do with LS Lowrey. If not what the .... is it about?
John terry terry61@cwctv.net
some wanker likened quo to keith harris & orville. what a prick. if more people listened to early quo they might understand how good a band they are.
bill fathers wfathers@aol.com
i cant beleive someone compared quo to orville, i have been with quo from the start, quo rock! fashions and stupid statements come annd go, some people?
Spare Parts 6 ( 1969 )
Face Without A Soul / You're Just What I Was Looking For Today / Are You Growing Tired Of My Love / Antique Angelique / So Ends Another Life / Poor Old Man / Mr Mind Detector / The Clown / Velvet Curtains / Little Miss Nothing / When I Awake / Nothing At All
Fans of the groups debut will also find much to enjoy within the grooves of this, the groups second LP. It follows on directly from the first album, rooted in a psychedelic style virtually forced upon the group by their record label. Of the 12 songs here, only one was releases as a single, the mid-tempo psych-pop ballad, 'Are You Growing Tired Of My Love'. It's the kind of thing you might expect to find on a 60s Bee Gees album. Were Status Quo being pushed in that direction? Well, 'Spare Parts' failed to chart and the group got more of their own way come the third album. But that's another story and shall be told another time. In short, although by all accounts the band themselves were none too keen with continuing on the psychedelic road, 'Spare Parts' is a more assured effort than the debut. 'Little Miss Nothing', for example. It's a charming little song and the kind of 60s psychedelia that 80s bands would ape in an attempt to revive a lost age. I'm thinking in particular of XTC aka Dukes Of Stratosphere. 'Little Miss Nothing' and 'Spare Parts' as a whole is utter nonsense from beginning to end, but it does work. Well, more or less. It's not a record I hold especially dear to my heart. Ultimately it's forgettable, bar a few moments of genuinely good melody. The beginning of 'You're Just What I Was Looking For' sets you up. The vocals then arrive and their nasally style and whiny manner immediately put you off again. The music is of the day with violins, much arrangement, brass instruments. It's basically a weaker copy of The Beatles circa 'Magical Mystery Tour'. Many of the songs on the album follow this same style and format.
Other intriguing cuts to list alongside 'Little Miss Nothing' then? Well, 'Mr Mind Detector' is a minor psychedelic classic of the kind the famous 'Nuggets' box-sets are jam-packed with. The lead track 'Face Without A Soul' is wonderfully daft. That's about it for highlights, actually. Too many songs here share the same sonic palette. Status Quo, even in their boogie-rock pomp were never a group known for their stylistic diversity of course. So that seems a somewhat stupid critiscm. It's only important actually, because a good half of the album contains very mediocre songwriting. The other half is absolutely fine. That the album fell through a commercial black-hole and has largely been forgotten is entirely due to the fact this record didn't contain a hit and 'Picturesque Matchstickable Messages' did.
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Ma Kelly's Greasy Spoon 8½ ( 1970 )
Spinning Wheel Blues / Daughter / Everything / Shy Fly / April Spring Summer And Wednesdays / Junior's Waiting / Lakky Lady / Need Your Love / Lazy Poker Blues / Is It Really Me - Gotta Go Home
It's very easy to judge bands on the embarassments they later become. Is it that hard to believe that once upon a time Status Quo were actually quite good? Even Cliff Richard, once upon a time, was making vital if derivative Rock n Roll records, before releasing an odious vomit inducing Xmas single every December. What may surprise many music followers is how heavy Status Quo are here. Yes, 'Ma Kelly's' Greasy Spoon' saw a wholly succesful reinvention for the group. Out went the whimsy and the summer of love, in came long hair, long trousers and boogie rock n roll. They haven't quite reached the formula of later years, 'Ma Kelly's Greasy Spoon' is actually quite a varied album, within an admittedly narrow vision of music. It's all rock music, but we've elements of the blues, we've fast songs, slow songs. A decent rhythm section and a selection of songs that display good interplay between the band members. 'Lazy Poker Blues' for instance is a decent blues tune, utterly unoriginal of course, yet plenty of bands were unoriginal at the time. A stand-out arrives with the mighty 'April Spring Summer And Wednesdays', it's got a groove, man. Ah, are you a modern music lover? Have you heard Kings Of Leon? People that are old Quo fans, buy either of the first two Kings Of Leon records. Kings Of Leon fans? Buy 'Ma Kelly's Greasy Spoon'. I like going back into the past of music and linking it to new groups. Another highlight arrives with 'Shy Fly', speedy rock music with clashing cymbals, rumbling bass and decent lead guitar.
Of the later, famous Quo style, opening track 'Spinning Wheel Blues' clearly demonstrates where it came from. Another decent lead guitar part here. Well, Quo weren't virtuoso's, but they were pretty tight within what they were trying to do. It's so different to the first two albums as to almost be a different band altogether, they deserve credit for that, ditching the style that had brought them an international hit song with 'Pictures Of Matchstick Men'. Ah, good harmonica blasting away during the second part of 'Spinning Wheel Blues', in particular. Factor in that none of the tracks on this album come across as filler, add in the nine minute plus closing tune. A closing tune that ends with a lengthy jam session, an impressive one too. We dig the Quo! I could ask a stupid question right about now. Status Quo, whilst meaning nothing in the USA, have been hugely popular all across Europe. Yet there appears to be little discussion about them in terms of analysis on the web? I don't mean in-depth articles, even a decent comprehensive review page seems impossible to come across. Status Quo are far from being my favourite group, they did some pretty terrible stuff through the years and clearly influenced some of the sillier moments in Spinal Tap. Yet, credit where credit is due. And yes, I do intent to at least correct one thing. There will be a comprehensive review page, this one.
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john, county kildare john.j.doyle@nuim.ie
it is fucking brilliant, innit!!! in fairness to the quo, this isn't their only top class album, as they were making decent records right up to the late 1970s before the formulaic vibe finally overpowered them. they're still fantastic live, even if their "creative" glory days are long gone.
Dog Of Two Head 7½ ( 1971 )
Umleitung / Nanana / Something Going On In My Head / Mean Girl / Nanana / Gerdundula / Railroad / Someone's Leaving / Nanana
Status Quo still weren't selling albums, so Pye records dropped them. Of course, much to Pye records dismay, the Quo became one of the biggest selling rock acts of the 70s shortly afterwards. Nice work there, Pye. Anyroad, 'Dog Of Two Head' is similar to 'Ma Kelly's Greasy Spoon', just not quite as dirty. The songs are blues rock based again, the famous Quo boogie sound more prominent than before. Things falling into place, for better or worse. The opening 'Umleitung' not only contains a great guitar solo, great bluesy piano bits and is water-tight, it's seven minutes long as well. It's a sterling opening tune for any album, I say. Onto the down side for a second. The song titled 'Nanana' you may notice appears three times. Once, right at the end of the album in its full two and a half minute glory and two more times, just the first fifty one seconds. The result of this is, discounting the two repeat showings, we've actually only got seven songs on the album. The songs that are here are decent though, so at least that's something. So yes, following on from the epic opening tune, we've got the catchy 'Something Going On In My Head'. We've a little marching section in the middle. Proper guitar. Boogie! Yes, we've got the Quo boogie. Moving onto 'Mean Girl', we get more Quo boogie, albeit in a faster tempo. Nice little tune and vocal, decent stuff. Although, as I hinted at earlier, formula was starting to infiltrate the Quo camp to the groups own detriment. 'Gerdundula' isn't formula at all, though, happily. It's a groovy eastern sounding acoustic number, the kind of delight present on these early Quo records. The kind of delight that makes any kind of long journey through their back-catalogue worthwhile. Which is just as well for me, as i've another twenty or so albums to go before this page is complete!
We've an album highlight, of course we do. 'Someone's Learning' showcases the full talents of the Quo at this stage during their career. There's the bluesy sections, the boogie sections, a right down and dirty jam section with genuinely stellar playing from all involved. We've a great distinctive guitar riff that opens the tune, then reappears for the songs reprise. Seven minutes elapse and we're then thrown into the folksy 'Nanana' to close the album, a tune which if you close your eyes and one ear, resembles the sound of The Kinks quite well. So, do the Quo have talent? Well, yes. The likes of 'Gerundula' and 'Nanana' showcase Status Quo as proper and dare I say it, thoughtful song-writers. The rockier tunes are starting to sound somewhat similar to each other though, and this thirty six minute long album is something of a let-down after the brilliant 'Ma Kelly's Greasy Spoon'. Still, a more than decent effort overall, though. Very listenable.
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Readers Comments
Mike Parker mcp666@blueyonder.co.uk
Your first 4 album reviews make interesting reading. I'm a fan of the Quo that your about to write up. I'm anticipating some keen insight and stirring of old memories. Keep up the good work.
Piledriver 8 ( 1972, UK pos 5 )
Don't Waste My Time / Oh Baby / A Year / Unspoken Words / Big Fat Mama / Paper Plane / All The Reasons / Roadhouse Blues
The Quo hit upon a now ( even then? ) familiar sounding riff that powers along 'Paper Plane' atop a rudimentary, yet effective, boogie-rock rhythm section. Suddenly Quo are having top ten hit singles and even managing to shift albums. 'Piledriver' peaked at number five within the UK, not a bad feat for their first charting album. To say the band never looked back from here on in hardly even needs stating. Let's talk about 'Paper Plane' seeing as that was the biggie, the big hit song. It was perfect for the glam-scene that was huge in Britain at the time. Alice Cooper and The Quo were the dangerous end of pop back in the early seventies, you know? It's not dangerous, suffice to say. It's pure and simple, a pop-infused, headbanging number that lasting for just over two and a half minutes, never outstays its welcome. I'll switch to the Quo's cover of The Doors 'Roadhouse Blues'. It's a genuinely authentic, stompingly enjoyable version with fantastic wailing harmonica. They chose a good time to cover the song, a time when The Doors were barely known within europe and the UK. Ah, the opening 'Don't Waste My Time' carries right on from the last couple of Quo albums, the story of Status Quo around about this period in history was one of pure consolidation and refinement towards their famous hit-making sounding, as it turned out. Beyond the hits, they could still turn in an interesting composition though, as evidenced by 'A Year', a slow burning and dramatic serious number that proves the Quo could do more than just boogie on the rock-dancefloor.
'Piledriver' isn't the most varied album of all time, but then you would have expected nothing else from the Quo. It is a nicely rounded set though with no real weak-points and a couple of nice blues numbers, particularly 'Unspoken Words'. It's not a song with tremendous awe-inspiring playing, although the solo is absolutely fine. It's just a song with a good amount of feeling, it feels genuine. The Quo just doing what they enjoy doing, and doing it well within the limitations they'd set themselves. No side long prog-rock epics from the Quo, no. Just enjoyable, unpretentious rock music.
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Hello 7 ( 1973, UK pos 1 )
Roll Over Lay Down / Claudie / Reason For Living / Blue Eyed Lady / Caroline / Softer Ride / And It's Better / Forty Five Hundred Times
The Quo go for broke now, of course. 'Piledriver' had done the trick, so now they narrow down on the parts of 'Piledriver' they thought worked critically and commercially and turn out an entire anlbum of the stuff. Of course, overall this makes for a less satisfying product, because the artistic horizons have shrunken terribly, even from just a year or two before. Now, they have one guitar sound. They have a rhythm section that seemingly do the exact same thing for every single track. I still wonder though about certain professional music critics. 'Claudie' is apparently 'beatle-esque'. In reality, it's no such thing, it's a softer, slower version of the hit song 'Paper Plane', with vocals and melodies that sound like Quo had suddenly lost all their edge in the space of a mere 12 months. The blues influenced 'Roll Over Lay Down' which opens the album is far better, staying true to the bands roots. The rhythm section do their boogie-rock mid-tempo thing, yet the lead guitar, vocals and lyrics are bluesy and convincing enough to please. Big hit, 'Caroline' follows on from the template set by 'Paper Plane' on 'Piledriver'. It's pleasing, relatively heavy, boogie riffing rock material. Nicely addictive for short periods of time, irritating for lengthy periods of time, which is why Status Quo in the eighties were a hideous proposition, because over-familiarity with their tricks and trade rendered them weak and fainting and critical, on life-support. Resting on past laurels, yet succesful thanks to more conservative daytime BBC radio one DJ's - and an entertaining, if unambitious, live show. Radio one 'roadshow' with Status Quo appearing live, miming onstage to their latest hit which sounds just like the last one! It hardly helped, let's face it. It starts here.
The remaining material filling out this LP includes 'Softer Ride' which starts OK, you think they are gonna do something properly bluesy, yet they end up in familiar boogie-rock territory. 'Blue Eyed Lady' the same, starts promisingly enough, yet ends up sounding like another potential 'Paper Plane follow-up, not a bad thing, as such. Not a bad thing as such, yet wearying over a full LP. 'Reason For Living' is more bluesy, 'And It's Better' is more poppy, leaving the closing, near ten minute long 'Forty Five Hundred Times' to impress us. The ending of the tune is good, they get looser as the song progresses and start to reach a point where they are genuinely doing something impressive, then the song ends. Still, it's an decent enough ending to a very commercial boogie-rock album full of pop hooks, severely lacking in variety, yet just enough to please overall. The more unsure, 'experimental', if that's the right word, 'Quo' of the previous few LPs was more satisfiying to my set of ears. A Quo trying to find themselves. They found themselves then stopped searching. There was still more to come, though. They weren't quite done with yet. 'Hello' was many a Quo fans first introduction to the group. I'm aware enough that it holds a special place in many fans hearts, yet it's not quite enough for me to be 'good', not quite bad enough to be 'average'. It veers between those two states, depending on my frame of mind.
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Quo 8 ( 1974, UK pos 2 )
Backwater / Just Take Me / Break The Rules / Drifting Away / Don't Think It Matters / Fine Fine Fine / Lonely Man / Slow Train
Status Quo had enough of a fanbase by now to propel almost everything they did straight into the higher reaches of the charts. Wanting to be taken seriously as an albums act, 'Quo' varies the successful formula ever so slightly. We generally get a harder edge to the songs and performances, with less emphasis on the poppier side of the band. 'Quo' therefore is heads down rock n roll. Some songs offer proper guitar solos, and/or duelling. Others offer plenty of heroics from the drummer, even though images of exploding drummers aka Spinal Tap constantly seem to enter my brain. It's all good fun at the end of the day, Quo having built up their fanbase through hard work and well received live sets. Staying true to form for my Quo reviews so far then, how about I talk about the single? 'Break The Rules' is a chugging, bluesy driving song with daft lyrics. It's simplicity in itself, the instrumental section adding a honk-tonk piano solo, then wailing harmonica. It's so unpretentious, so unartistic in one sense but dammit if I don't love this single to bits. As far as driving songs go, it's a good one, you see.
In general, although I don't rank this as my favourite Quo album so far, it's a good one. Nothing is especially weak, although the first two tunes appear to be rather inconsequential. I've had generally great feedback for the page so far, which is nice, and it's surprising to find so many people holding this period of Quo so dearly to their hearts. For every blunder, cheesy collaboration, poor cover version or future advertising jingle they'd later produce, these golden period Quo records really do hit the spot. For any Americans that may be reading, kind of like ZZ Top records, you know? I must investigate their early catalogue too, some day. So, 'Quo' is an album to please a rock fan, it's an album that contains a superbly solid mid-section, enough variation for a listener not to get bored and instant gratification when you first pick up the disc. You'll hopefully keep digging it out every now and then and be guaranteed a good time. That's all folks, until next time around
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On The Level 8 ( 1975, uk pos 1 )
Little Lady / Most Of The Time / I Saw The Light / Over And Done / Nightride / Down Down / Broken Man / What To Do / Where I Am / Bye Bye Johnny
Get down, deeper and indeed down. Im old enough to remember lots of people walking around with Quo jackets, playing their Quo albums and a popular song was always Down Down. Whatever your persuasion and potential for music snobbery, Down Down is one of those perennial dance-floor pleasers. The late-great John Peel would play the tune and it always went down a storm at his personal appearances and roadshows. The mid-seventies, it was a simpler time. Indeed, time moved more slowly, there were less people around and arent policman getting younger these days?!? Well, nostalgia is good for us all sometimes, as long as we dont get mired and rooted within it. Down Down is the centre-piece of On The Level, it was a number one single and everything the Quo could have wished it to be. The album version presented here is longer than the single version, basically more of the same. Arguably the single version is punchier, but in the end both versions are marvellous. A proper tune with a proper intro and proper catchy-ness. Anything with a bit of ness has got to be good, hasnt it? Well, unless its Robbie Williams-ness, obviously. Anyway, if Down Down is the nail that pins On The Level to the shed so to speak, what about the rest of the LP? Well, heres a quickie, a few notes compiled upon one of my earliest listening adventures with On The Level Ive just found in my bag at work, reproduced here completely unedited.
Little Lady, cools riffs, instant long haired rock disco party. Nifty little guitar instrumental breaks.
Most Of The Time, decent, mid-tempo soft then rock.
I Saw The Light, by now classic Quo rock boogie accomplished! Although have to be in the mood.
Over And Done, potential single, maybe? If treated as such. A classic Quo guitar sound!
Nightride, chugging.
Who sings broken man? The vocals are rubbish!
What To Do is pop Quo, jaunty and good.
Where I Am, soft. Bee Gees!
Bye Bye Johnny. Be good? Rock and roll. Poor.
I also made two further brief notes about the album as a whole, vinyl to MP3 crackles! and 3 pronged songwriting attack!. I apparently didnt make any notes about Down Down. I can understand that, the entire song is easily brought up from memory without having to actually play it to remind me how it goes. Thats actually a possible complaint I can level against the rest of the album. The majority of the tunes here arent imbedded within my soul, heart or brain. Apart from Down Down, this is very much a standard Quo set of the era and doesnt offer any surprises. Its a decent set, but again for me personally, not as good as the surprises and delights offered up by Ma Kellys Greasy Spoon. On that note and as the guys from Quo may well have said a few times in their career, Will this do?
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Blue For You 9 ( 1976, UK pos 1 )
Is There A Better Way (Lancaster/Rossi) / Mad About The Boy (Rossi/Young) / Ring Of A Change (Rossi/Young) / Blue For You (Lancaster) / Rain (Parfitt) / Rolling Home (Lancaster/Rossi) / That's A Fact (Rossi/Young) / Ease Your Mind (Lancaster) / Mystery Song (Parfitt/Young)
I've included the song-writing credits here as after this particular album it begins to become more significant. Young by the way is Bob Young, not a band member, but the groups tour manager. Lancaster is Alan Lancaster. Along with the groups drummer( John Coghlan ) and Bob Young he'd depart sometime during the eighties but we're getting ahead of ourselves, aren't we? 'Blue For You' was released at the height of Quo's seventies boogie-rock success and alters the formula slightly. The album has a real energy to it and sounds as serious and credible as any Quo album ever has. Although spawning a couple of top ten hits there isn't radio anthemn on 'Blue For You' as a 'Down Down' or a god forbid, 'Rocking All Over The World'. Instead, every single song is good. Which would you prefer? Let's take the opening 'Is There A Better Way'. An excellent song and no mistake, rolling bass, thrashing guitars and a very speedy little guitar solo. The Quo playing with almost the energy of punk-rock. Believe or not, but it's true. The sound of the entire album is great, very clear and very live, a little ommph is here that perhaps the earliest albums lacked. 'Rolling Home' is another Rossi/Young classic with duelling guitars, speedy delivery and wonderful, wailing harmonica courtesy of Bob Young. After three energetic rockers, Alan Lancaster delivers the albums title track, a restrained slice of blues/soul, a style Quo rarely ventured into and certainly not as successfully as they do here. A quick mention for 'Rain', although I haven't mentioned any weak songs yet, because really there aren't any. Sure, there's no great variety, but that's like telling a blind man he can't see when we're talking the Quo. You know, hardly the point. Uneccessary. 'Rain' as you can see from glancing above is written by Rick Parfitt, not at all a major contributer of songs to the Quo at this stage, the Rossi/Young, Rossi/Lancaster teams being the most prolific, although Parfitt had written some songs before. This has to be one of his finest efforts to this day. The song rocks really hard, almost borders on heavy metal in places. The sound retains all the crunch and pleasingly booming bass of all the other songs on 'Blue For You'.
The classics just keep on coming, most of them songs anybody who isn't a Quo fantatic will never have heard. So, the much maligned Quo create a sterling, catchy as flu riff to underpin the really dead groovy 'That's A Fact'. A more typical Quo/Blues boogie arrives with 'Ease Your Mind' and the Piano is welcome to add that little authenticity. A good minute and a half elapses before the closing 'Mystery Song' bursts properly into life, yet once it does, a blissful look crosses this listeners face. So, a Quo album without a single weak link? Check. A Quo album with healthy production sounds, a warm analogue feel even after remastering or transferring from LP to MP3? Check. The heaviest album they ever made? Check. Where are the pop anthemns? Well, there aren't any, but there are riffs and guitars and joy aplenty. Yes, it's Status Quo but yes, it's Status Quo. That sentence might make sense to somebody, hopefully.
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Rockin All Over The World 5 ( 1977, UK pos 5 )
Hard Time / Can't Give You More / Let's Ride / Baby Boy / You Don't Own Me / Rockers Rollin' / Rockin' All Over the World / Who Am I ? / Too Far Gone / For You / Dirty Water / Hold You Back
What on earth happened here? Even the album title lacks any kind of cool, let alone the contents within. A couple of changes had occured, Quo introduced an outside producer, some guy called Pip. Pip?? I ask you! Andy Bown enters on keyboards. Now, rubbish local rock bands also introduce keyboards for a 'different' element when their own imaginations have failed them. Great. What else is going on? Well, Quo made a concerted effort to crack America. They failed, but the introduction of an outside producer, keyboards, etc, etc? It all starts to fall into place, doesn't it. The mix considerably softens the guitars from Quo albums of yore. The result of all of this is the weakest sounding Quo album since their Psychedelic debut, and certainly their poppiest album since then. Now, i'm not some kind of 'rock' freak. I like Captain Beefheart and I like Kylie Minogue and then i'll switch to a bit of Quo followed by Aphex Twin followed by John Coltrane. So, the fact of lamenting the loss of the Quo's rockier edge doesn't immediately mean what's here in its place isn't as good, or indeed, very good. Just want to make that clear before I progress. Good? Right. The title song I may as well get out of the way first of all. It chugs and it's got the Quo boogie. It's a song with terribly cliched lyrics and the performance here? Well, it's not fast enough, the mid-tempo nature of it all plays it far too safe. More worryingly though, the drums have been made to sound like cardboard boxes, the bass has been mixed to all oblivion so now all it resembles is a constant, unmelodic thud. The guitars are here and the vocals are here, both of them very wimpy and insipid. The songs only three and a half minutes long, yet it sounds twice as long, possibly because there's only enough lyrics to fill out 70 seconds or so. I really don't like this song at all, not even the original version. For Quo it became an absolutely massively huge European hit single and opened Live Aid in 1985. So, what the fuck do I know?
Alan Lancaster contributes one of my favourite tunes here, 'Too Far Gone'. A song that even the hideous mixing and production can't ruin. The guitars could be far louder, there's some really nice guitar interplay here that deserves to be heard. 'Let's Ride' also has a good energy to it, but you just yearn for it to sound like the Quo of 'Blue For You' or 'On The Level', not this sanitised version of what Quo had become. 'Rockers Rollin'? What is this piece of crap? Well, Parfitt wrote this and it's hard to believe it's the same guy that wrote 'Rain' on the previous LP. Too many of the songs here 'chug' in the mid-tempo and the guitars sound frustratingly lack-lustre. 'Can't Give You More', written by the Rossi/Young team is decent enough to overcome the production. Poor production or not however, 'Rockin All Over The World' just isn't a good set of Quo songs. With the production, it's not an album I ever have a desire to listen to very often at all.
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Matt Sussex
Hi Adrian, can't agree. I have extensively listened to Quo since the 70's. Too Far Gone, Baby Boy, Hold You Back - a different flavour certainly, but classics!
If You Can't Stand The Heat 5 ( 1978 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The appallingly titled If You Cant Stand The Heat .. was not quite the commercial monster that Rockin All Over The World had been. The lack of a strong lead single was partly to blame. Not that Rockin All Over The World had provided a good strong lead single but its title track sold zillions anyway. The task fell to Again And Again this time around, one of the least inspired lead singles the Quo had ever released. Base, totally to formula and without even the granny or housewife appeal of Rockin All Over The World. It nestled just outside the top ten at number 13. The album predictably went top ten thanks to the massed ranks of the Quo army, but didnt stick around for very long. Having said all of this, weve variety for a Quo album. Rock alongside Pop and even a ballad. Shocking, I know. For the ballad, as the keyboard picks out a sickly sounding melody, Someone Show Me Home comes sliding slowly into the ear-drums. In the age of punk and soon to be new-wave, Quo seem to have aged a good twenty years. A boy-band would reject this material for being too sappy. Still, on the otherhand, Im Giving Up My Worrying has enough about it as a pop song to overcome any limitations it may have in terms of ambition or subdued guitars. You know, its a catchy song. All of this still seems a universe away from the likes of Down Down or Blue For You though, released a mere couple of years before. Overall, side one of the album is ok, if spectacularly average. At least theres a couple of semi-highlights in Again And Again and Im Giving Up My Worrying
Side two of the LP is almost without exception extremely mediocre, mediocre of course being behind average in this case. No highlights to speak of, no real rockers to speak of. In the age of disco, Quo dont exactly go disco, but they do encase several tunes within keyboards and disco sounding synthesizers. I mean, a song titled Accident Prone you expect to have some bite about it, but it doesnt. Only the closing Like A Good Girl Should even manages to provide a little feel-good-ness as far as side two is concerned. With side one not exactly jumping through hoops itself, where does this leave the album overall? Well, without too many redeeming features, to be honest with you. The songs as songs go arent dreadful, I dont want you to get the wrong idea. If we assume 1 is the worst music ever and 10 is the best music ever, most albums will sit somewhere around 5 or 6. Of course, Im only reviewing certain albums. If I had the chance to review for example, the entire Garth Brooks catalogue, Im sure that would decrease the average ratings Ive actually given out. Where does this leave Status Quo? Well, If You Cant Stand The Heat .. gets a 5. Thats it. Its not interesting, its not fascinating and if I was trying to prove to someone that actually, Quo arent rubbish, Id start them instead with On The Level, Blue For You or Ma Kellys Greasy Spoon.
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CPJ JayCPJ@aol.com
Aw, cum on, it has to be a 7! You forgot to mention the excellent Long Legged Linda, Oh What A Night and Let Me Fly. Forget about I'm Giving Up My Worryin' - pure filler. IMHO! ;O)
Whatever You Want 7 ( 1979 UK pos 3 )
Again and Again / I'm Giving Up My Worryin' / Gonna Teach You to Love Me / Someone Show Me Home / Long Legged Linda / Oh! What A Night / Accident Prone / Stones / Let Me Fly / Like A Good Girl
The Quo were back rock and rolling and twelve bar guitaring. Thank goodness. The previous two albums may have damaged the groups reputation rather than popularity, but fans quickly forgave them when 'Whatever You Want' appeared on LP. True, the title song is regarded amongst Quo fans as one of the bands classic songs, but not in our house. It's appropriation for the Argos adverts has meant drastic overkill in terms of airplay for a song that's four minutes long, yet only needs to be two minutes long. It's lazy in terms of composition, yet the saving grave is the guitar interplay. It's not enough, but there is a clutch of songs on the LP, all better than the title song. They are enough to ensure this album happily exceeds its disappointing predeccesors. The semi-acoustic 'Living On An Island' is one of those rare exceptions to the Quo boogie-rock rule. You know, it's a proper song with harmony vocals and everything! Most impressive, actually. On the rockier front, the concise three minutes of enjoyable heads down, hair in your face fun of 'Shady Lady' could have sat happily on any one of the classic Quo half-dozen LPs or so. The closing 'Breaking Away' really sets the rock among the pidgeons, though. After a few years of worrying whether Quo had gone soft, the Quo fan of 1979 may well have been overjoyed with 'Breaking Away'. It's boogie-rock excelsis, all six and a half minutes of it. 'I'm changing my tune' sing the Quo. 'No your not', we cry, you sound the same you've always done! Not entirely fare, but almost certainly the average rock fans reaction at hearing said words. Nevermind though, because 'Breaking Away' has sections and splendid drumming on an album where Quo try to rock and almost manage it. Well, 'Breaking Away' fully manages it.
What else? Well, not a lot. The filler material never descends into the dreadful, even the two songs with rock in the title on side two manage to be enjoyable, as if the band had to remind us that's what they were about. With the title song becoming another big hit, the massed ranks of the Quo army must have been feeling happy and optimistic following the release of the 'Whatever You Want' album and that's about it for now, folks. Until next time when we'll be sure to boogie on down to the Quo again. This page is neverending it seems, much like the Quo themselves!
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Just Supposin' 6 ( 1980 UK pos 4 )
What You're Proposing / Run to Mummy / Don't Drive My Car / Lies / Over the Edge / Wild Ones / Name of the Game / Coming and Going / Rock 'N' Roll
Recorded around the same time as its followup, 'Never Too Late'. Why didn't they go the whole hog and release a double? Really fire it up in the studio and just vary their album making formula, just slightly? Instead, we've another regular Quo album. Self-produced but still not resembling the rock for which they'd become famous. Well, even the Quo would claim you can't keeping churning out the same old, same old. Still, it's what in the place of the rock songs we need to consider, isn't it? Rock/pop, that's what! Whoa, radical change there! Anyway, the near title track 'What You're Proposing' is stellar pop/rock as it goes, always one of my favourite classic Quo singles. Great guitar sound, nifty riffs and stuff! Also released as a single was 'Lies' a watered down sound of a watered down sound, if that makes any sense? A four minute track full of repetition and lacking a strong hook, although the chorus must have been deemed catchy enough for single consideration. Hardly classic stuff, though. What about the sound of the album overall then? Well, the Quo guitars are still here, although down in the mix. Everything seems to be down in the mix. Someone decided to retain the synths, but then mix them down. Then complaining the synths can't be heard, everything else has been mixed down. Little seperation between instruments, basically. No space in the songs to allow them to breathe. It results in the strangely 80s US rock of 'Over The Edge', for example. The bass is mixed too high on that one! The album may well be self-produced and recorded live in the studio, then mixed by a proper engineer, but he did a lousy job if that's the case. The remaster is better I suppose, but the songs are mostly mediocre in any case.
Songs that aren't mediocre? Well, i'm struggling with this one. Past the title track, there's doesn't seem to be a lot else going on. Well, 'Coming And Going' is one of the rockier songs here, complete with harmonica and it's one of my favourites on the set. The closing 'Rock 'N' Roll' is a pop-ballad so mawkish and soppy and.... Argghh can't listen to it. What with the whistling? Was this Quo attempting to sound like Wings? Why not try and sound like something GOOD instead?! The familiar chug-boogie of 'Run To Mummy' is ok, although again the material itself is fairly weak, lyrically in particular. A six? Well, why not? It's a pretty average LP rather than an actively bad one, you see. It's dull, but there are moments here i'd excerpt onto a better album. Perhaps releasing a double album of the material the band recorded in 1980 isn't such a good idea after all, then? Perhaps not releasing either this or the follow-up and having waited until they had enough strong material for just the one good album, rather than two average ones? What do you mean you've never heard 'Never Too Late'?
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Never Too Late 6½ ( 1981 UK pos 2 )
Never Too Late / Something 'Bout You Baby I Like / Take Me Away / Never Too Late / Falling in, Falling Out / Carol / Long Ago / Mountain Lady / Don't Stop Me Now / Enough Is Enough / Riverside
Well, the last Quo album this is to feature original drummer John Coghlan. I guess he got fed up of not actually getting the chance to play his instrument for the kind of music he wanted to play it on. Or he just got fed up. One or the other. Quo were still in a transitional phase turning from a rock to a pop band. So, we get some rock songs recalling the Quo of yore and also get some 80s Quo pop attempts. Unsually for a Quo album, there's not really a single memorable song here in terms of hit songs, at least. 'Something Bout You Baby I Like' did enough to reach the top ten, but then again, they could have released almost anything as a single and it would have gone top ten back in those days. 'Something Bout You Baby' is an admirable attempt at Quo returning to their blues/rock mode of years earlier, but it lacks distinction and distinctiveness. A better single would have been 'Carol', the Chuck Berry tune. Quo turn it into a Quo tune and inject some energy into their performance. Not 'Blue For You' type energy, but at least some energy. The title track wasn't even a single! No other singles were taken from this set other than 'Something Bout You Baby'. Curiously, a single-edit of 'Rock N Roll' from 'Just Supposin' was issued after the promotional campaign for 'Never Too Late', which strikes me as being an odd thing to do. Back to the title track, it's one of the better songs here. A decent enough Quo slice of soft-boogie, yet the lyrics ( about the end of the world, it seems ) are sung with a little too much optimism to hit home convincingly.
'Falling In, Falling Out' might have made for a good pop single. It's guitar-pop. It's not brilliant or anything, it's only just above average in terms of performance, but the melody is strong. The keyboards/synths work very well here in conjunction with the rest of the band, by the way. 'Take Me Away' sounds like bits of lots of other Quo songs and lacks inspiration. 'Long Ago' is ok, 'Don't Stop Me Now' is pretty good with its groovy bass and all out action introduction. One of the rockier songs here and one of the songs with the most energy here. That it's also one of the best tracks perhaps isn't much of a coincidence then. Rossi/Parfitt seem to have been running out of steam. The bands drummer was about to quit and Alan Lancaster would follow shortly afterwards. Change ended up being forced upon the band whether they wanted to change, could change or not. The edging towards a poppier direction didn't seem to be pleasing anyone, so a wholesale move towards pop music would also follow.
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Naz Bracknell
What! no mention of mountain ladies that's a great tune it deserves a mention at least!
1+9+8+2 7 ( 1982 UK pos 1 )
She Don't Fool Me / Young Pretender / Get Out And Walk / Jealousy / I Love Rock And Roll / Resurrection / Dear John / Doesn't Matter / I Want The World To Know / I Should Have Known / Big Man
Reached number one, just to prove the Quo were as popular as ever. The drummer left half-way through the sessions and not all was well exactly, but the Quo inevitably survived. Status Quo and the cockroaches. That's all that will be left come the armageddon. Happy things though. '1982' sounds more 'real' than the previous couple of Quo efforts. The synths aren't as much on show, they rely on bass, guitar drums. True, the songs hardly rank amongst their best, although at least one wouldn't be out of place during their classic run. Well, naturally, most people deny Status Quo even had a classic run, but they did. Any act that's huge for some reason unknown to younger listeners must have done something worthy at some point. Well, unless they're Green Day, but the less said about them the better! So, 'Dear John'? Decent enough lyrics, not too samey. Decent riffs and guitar interplay. Fairly catchy and deserved to be top 10 in the singles charts. Quo fans may have justifiably had high hopes for the album. That it didn't reach the seventies peaks was hardly surprising during all the turmoil ( although, did Quo ever actually wreck a hotel room, or get drunk even? ) 'Get Out And Walk', decent track. Actually, getting all this Quo vinyl transferred to MP3 is great. It sounds way better than the CD versions I have, even the remastered ones. Quo needed vinyl and didn't need the digital eighties. It made them sound even older than they'd become.
It's disappointing that there's no real classic slices of Quo. It's disappointing that nearly all the songs are two to three minutes and that the album doesn't provide anything meaty to get your teeth into. 'Young Pretender' for example is perfectly fine, but it's not astonishing and it's not excellent, it's merely bordering on the good to average. It's not enough, however listenable the Quo's inate grasp of melody may be. To the advantage of '1982' is the fact barely a duff track is here. To the disadvantage is the fact there's nothing that really breaks from the mould, either. It's a fairly run of the mill thing, but the sound is good. You can hear the instruments and the synths are integrated well.
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Back To Back 6 ( 1983 UK pos 2 )
A Mess Of Blues / Ol' Rag Blues / Can't Be Done / Too Close To The Ground / No Contract / Win Or Lose / Marguerita Time / Your Kind Of Love / Stay The Night / Going Down Town Tonight
Trouble and strife. Rick and Francis had discussed ending the band, Rossi unwittingly upsetting Parfitt by declaring Ill be ok as the voice and face of the band. Alan Lancaster, happy that his tune Ol Rag Blues was being released as a single wasnt happy enough that he didnt also insist he should be allowed to sing it, as well. This wasnt terribly likely to happen, the record company dont like things like bass-players doing vocals for singles. Two versions were recorded in the end to placate Alan, one him on vocals. Unsurprisingly, the record label fail to pick Alans version, much to Alans growing disillusionment with the entire Status Quo affair. Even more distressing for Alan and almost certainly the final straw of all was the release of Marguerita Time as a single. He was dead against this lightweight slice of Butlins and house-wife pleasing nostalgia and watched even more unhappily as it sailed inevitably towards the top of the charts. So, this may have been the last ever Quo album, if it hadnt been for Live Aid later reactivating the band, albeit in minus Alan Lancaster form, ultimately. As for Maguerita Time, Im not against the tune as such, but Im against the simplistic lyrics and the irritating way theyre sung. Im against the cosy cheeriness of it all and the safe, sterile atmosphere it presents. Far better for instance is Ol Rag Blues, proper Quo nostalgia and an excellent way to update their seventies sound. its got energy, a nice catchy hook and pleasing lyrics.
A Mess Of Blues hit top twenty and opens the album with a bang. Bar one dreary ballad side one of the album is pleasing enough, in that A Mess Of Blues and Ol Rag Blues manage to be better than average. Side two unfortunately is entirely forgettable. The band fall between two stools far too often, the rock and the pop side not always convincingly placed next to each other, even within the same song. Believing themselves to be a rock band at heart, the sound had simply softened too much to the point where rock fans didnt believe in the band anymore and pop fans just dug the singles. The albums had ceased to be cherished events, something which upset the groups core 70s fanbase in particular. Had John Coughlan been right in bailing out when he did? Should he have left sooner? Should the Quo indeed have been put to bed following the release of this album? Was Marguerita Time being soft enough to get the band appearances on Little And Large really cause for celebration, or a sign that Alan Lancaster perhaps had the right to be embarrassed, after all? The dreary In The Army Now would follow, but thats another story and shall be told another time. For now, a slightly negative but not really 6 is the fate of Back To Back.
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In The Army Now 4 ( 1986 UK pos 7 )
Rollin Home / Calling / In Your Eyes / Save Me / In The Army Now / Dreamin' / End Of The Line / Invitation / Red Sky / Speechless / Overdose
Lancaster gone and seemingly with him the last of Quo's rock credibility. Rossi, Parfitt and keyboardist Bown get together seemingly as equal partners, much to the distress of listeners everywhere flinching at the plastic, fairground novelty keyboard sounds playing in a lowest of the low creative manner. Rossi and Parfitt carry on as normal, more or less. Pop Quo much to the fore even on the rock material. The production evens and smooths out any rough edges that probably weren't even there in the first place. To be fair, 'Quo' had sounded dated for a few years, but 'In The Army Now' is an LP where it's so blindingly clear the band are re-writing themselves, let alone the same combination of boogie-rock riffs they'd been mining for a decade or more. Are there any interesting cuts here then? Well, two. The ZZ Top-isms for 'Red Sky' seem to work ok. The title track which has a love it or loathe it reputation amongst the Quo fans at least proves Quo could turn their hands to then contemporary rock music, have a big hit and not look silly with it.
So, what else is old? Well, 'Invitation' is a hideous country tune, 'Speechless' makes even a synth act like Dollar seem cutting edge. The opening 'Rollin Home' might have made it were it not for the terribly plastic and weak sound. Keyboards on an equal par with the guitars all three instruments disappearing into a generic, soft-mor rock sound. It's very sad to say so but take away the title track, bearing in mind how maligned it is in Quo's fanbase, would this album have then seen a release by any kind of notable, major label? It's doubtful. Increasingly un-hip and irrelevant, 'Margeurita Time' and the title track of 'In The Army Now' lost Quo a big part of their original audience. A 3 then? Well, I quite like 'In Your Eyes' actually. It may not be innovative at all, but at least it has a decent tune. A couple of other songs i've already mentioned, yes, including the title track at least manage to be average. So, a low '4' rating for this unhappy collection of meaningless rock tunes in search of a reason to exist
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Ain't Complaining 3 ( 1988 UK pos 12 )
Ain't Complaining / Everytime I Think Of You / One For The Money / Another Shipwreck / Don't Mind If I Do / I Know You're Leaving / Cross That Bridge / Cream Of The Crop / Loving Game / Who Gets The Love / Burning Bridges / Magic
Please no. God no, no, no.... Status Quo go from bad to worse. Unsure what direction to go into, they do a bunch of songs trying out other people's styles instead. Ever heard a dance-quo tune? It's here, the miami vice alike horror that is 'One For The Money'. Inspid Peter Cetera type material such as 'I Know You're Leaving' jostle side by side with the novelty hit ( the bands last ever sizeable hit song ) 'Burning Bridges'. Well, at least the jig-rock of 'Burning Bridges' ( Pogues done by Status Quo? ) has a little life about it. The title track also at least attempts to inject some energy into proceedings. It reminds me of the odious Robert Palmer, though. Why was it all the styles Quo were borrowing were from the early to mid-eighties when it was 1988 by the time the album was released? 'Don't Mind If I Do' is a half-decent tune, I suppose. It at least sounds like Status Quo, which is something when it's a song that's on a Status Quo album. Ah, but that's not fair is it? We complain that Quo stuck to their three chords and never changed, yet they did change. They just didn't evolve very well during the eighties and changing fashions ( radio 1 all but banning them from the airwaves circa 1989 ) would seek to wipe Quo off the musical map altogether. At least we have to give them credit for persisting, I suppose.
Ah, 'Cross That Bridge' is Cochrans 'Something Else' with a fiddle on it, to all intents and purposes. Played by a band that were old and sounded old. Guys in their forties or fifties can indeed sound young as long as the drive and passion remains. We can only conclude 'Cross That Bridge' is a tune where Quo took to trying to insult not only their heroes but themselves. Did they have no pride when playing back this 'Ain't Complaining' LP? Did they really consider it a good work themselves? I guess they must of done. Makes me wonder, does that. Perhaps they'd all gone deaf, what do we think? Ok, i'll stop now. Overall, this album is perfectly professionally played and the production is a tad beyond 'In The Army Now'. Individual songs for the most part come and go and don't stink the house out. Yet, the whole is by far less than the sum of it's parts, because nothing on the album with the possible exception of 'Burning Bridges' really stands-out.
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Perfect Remedy 5 ( 1989 )
Ain't Little Dreamer / Not at All / Heart on Hold / Perfect Remedy / Address Book / The Power of Rock / The Way I Am / Tommy's in Love / Man Overboard / Going Down for the First Time / Throw Her a Line / 1000 Years
'Perfect Remedy' failed to chart, the first occasion that had happened to Status Quo since 1971. So yes, i'm reviewing an album even Quo fans hardly know about or heard and nobody else will care anyway. That's me, always pandering to the popular masses, haha! Even more so when I suggest that this album, whilst hardly a rocking Quo classic, is actually far better than its reputation deserves. The keyboards are toned down and the band are playing to their strengths once more. True, there's no classic material here and many of the tracks are worthy but just a little dull. The band performances lack energy somehow, as if producer Pip Williams sucked it all out of them upon entering the studio. A problem with the mix, perhaps? Had the Quo got the guitars right back to the fore, i'm sure this album would have fared better. This mix turns down the guitars although there's not actually anything else to put in their place. Everything ends up at the same level, there's no seperation and it just doesn't sound like four/five guys playing in a studio. It's a shame because the title track is really good. I mean, it's as good a song as the Quo had written in years. The opening 'Little Dreamer' is also a fine track. It doesn't quite manage a distinctive intro, although it tries. The drums are too loud, but they try. The song rides along quite enjoyably even with a flaw here and there. It's catchy material from the off, actually.
'The Power Of Rock' is a keyboard led power ballad with a hint or Irish folk music and it stinks. 'Throw Her A Line' is uptempo and could have sounded great with a 'live' production. The song ain't no classic, but at least try and give yourselves a fighting chance. 'Perfect Remedy' ultimately doesn't have direction and that's its main fault. It seems to be a compromised set and as such, failed to hit home with fans who by now wanted something a little rawer from the guys. Still, it can be seen retrospectively as a step in the right direction. The poor commercial reception for the record ultimately wasn't the encouragement the band needed to try and fine themselves making real music again and again.
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mayhem16uk UK
being a massive quo fan and seeing them over a hundred times i actually believe the power of rock to be an absolute classic. one that should definatly be played live!
Rock Til You Drop 7½ ( 1991, UK Pos 10 )
Like a zombie / All we really wanna do / Fakin' the blues / One man band / Rock 'til you drop / Can't give you more / Warning shot / Let's work together / Bring it on home / No problems / Good sign / Tommy / Nothing comes easy / Fame or money / Price of love / Forty five hundred times
Let us write some proper songs and stop pissing about. Our last album didn't even CHART! Whilst there are no out and out Quo classics here, this is easily their most satisfying album for quite some time. 'Warning Shot' for example, which appears right in the middle of this set is good enough to appear on a recent Fairport Convention album and I do make that comparison deliberately. On the otherhand, 'Let's Work Together', better known as 'Let's Stick Together' is an utterly pointless if convincing cover thanks to the stellar harmonica and lead guitar work. We don't expect originality from a Quo album and we don't get any. We also don't get any nods towards any musical styles that will appeal to anybody under the age of thirty, which just discounts over half of my readership. With an open mind however, just listening to this stuff, you should appreciate a great deal of it. 'Bring It On Home' is a convincing blues number, thanks to the guitar work. Indeed, across the whole album the sound is natural and the Quo seem to have remembered their roots. Some of these tunes I swear i've heard before, yet Oasis get away with ripping off others tunes left right and centre, give these Quo guys a break! Especially if you don't want to, I know people whom would rather have a labotomy than listen to a Status Quo album, even one as fine as any from their peak period. I know people who despise everything Status Quo stand for, and I was one of those people until I grew up, met some musicians, listened and learned. Readers of N.M.E take note. The closing 'Forty Five Hundred Blues' is good enough to be metallica with a little old fashioned british imagination. Obviously, it sounds nothing like metallica, but if metallica apparently have conviction, this does too.
'Fakin The Blues' and the storming opener, 'Like A Zombie' both could have been hits for the Quo in times gone by. 'Fakin The Blues' is one of the most satisfying Quo compositions for several years, properly constructed and with just enough bite, although not all that much. Again properly constructed is 'One Man Band', a storming guitar twirler, a proper rock n roll performance far in excess of the filler album tracks Quo introduced in the eighties. The title track is lyrically cliched, yet the music and performance convinces. A good Quo album? Well yes, and we never thought we'd say that in the first place, let alone say it again.
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Thirsty Work 6½ ( 1994, UK Pos 13 )
Goin' Nowhere / I Didn't Mean It / Confidence / Point of No Return / Sail Away / Like It or Not / Soft in the Head / Queenie / Lover of the Human Race / Sherri Don't Fail Me Now! / Rude Awakening Time / Back on My Feet / Restless / Ciao-Ciao / Tango / Sorry
Three hit singles for the Quo in 1994. 'I Didn't Mean It' hit a peak of number 21 in August. 'Sherri Don't Fail Me Now' reached #38 and 'Restless' hit #39. Obviously, they'd had far better commercial days in the past. The album itself, supported by Quo's still respectable fanbase, went straight in at number 13 on the album charts. The three singles, then? Well, 'I Didn't Mean It' is a more than decent Quo rocker with a spirited energy and a strong chorus. It's no 'Down Down', but it more than stands up to then recent Quo single releases. Would sound great played live, of that i've no doubt. Love the rock n roll piano rolls in this song in particular. 'Sherri Don't Fail Me Now' is a Quo pop song that leans heavily on keyboards and sounds somewhat dated, very 80s. The song has fine construction but the chorus isn't really at the expected Quo singles standard. The third and final single released from 'Thirsty Work', then? Well, 'Restless' is a keyboard led ballad, nothing wrong with it in particular if treated as an album track to provide variety, but highly unlikely to succeed as a single. Indeed it didn't, scraping into the top 40 on the strength, no doubt, of the Quo fanbase alone. Kind of sounds like a singer/songwriter 70s MOR ballad. What songs could the Quo have chosen then for the 2nd or 3rd single release choices? Well, how about the storming 'Queenie' for one? Even something like 'Sail Away', which borders on novelty thanks to the production values, but remains a strong tune. The production values? The Quo sound tamed, they sound like they are playing in a cheap, seaside resort. Whilst you can hear the drums, guitar and especially the keyboards and everything is well performed, there is a sense that the sound isn't quite appropriate. Sure, they needed a couple of 'safe' sounding tunes to aim for the radio, I guess. That's no excuse for making the album sound so inoffensive, though.
I like something like the three minute 'Back On My Feet'. It's the kind of song the Quo have written dozens of times before. It doesn't however outstay its welcome at all and has nice guitar parts to provide the album with a much needed injection of ROCK. Even better is 'Soft In The Head'. Finally, 'Thirsty Work' provides something alongside 'Queenie' and 'I Didn't Mean It' which sounds like a proper rock n roll boogie stomper. Come to think of it, this also would have made a better single than either 'Restless' or 'Sherri Don't Fail Me Now'. So, in support of 'Thirsty Work', it has a clutch of very good Quo songs. The more negative side includes the production and sound of the actual album, which i'm not altogether comfortable with. Along with that, 16 songs running to an hour of music is perhaps four songs of filler too many. Not everything here works and the album does sag in places. Still better than their 80s nadir, though.
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Don't Stop 3 ( 1996, UK Pos 2 )
Fun, Fun, Fun / When You Walk In The Room / I Can Hear The Grass Grow / You Can Never Tell / Get Back / Safety Dance / Raining In My Heart / Don't Stop / Sorrow / Proud Mary / Lucille / Johnny And Mary / Get Out Of Denver / The Futures So Bright / All Around My Hat
The 30th anniversary album. A large amount of promotion on the bands part saw this effort reach number two in the UK album charts, right in the middle of britpop. Seems almost impossible to believe, doesn't it? And why oh why oh why do I punish myself so? Status Quo and Mike Love of The Beach Boys got together for the Quo cover of 'Fun Fun Fun' and Brian Wilson was dragged onstage to promote the song for a daytime UK tv show. It was one of the most horrific public appearences Brian Wilson had ever made. He clearly didn't want to be there. The Beach Boys themselves hadn't been played on Radio One for twenty years, Quo for a good five years. Quo decide to therefore kick up a fuss that Radio One wouldn't playlist this cover of a forty plus year old song recorded by two ageing bands well past their peak. They lost their case and Radio One indeed, quite rightly, weren't forced to place the song on their playlist, however popular the Quo claimed the recording to be. For the record, this cover is one of the most hideous things to come out of popular music in recent years. The entire album suffers from poor, unimaginative production values, making the once mighty Quo sound like a competent bar band and little more. The very idea of a covers album is almost enough to make me retch in the first place. That's whoever decides to do one, there have been very few worthy cover albums ever, let's face it. Still, The Quo's very of Men In Hats every eighties synth novelty hit 'Safety Dance' is entertaining, although I prefer the cover by Homer Simpson, it must be said.
The title track is the one track here that most resembles the sound of Quo. The Quo's take on this Fleetwood Mac effort having fully the Quo mark stamped upon it. 'Sorrow' is a decent cover and 'Lucille' at least sounds like rock n roll, albeit sanitised. 'Get Out Of Denver' has energy and sounds like the Quo, but where are those duelling Quo guitars of old? The closing tune is a cover of Steeleye Span's 'All Around My Hat'. Released as a Quo single, it stalled just outside the top 40, despite the obvious quality of the tune. Quo naturally stick their boogie-stomp on the folk classic. It doesn't quite work, but it's better than the majority of the album, it's fair to say. All in all, this album is utterly missable even for the Quo fanatic. Download 'All Around My Hat', the title track and 'Safety Dance' by Homer Simpson.
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Under The Influence 6 ( 1999, UK Pos 26 )
Twenty Wild Horses / Under The Influence / Round & Round / Shine On / Little White Lies / Keep 'Em Coming / Little Me And You / Making Waves / Blessed Are The Meek / Roll The Dice / Way It Goes / Not Fade Away
Dull, boring, safe, competent and predictable are just some of the words I could use to describe this album. At least we do have some energy in places, notably the enjoyable title track which could almost pass for prime-time Quo. We do need to give the band credit where it's due, even if we don't want to. Still here in the 21st century? Check. Unchanged, stable line up of rossi, parfitt, bown, edwards and rich since 1986? Check. A good title track where we get proper actual guitars as well as a nifty blues feel and a great instrumental break. Have I gone mad? Well, no. Those words I plucked up for the first sentence still stand when considering the album as a whole. Another positive? Well, only one hit single from the album, 'Way It Goes', but it's a good one, certainly. Again, the guitars are to the fore, which is always how we want our Status Quo to sound. I like the album cover, too! They'd make good landlords would Rossi and Parfitt. Maybe they can work that one into the old retirement plan ( as if! ). They let themselves down though with a good intentioned maybe, but needless cover of Buddy Holly's 'Not Fade Away'. They try and give it a new shine, but it doesn't quite work. Speaking of 'Shine', 'Shine On' is an awful, clumsy and downright dull tune that i'll pass over quickly because I don't like listening to this attempted late night modern soulless blues.
'Roll The Dice' is typical Quo, they strike up a boogie with the guitars, which sounds decent, although ultimately the song goes nowhere. Songs like 'Keep Them Coming' are both good and bad. At least the sound is there and the effort is there. A spirited vocal and the guitars sound fresh. Not quality material though when compared to the bands finer work from the past. Let's find another good song, then? I like 'Round & Round', it does what it sense on the tin and it's a lot of boogie rock fun. Lead track 'Twenty Wild Horses' is decent, although lyrically challenged, as much of the album sadly appears to be. I can't and won't write the Quo off just yet, though. There's half a very good album here.
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Famous In The Last Century 4 ( 2000, UK Pos 21 )
Famous In The Last Century / Old Time Rock 'n' Roll / Way Down / Rave On / Roll Over Beethoven / When I'm Dead And Gone / Memphis Tennesse / Sweet Home Chicago / Crawling From The Wreckage / Good Golly Miss Molly / Claudette / Rock 'n' Me / Hound Dog / Runaround Sue / Once Bitten Twice Shy / Mony Mony / Famous In The Last Century
A contractual obligation album, another covers album and according to the band themselves, not a very good album. To quote leader Francis Rossi, Or, put another way, another bloody covers album! We went along with it, as usual, but inside I felt like a fraud...for me it was the worst Quo album there had ever been - or ever will be!' So, where do we even start with 'Famous In The Last Century'? Well, the music is as you would expect. The guitars and no-frills boogie rock of the Quo is present and correct. 'Roll Over Beethoven' is one of the worst offenders on this over-lengthy album, a squeak as opposed to a roar. Clumsy where it should be racing elegantly ahead. Better is the Buddy Holly tune 'Rave On', given a spicy little Quo guitar solo in the middle. The one original tune here is the title track which bookends the album. A mere minute or so long, it would have been nice if it had been a little longer. It had an idea and a decent guitar sound. We move on though, The Everly Brothers 'Claudette' is turned into a lifeless attempted Quo stomp and loses all charm as a song in the process. 'Mony Mony'? I mean, jesus, do we really need a new version of this dog-tired old supposed 'classic'? No, we don't, in all honesty.
A highlight or two, then? Well, the brief title track is one. 'Way Down' is another, is has an actual genuine energy, isn't an old cliched piece of dusty overdone rock'n'roll and is given the Quo twist, without sounding like everything else they've ever done. 'Memphis Tennessee' starts out great, suffers a little through the not dangerous enough and far too clean production, but still provides enjoyment, all the same. Best song? 'Once Bitten Twice Shy', a real rock'n'roll boogie that suits the Quo down to the ground. It's not enough for the album to be utterly forgettable, though.
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Heavy Traffic 7½ ( 2002, UK Pos 15 )
Blues And Rhythm / All Stand Up (Never Say Never) / The Oriental / Creepin Up On You / Heavy Traffic / Solid Gold / Green / Jam Side Down / Diggin' Burt Bacharach / Do It Again / Another Day / I Don't Remember Anymore / Money Don't Matter / Rhythm Of Life
The Quo's habit for carrying on, turning up and never-changing was bound to produce dividends eventually and so it is here with one of their strongest album releases. Even 'allmusic.com' have declared it to be a masterpiece and what a Quo album should be, the guys simply playing live in the studio and not relying on production and technology to sway them. Certain excitable Quo fans though have proclaimed this album as right up their with 'Blue For You', etc. Not quite, the second half of the album trails away without a firm conclusion. As it is though, we've a handful of strong tracks where 'Heavy Traffic' gets it's pulsebeat from. It's a joy to hear Quo songs again so firmly rooted in the blues-boogie they used to do with their eyes shut. Right from 'Blues & Rhythm' we can sense a renewed purpose within the band. 'All Stand Up' has genuine energy, for example. 'The Oriental' is catchy and fun, 'Creepin Up On You' a genuinely quality composition wih blues guitar and that Quo boogie backing it up to fine effect. The lead single was 'Jam Side Down', becoming the first Quo original to make the top twenty of the UK singles charts for quite some time. It sounds like it could have been released by Quo at any stage within the past thirty years. That may not seem a good thing, but when we're speaking of the Quo, it means the song has a certain Quo quality that benefits 'Jam Side Down' being a charting Quo single. Harmonica see-sails right through 'Solid Gold' and it's a joy to hear. 'Green' is an intriguing track complete with acoustic guitars. It sounds atypical of the Quo, yet absolutely works. It sounds real and is perhaps my favourite song here.
'Do It Again' is an anthemic tune that sounds absolutely committed as the group kick up a storm that belies the guys ages. They may be 400 years old or something between them, but 'Heavy Traffic' is a convincing argument for old guys making rock n roll music. They could have knocked a couple of the tracks off towards the end of the LP to ensure the whole came in under forty minutes. As it is, this still manages to be a wholly convincing argument as to why the Quo do and should still exist.
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The Party Ain't Over Yet 7 ( 2005 )
The Party Ain't Over Yet / Gotta Get Up And Go / All That Counts Is Love / Familiar Blues / The Bubble / Belavista Man / Nevashooda / Velvet Train / Goodbye Baby / You Never Stop / Kick Me When I'm Down / Cupid Stupid / This Is Me
It's new years day, 2008, at the time of writing. My phone and internet connection is down and the internet connection may be down for a week or more. What to do? Well, my normal reasearch avenues are down, for a start. I have a few books, but not a library, you understand. So, i'm picking and choosing artists to review where really, the music matters above and beyond all else. Status Quo, love em or loathe em, are just such an act. Yes, for all their often embarassing TV appearences whoring themselves out to get their music heard in the absence of radio play ( for which I don't actually blame them for, and besides, one of their most recent was with the wonderful Adrian Chiles on 'The One Show' ) you know the Quo are in this for the love of music. 'The Party Ain't Over Yet' is an album containing solid original Quo songs and they sound like a band, continuing on from 'Heavy Traffic' stylistically. We've brief tantalising glipses of the classic Quo duelling guitar sound from the Seventies and generally interesting guitar parts elsewhere. Certain songs are saved by such sections, lifting average material to a good level otherwise unobtainable. The title track sent the Quo back into the UK top twenty, yet another hit single in a seemingly neverending line of hit singles for the group. It's pretty much Quo by numbers, enjoyable enough but nothing genuinely exciting. Genuinely exciting? Well, take 'Velvet Train' for example. See-sawing harmonica parts lends a genuine edge and the guitars chug with intent, oh yes they do! We've also got a great instrumental break with guitar solo, harmonica solo and it comes across not so much as a velvet train, but a steaming, mechanical monster.
How about a moment then that rescues an otherwise plodding tune? The harmonica parts through 'Belavista Man' raises the stakes and means the song appears to improve as it goes along, quite strange for a song that's all circles of guitars and a very traditional blues rock type structure. 'Gotta Get Up And Go' begins like utter classic Quo material, the guitars sound right and we wait through the opening seconds awaiting an explosion. Instead of the expected explosion, although the energy of the tune is retained, it never really reaches a higher level. Still a decent enough song, mind you. A harmless, catchy highlight arrives with 'All That Counts Is Love'. Again, Quo fail to resort to mid-tempo plodding, keep the energy up and this could have been a hit, for my money. What else? Well, a few tracks, 'Familiar Blues' being the worst offender, just simply fail to go anywhere. Indeed, 'Familiar Blues' and 'The Bubble' are ten minutes long between them right next to each other on the LP and sleeping is possibly advised during this section. Well, 'The Bubble' would be ok if it didn't resemble 80s AOR. Nevertheless, 'The Party Ain't Over Yet' is an album with more highs than lows, a solid collection for fans to enjoy.
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In Search Of The Fourth Chord 7 ( 2007 )
Beginning of the End / Alright / Pennsylvania Blues Tonight / I Don't Wanna Hurt You Anymore / Electric Arena / Gravy Train / Figure of Eight / You're the One for Me / My Little Heartbreaker / Hold Me / Saddling Up / Bad News / Tongue Tied
The ironically titled 'In Searth Of The Fourth Chord' is the Quo's umpteenth album and continues their recent return to some kind of boogie-rock roots. Their sound remains uninventive, their lyrics remain unimaginative yet Status Quo still manage to demonstrate enthusiasm and energy, which is quite something after so many years in the job. We even get something of a first, bassist John "Rhino" Edwards handles the vocal duties on 'Bad News', the first time he gets a lead vocal in twenty odd years as part of the Quo line-up. It's a strongish rocker and his vocals are decent and suitably gritty. The strangely weak vocal that decorates 'Tongue Tied', a ballad in search of a tune undoes a lot of the good work 'Bad News' performs towards the close of the album, however. At the other end of things, the lead single opens up the album with a bang, catchy riffs and a memorable chorus. It's no 'Caroline' or 'Down Down' of course, yet the guitars combine well to create an impressive sound all the same. A potential second single, should they choose to release one, could well be the powerful 'Gravy Train', a great chugging thing with sterling keyboard work combine with the vocals to remind this listener of the rockier moments from classic Sixties group, The Doors.
'You're The One For Me' revolves around another guitar riff variation sounding suspiciously similar to dozens of other Quo tunes, yet we're going back to 70s Quo rather than 80s, so that's not a bad thing. Indeed, the energy and refreshingly natural sound of 'You're The One For Me' is almost enough to remind a listener of the Quo's classic run of albums in the early to mid-seventies. Another welcome highlight has to be 'Pennsylvania Blues Tonight', a surprisingly modern sounding rhythm section provide an insistent groove, hence a groove based rather than riff based Quo tune, although a catchy little guitar figure pops up here and there to move the tune forwards. Inbetween said highlights, we have a few near-clunkers, undistinguished material not likely to lodge itself in your brain in the first place, let alone stay around. So, material like 'My Little Heartbreaker' is all the more fun inbetween such material. Not a classic Quo set then by any means, yet certainly listenable and matching the quality of the groups best recent works.
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Live At The BBC 8 ( 2010 )
Gloria / I (Who Have Nothing) / Neighbour, Neighbour / Bloodhound / Bird Dog / I Don't Want You / Almost But Not Quite There / Spicks and Specks / It Takes Two / Spicks And Specks / Judy In Disguise (With Glasses) / Pictures Of Matchstick Men / Things Get Better / Pictures of Matchstick Men / Gloria / Bloodhound / Black Veils Of Melancholy / Ice In The Sun / Paradise Flat / When My Mind Is Not Live / Make Me Stay A Bit Longer / Are You Growing Tired of My Love / The Price Of Love / The Price Of Love / Junior's Wailing / Spinning Wheel Bluesv Down The Dustpipe / In My Chair / Need Your Love / Mean Girl / Don't Waste My Time / Oh Baby / Paper Plane / Softer Ride / Paper Plane / Softer Ride / Don't Waste My Time / In My Chair / Caroline / From A Jack To A King / Down The Dustpipe / Railroad / Caroline / The Party Ain't Over Yet / Whatever You Want / Belavista Man / Rockin' All Over The World / Junior's Wailing / Someone's Learning / In My Chair / Railroad / Don't Waste My Time / Paper Plane / Roadhouse Blues / Bye Bye Johnny / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Over The Edge / Don't Waste My Time / Dirty Water / 4500 Times / Big Fat Mama / Roadhouse Blues / Rain / Down Down / Bye Bye Johnny / Whatever You Want / Little Lady / Roll Over Lay Down / Cream Of The Crop / Who Gets The Love? / Hold You Back / Don't Drive My Car / Dirty Water / In The Army Now / Rockin' All Over The World / Don't Waste My Time / Bye Bye Johnny / Whatever You Want / In The Army Now / Burning Bridges / Rockin' All Over The World / Roadhouse Blues/The Wanderer/Marguerita Time/Living On An Island/Break The Rules/Something 'Bout You Baby I Like/The Price Of Love/Roadhouse Blues Caroline / Paper Plane / The Wanderer / Proud Mary / Wild Side Of Life /Rollin' Home/Again And Again/Slow Train / Get Back / Whatever You Want / In The Army Now / Something 'Bout You Baby I Like / Don't Waste My Time / Rockin All Over The World / Roadhouse Blues / Caroline / All Around My Hat (with Maddy Prior) / Caroline / Roll Over Lay Down / Backwater / Little Lady / Don't Drive My Car / Whatever You Want / Hold You Back / Rockin' All Over The World / Dirty Water / Down Down / Don't Waste My Time
Beginning with a cover of Van Morrison's 'Gloria' and ending with tracks recorded for the BBC in 1996 this set covers a selection of recordings The Quo made for BBC radio. When 'GLoria' kicks into gear Status Quo are still known as The Spectres. In 1996 they had become a somewhat derided national institution, albeit one with a committed and appreciated fanbase, particularly on the live circuit. 'Roadhouse Blues' from one of these 1996 live performances for instance displays an immensely impressive powerful performance from Quo, proof at last that they'd actually lost none of their Seventies firepower, at least when they put their minds to it. These 1996 live performances bristle with intent, 'Paper Plane' sounds like a tank about to destroy an entire village. Switching to live performances from 1992 contained on disc six is therefore a bit of a surprise. A much more crowd-pleasing set full of hits, 'Whatever You Want', 'Burning Bridges', 'Rockin All Over The World', etc. Just comparing the 1992 and 1996 performances of 'Roadhouse Blues' is revealing for me. The 1992 version hasmarkedly less power coming from the rhythm section and coarser lead vocals.
In 1988 live at Wembley Arena we open with a perfuntory run through of Argos favourite 'Whatever You Want', move into a throroughly entertaining and energetic 'Little Lady' moving through some 'select' album tracks from 'Ain't Complaining', my least favourite Status Quo album ever. The energy levels drop and they turn into some kind of American arena act, losing much of their character in the process. Let's compare and contrast 1988's 'Whatever You Want' then with 1982's 'Whatever You Want' recorded at the Birmingham NEC. The classic Quo guitar boogie sparkles for one and a version of 'Caroline' taken from the same gig may have slightly bored sounding vocals but the band themselves sound pretty good when blasting through my ears. The live tracks taken from 1973 sound like a band in transition even though the transition to the boogie monsters they were famous for being by then was already complete. Just goes to show how much the Quo continued to improve throughout that decade. Although their albums may not have sounded very different at all to each other, live at least they were still developing and honing themselves both as a unit and as individual performers.
Personally, being a massive fan of the late, lamented John Peel, hearing two tracks recorded for a Peel Session in 1972 was revelatory. Re-writen history would pretent that Peel arrived when punk did and listened to nothing but noisy white boys who would later crop up in the pages of NME. So, a run through of 'Paper Plane' and also 'Softer Ride' which has insistent guitar riffs and a proper bluesy feel - albeit all done at 100 miles an hour. Best thing on the box-set? Well, quite possibly, at least in our house. Seven songs from a 1972 'Sound Of The Seventies' demonstrates well why Quo blossomed into the huge act they became, particularly a roaring version 'Oh Baby'. I like the way the highlights of this box overall aren't necessarily the ones you would expect. Yeah, the sound quality is variable throughout although that doesn't detract one bit from the overall pleasure to be had. Yes, Quo=pleasure. Well, at least they should do for any reasonable thinking person, especially when dipping into the early to mid-seventies output of Quo.
A quick word about formats. The deluxe edition contains seven CDs and one DVD. There's a four disc box and also a 2CD version. A veritable feast for Quo fans. I mean, those early sessions when Quo were known as The Spectres showcase a promising rhythm and blues outfit. Four tracks as 'The Traffic Jam' are caught somewhere inbetween the rhythm and blues and the pyschedelic outfit they would become. The songs from 1968 showcase a number of covers and also an airing of 'Pictures Of Matchstick Men' their first chart-breakthrough. Still sounds good some astonishing 42 years later. A very posh sounding Hairy Cornflake then takes us through three or four tracks when Quo had all but completed their move back to the blues, to rhythm and blues and well towards developing into that mighty seventies behemoth they became.
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Quid Pro Quo 8 ( 2011 )
Two Way Traffic / Rock 'n' Roll 'n' You / Dust To Gold / Let's Rock / Can't See For Looking / Better Than That / Movin' On / Leave A Little Light On (Parfitt/Morris) / Any Way You Like It / Frozen Hero / Reality Cheque / The Winner / It's All About You / My Old Ways
Reaching number 10 in the UK album charts for a band that has been around as long as Status Quo have is a very impressive feat. Well, let's think of it this way. Will U2 still be charting in the top ten come 2020? Bono will have no voice, The Edge will be deaf and the rhythm section fat and bald. Francis Rossi still composes the majority of Quo tracks, by the way, yet the Parfitt/Bown axis get plenty of writing credits also, although curiously no songs are Rossi/Parfitt co-writes, they rarely ever did write together if my memory serves me correctly. Anyway, 'Quid Pro Quo' captures the sound of the band playing live, there's very few overdubs and it's a guitar heavy sound. The songs are lyrically reminding one of their previous hits yet musically rush along in a manner no forty year old band have any right to be able to achieve.
Salient points lazily cribbed from Amazon reader reviews follow.
"To me, Quid Pro Quo sounds like the culmination of Status Quo rediscovering their soul (their 'Quoness' if you like) that started with Under the Influence in 1999"
"I have a massive soft spot for the Quo. I used to listen on a Saturday afternoon to the Alan "Fluff" Freeman radio show praying he would play a Quo track...and he did lots of them! I go back as far as Ma Kellys Greasy Spoon"
"Following on from poor efforts in the 80s and 90s Quo are starting to produce some good albums again."
"Bought this for my hubby as he is a Quo fan! Cant comment on the album as I m not particularly a quo fan myself but I have a happy hubby"
Isn't that what music is all about? Following that final comment, I may get my wife to go-to a Quo gig instead of me going to a Take That gig. Well, I'm not a Quo fan, as such, but the live disc here gets my curiosity juices flowing - to think, when I started this page I thought I absolutely despised the group and everything they stood for? True, the lyrics are as cliche as Jeremy Clarkson yet when did that ever stop him being popular? The music is rock, the rockiest they've been for quite for years, consistently so rather than just the odd track here and there. I mean, Parfitt can even get away with 'Let's ROCK, Let's ROCKIT' and we don't mind. Not enough bands do rock these days, I mean, who has even come through in the past few years? 'Reality Cheque' and 'Leave A Little Light On' are also Parfitt co-writes and he seems on fine form throughout this LP set. LP? See what I did there - trying to confuse the already bewildered youngsters!
Andy Bown plays keyboards that sound like Piano and Organ - perhaps they are. It all adds to a very real sounding Quo set that doesn't scream out 2011, as it very much shouldn't do, and what's this? 'Frozen Hero' penned largely by Rossi sounds like a Quo classic if ever there was one, a song to slip seamlessly into any Quo live set. The guitars spiral and turn and the chorus is mighty and why the hell didn't they release this as a single anyway? Well, their days of hit singles are quite probably way behind them yet I'm glad to report they've still got it in them to try.
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Readers Comments
Paul Lillis Republic Of Ireland
only after finding your website and what a pleasure it is to read your reviews and there are very good have all these albums you talked about and i must say i agreed with you on what you said. but tou didnt review to be or not to be album i think release in 1979, in my opinion i think this would only recieve a 4 rating one of there poorer albums i love the quo and always get there albums but havnt bought much of there new stuff prefer there music from the early 70s thanks again it was great to find your site
Bula Quo! 7½ ( 2013 )
1. Looking Out For Caroline / GoGoGo / Run And Hide (The Gun Song) / Running Inside My Head / Mystery Island / All That Money / Never Leave a Friend Behind / Fiji Time / Bula Bula Quo (Kua Ni Lega) / Living On An Island / Frozen Hero / Reality Cheque / Rockin' All Over The World / Caroline / Beginning Of The End / Don't Drive My Car / Pictures Of Matchstick Men / Whatever You Want / Down Down
Status Quo have gone silver screen in Kiss fashion with a film Bula Quo, disappointingly, this isn't 'Family Guy Kiss Do Christmas' but was perhaps an inevitable concept from a band searching for ways to remain in the news and to remain relevant. You do suspect though a lot of the dodgier concepts coming from the Quo camp are Rick Parfitt ideas - these guys appeared on TV and Rossi just nodded politely. 'Bula Bula Quo' becomes, astonisingly, the groups 100th single. That's a staggering fact, surely?
As for the film, "Rocking All Over The World, Status Quo witnesses a gang murder in Fiji. They flee with crucial evidence; have they played their last gig? Rock legends Status Quo are finishing their 50 Year Celebration tour. They come off stage to thunderous applause and slip away for a quiet drink. Suspecting a bigger party is going on in the back bar, Francis Rossi and Rick Parfitt slip through security and gate crash the event. They witness a gambling ring forcing competitors to play Russian Roulette. The winner gets dinner. The other loses their head. Parfitt and Rossi grab evidence of the murder and create a commotion so they can get away. Wilson (Jon Lovitz Happiness, The Wedding Singer, Friends), the lead gangster, catches sight of them and orders their heads. Parfitt and Rossi are on the run. Simon (Craig Fairbrass Cliff Hanger, Rise of The Footsoldier), their manager, and Caroline (Laura Aikman - Keith lemon Movie, Freight, Blood Monkey etc), a cheeky intern, are tasked with keeping the press in the dark while protecting Status Quo. An ambitious reporter, Dave (Matt Kennard - Freight, BBC TV Doctors), senses there is a story. Caroline holds him off as long as possible, but as the situation escalates, enlists his help. Using sea-planes, speed boats, jet skis, golf carts and scuba gear, Status Quo and their entourage evade capture and manage to leave paradise."
First thing I notice listening to this, it's very produced, it's very commercial with almost every song tipping its hat towards the charts, if only it were twenty years ago, of course. That's a fact Quo live to ignore, so we have 'GoGoGo' which is a genuinely brilliant track, with an actual thrilling guitar solo of the type you would not readily associate with Status Quo. The opening 'Looking Out For Caroline' is decent, although a little too familiar for what we expect from Quo. 'Run And Hide' has some heavy bass guitar work which is nice and 'Running Inside My Head' is faintly bluesy and lots of fun, if not exactly serious. We'll skip 'Mystery Island' for being a piss-poor attempt at a Beach Boys 'Kokomo' and the single 'Bula Bula Quo' is just weird, tribal drumming and an all too jaunty lead vocal. The 2nd disc consists of remakes of Quo songs and a few live numbers, ancient Quo number 'Pictures Of Matchstick Men' being done particularly well.
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Readers Comments
ChristianAustria
Thx for all the great Reviews, cant wait for the AQUOSTIC review. rock on
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this page last updated 230/08/15
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news, artists & new releases STATUS QUO RELEASES THE FIRST SONG AND VIDEO 'PAPER PLANE' OF THEIR NEW LIVE ALBUM
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[] |
[] |
[
""
] | null |
[] |
2024-04-30T13:41:51+00:00
|
Shortly after the announcement of the 'Official Archive Series Vol. 3 - Live At Westonbirt Arboretum', Status Quo releases the first sond and video for their steady evergreen ‘Paper Plane’.
|
en
|
earMUSIC
|
https://www.ear-music.net/news/status-quo-paper-plane-single-release/
|
Status Quo releases the first track ‘Paper Plane’ from their upcoming live album, ‘Official Archive Series Vol. 3 – Live At Westonbirt Arboretum’, through earMUSIC.
This song is the perfect soundtrack to forget the daily grind! At a Status Quo concert, ‘Paper Plane’ isn’t just a song, it’s a launchpad. The lights pulse, the crowd roars, and with the first riff, everyone takes flight. This version captures that raw energy, taken from the upcoming ‘Official Archive Series Vol. 3 – Live At Westonbirt Arboretum’, which is available now on all digital platforms along with a lyric video. Francis Rossi belts out the chorus, and a wave of pure joy washes over the venue. Strangers transform into a singing, swaying mass, united by the soaring spirit of the track. Live music magic!
Access ‘Paper Plane’ HERE.
The ‘Official Archive Series’ offers exceptional sound quality and great packaging throughout, featuring photography by Christie Goodwin. The Series has been freshly mixed and mastered by Eike Freese and Laurin Halberstadt at Chameleon Studios Hamburg.
‘Vol. 3 – Live At Westonbirt Arboretum’ was recorded on Sunday 22 June 2008 as part of the ‘In Search Of The Fourth Chord’ UK tour. This was the tenth show of the year, and was part of the ‘Forest Live’ initiative by the Forestry Commission, and in fact was a return to the venue for the band who had performed a short run of ‘Forest Live’ shows as part of the ‘Heavy Traffic’ tour of 2003.
Pre-order the album HERE.
|
|||||
2833
|
dbpedia
|
2
| 31
|
https://vinyl-records.nl/rock/status-quo-on-the-level-vertigo-france-vinyl-lp-album.html
|
en
|
STATUS QUO On the Level Rock and Roll Album Cover Gallery & 12" Vinyl LP Discography Information #vinylrecords
|
https://vinyl-records.nl/favicon.ico
|
https://vinyl-records.nl/favicon.ico
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] |
[] |
[] |
[
"Status Quo On the Level",
"Music Genre: Rock and Roll"
] | null |
[] | null |
Status Quo's "On the Level" album holds a special place in the band's extensive discography. Its iconic cover art, featuring the band members in an Ames room, immediately captures attention. This page has quality photos of album covers, record label and detailed description.
|
en
|
/favicon.ico
|
https://vinyl-records.nl/rock/status-quo-on-the-level-vertigo-france-vinyl-lp-album.html
|
Album Description:
Status Quo, one of the most influential British rock bands of all time, left an indelible mark on the music industry with their iconic sound and energetic performances. Among their impressive discography, the 1975 album "On the Level" stands out as a memorable release.
Album Art and Design:
The cover art of "On the Level" presents a visually captivating concept. The band members, Francis Rossi, Richard Parfitt, Alan Lancaster, and John Coghlan, are photographed in an Ames room, creating an intriguing optical illusion. This distinctive imagery immediately captures the attention of the viewer and perfectly reflects the album's title.
In addition to the striking cover, the inner gatefold sleeve of the original vinyl release offers a personal touch. It includes informal photos taken by the band members themselves, providing fans with a glimpse into the camaraderie and chemistry that made Status Quo such a formidable force in the music industry.
Production and Sound:
Status Quo took on the role of producers for "On the Level", showcasing their artistic vision and desire for creative control. The album demonstrates the band's distinctive blend of rock, boogie, and blues, which became their trademark sound. The record features a collection of high-energy tracks, showcasing the band's ability to create infectious hooks and catchy melodies.
Songs like "Down Down" and "Little Lady" exemplify Status Quo's ability to craft anthemic rock songs with irresistible guitar riffs and driving rhythms. The band's tight-knit musicianship and the raw energy they bring to each track create a cohesive and engaging listening experience. "On the Level" showcases the band at the height of their creative powers, capturing the essence of their live performances in a studio setting.
Record Label and Legacy:
Vertigo Records, a prominent label known for its association with progressive rock and heavy metal acts, released "On the Level". The album's catalogue number, Vertigo 9102 002, represents its status as a highly regarded release within the label's extensive roster.
The success of "On the Level" further solidified Status Quo's position as one of the most influential rock bands of their time. The album reached number one on the UK Albums Chart, becoming their first chart-topping release. It also spawned several hit singles, including the aforementioned "Down Down", which remains one of their most recognizable songs to this day.
About the Ames Room:
The Ames Room is a visual illusion that creates a distorted perception of the size and shape of objects and people within it. It was invented by American ophthalmologist Adelbert Ames Jr. in 1946 and has since become a popular subject in the field of perceptual psychology.
The room is constructed with a trapezoidal shape, where the back wall is much shorter on one side compared to the other. The floor and ceiling are also angled to match the shape of the room, creating the illusion of a regular rectangular space when viewed from a specific vantage point. The result is a room that appears normal when observed through a peephole or from a particular viewing spot.
However, when people or objects are placed inside the Ames Room, an optical illusion occurs. By strategically positioning individuals within the room, they can appear to change in size dramatically. The person on the shorter side of the room seems significantly larger than the person on the longer side, even though they may be of similar height in reality. This illusion occurs due to our brain's perception of depth and the reliance on familiar cues such as relative size and perspective.
The Ames Room illusion demonstrates how our brain can be easily fooled by visual cues, leading to incorrect interpretations of size, distance, and spatial relationships. It challenges our perception and understanding of reality by showcasing how our visual system can be deceived by cleverly manipulated environments.
The Ames Room has been a popular tool in various fields, including psychology, neuroscience, and visual perception research. It highlights the complexities of human vision and the remarkable ways in which our brain processes visual information. Beyond its scientific applications, the Ames Room has also found its way into entertainment and artistic endeavors, such as in photography, film, and optical illusion exhibitions.
|
|||
2833
|
dbpedia
|
0
| 28
|
https://livinginmontserrat.wordpress.com/2023/02/06/40-years-ago-did-status-quo-end-in-montserrat/
|
en
|
40 years ago: Did Status Quo end in Montserrat?
|
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[] |
[
""
] | null |
[
"Craig Brewin"
] |
2023-02-06T00:00:00
|
Above: Alan Lancaster Forty years ago, it was Status Quo's turn to record in Montserrat, where they recorded what bass player Alan Lancaster described as their worst ever album. It was Lancaster's last album with the band, so he was saved from some of the band's later efforts, but Back to Back, their 16th album,…
|
en
|
Craig Brewin’s Blog
|
https://livinginmontserrat.wordpress.com/2023/02/06/40-years-ago-did-status-quo-end-in-montserrat/
|
Above: Alan Lancaster
Forty years ago, it was Status Quo’s turn to record in Montserrat, where they recorded what bass player Alan Lancaster described as their worst ever album. It was Lancaster’s last album with the band, so he was saved from some of the band’s later efforts, but Back to Back, their 16th album, was barely recognisable as a Quo record.
Although relatively unknown in the USA, Status Quo were household names in Britain, where they were famed for their energy, catchy tunes, nasal-driven vocals, and three-chord rock ‘n’ roll boogie. But they were running out of steam after the mid-70s, and frontman Francis Rossi was looking for a new sound: One that Lancaster hated. Four singles were released from Back to Back, with the most successful being Margeurita Time, which the band members, other than Rossi, didn’t even want to record. It was a ditty rather than a rock song, but it got them onto the light entertainment shows.
Lancaster also suffered the ignominy of seeing the record company demand that the vocals on the song he wrote, Ol’ Rag Blues, be rerecorded by Rossi, who was the recognisable voice of Quo on the radio. The final single off the album, Going Down Town Tonight, was also rerecorded back in England without any band members playing on it at all. A risible early 80s keyboard backing track hinted at what was to come.
The Frantic Four, as the band’s most successful lineup became known, was falling apart. Drummer John Coghlan had left before the Montserrat session, complaining that he was fed up with the lifestyle, and Lancaster was eventually forced out too. He’d been complaining about the music. Lancaster said the break up of the Frantic Four was all down to cocaine, ego, and Rossi’s personal ambitions, but for many Quo fans, this lineup, the 1970-81 lineup, was the only real deal. Without the 70s rhythm section and Lancaster’s songwriting, the band became a couple of middle-of-the-road artists searching for a hit. They even sued the BBC at one point, for age discrimination, for not playing their latest single (a Beach Boys cover) on Radio One. They lost.
Back to Back probably needed a stronger musical direction, and nothing recorded at AIR studies was performed live until Rossi started sneaking Margeurita Time into the sets decades later. A brief reunion tour of the Frantic Four in 2013/14 stuck with the 1970s songs. Asked by Classic Rock Magazine what would happen if Rossi wanted to play Margeurita Time, guitarist Rick Parfitt said, “we’d split up again, have a punch up, and then reform straight away.” By then, there were two Status Quo lineups: The Frantic Four playing their three-chord power boogie and Rossi and Parfitt’s other Quo, turning out album after album of good-time rock ‘n’ roll of ever-diminishing quality. But the arrangement gave something to everyone for a period. Rick Parfitt died in 2016, and Alan Lancaster in 2021.
Between 1968 and 2010, Status Quo had 58 top 40 hits in the UK, more than any other artist. They continue to record and tour.
Margeurita Time became one of the best-selling singles recorded in Montserrat and was performed by Status Quo (without Alan Lancaster) on Saturday evening’s Canon and Ball variety show in the UK.
An early run-through of the song in the studio is at the link below. They appear to be under the influence of something. Margeuritas perhaps.
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https://www.popsugar.com/shopping/how-to-shop-the-brat-summer-tiktok-trend-49381778
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en
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TikTok Declared It a "Brat Summer" — Shop the Trend
|
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] |
[] |
[] |
[
"popsugar",
"kyley warren",
"shopping",
"beauty trends",
"fashion trends",
"charli xcx",
"tiktok"
] | null |
[
"Kyley Warren"
] |
2024-07-30T19:50:05+00:00
|
TikTok has declared it a "brat summer," inspired by Charli XCX's "Brat" album. Here's how to shop the brat summer trend, including brat outfits.
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en
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/static/ps-favicon.ico
|
Popsugar
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https://www.popsugar.com/shopping/how-to-shop-the-brat-summer-tiktok-trend-49381778
|
While last summer's pink parade of all things Barbie and Taylor Swift might've paid homage to girlhood, this summer appears to be adopting a much grungier theme — think less bubbly pop ballads and sparkles, more New York City party girl with electric house beats and chaos galore. As TikTok has so eagerly declared: it's a "brat summer."
ICYMI: Ever since Charli XCX released her sixth studio album, "Brat," back in June, the record has set into motion a wave of new trends inspired by her songs — and memes inspired by the album's signature Arial font. With lyrics like, "Falling over and failing, at least we're closer to being on the same page" and "I'm everywhere, I'm so Julia" — a nod to Julia Fox, no less — the record rejects TikTok's clean girl trend for a more feral aesthetic.
What Is "Brat Summer"?
So, what exactly does being brat mean? In an interview on BBC's "Sidetracked" podcast, Charli herself described it as "messy," saying: "You're just like that girl who is a little messy and likes to party and maybe says some dumb things some times. Who feels like herself but maybe also has a breakdown. But kind of like parties through it, is very honest, very blunt. A little bit volatile, does dumb things. But it's brat. You're brat. That's brat." Keyword being: honest.
Brat summer is sporting a strappy white tank sans bra. It's stuffing your Mugler bag with a pack of Marlboros, painting your nails slime green, and staying out clubbing all night long, with no signs of stopping. It's about embracing your hottest, most chaotic self, going against the status quo in favor of having fun (like endless fun), and making zero apologies for it.
How to Shop the Brat Summer Trend
|
||||
2833
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dbpedia
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2
| 70
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https://getreadytorock.me.uk/blog/2019/08/album-review-status-quo-backbone/
|
en
|
Album review: STATUS QUO – Backbone
|
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[
"Status Quo",
"Backbone",
"album",
"CD",
"review",
"Earmusic",
"Francis Rossi",
"Leon Cave",
"Ritchie Malone",
"Rhino Edwards",
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] | null |
[] | null |
A review of the album Backbone by Status Quo
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en
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https://getreadytorock.me.uk/blog/wp-content/themes/twentyten/favicon.ico
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Get Ready to ROCK!
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https://getreadytorock.me.uk/blog/2019/08/album-review-status-quo-backbone/
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earMusic [Release date 06.09.19]
On the release day of this album I will be avoiding social media at all costs. The luddites and trolls will be out in force to decry this album as a travesty and a slur on the Quo legacy, produced, in their opinion, by a ‘tribute’ act. I can hear the laments now for the days of the frantic four, people extoling the virtues of double denim as a fashion choice and there will be those calling for no less than the head of Francis Rossi, atop a Fender Telecaster, in a glass case at their nearest Hard Rock Cafe!
Very few though will have actually bothered to listen to the new album which in my opinion is probably the best Quo release in recent memory. Things do get off to a slow start however with opener ‘Waiting For A Woman’.
Not sure who arranged the track listing for the album but this song would have been better popping up mid-album rather than being the opener. It’s by no means a bad track however there are better, more gripping songs which would have been better openers.
For me ‘Cut Me Some Slack’ would have been more than up to the task of being track 1. Built on a dirty riff cranked out by Francis Rossi and Ritchie Malone this is more like it, Quo firing on all cylinders.
‘Liberty Lane’ keeps up the pace with some excellent cowbell work at the start from Leon Cave, what song isn’t enhanced by a bit of cowbell? This track contains a great melody and has been receiving a lot of airplay on the radio.
‘I See You’re In Some Trouble’ bounces along on a pumping riff, with a great bass line from Rhino Edwards, and contains a big chorus. ‘Backing Off’ is probably my favourite song on the album, again the guitar work here is superb with some unusual twists thrown in along the way. This is the sound of a band really enjoying themselves in the studio and 33 albums in that is quite some feat!
‘I Wanna Run Away With You’ is an old school rocker with a great 12 bar riff that takes you back to the band’s heyday, yes it is that good. The title track ‘Backbone’ follows sticking two fingers up to any of the doubters who think the band are a spent force, Rossi and co are standing proud and are happy to take on the naysayers with an arsenal of 11 top tunes!
The chugging riff of ‘Better Take Care’ is another highlight on the album and it contains a cracking guitar solo from Rossi, it is easy to dismiss Francis as a 12 bar wonder but his playing here is top notch. ‘Falling Off The World‘ is another familiar Quo standard with a heavy mid section which will be great in a live setting.
The guys then hit full throttle with ‘Get Out Of My Head’ which is a fast paced out and out rocker. Again, live this will be a storming track, if you don’t nod your head along to this one then I would check for a pulse. ‘Running Out Of Time’ then brings the album to a close in fine style, whether this is a comment on the band’s collective age or its longevity is not specified, but this album proves there is plenty of life in the old dog yet.
Francis Rossi states on the accompanying blurb that the young blood in the band, Ritchie Malone and Leon Cave, has re-energised the group and this album is the sound of a band renewed. The latest version of Quo may be a bit like Trigger’s Broom, however they have swept away the cobwebs and have produced an album worthy of the legacy and undoubtedly the best album the band have produced in many years. ****
Featured Artist: JOSH TAERK
Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.
In 2023 he signed a recording deal with Sony in Canada and released a new single on 15 September.
Latest session: SUNDAY 26 MAY
Check out videos here: https://www.facebook.com/getreadytorockradio
David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 28 July 2024.
UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 30July 2024.
How to Listen Live?
Click the programming image at the top of the page (top right of page if using desktop)
Listen via Windows Media Player. Click or tap here and “open file”
Listen via other media player (eg. VLC) Click or tap here and “open file”
Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.
More information and links at our radio website where you can listen again to shows via the presenter pages: getreadytorockradio.com
Power Plays w/c 5 August 2024
THE VIRGINMARYS Northwest Coast (indie)
THE DEAD DAISIES I’m Gonna Ride (indie)
DARKNESS IS MY CANVAS Day Zero (Rockshots Records)
BONES UK Fix (indie)
SLEEP THEORY Stuck In My Head (Epitaph Records)
A LENS TO THE SUN 24 Summers (indie)
Featured Albums w/c 5 April; 2024
09:00-12:00 The Best of 2003-2023 (Melodic Rock)
12:00-13:00 The Best of 2003-2023 (Melodic Hard Rock)
14:00-16:00 The Best of 2003-2023 (Singer Songwriter)
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Status Quo album-by-album thread (50 Years of Quo)
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I've been asked to put the whole interview on here. I don't want to hijack the topic with it, but I guess it IS part of the whole historical context.
I...
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/status-quo-album-by-album-thread-50-years-of-quo.686221/page-23
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I've been asked to put the whole interview on here. I don't want to hijack the topic with it, but I guess it IS part of the whole historical context.
I hope the original poster doesn't mind.
Here it is:
LOYAL FAMILY INTERVIEW ALAN LANCASTER, 22-03-05
I've said it many times before, it's very special for a simple fan like me to get the chance to talk to some of your musical heroes. An interview with Alan is a little bit more special because we haven't seen or heard a lot from him the last few years. And more important, Alan was founder member of the band and has contributed immensely to the Quo sound during the glory years. But the only reason we are doing these interviews is because of you, the fans!!. The fans deserve good interviews. It was great talking to him and he's a very nice person indeed. I don't know what it is with bass players, but like Rhino, Alan also couldn't stop talking. It made a big impression on me and it took me about a week to recover from it. Cause like I said, you don't get to talk to your idols every day. I hope you all enjoy it!!
Alan, the question all the fans want to ask you: how are things at the moment with your hand? Can you describe exactly what the problem is you're having?
Yeah, that's still a problem. I have R.S.D. (Reflex Sympathetic Dystrophy) in my hand. I can't really play guitar at the moment properly. I can play but not at the standard I used to. It's a bit stiff. Not my hand, my fingers. It is almost better now. But I can't really play at the moment. It stopped me from playing. There's nothing wrong with me other than that.
But it is getting better?
It's getting better now yeah. I should think another six months. I doesn't hurt or anything like that. It's just like when you pick up a cup of tea, it's a bit weak. That's like when you hold your plectrum. But other than that I'm fine. I pulled my old jeans out the closet the other day. The ones I used to wear in the seventies. They still fitted me. So I haven't changed in shape.
Alright then! Alan, how do you look back at the years with Quo? Do you think about the good times or are you still bitter about what happened later on?
It's a bit strange really. They were good times. And looking back, it's amazing how much fun we had. How good those good times were and to the picture that's been painted these days. It's almost like someone has rewritten the whole story. A lot of the things you hear did not happen! It's absolutely ridiculous.
Like what?
For start, those days were never sex, drugs and rock and roll. The band was very fit and you didn't had time for any of that stuff. The band was never into drugs. Just a naughty joint of the end of a gig or something like that. But that's about it. I didn't drink. John had a little drink but that's it. There was nothing going on. It's only when Rossi and Parfitt started to get into cocaine. Then everything changed.
But that was later on?
Yeah. It started when Pip Williams started to produce us. It gradually and slowly crept up. In the late seventies I moved to Australia and I didn't notice it creeping up. And of course, it destroyed Rossi and Parfitt. Rossi started drinking. John and I were basically free from it. John liked a drink but that's it. And now we saw this change of personality with Rossi and Parfitt. Basically, they hated one another's guts. And it was a very tricky balance to keep it together. It became very tense around 1981. That period. What happened was, Pip Williams came in to produce us and it changed us. It changed the whole concept of the band.
And the sound also I think.
Well obviously. Everything about the band was real. I think we had an ideology. And that was, we were anti establishment, anti the music business. We didn't wanna become media celebrities. We were into what we were into. We were one trick ponies. What we played and what we did, that's what we could do. We couldn't really do anything else. We were like a modern day folk band, a peoples band. And we had a certain niche which we identified with, with our fans. We were like the same. More like a football crowd in some respects. We played hard rock boogie with our own style. And to do that it enquired a lot of energy. And you can't deliver that kind of energy if you're on drugs. Or if you're out of it all the time like Rossi makes us all believe. That's untrue. It's simply wrong. The band were quite fit and we were travelling around the world constantly doing two to three hour shows. You had to be fit. You had to eat the right food. And that's why it lasted so long. You have to be fit when you're going on stage. You can't be under the influence. When you put as much energy into a show as Status Quo's music requires, you have to be very energetic. Rossi would have always told you that in the early days. You cannot be on drugs or drinking when you're on stage. It's allright to have a beer or something like that when you're there.
Parfitt and Coghlan were the only ones to have a drink, but both very small. Anything large was afterwards. But that wasn't as often as made out. So the band were quite fit and quite together. Brain and body. Around that 1981, 1982 period, it started to get a bit sour. And that was because of certain circumstances. Which really were all caused by the drugs. And if the managers weren't on drugs, on cocaine, and the record company directors weren’t on cocaine, and the lawyers weren't on cocaine, and Rossi and Parfitt weren't on cocaine, than perhaps we could have made some difference. The fact of the matter is that they were all on cocaine. So it didn't matter what decisions were made in those days because anybody that understand what cocaine does to you knows that it changes your personality. It makes you feel like if you're invincible. This is what was happening. It started quite innocently during the recording of the Rockin' all over the world album. Because up until then we produced all our own albums. Except for the Pye stuff. Every single one of them was produced by us. Even though someone like Damon Lyon Shaw has his name on the sleeve on some of the early stuff, that's all nonsense. That's just us putting a name on it to give somebody credit. All that stuff was totally arranged and produced by the four of us.
The Pye stuff was a different era. When we were doing so well producing ourselves, America came into the picture. That's when Pip Williams was put up. I didn't really want to have another producer. But he seemed good and we were prepared to give it a shot. But what it did was, it threw the band apart without us realising. Because we were a live band. Status Quo were never really a recording band. The live performances were always the main thing. The recording stuff, although it was a main thing too, it never was as important as the live thing. Because anything we did in the studio could never ever be a main track unless it was played live. In other words, the performance came first, not the song. We wouldn't perform to a song, a song was out to fit our performance. Because we had to stand on stage and face the public. There's no good getting on stage and play stuff like That's a fact or other songs like that. Cause it just didn't work for us. The performance always came first. The best stuff were the songs that were road tested and taken into the studio. That was the stuff that stood the test of time and has been performed on stage. And then we went into the studio to record it. Like the Piledriver album. The stuff that was written in the studio or somewhere else, always turned out weaker.
It might be nice songs but they didn't have the same magic. You can do them right in the studio but you couldn't do them right on stage. So that's two different sides of Quo. There was the live side, which was our most important side and we had the studio side which was very important but it had a different outlook of what we were. And all that stuff in the Pye era like Spare parts and the first album was all preconceived. The band wasn't doing any of that stuff on stage. We were doing stuff like Bloodhound, You really got me, stuff like that. It was all pretty hard rock. That psychedelic stuff wasn't what we were doing on stage. We got dressed up in those Carnaby street clothes, somebody took a picture of us while we were trying those clothes on and that picture goes all around the world. We only tried these things on in a shop and someone takes your picture and that gives you an image which was pretty ridiculous. The psychedelic era was an era that really confused me because we were always a together band and we wouldn't be pushed around or pushed into certain things by others. We were a bit naïve. As soon as Pictures of matchstick men became a hit we were kind of sucked into that pop/psychedelic star idol type thing for a while. That was completely different to what we were playing live. That was a strange era and an era that taught us a big lesson because when we came out of that era we really were much more anti establishment than before. Offcourse the band changed then as well. We didn't really change as far as our music but as soon as Roy Lynes left the band it all tightened up because the keyboards were ruining us. Cause Roy really came from a different era. He came from that Elvis Presley, Gene Vincent era. Which was Rock 'n Roll. We weren’t really Rock "n Roll. We were rock boogie. And Roy really got sick with our style and as soon as he left us the whole band tightened up as this four piece unit. Made it what it was. Obviously the best period of the band was 1970 to 1982. That is Status Quo. There's no other period. The psychedelic years were just a development. We had a partnership back then. You've got to realise that this partnership was developed even before Rick Parfitt joined the band. We had the whole infrastructure set before he even came in. Rick Parfitt would be playing on stage during the first six months without his guitar plugged in. He wasn't even playing. He didn't even play on Pictures of matchstick men. But the best period was from Dog of two head to Never too late. After that it was a different band.
Because John left.
Well, you can't have a Mr. and Mrs. Smith who have been married for 25 years, and then Mr. Smith divorce his wife and Mr. Smith goes off somewhere and he marries another woman and then they become Mr. and Mrs. Smith. Then a million dollars are coming through for Mr. and Mrs. Smith and the new Mr. and Mrs. Smith keeps that million dollars. But it doesn't belong to that partnership. It belongs to the original Mrs. Smith. It's her property. So you have to realise that a name of a band is not a name of a company or a person, it's a name of a partnership. This partnership is owned by four people that put in exactly the same effort to make it what it was. That name is owned by John Coghlan, Alan Lancaster, Rick Parfitt and Francis Rossi. That's who owns the name Status Quo. It's not a company or anything else. We had members come into the band like Andrew Bown. But they are members, not partners, not owners. They are not the producers of the music. They have contracts like employees. It's like Rossi and Parfitt with these other guys now. That's a different band. They might have the same name, but it's a different band. When I see Rossi and Parfitt with all these compilations, DVD's, all these records, it upsets me very, very much. Because they have not got the right to do so. It's against the law. My performances belong to me, John's performances belongs to him, just like Rossi and Parfitt's performances belong to them. If Parfitt's performances belong to him, they just don't belong to me or anyone else. So when you see all these compilations, they are not records I agreed too.
What upsets me is what Rossi and Parfitt are saying in interviews and books, is all a lie. It's not the truth. For instance, everybody thinks that they went to court to prove they own the name Status Quo. That's what they have written in their autobiography's. It's just simply wrong. Rossi and Parfitt never stood trial for their wrongdoings. They only went to court because I didn't want In the army now being released. That's the only thing. But that was a hearing before the trial. They never stood trial for what they did. That little hearing had nothing to do with the name, it had to do with the injunction to stop In the army now from being released. Obviously I was not successful. The only reason In the army now was released is because Phonogram came in and said they had this contract and that they could release it. And if I objected to that they were going to sue everyone. So I allowed them to release it. That's what happened there. The court case was settled out of court. They never went to trial.
When Rossi says he goes to court to prove he owns the name Status Quo it doesn't make sense. You don't go to court to prove you own something. You are the owner or you don't. The only people who owned that name were Rossi, Parfitt, Coghlan and me. That was the partnership and the only reason that they are carrying on under the name Status Quo is because I allowed them to. I settled it out of court and allowed them to finish up this contract under the name Status Quo. But what I didn't allow them to do is act as they are the old band. The last ten years or so they acted like they are the old band by saying they have been in the charts for five decades. Untrue. And they sold 120 million records. Untrue. They couldn't have sold more than about one million records on their own since I left the band. The most records we've sold were around 35 million. But it's around 35 million. Not 120 million. The most they have sold is about one million. The sales of the Rocking all over the years compilation is not only theirs, it's also from me and John's. This is how the cocaine changed them. This is why they just carry on as if they are entitled to do things which they are not. They just make people sue them. That's why I had to sue them again. There's nothing worse than to sue your friends. But these guys turned in to different people. Status Quo had an ideology. It had a packed. It was a real thing. But it became a farce just after John left the band. John actually left the band in 1983. In November 1981 he departed and was replaced by Pete Kircher. But John was still a part of the band up until may 1983. He didn't departed in 1981, he was just replaced. This is when the whole thing was started to go wrong because nobody realises how important a drummer is.
But how was it for you to be playing with another drummer after all those years with John. Was is strange?
No, not really because Pete Kircher tried to imitate John Coghlan. He just had to play what John had played. In the studio it was quite different. A drummer has a kind of philosophy about how he hits the drums. And John being an owner of the band, had a certain say in a way things would go in arrangements. There was a certain way he played. If we wanted him to play things in a different way that he couldn't play or wasn't his style, then he wouldn't play it. In other words, we would lock ourselves into what we know as the Status Quo style. That's just what we played. I will always be looked at as Alan Lancaster from Status Quo. Not Alan Lancaster of the Bombers or the Party Boys. No matter what I'll do. I can't go anywhere, can't get away from that. Even if I want to. It's just something I've become. It's attached to me. It's your whole social life, your financial life, everything. Your personal life is based on it, your friends, your family worked to it. You lived a certain style. You become that. But John didn't exactly leave the band. As I said, the band was very close up until Pip Williams started to get into the band.
I don't mean it was his fault but just the effect it had on the band. When he came in we weren't playing as a unit anymore. It was all broken up into bits all the time. So we lost a lot of feel. Although we were kind of impressed with what he was doing we left a lot of things up to him. But it was very boring in a lot of ways. It wasn't the band doing what we did best. We weren't sitting there arranging our own stuff. We had Pip Williams sitting in front of us telling us what to do. We weren't used to that. We used to do our own thing instead of somebody else directing us what to do. We were actually producing the album ourselves and Pip Williams was hired by us as a designer. But we left it all by him. So songs we weren't normally consider doing were being introduced into the set. The way that was being done was, we weren't going to each other to talk about what we were going to record or not but Rossi was going to Pip and Pip was doing his songs. Before we knew what was happening we were doing songs we normally wouldn't be doing. So this other avenue was creeping into the band and Rossi would use Pip as a channel to get songs recorded that we wouldn't normally do. Not only that, at one point all the solos were being preconceived and everything was taking so much longer. It was making the band as individuals feel bored. And long periods without playing. And when we had to play after a long break, we had to warm up again.
So it was completely the wrong way to record Status Quo. We didn't realise that at the time. We thought this was perhaps a new way. But what crept in was that Pip Williams was the channel for Rossi to get some of his stuff recorded by us. That was one of the bad things and caused a bit of friction. He was getting things done that we didn't want done as a band. It wasn't Rossi's band, it was our band. He wasn't the producer or the owner, he was just one of us that put in as much as anybody else. But not more that anybody else. So nobody wanted Pip for the next album but Rossi insisted. We went along with it in the end but again, we said never again. But the next album after that was Whatever you want which was co produced by us because we said no to Pip Williams but it was Rossi who wanted him again. So we had him as referee.
I do think that's a great album.
Because we produced it ourselves. That album wasn't even co produced by him. But he was a big influence on those albums. It was all because of the relationship between him and Rossi. That gradually changed the way we worked. Before that we used to rehearse 12 hours a day, work the songs out and then do the recording. But now we were going into the studio unrehearsed, doing the songs in little bits and after a song was done we sometimes couldn't even recognise the song because it all changed so much. The whole character of the band changed. Not live on stage but even then Rossi started to get into this celebrity media style you know. Cause Rick was always trying to become a media celebrity and that was just not the ideology of the band. When I put the band together nobody could play at the time. We were learning how to play our instruments. We were just ordinary people that wanted to play certain things. That was the ideology of Quo. To be a peoples band. But when Pip came in it changed. Rossi and Parfitt got a bit lazy because of their drugs.
The boredom set in for John Coghlan because of the hanging around and messing around. For a start, they weren't getting on together which makes it more difficult. But we did have this sense of humour. We always had that, always sucking on one another. Every day someone would be sucking on Bob Young, as part of our humour. Even when we had arguments. That would always end up in a laugh because someone said OK, you're sacked. A similar thing happened with John which now Rossi tries to turn around and make it sound like it was some kind of set thing. There was this argument, not humorous but semi serious from which we all thought this will blow over and everything is fine again. There's no problem. I've never known Rossi for doing things on his own back, he had always somebody to do things for him. But now, for the first time in his life he came up to me and Rick and told us he was phoning up Pete Kircher cause John was leaving the band. Is that allright, he asked. We agreed to that and me and Rick just looked at one another and thought that this will be blown over by the morning when the managers get to know about it. But to keep the peace, cause you had to work with one another we said, yeah fine. And he actually did it. And the next day we heard that John had flown back to the UK. The real thing was he was really pushed out of the band. He was an owner. You can't be pushed out. If John leaves the band, it's over. The band should be broke up. He's an owner. You can't have someone leaving the band and going on without his permission. He was still part of the band for the next 18 months or so.
Well, John told me that he got the feeling that his leaving the band was sort of planned. Forced maybe.
Well it wasn't planned by Rick, it wasn't planned by me, it wasn't planned by our management but the one that pushed it was Rossi. It was a semi serious kind of argument but you get over these things the next day. I mean, you have arguments all the time in long relationships. But we did get on with each other. You don't stay together for as long as we did if you don't get on with one another. But some of the things Rossi did were terrible. But nothing interesting happened in his life you know. All Rossi ever saw were dressing rooms and backstages. He doesn't do anything else. He stays in his hotel room. Goes to the gig, plays the gig and goes back to his hotel room and then on to the next gig the following day. That was his life. Everybody else got out and did things. Try to make something of it. The only thing he ever did on his own was to get rid of John Coghlan. Because he actually forced the issue. We all got upset sometimes. That happened a thousand times in our career. But this time it was taken a stage further. And it wasn't intended to. John leaving the band was actually a mistake. But it was forced by Rossi. He just phoned Pete Kircher and asked him to come over. Cause I was the first one that has used Pete on some demos. He got to know him then. He played in the Original Mirrors and Shanghai. And he just phoned him up.
The next moment John was flying back to London. Iain Jones was our tourmanager at the time and that was another one that came into the Rossi camp. He got Iain Jones to do some of his dirty work. That's what happened. John got pushed out. He was intimidated to leave and that was disgusting. But the thing that disgusted me the most was when we got presented one of the highest awards you can get. That was the outstanding contribution to British music. It's a very high award. This was a surprise. We all turned up and the award was made out to Alan Lancaster, Francis Rossi, Richard Parfitt…..Pete Kircher and Andrew Bown!! Andrew was never a part of the band but always a sideman. I didn't want him. But although John left the band, he was responsible for developing it, making it famous over those twenty years. So when I brought this up to the management I said this is wrong. This is John Coghlan's award. Not Andy Bown's or Pete Kircher's. Pete had only been around for a few months. Andrew Bown was never even a member of the band before 1982. He became a member in 1982, not a partner. I said, I don't care what anybody thinks, this award is John's property. It belongs to him, it doesn't belong to Kircher or Bown. But that was rejected. That was the day that I realised we've made a terrible mistake. A big, big mistake.
I realised then that Andy Bown had now become a member of the band, we had Pete Kircher, we had Iain Jones and Rossi had Bernie Frost to write him songs while he was on the road and this whole thing turned into another band. A completely different band. On stage it didn't change that much. The old set was fine on stage. It was still the same as always. You can replace someone in that respect to a certain degree. Cause you can learn the style of the other drummer. It's like a singer can come in and sort of sings to the other singer. But to get the right feeling of the band, that's another thing. And when we were in the studio creating new stuff, that's when I noticed the most. Although Pete Kircher is an excellent drummer he didn't had the feeling that John had. It showed when we were recording. Not when we were playing live. You can actually mimic somebody live, but to mimic somebody's creating ability is simply impossible. He couldn't create the same thing as Coghlan did. John contributed immensely to the arrangements. He should really have got more song credits to his name. But we were to naïve to think about things like that in those days. So with that 1982 award I really felt that something was wrong and it showed I think. It showed in the records after that. The live performances were still good though. I must admit I really enjoyed the live performances although it did lose some of the raw edge that Coghlan had. Pete did do very well with the live performances. I don't think the band lost the edge live. Cause we copied the same things that we would have been playing if Coghlan was there.
But beside the fact that I missed John on the records, the biggest disappointment for me was the fact that the songs just weren't as good anymore as before. I don't think John playing on it could have changed that.
That's right. The reason being is that from then Status Quo were playing songs. Before Pip Williams came into the scene, Quo would never play songs. The song had to fit the performance of the band. The performance would come first and the song would be written around the performance. Now, each individual member was writing songs of their own and bringing them into the band to play. Which created diversity in style and confusion. You see, when we were working together and producing our own stuff we performed stuff in rehearsals or on stage during soundchecks. Then we wrote songs around those ideas. That worked. When you write a song on your own without the band around, then nobody knows where it's coming from when you want to record it. Nobody knows what the performance is to try to fit the song to. That's the way we worked. Most people try to find good songs and perform the song.
Status Quo weren't like that. We performed good performances and try to find songs to fit that performance. This is the reason why a lot of Status Quo songs have never been covered. Because they demand a performance. The only way you hear a Quo song covered is as when some coverband are playing it live. Because the songs are not really recording songs. And around the time John left, we would bring songs into the studio to which we would try to find a performance to fit. That was the wrong way around. And that was Pip Williams' legacy. He got that into our heads. Rossi started to go his own way. He got to write songs with Bernie Frost and came back to play around with them. But they were Bernie Frost songs. This a fact, if you’re a good writer you only hope to create two very good songs per year. You might write twelve, but you can only really hope for those two. If you're a solo artist you can't write an album with only top songs every year. The thing is, when you're on the road there's very little time to write songs. You can think of a few ideas and put those together with the ideas of the others. But we didn't write together. Francis fell out with Rick, he fell out with Bob, he fell out with Bernie, he got people to write songs for him. You know the song Going down town tonight?
Yes.
Would you consider that a Status Quo song?
No. I've never liked it.
That's because it's not a Status Quo song. This is to give you an idea of what went on and what broke the band up. No member of Status Quo is playing on that song.
Really?
This is a Rossi thing. He did this behind our backs. I was in Australia and although we had plenty of songs to put on the album he put that on the album behind our backs. That's not a Status Quo song, that's somebody else. I don't know who it is, but it's not Rick and it's certainly not me. Francis might be playing a bit somewhere on it. Well, he's singing it, that's for sure. But can you imagine what we felt or what I felt when that was released as a single and we had to make a videoclip for it? This was when we start to lose control. You can't argue with cocaine.
But it did happen. Couldn't you do anything about it?
I couldn't do anything about it. I couldn't stop the release of the album like I tried to do with In the army now because you're outvoted. I could have stopped it but that would have broken the band up. But the band was breaking up. And before that we had Marguerita time. I did that for Rossi's solo album. He got me to play that for him. I sat there and put as much work into it as I did anything. I put my heart and soul into it. Thinking it was for his solo album. That's the reason why we were doing it.
Do you consider that the worst song you've ever recorded?
No, it's not the worst song I've ever recorded. It's just not a Quo song. It was never meant to be a Quo song. Going down town tonight is not a Quo song. That's somebody else. This wasn't Rossi's business or band, it was our business, our band. It's a group, a partnership. We had contracts together. But these guys were so blown away on drugs that you couldn't talk to them. I couldn't go to my management because they were also blown up on drugs. You never contacted the record company cause they were on drugs as well. I knew our record company man personally. Brian Shepherd was our man for many years. In fact he was there all those years. It was when he left the company in 1984 and when the new man came in, that 's how they managed to get all these things going. Doing things without my permission. And this is why in the end I had to sue them. But we settled that out of court. What I want to get straight is that they never went to trial.
All this is incorrect, misquoted. All the things they say in their biography's. It's simply wrong. We went to court to stop In the army now from being released. That had nothing to do with the trial. Rossi and Parfitt never stood trial for there wrongdoings. Rossi left a contract with me. There were no arguments with me, there was nothing wrong with me and him. The only argument was that he was not fulfilling his contractual obligations. Which meant that I could get sued or Rick could get sued. He just wouldn't work. He later used me as an excuse. You know, Alan this, Alan that, but that was never the case. There was never any problem whatsoever. The only problems were between Rossi and Parfitt not getting on with one another. But that was a jealousy thing I think because I could get on with either of them. I was always fresh and ready to go. There were never any problems with me and Rossi like he likes to make out. Or pretends there is, because he's got a guilt thing. And that thing is that there was no reason that we should have broken up, except for the fact that he was on drugs. Totally out of it. And the only reason they got away with it is because the record company was there and they paid the money for the record. What they didn't know was that they paid advantage for a record without me. They only found this out when I sued them. This is when the new managing director was in Phonogram and they said they were all prepared to except the record as his. So what could I do? They paid the money for the record and said OK, we accept it as it is.
Rossi said that the record company would only accept Status Quo with Rick and him. The record company got nothing to do with any of this. They are not the band, they don't tell the band what to do. They don't own my property or anyone's. We tell the record company what we're going to do. We went to the record company to get money to make a record. But instead of Status Quo making a record, Rossi went in made it on his own and the management allowed him to do that. Than Rick followed him! So when I complained all hell broke loose and in the end I had to sue them. But when I sued them the record company came in and said look, we accept the record as it is because if we don't do that we have to sue you all for not giving us the record as contracted. But the record that was contracted was us three making a record. So I had no choice to allow them to use the name. The record company was allowed to use the name Status Quo for the next three records or so. I received money for that and allowed them to do that. So have Rossi and Parfitt. The record company said, leave it as it is and try to solve the problems. But they didn't care. They just wanted to release the record under the Status Quo name.
They already wasted a lot of money on Rossi and Parfitt's solo ideas so they were prepared to accept the album as it was. They didn't wend to bloody court to own the rights of the name!! It's ridiculous. That's the story. And the fans, the Quo army were sending me the wrong messages. Everything I said, about Quo being an ideology, anti establishment and being a peoples band, was turning into something else. The Quo army bought the 1+9+8+2 album. The one without John Coghlan. It spent 26 weeks in the charts and went to number one. That's simply the wrong message. It said, you don't agree with my ideology, you agree with Rossi's ideology. You want songs like Baby boy and stuff like that. That was the message for me. The next message the fans send me was Marguerita time. It was against everything I thought Quo stood for. It sold 400.000 copies in the UK. One of our biggest singles. So I couldn't do anything. Then I had a number one record in Australia. It sold over 100.000 copies and went gold.
We also had a platinum album. We released He's gonna step on you again in the UK, it got lots of airplay but it got nowhere. And a Punkband recorded a funny version of it six months later and it went to number one. I was getting the wrong messages from the Quofans. It was like they don't want this stuff, they want stuff like Marguerita time and Going down town tonight. And The wanderer, that was another stupid idea. That was again an idea by Pip Williams. He thought that would be a great Quo track. We thought, Oh really? We discussed that many years ago. We always said no to it. It should have been recorded 5 or 6 years previous but we always said no. Rossi wanted to record it so we tried it but it wasn't right. But in the end he got his way and got Pip Williams to do it.
And again that was a big hit.
Yes it was. But again, the wrong messages. I mean, If you can't stand the heat is a bit of a naff album. But even the bad stuff on those albums did have the right style. It still had a certain feeling. But how do you feel when you buy a record with the name Status Quo on it when it's not a Status Quo record?
I remember being very disappointed when I bought and first heard the 1982 album. Same with Back to back.
Did you buy Going down town tonight?
Yes, but only because I'm a fan and I collect everything that's got the name Status Quo on it.
You've bought somebody else's demo. Rossi did that. It misrepresents Status Quo. This is what was happening. It wasn't a question of argument, it's a question of trying to prevent somebody from misrepresenting the band and the fans. Quo were never like that. We were the same, we were fans. I didn't agree with that. But these albums and singles all sold a lot of records so what could I do? I couldn't break the band up and get sued, so I had to let Rossi misrepresent us. This is what happened. Everybody seems to want to know about it, so I'm telling you.
About the music Alan, which of the songs you've written are you most proud of?
Most of the songs that I'm most proud have never been released. It's very difficult to explain. When you write songs you have to write a performance for the band. Status Quo was a different band than most bands. It's a performance style band. It's very difficult cause when you write a performance style song you know for sure it's not going to be a single. If you tried to write a single it's a different story. When you write a single, nine times out of ten it can't be a performance based song. It's hard to do that. Lot of our singles weren't performance based songs. That's why the singles didn't really matter so much. We also didn't play a lot of singles on stage because of that. Down down for instance. There's this certain point in Down down where you have to play and step up. A certain performance or adrenalin mode. That song does not work unless it's played with this adrenalin type mode. Almost like racing ahead of the beat. It enquires a lot of energy to play that song. That's why we didn't play it at first. Because you don't realise what kind of energy it requires to make it work. The Bombers used to play Down down. The energy was absolutely phenomenal
But isn't the Quo album from 1974 your personal creative high point? You've written most of the songs on that album with Rick. Stuff like Backwater, Just take me, Don't think it matters. Really great songs!
Yeah, stuff like that. Rick wrote most of the riffs on there. Me and Rick were sort of like that. I wrote most of the stuff as far as lyrics and melodies were concerned. And Rick came up with riffs and things. Although Lonely man was the other way around. Even then it was strange. We were going into the right direction, but there's this song called Fine fine fine. And that was so far removed from the whole thing we were into. And the solo on it was such a struggle. Cause Rossi's solos always had to be directed to a certain degree. I still got the tape here. We had to pick every single note to put them in the right chord structure.
Really, cause I think some of the guitar solos on that album are the best Rossi ever made. Like the ones in Backwater, Just take me, Don't think it matters and also Fine fine fine.
If you had heard the state the original solo was in, it was all the wrong notes. I had to sort that solo out. It was almost funny, sort of spinal tap. He's playing the same notes but all in the wrong places. He wasn't hitting the chords in the right places. Just wrong. A lot of work went into that. Slow train was a just a bunch of ideas altogether. Rick wrote lots of ideas in that, some ideas of mine. It was all bits. An arrangement. It's tricky to get the right balance with writing. If I didn't write with one of the band it was always a lot harder to get the song to work. It's always a lot easier to work on songs you wrote with another member of the band. I never wanted to write with anybody else. I always wanted to write with Rick or Francis. But Francis never wanted to write with anybody else.
He left Rick at an early stage, he left me at an early stage. Then he went with Rick again, and left him again, then he went with Bob and left Bob, and he went with Bernie and left Bernie and went to work with somebody else. The reason being is that when he's on the road he can get Bernie or all these people to write songs for him. That's very easy. Everybody else is trying to find the right formula. This is why the band broke up. It wasn't because of arguments or bad feelings, it was a bad thing that happened. From that, so many different stories have been made up which have given a whole different scenario to the band. You've got to realise there's two different bands. If the band that calls itself Status Quo today are on albums with songs or recordings that I made, then it's illegal.
But if it's illegal, why does it happen?
Well Arjen, I can sue Rossi, I can sue the record company for a million things, I can sue the management for a million things but that will cost me years of my life and hundreds and hundreds of thousands of pounds. It stops you from working and makes you emotionally stressed. This RSD that I got in my hand comes from stress to what Rossi has done. Because I had to now sue them again and John had to sue them again. Not only them, I also have to sue the record company and their management. Because they have been taking royalties from mine and Johns and were suing them for it. For unpaid royalties. For taking our money. I don't know if you have any idea how a band works, but a band works on advances. They get an advance from a record company and from that advance we'll buy studio time and make records. Then we'll supply them to the record company and they release them and pay us royalties. They don't pay off any royalties until the advances have been paid up.
When John and I left the band there were still advances to be paid up. Rossi and Parfitt kept our money. This caused a lot of problems. Not only that, they have been using our performances and advertised with it. John's performance belongs to nobody else than John. If somebody makes a copy of that performance like on a compilation album, that's copying his performance. That's illegal without his permission. All these things that's been done to us is why reunion's and all that kinda stuff is out of the question. The ideology of Status Quo no longer exists. It doesn't exist in the band now. This reunion can't happen because it just can't be what it was. You can't change Rossi's mind. He's got his mind set for a number of years now. This didn't changed overnight, this was a very subtle thing. First of all getting rid of Coghlan, using Iain Jones to get rid of Colin Johnson, get Pip Williams in, stuff like that.
Alan, how do you look back at the End of the road tour? Francis and Rick always said that the band were on a real low point then. Do you agree?
Well they were. Nobody else. That's their perception. This is when they were probably at their worst. They could hardly function. It was so embarrassing to go on stage cause Rossi was drunk most of the time. He was drinking and on drugs. Rick was the same. Although I must say that on stage we always put our heart and soul into anything we did. Even when John left. The audience was always number one. Live, we never falter. It always had to be as good as we could do. Even though someone was feeling sick. Which hardly ever happened cause that's how fit we were. We almost never missed a gig. We did this for years so we must have been fit and healthy. But the audience always came first. Even in those later years. But Rossi could hardly function. On stage he'd gone to automatic pilot. He did play everything he had into it but because he was drunk then he did things that were stupid. Like talking to you while you're singing. You just can't play when somebody's shouting in your ear.
Did you do some recording after that tour?
We only did The wanderer. Cause Rossi didn't wanna work. And Rick was going thru a terrible hard time then. I flew over to Rick because of that. We went to visit accountants. Rick asked me to fly over to come and help him. Which I did. He later turned around and said that wasn't true. That's how he changes things around. Also the story that I wanted this Status Quo mark 2 thing to happen without Francis. That is not true. I would never have done that. It's just laughable. But both of them just couldn't function anymore. All Rossi wanted to do is to sit down with a computer or a drum machine and write pretty songs with Bernie Frost. That's why he didn't wanna work anymore, cause he had Bernie Frost and himself, Andy Bown and Pete Kircher. That was the band. He was trying to use the name Status Quo to launch his own private band. Rick wasn't a part in that, nor me. That's what he was trying to do. So after I resigned, that was the end of Status Quo. That was a broken marriage.
How have you experienced Live Aid? That was around the same time all this was happening.
Live Aid was just another gig. Just some time out while Rossi was making his solo album. He was doing his solo stuff. Rick had to do that too, so all this time was being wasted and we weren't making a Status Quo record. And when that was a failure, he just wouldn't take it easy. He wanted to make another record of his own and call it Status Quo. Like he did with Going down town tonight. I can't believe the fans bought Going down town tonight.
Well, it wasn't such a big hit. But a lot of fans just want to buy and collect everything from the band. No matter how good or bad it is.
Yes, but if I release something like Break the rules and it sells, I'm sort of proud of that. But with Marguerita time I expected everyone to turn around and say hey, this is not right. But when it was sold I didn't had a leg to stand on. It was like the market has changed. Alan is out of date. But of course I wasn't. The best band I've ever played is was the Lancaster Bombers by the way.
Better than Quo??
The Lancaster Bombers was the most phenomenal band. Very enjoyable. The Bombers was something special but the Lancaster Bombers was like Quo again. They had something else. It had the thing. The Bombers was a great band. Especially live. But Tyrone was too much of the great rock singer if you like. He's such a great singer but sometimes the public can't relate to it. But it was a great live band. But when the Lancaster Bombers got into a four piece with Brett Williams on guitar, it was something else. I've got some old demos here where we are playing Big fat mama and stuff like that.
The Aim high album from the Bombers is fantastic. I really think so.
Oh thanks. I don't know what to think about that anymore cause it didn't really do much. There were some great reviews on that album. Even a few 5 star reviews. It's made it's way to the shops, but the record company A&M got bought out. When we released that record we had so much going for us all over the world. But A&M got bought out by Phonogram so we didn't had a record company. Although A&M had just put the record out, there was nobody there anymore. We had videos done to promote it.
It's a shame. Very energetic record I think.
Yes, it had enormous energy.
Do you still have contact with Rick?
No, I don't speak to anyone anymore. I'm suing them. He knew that the things I said are true, so the last time I spoke to Rick he said, you're going to bloody prove it aren't you? In other words, he knew he was taking my money. So how can you talk to someone like that?
In 1994 he came to see you at one of the gigs you did in Sweden. How was that for you then?
Yeah, that's right. It was good. I mean, I've never had anything against Rick. He's just Rick you know. With anyone that does what he does, you just take him for what he is. He's just one of those guys. You've got to realise, cocaine changes everybody Arjen. It really did change Rick and Francis. It was a real band before then. We were really together. And all those terrible times together as they said, it's not true. We had an incredible time together. It was all genuine. I can't really talk to Rick much now because of all this. Which is terrible.
We have spoken to Rhino last year and he said that Rick still speaks very well of you.
Well, Rick can change tomorrow. You know what I mean? Over the years you get to learn. If Rhino said that Rick speaks very well of me, then I don't see any reason why he shouldn't. I only ever done good things to Rick. I haven't done anything to hurt him, but at the same time I can't rely on the man. He's unreliable. As is proven. We were very much together, all friends. Long term friends as well as business associates. It takes a lot of balancing when you're in business together to be friendly as well together. But it worked. The chemistry worked. But when you get a drug situation coming in as much as it did, it changes everything to the worst.
You also went to see Quo around the same time in Gothenburg. How was that?
It was embarrassing. Very embarrassing. I've been raving about Quo, and The Lancaster Bombers were covering some of the Quo stuff doing it in a kind of energetic way it should be done. With all the moves, everything done. No bits missing but done properly. So I took the band to see Quo in Gothenburg and it was an embarrassment. I'm sorry to say that but it was just a joke.
In what way?
It was like cabaret. A parody. It was like a bad covers band. Status Quo now is a covers band. They cover Status Quo. This is Status Quo mark 2 were talking about now. Which is different to the original band. When I played our songs with The Bombers like Roll over lay down, Break the rules and all that stuff that we were known for, I was actually playing covers. Although I'd co-wrote and produced those songs and formed them, I'm covering them. Because it was not me that did them, it was Status Quo that did them. The four of us. When Rossi and Parfitt are playing those songs, they are covering Status Quo. Because they didn't make those songs, Status Quo made those songs. That's Rossi, Parfitt, Lancaster and Coghlan. They are a covers band today. There's no argument about that. It's a fact.
If they make a new recording of an old song, although they are covering that old song, they won't be regarded as a covers band because they are doing a new concept, a new expression. But when they copy the expression of the original band, they are a covers band. That's the way it works. A writer of a song is also the producer of a song. When you buy a record you're buying the producers rights, the songwriters rights and you're buying each of the performances rights. If Rossi wrote a song and we recorded it, that means I have performance rights. John does, Rick does and Francis does. Rossi has writing rights. And the producer which was the four of us, have producers rights. That means nobody else can touch those rights without our permission.
You've also played with John again in that period. That must have been special?
That was great. He made all the difference. In fact, I consider our drummer in The Bombers Peter Hackenberg, as one of the top drummers in the world. But when John Coghlan was playing with The Bombers live, it was a really satisfying feeling. It was just the studio stuff where it was different. John's always been a live drummer and Quo have always been a live band. Our studio stuff was always different than the live thing. And when you get into the studio something happens. It's not the same thing. I've listened to some live stuff of the new Status Quo doing the same songs we played, but the sound is just completely missing. It's just not there. A completely different feeling. I've heard cover bands doing our songs and they have studied it so much that they have actually got that feeling.
John is playing with the guys from State of Quo, and they are really, really good.
Yeah, they have probably studied the material very well. That's good. But the Rossi/Parfitt Quo just doesn’t play the old stuff the way it should be played. As you can see on those videos and DVD's. It's just a joke. The fact that he doesn't play the solo in Break the rules is not because he can't, it's because the way they play it, it doesn't make him feel to get the right notes. You can't play Status Quo songs with your fingers like Rhino does. It's ridiculous. It's a different kind of chunk. I used to play with my fingers and my thumb. A thumb works better than fingers but you cannot get the same feeling with fingers. You can't control the depths of the notes. If you play live you can get away with it to a certain degree, when you have a big production. But when you record a show and play it back you hear the difference.
Have you talked to Bob Young in recent years?
I did when Malcolm Kingsnorth died. Mal was Quo's soundman. He died very suddenly from al lung disease. He was told he had about three weeks to live. So Bob phoned me about that. I haven't spoken to Bob much lately for obvious reasons. He's writing again with Rossi isn't he? Rick doesn't do much writing these days. Seems uninspired. I wonder why that is.
Your songs always had a different edge than songs from the others. I don't mean better or worse, just different. Which was a good thing cause it balanced the albums. Especially some of the later songs like Mountain lady and The wild ones. I consider that some of your best songs.
I was always trying to progress. Once we got the boogie shuffle sorted out I tried to change things around sometimes. Trying to progress. Always trying to look for new things.
The strange thing about the songs I mentioned is that it's Francis singing those songs. I can imagine you want to sing your own stuff, especially great songs like that.
Well., they are melodic songs and he sang Mountain lady slightly different than I wanted it but those songs were more like singles. Stuff that I thought might be a single I let Rossi sing. It's very difficult, like I said earlier. We all had different styles. Rossi was very poppy. Even more poppy than country. Rick was very much cabaret. More of the old school cabaret type. With chords and things. I was more of the rock side. Not Rock and Roll, although I was influenced by Jerry Lee Lewis and things like that. I was more influenced by Chuck Berry and Bob Dylan. But together it worked. And John was always so much into John Bonham and different things. And when we wrote together it worked beautifully. But as individuals we had different styles. Rick was brought into the band as a singer. Cause none of us could sing. We are singers but were not vocalists. We were Status Quo, we couldn't do anything else. We don't do Abba, we don't do ELO. We probably could do ELO in the studio but we couldn't do it live.
But is the story true that you were not happy with Rick singing lead vocals on some of the singles?
That's absolute nonsense. Me and Rick were actually tired of Rossi doing his bloody vocals all the time. It became a bit boring. Cause he wasn't singing them on stage. The stage set didn't really represent our singles. The live set was the live set. And Rossi was singing the singles but it got a little bit too much. So at that time we had a little change. The two songs that Rick had were both singles. And great singles. Rain and Mystery song are two of my favourite singles. I never had a problem with Rick doing that stuff.
And what about the story then about Ol' rag blues? It seems you were not happy with Francis singing that song. You wanted the version with your vocals to be released.
That's correct. Have you heard the version with my vocals? You've probably have heard the version with my vocals but not the one with the proper mix. That recording went missing for some reason. That was supposed to be released. But Rossi went into the studio and put his vocals on it. I wasn't happy with that. It's my property. You don't do that to other peoples property. When I say no, it means no. It's not for the record company to decide, it's not for Rossi to decide or the management. It belongs to me. I have the rights of the producer, the performer and the writer. Nobody else can take that. But he did. That's the whole point. No, I didn't want his vocals on Ol' rag blues. I don't know if the original vocals have ever been heard.
There is this version with you singing on it on the Rockers rollin' CD box.
I'd like to hear that cause I don't know which version that is. The original version I have on an acetate here. The proper version. That's the version we all wanted to be released. But Rossi managed to get his vocals on it. It's the principle of it. We all agreed to it. It was all done, mixed and paid for and he went out and spent my money to change my property around. Which is not on. It's the principle of the thing that mattered the most. It was all down to his drug problem. If the managers weren't on drugs as well he wouldn't have got away with it.
Did the band recorded songs that haven't been released yet? We have the remasters now which got some bonustracks, but it's nothing really special. The remasters do sound fantastic.
I don't know what's been released and what's not. Everything that's been released is done without my permission. So I don't know what's been released and what's not. I know about the remasters but I can't explain how much that hurts me. It drives me nuts. It affects me very badly that they do this. They act like they own these things. They don't. But there are probably bits and pieces around somewhere. I do have some stuff here at home that me and Rick did around 1984 or 1985. Some demos. Good stuff.
I always wanted to know if the lyrics from Is this the way to say goodbye, are about Rick and Francis.
Absolutely. It's an emotional song written basically about leaving the band. And the way it was done. It's a shock Arjen when that happens to you. It's something you own. Status Quo was never looked on as a business. It became a business cause we had to earn our money from it to survive. To make it work. So it became a business and it meant we all had our responsibilities. And we built up this structure and when you've done something like that, it's yours. You don't expect to be pushed away. It's personal as well. If you can't work with the people you built it up with, you split up. It's like a marriage. That doesn't mean you loose what you've made. That's your property. It was a bit of a shock. If it was a slow thing and you can see it coming it would have been different. You can make arrangements and talk. But this was a sudden cut off. It wasn't nice. It was aggressive and violent.
Rhino told me that he thinks the original band should get together one day for a final gig or tour. I was very surprised to hear that from him, but when I hear you talk that will never happen.
It can't happen. The original band was the original band. Putting us four back together again doesn't mean the chemistry will be there. There's no problem us playing the stage set the way we played it. That will come off in six months or so. But to make a new and exciting product you have to have the same mind set. It's not like putting session musicians together. If you put four great session musicians together and you copy a bands set, you could almost be better than the original. But you cannot capture that creativity. It's easy to copy, very difficult to create. And when you create something you have to have the same empathy with one another. The same goal. We all had that. Now there's betrayal. Terrible things have been done. I had to sue them for my own property. To survive, to keep what I already own I had to sue my own partners cause they won't talk like reasonable human beings. Instead they go around slandering me.
The fact of the matter is, they did the wrong thing and they have made up stories to cover themselves. And now those stories are about to be believed. So now I have to speak up, although I don't want to. Cause when people say things that are lies, you can't let that happen. So I had to speak up. And a reunion can only happen if some magician can turn Rossi and Parfitt into the nice guys they once were. Cause they were my best friends. No doubt about that. I spent more time on the planet with Rossi than any other human being on this earth, which is my mother. So why couldn't he talk to me? Why did have to do what he did? And that was because of cocaine.
John is really up for a reunion. He even thinks it will recreate the same magic as before. But although it would be great to see you on stage together again, I just don't think the same magic can be captured.
Put it this way Arjen, if it ever happens it would mean that we have to capture the same or a better magic. Because I wouldn't do it otherwise. And for that to happen there have to be a big cleaning out. Cause it couldn't happen without the mind sets. You know what I mean? You can't think by yourself while your creating something, this guy might run off and take it away. It's a matter of trust. It's not a question of not being able to do it. I'm actually no different now to what I was 25 years ago. I have the same weight, I can still wear the same stage clothes. I still got them so there's no difference as far as that's concerned. But it's the mind set. It's the way you sit down and work together cause it's an intimate relationship. It's different when you're a session musician when you just take the notes.
When you're a real band you can't make things happen unless you create them. And to do that you need a very intimate relationship. And when you got betrayal in that relationship it's very difficult to do it in a mental sense. Physically there's no problem. As far as the last live set we did, we could get up on stage tomorrow and play that. No problem. But as far as creating new and exciting stuff, it enquires a lot more than that. I won't even consider releasing something that is absolutely out of this world. That's why I don't release things. Cause I like to release the best as I can do and it cost a lot of money to release things.
Have you been following the band in recent years?
No I haven’t actually. Here and there I looked at some things but I haven't really been following them. All I know is that they have been working their arses off in small places.
Well, they are playing small and big venues.
What are the huge stages they have been playing then?
They are still playing the NEC and Wembley Arena to name a few.
I've heard that at most of those big places they had to screen off a lot of space.
The NEC is always pretty full and at Wembley they do screen off space but that's just because they are doing these huge tours over the last couple of years. The people who usually travel to London don't have to do that anymore because Quo is playing everywhere. People from places like Ipswich, Cambridge, Brighton and Folkestone don't need to travel anymore.
It shows how a legacy can carry on, isn't it. I wonder if they could do that without the name.
Is Quo still a big name in Australia?
No, the new Status Quo is a joke. It actually affected me. Cause when I used to too get out and did my thing and did Status Quo stuff it was like hey great, we're going to see that. Now, because of the new Quo it sort of spread off a bit. When you mention Status Quo it's like, oh leave it out. It affects other things.
You never had the need to go and see them when they were in Australia?
No I never have. I knew they were playing here, but no. I watched a video the other night with their new drummer. He wears headphones. There's not really much body action coming from him is there? He might be a great drummer but the fact of the matter is, he's not performing, he's trying to play somebody else's lines. And those headphones, I don't know when I watch that stuff what to think. It leaves me cold. Absolutely cold. It's just a joke.
One of the first things I was about to do when I left Quo was joining the Rolling Stones. But the thing is you get so type cast. Everywhere you go you are Status Quo. So whatever you do it kind of stops you doing it cause you got this icon. You're Status Quo. People see you as that all the time. Even when I was with The Bombers. I tried to get away from that as much as I could. And because I didn't use the name Status Quo with The Bombers we didn't take off the way we should have done.
Do you have any plans for the future to play again when you're capable of playing again?
Yeah, I should be doing that in about a year now. Well, not be doing it but getting it together in a years time. But I will be playing quite different than you would normally expect. I'm not going to do the same thing again.
It must be hard for you not to be able to play at the moment.
It breaks my heart Arjen. It's a terrible thing. I can still play but I can't play professionally at the moment. I still play but not properly. But that's only because physical things with my hand. But it's nearly gone now. I think it should be gone in another couple of months. That's the hardest part. Not to be able to play.
I hope it works out for you Alan. Thank you very, very much for this interview.
Anytime Arjen, thank you.
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https://blabbermouth.net/news/status-quo-releases-music-video-for-backbone-title-track
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en
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STATUS QUO Releases Music Video For 'Backbone' Title Track
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2019-07-12T10:32:44+00:00
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On September 6, STATUS QUO will release "Backbone" through earMUSIC/Edel; the band's 33rd studio album – the LP will be their 33rd 33rpm! The official music video for the disc's title track can be seen below. Some doubters said "Backbone" was a record that could not be made, but the 2019 lineup of...
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en
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BLABBERMOUTH.NET
|
https://blabbermouth.net/news/status-quo-releases-music-video-for-backbone-title-track
|
On September 6, STATUS QUO will release "Backbone" through earMUSIC/Edel; the band's 33rd studio album – the LP will be their 33rd 33rpm!
The official music video for the disc's title track can be seen below.
Some doubters said "Backbone" was a record that could not be made, but the 2019 lineup of STATUS QUO has been through a lot, they have chalked up 130 shows as a unit and travelled tens of thousands of miles. This is a group of musicians that is strong, that back each other up and are tighter than ever. "Backbone" features of a trio songs drawn from the classic partnership of Rossi/Young as well as contributions from all of the rest of the band.
The 11-track album was recorded at Francis's studio in the late months of 2018 and into this year. The sessions were initially just to keep the juices flowing, improvise and have fun. As the hours rolled on, songs stacked up, everyone began to believe that something special was happening. And so it proved. Even from within the group, there had been some resistance to creating a new record.
As Francis says: "This new material had to be seriously good. QUO have achieved so much and meant so much to too many people for the quality to slip now. Also, let's face it, things have changed and we're an easier target than ever.
"Losing Rick was hard to bear but, through Richie Malone, who was inspired to pick up a guitar by him, we can not only keep going but actually pick up the pace. The energy that he and Leon bring to QUO can't be underestimated.
"I wasn't sure I had another album in me, but I couldn't be more proud of 'Backbone'. I hope the fans love it, but you can't please everyone and I'm not going to start trying to now."
To have "backbone" means to stand firm, to stand up for what you believe in. The title fits. The hundreds of songs recorded by QUO over half a century still resonate today, and the tracks on this album are a worthy addition to that incredible catalogue. A new QUO studio album is a cause for celebration, especially when it kicks like this one. And for the doubters? A "backbone" is also a support, a unifying element that keeps things in shape. Underlying this new record are the core desires to keep creating, to be the best and to keep playing: these are the qualities that have kept QUO at the top for so long. "Backbone" will ensure that Francis Rossi and QUO keep standing proud. And, by naming the album "Backbone", they're ready for the "Spinal Tap" headlines too!
"Backbone" track listing:
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