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6803	dbpedia	0	23	https://en.wikipedia.org/wiki/Sam_Fender	en	Sam Fender	https://upload.wikimedia…28cropped%29.jpg	https://upload.wikimedia…28cropped%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/20px-Semi-protection-shackle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Sam_Fender_%282021%29_%28cropped%29.jpg/220px-Sam_Fender_%282021%29_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/Sam_Fender_at_the_Sunflower_Lounge_%2839747854095%29.jpg/170px-Sam_Fender_at_the_Sunflower_Lounge_%2839747854095%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Sam_Fender_Leeds_2019.jpg/220px-Sam_Fender_Leeds_2019.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Sam_Fender_Paris_2020.jpg/220px-Sam_Fender_Paris_2020.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2018-04-17T10:42:12+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Sam_Fender	English singer-songwriter (born 1994) Samuel Thomas Fender (born 25 April 1994) is an English singer, songwriter, and musician. Born and raised in North Shields, Fender discovered his passion for music during his teenage years and released several singles independently beginning in 2017. His sound relies primarily on his traditional American musical upbringing combined with a British rock sensibility. He is known for his high tenor voice and Geordie accent. Recognised for his songwriting style, Fender is the recipient of two Brit Awards. In addition to being named one of the BBC's Sound of 2018, Fender signed to Polydor Records and released his debut EP, Dead Boys, in 2018. He won the Critics' Choice Award at the 2019 Brit Awards and released his debut album, Hypersonic Missiles, which entered the UK Albums Chart at number one, that same year. His second album, Seventeen Going Under, was released in 2021. The album topped the UK Albums Chart and received a nomination for the 2022 Mercury Prize, with its title track gaining commercial success. In 2022, Fender won the Brit Award for British Rock/Alternative Act. Early life Samuel Thomas Fender[1] was born on 25 April 1994,[2][3][4] in North Shields, England,[5] to Shirley and Alan Fender. He has a brother, Liam,[6] nine years his senior.[7] Shirley was a nurse, and Alan was an electrician; the working class family lived in a terraced house in the suburb of North Shields.[8] Alan is also a singer-songwriter, guitarist, and pianist, whilst Liam plays the drums.[9] Both were musicians performing locally.[10] Fender described the first 10 years of his life as "comfortable" within a musical family.[8] His great-great-grandmother was Irish.[11] His father later became a music teacher.[12] He had a tumultuous late childhood and adolescence. His mother abandoned him when he was eight years old, but he later returned to her after his stepmother forced him out of his father's house.[6][13] His mother was then living in the Scottish Borders, and Fender would grow up there when he visited her.[14][15] At age eight, Fender received his first guitar from his father.[7] Fascinated by Jimmy Page, Jimi Hendrix and Slash, he became "proficient" on the guitar at age 10.[16] Fender attended John Spence Community High School in Preston, Tyne and Wear.[17] He was bullied for being overweight and unathletic as a child.[7] When he was a young teen, he and his mother discovered the body of a woman they knew who died by suicide, which affected his formative years.[18] When Fender was 12, he met his friend Dean Thompson and continued to play the guitar alongside him.[19][20] Over the following year, he performed for the first time in front of an audience at his brother's street performer nights, playing Hendrix covers,[21] and accompanied by Thompson at the latter's uncle's birthday, covering songs by Kings of Leon.[19] His ambition at this point was to become a professional musician; Fender recalled, "when I hit 13 it was the only thing I wanted from life."[21] At age 14, Fender began writing songs.[22] The same year, he learned to sing by listening to Jeff Buckley's Grace, an album his brother gave him.[16] Fender's brother introduced him to Bruce Springsteen's Born to Run and Darkness on the Edge of Town albums at age 15,[23][12] during which he also began playing at his brother's open mic nights and formed his first band.[24][21] At the time, he and his mother were poor and living in a small, crumbling flat within a council estate on the outskirts of North Shields.[8] Fender attended sixth form at Whitley Bay High School.[17] He found musically-minded friends at high school.[7] He met Joe Atkinson, and they developed a friendship through their musical interests.[20] Fender studied theatre and A Level in English language and literature at Whitley Bay High School; during this time, he began to spend most of his time in the music department, although he had not studied the subject academically. He was regarded as popular with students and staff and engaged in school activities. Fender performed with his band for the Year 13 students finishing their time.[25] He got into several fights in his youth, and though his father taught him boxing, this did not have the intended effect.[26] At age 16, Fender entered a Teenage Cancer Trust competition and won.[27] The environment Fender grew up in was "ravaged" by the omnipresence of drugs, especially spice.[11] His friends were dealing marijuana, and later some switched to hard drugs such as cocaine.[7] Social pressure had prompted him to smoke spice several times, but he stopped after finding the experience unsettling, while his friends became addicted for years, which Fender said "destroyed their lives".[11] When he was 17, his mother had to end her 40-year career as a nurse due to fibromyalgia; he considered selling drugs to support her, but she talked him out of it.[7] Fender idolised his father for his talent as a musician, and viewed him as a tough man who struggled to provide for his children in a region facing an endemic lack of opportunities.[26] Fender recalled that his stepfather had become homeless for more than a year after serving in the armed forces, and faced difficulty escaping street life whilst struggling to find stable housing and employment.[28] Fender said he needed to become independent quickly.[10] Whilst studying, Fender simultaneously held two jobs, working in a local restaurant and pub (where his manager later discovered him), and consumed alcoholic beverages daily from 17 and a half to 18, relieving him from work fatigue.[27] He abandoned his A Levels to earn money to help his mother, who developed a mental illness in addition to her fibromyalgia. At the time, both had slipped below the poverty line.[10] His uncle would help them through their adversities and inconveniences, and eventually, Fender would find his outlet in music. His father was then a guitarist playing in clubs around Newcastle upon Tyne, and their relationship improved due to their shared common passion for music.[7] Around 18 years old, Fender began performing paid gigs at restaurants.[21] After high school, he held several jobs, teaching guitars and working in a call centre and a bar.[1] Career 2013–2018: Beginnings At 18, Fender was spotted performing in Low Lights Tavern, the pub where he worked, by Ben Howard's manager, Owain Davies, who took him on as a client.[29] Throughout 2013, he played a series of gigs across England supporting other artists, including Howard and Willy Mason.[22] Fender was diagnosed with a potentially life-threatening illness when he was 20, shortly after which his father moved to France.[30] He took two years out for health reasons.[31] He revealed years later that he has a "compromised immune system".[32] Fender has said that prior to this time he tried to write songs that he thought would be popular as he was "desperate to do well" to get himself and his mother out of their financial and living situation.[18] However, Fender said that having a major health scare and facing the possibility of death changed his outlook on life. His recovery refocused his songwriting efforts, and he began writing songs for himself. It was out of this period that Fender wrote a number of the songs he went on to release.[10] In March 2017, Fender independently released his debut single, "Play God", which premiered on BBC Radio 1.[33] In the summer of 2017, Fender played the first shows with his band, consisting of guitarist Thompson, guitarist and keyboardist Atkinson, bassist Tom Ungerer, and drummer Drew Micheal.[24][20] Throughout this period Fender toured with support slots for acts such as Bear's Den, Declan McKenna,[34] and Michael Kiwanuka.[35] In 2017, he put out singles "Friday Fighting" and "Start Again", which sparked a first breakthrough.[36] In November 2017, Fender was placed on BBC's Sound of 2018 shortlist,[37] Won by Sigrid, the list was compiled by votes from 173 critics, festival bookers, and DJs.[38] On 2 December 2017, he played a BBC Music Introducing session at Maida Vale Studios.[39] In June 2018, he signed with Polydor Records.[40] The single "Dead Boys" was premiered as Annie Mac's Hottest Record in the World in October. The song deals with the subject of male suicide, and Fender wrote it as a reaction to losing close friends to suicide.[41] In October 2018, Fender performed "Dead Boys" alongside "Leave Fast" on BBC's Later... with Jools Holland.[42] "Dead Boys" was considered Fender's first breakthrough song, as it was the first to bring him mainstream attention.[43] The single "That Sound" was released on 22 October 2018. His debut EP, Dead Boys, followed the next month, on 20 November 2018.[44] The EP also featured the songs "Spice" and "Poundshop Kardashians".[45] Alongside the EP's release, he embarked on a headline tour, including three shows at the London's Omeara club and one at Newcastle University, and toured with Blossoms in December.[36] He also went on a 13-date European and Australian tour.[46] In December 2018, Fender was selected by Vevo to be a part of its Dscvr 2019 Artists to Watch series,[47] and he was included in The Irish News' list of "Who are the ones to watch in music in 2019?".[48] 2019–2020: Hypersonic Missiles In January 2019, the final band line-up was completed by saxophonist Johnny "Blue Hat" Davis, who had worked with The Who's Roger Daltrey[20] and The Blues Brothers' Lou Marini.[6] In anticipation of his debut album, Fender re-released "Play God" on 14 January 2019.[49] The following month, Fender won the Critics' Choice Award at the 2019 Brit Awards.[50] On 26 February, he performed "Play God" in his first Live Lounge alongside a cover of Ariana Grande's "Break Up with Your Girlfriend, I'm Bored".[51] On 6 March, Fender released a single, "Hypersonic Missiles", the forthcoming album's title track, which he described as an "unorthodox love song".[52] In March, he performed the song on his US television debut on Jimmy Kimmel Live![43] He embarked on his first North American tour in March, including shows in New York City and Los Angeles and at the South by Southwest festival in Texas.[53][40] In May, Fender performed at BBC Radio 1's Big Weekend in Middlesbrough.[54] In early July, he announced the album alongside the release of the single "Will We Talk?".[55] After extensive touring, including two shows at Shepherd's Bush Empire,[56] Fender had to cancel several gigs, including Glastonbury Festival, after experiencing severe bleeding in his vocal cords. Nevertheless, after a month of rest, he recovered sufficiently to support Bob Dylan and Neil Young in Hyde Park[10] and set a record for the fastest-selling show at the Mouth of the Tyne Festival, where he was the headliner.[57] After Fender's performance of "Will We Talk?" on The Tonight Show Starring Jimmy Fallon in August 2019, Claire Shaffer of Rolling Stone wrote: "Fender is notably one of the few true singer-songwriters who's climbing the modern-day pop charts".[58] After that, he performed at the Lollapalooza festival in Chicago[59] and the Summer Sonic Festival in Osaka and Tokyo.[60] The last single, "The Borders" was released two weeks prior to the album.[61] Fender released his debut studio album, Hypersonic Missiles, on 13 September 2019.[58] It topped the UK Albums Chart, outselling the rest of the top 5 combined at the mid-week mark,[62] and sold 41,000 copies in its first week of release.[63][64] The album debuted and peaked at number twelve on the Billboard Heatseekers Albums chart.[65] On 21 September, Fender supported Liam Gallagher for a Radio X performance at the O2 Ritz in Manchester.[66] He received the Official Charts Number 1 Award for the BBC's Match of the Day.[67] Subsequently, he returned for a second North American tour spanning from 25 September to 20 October.[68] On 21 October 2019, Fender appeared as the musical guest on Late Night with Seth Meyers.[69] On 22 November, he began a headlining tour of 20 dates in the UK and Ireland, including two nights at the O2 Brixton Academy and four nights at the O2 Academy Newcastle.[70] Fender set the record for the fastest sell-out of four nights at Newcastle's O2 Academy.[29] On 10 December 2019, "All Is on My Side" was released being described as one of his oldest songs and a staple of his live set, which didn't make it on the album.[71] Hypersonic Missiles was certified Gold by the British Phonographic Industry (BPI) for selling over 100,000 units in the UK, three months after the album release, on 13 December 2019.[72] It was the "fastest-selling" and the eleventh best-selling vinyl album of 2019 in the UK.[73][74] Elton John personally invited Fender to perform at his annual AIDS Foundation Academy Awards Party after the 92nd Academy Awards in 2020.[75] On 13 February 2020, the single "Hold Out" was released, which Fender said was to be the last release from the Hypersonic Missiles era.[76] He wrote the song when he was 20.[77] Fender was nominated for Best New Artist at the 2020 Brit Awards, won by Lewis Capaldi.[78] In February 2020, he undertook a headlining tour across Europe to promote the album.[79] Fender performed in the Live Lounge playing a cover of "Back To Black" by Amy Winehouse, which was later officially released.[80] He was supposed to embark on a UK-headline tour in spring 2020, including performances at Leeds Arena, Utilita Arena Newcastle, and Cardiff International Arena,[81] which would have marked his first-ever headlining arena shows.[71] However, in March, Fender was forced to reschedule the tour due to the COVID-19 pandemic.[82] In August 2020, Fender was the first act to perform at the world's first socially distanced venue, at the Gosforth Park-based Virgin Money Unity Arena, in Newcastle.[83] Opening the show with "Will We Talk?", he played three unreleased songs, including "The Kitchen" and "Seventeen Going Under".[84] "Dead Boys" was nominated for the Ivor Novello Award for Best Song Musically and Lyrically.[85] On 24 November 2020, Fender released the single "Winter Song", a cover of a 1970s track by Lindisfarne,[86] which was premiered as Annie Mac's Hottest Record in the World.[87] He performed the song with the Royal Northern Sinfonia at the Sage Gateshead Christmas Cracker event on 18 December.[88] 2021–present: Seventeen Going Under On 7 July 2021, Fender released "Seventeen Going Under" as the lead single and title track of his second studio album.[89] The song focuses on Fender at age 17 and his struggle to help his mother financially.[7] Alongside this, Fender announced the album's track list and described it as "a coming of age story", "growing up", "a celebration of life after hardship, and ... surviving".[89] The single debuted at number 44 on the UK Singles Chart.[90] Fender followed the title track's release with the politically charged single "Aye", which he described as being "about the polarity between the left and the right wing".[91] Fender embarked on a 13-date headline UK tour, which was initially scheduled for March and April 2020 but postponed due to the pandemic.[92] On 8 September, he released the single "Get You Down".[93] The single "Spit of You", released on 27 September, chronicles Fender's relationship with his father, played by actor Stephen Graham in the music video directed by Philip Barantini.[94][95] "Get You Down" was later featured on the FIFA 22 video game soundtrack.[96] Produced by Bramwell Bronte, Seventeen Going Under was released on 8 October 2021 through Polydor Records.[89] The album debuted at number one on the UK Albums Chart, marking Fender's second time to debut at the top spot. Seventeen Going Under shifted 44,000 copies in its first week of release, 79% of which were physical sales, outselling the rest of the top 10 albums combined. The album marked Fender's highest first-week sales to date and the fifth-biggest opening week of 2021. It also topped the Official Vinyl Albums Chart, and was the best-seller album in its first week in the UK's independent record shops.[97] It debuted at number one on the Scottish Albums Chart.[98] Fender said that "as a record, I think this one is leagues ahead of Hypersonic Missiles, I'm more proud of this than anything I've ever done. It's probably the best thing I've done in my life."[99] It received "universal acclaim", based on the cumulative reviews on the website Metacritic.[100] Grant Moon of Guitar World called it "a masterclass in songwriting".[101] Fender presented a documentary on the life of Alan Hull, named Lindisfarne's Geordie Genius: The Alan Hull Story, which featured contributions from Sting, Elvis Costello, Mark Knopfler, Dave Stewart, and Peter Gabriel. It was broadcast by BBC Four on 26 November 2021.[102] In December 2021, The New York Times wrote that Fender "is fast becoming one of Britain's biggest rock acts".[103] Seventeen Going Under was the eleventh best-selling vinyl album of 2021 in the UK.[104] "Seventeen Going Under" peaked at number three on the UK Singles Chart in the week ending 13 January 2022, after 25 weeks on the chart.[105] Fender received the Brit Award for British Rock/Alternative Act the following month at the 2022 Brit Awards.[106] He dedicated the win (in part) to the North East Homeless centre.[107] Fender embarked on a UK-headline arena tour to support Seventeen Going Under, which began on 20 March and included shows at Wembley Arena, OVO Hydro Arena, and also 3Arena in Dublin, Ireland.[108] On 19 May, "Seventeen Going Under" earned Fender an Ivor Novello Award in the category of Best Song Musically and Lyrically.[109] He supported The Killers on 5 and 6 June at Emirates Stadium.[110] On 24 June, Fender performed on the Pyramid Stage at Glastonbury Festival 2022.[111] He appeared as a special guest for The Rolling Stones at British Summer Time Hyde Park on 3 July 2022.[112] Fender headlined a show to 45,000 people at Finsbury Park on 15 July 2022. It marked his largest headline show at this point.[5][113] On 2 September 2022, Fender announced his first headline stadium show for 2023.[114] On 18 October, Fender secured his first Mercury Prize nomination with Seventeen Going Under.[115] He unveiled "Wild Grey Ocean", a song previously unreleased from Seventeen Going Under, which would later be included in the album's reissue.[116] In November 2022, the single "Seventeen Going Under" was certified double platinum by the BPI (1.2 million UK sales).[117][118] Fender opened for Springsteen at two shows in Italy in May 2023.[119] Fender headlined two shows on 9 and 10 June 2023 at Newcastle's St James' Park stadium, attended by 100,000 people in total. Both shows injected £15 million into the local economy.[120] Other endeavours Acting Fender acted in the pilot episode of the ITV drama series Vera, which aired in 2011.[121] He also appeared in an episode of the fantasy series Wolfblood, which first aired on CBBC in 2012.[122] About his brief acting career, Fender stated he favoured music due to the ability to have "more control over it".[123] In 2021, he expressed interest in the possibility of pursuing acting roles in the future.[6] Grace Almond of Rolling Stone wrote that the music videos of "Spit of You" and "Get You Down", where he was the lead character, highlighted Fender's acting abilities.[124] Modelling In 2018, Fender first appeared in UK fashion magazines such as F Word and The Last Magazine.[9][125] In April 2019, he was chosen as a model to front the "Suit Your Self" tailoring campaign for Topman.[126] In 2019, he was featured in a GQ magazine article.[127] Fender made an appearance at the British GQ Men of the Year Awards 2019 at Tate Modern in London.[128] In September 2020, he was hired as the "face" of an eighteen-month motorcycle-inspired clothing campaign for British brand Barbour International and retailer Scotts Menswear.[129][130] In 2021, Fender created his signature clothing line in partnership with Barbour International and launched it in April of that year via Scotts Menswear. The promotion was accompanied by a short film called On the Record, which included an interview conducted at Newcastle's Vinyl Guruh record store.[131] As part of his modelling work, Fender has promoted branded apparel such as, Acne Studios, Frame, Harrington jacket, Martine Rose, Nike, Rag & Bone, Reiss,[132] Champion, Levi's, Umbro, Urban Outfitters,[9] Converse, Dr. Martens, and Dunhill.[125] Philanthropy On 1 April 2020, Fender performed for Isolation Nation Live on LADbible's Facebook page with an optional donation benefiting the British Red Cross's COVID-19 relief efforts.[133] He participated in the Live Lounge Allstars charity single as part of a charity supergroup that recorded a rendition of "Times Like These" by Foo Fighters from their homes during the COVID-19 lockdowns, whose proceeds were donated to charities Children in Need, Comic Relief, and COVID-19 Solidarity Response Fund.[134][135] The single premiered on 23 April 2020 alongside a music video.[136] Fender released a cover of "Winter Song" by Alan Hull to raise money for The Big Issue newspaper, collaborating with the social enterprise People of the Streets.[86] He said the issue of homelessness is significant to him as he has friends and relatives who have experienced it.[87] On 4 December 2020, Fender launched a petition to urge all UK councils to stop phone charges for helplines for vulnerable groups of people in the North East of England in need of emergency assistance. Fender said it was "scandalous" that four of the seven councils serving its local community charged them 40 pence per minute.[137] The petition was part of a campaign established jointly with the North East Homeless centre. By 21 December 2020, the petition reached 16,500 signatures, and as a result, six councils, including Durham, Gateshead, Newcastle City, North Tyneside, Northumberland and South Tyneside, decided to drop phone charges for their helplines in favour of free-to-call numbers.[138] He contributed a cover of Metallica's "Sad but True" for the charity tribute album The Metallica Blacklist, released in September 2021.[139] Half of the proceeds went to Metallica's All Within My Hands Foundation, the other half to the Teenage Cancer Trust, chosen by Fender.[140] On 19 December 2021, he went to help out at the Newcastle West End Foodbank after being invited by The Big Issue.[141] In March 2022, Rega Research released a limited edition turntable signed by Fender as part of the Record Store Day event, whose sale proceeds have been donated to War Child UK, which raised funds to help children in plight amid the Russian invasion of Ukraine.[142] In the same month, Fender became the patron of the North East Homeless charity.[143] On 24 May 2022, Fender performed at Newcastle City Hall to raise money for the North East Homeless centre through a ballot ticketing system. The event raised £133,725, thus enabling the centre building renovation.[144] Personal life Fender has attention deficit hyperactivity disorder, which he believes helped him focus on music.[7] His immune system issues affected his touring. The Bristol and Birmingham shows scheduled for 5 and 6 December 2019 were postponed to January 2020 due to a "respiratory tract infection".[145] Despite this, both shows were cancelled again in January 2020, as Fender accumulated chest infections, laryngitis, and tonsillitis.[146] He supported the use of medical marijuana, which helped alleviate a friend's cancer symptoms.[11] On 12 September 2022, Fender announced he was cancelling the remaining dates of his US tour to focus on his mental health. He stated, "I've neglected myself for over a year now and haven't dealt with things that have deeply affected me."[147] In 2022, Fender entered the Sunday Times Rich List for the first time, ranking him 12th on the list of Young music millionaires in the UK, with wealth valued at £10 million (US$11.9 million).[148] Political views Fender holds left-wing views, but has said that the British Left had "alienated their grassroots supporters" by concentrating on identity politics, leaving the working class to "being picked up by the right". He felt that "the increasing polarisation of political discourse" is a problem that makes "debate and compromise all but impossible".[7] Fender was also a supporter of Jeremy Corbyn, telling The Big Issue: "I loved Corbyn, quite frankly. I mean, he fucked up a lot of things. But I think his heart was in the right place and that's something that we've not seen for a long time. I just think he was done a massive disservice by the British press. And I think a lot of people who he would have potentially helped, were groomed to hate him."[149] In July 2020, he signed an open letter to the UK Minister for Women and Equalities, Liz Truss, calling for a ban on all forms of LGBT conversion therapy.[150] In late 2021, Fender felt disillusioned by politicians and political parties, saying that his "only allegiance now is to 'people'".[26] In November 2023, Fender signed an open letter calling for a ceasefire in Gaza.[151] Artistry Influences Fender grew up in a family where his parents listened to soul, jazz, rock, and 1990s music through his brother. He cites Aretha Franklin, Donny Hathaway,[152] Otis Redding,[125] Joni Mitchell, Jeff Buckley, Adam Granduciel, and his father's favourite band, Steely Dan, as his early inspirations.[101] His godfather was also a significant source of musical inspiration to him growing up; thus, visiting him, Fender would listen to songs by Mitchell and the Smiths.[152] He also listened to 1960s rock and roll, the Spencer Davis Group, the Kinks,[153] Joy Division, and Talking Heads growing up.[36] Fender credited his initial interest and inspiration for songwriting to a teacher who encouraged him to enhance his writing as part of a two-year school work beginning at age 13.[12] Fender names Bruce Springsteen and his album Born to Run as a major influence.[154][101] While dismissing comparisons between himself and Springsteen, Fender called Springsteen "a genius" and one of the greatest singer-songwriters of all time."[155] On Fender's originality, The Irish Times' Niall Byrne stated that his work "has retained its own sense of identity and has avoided the pitfalls of regurgitation".[156] Songs from the 1980s, such as "Fast Car" by Tracy Chapman and "Luka" by Suzanne Vega, as well as The Beatles, ABBA, and Kendrick Lamar use a writing style that Fender appreciates.[101] Voice and musical style Fender's music falls under the broad category of rock.[157][158] He has been classified as an indie rock[159] and British rock singer.[160] His musical style incorporates the indie rock,[161] heartland rock,[162] pop rock, Americana, and post-punk genres.[163] Fender's music nonetheless adheres to the sound of 1990s Britpop, manifested in the 2019 album Hypersonic Missiles.[23][164] Classic jangle pop also defined his musical style and has been particularly recognisable on songs such as "The Borders" and the reverberant opening guitar riff of "Seventeen Going Under".[165] "Play God" has been characterised as math rock with a dynamic groove,[35] "Saturday" as rhythm and blues,[6] and "That Sound" as power pop.[166] The indie rock song "Will We Talk?", structured around abundant melodies, has been widely viewed, in essence, as rock and roll.[167] "Last to Make It Home" has been described as an "acoustic-style ballad" with an Americana–folk rock chord structure. The motif of "Spit of You" is based on three sequences of guitar arpeggios, a Fender's trademark that he plays on the 2021 album Seventeen Going Under alongside Thompson and Atkinson, creating "movement" to the main chord progression.[101] "Howdon Aldi Death Queue" displays an occasional penchant for punk rock.[168][169] The Guardian's Alexis Petridis opined that the second album is rooted in contemporary times and closely connected with the early 1980s period of The Jam and The Specials.[170] Max Winkler of the Hamburg Evening Newspaper wonders if Fender is "the future of rock'n'roll",[171] whilst Neil McCormick of The Telegraph writes that through his music, he "continues his crusade to keep Britain safe for rock'n'roll".[172] Financial Times critic Ludovic Hunter-Tilney felt a musical approach leaning towards "classic rock" and considered Fender to have established his "authentically British version" of heartland rock as Dire Straits had done in the 1980s.[173] The Times critic Will Hodgkinson agreed, calling it "Fender's nostalgia set to a classic rock sound".[157] He has been dubbed "The British heartland rocker" by WFPK's Kyle Meredith.[174] He is a multi-instrumentalist, playing guitar, bass, piano, synthesizer, Hammond organ, glockenspiel, harmonica, and mandolin. The characteristic features of Fender's music include the jangly guitar tone of Jazzmasters, solos, saxophone, and also horns and strings.[16] MusicRadar has described the pulsating rhythmic sounds of Michael's drum beats as "huge" and explained that he displays "discipline and respect" for Fender's anthemic songs.[175][nb 1] Michael's drumming style has been characterised by motorik beats.[170][177] Fender is known for his high tenor voice and strong Geordie accent (North East England).[16] His manager said he was "totally struck by this incredible voice" when Fender, then 18, began singing under the encouragement of his boss at Low Lights Tavern.[103] Moon described his voice as "earnest" with keening harmonies. Fender has stated that he tends to sing at the top of his vocal range when writing and performing, saying he is "always belting."[101] Ellie Harrison of The Independent regarded Fender's voice as "big and sonorous" and expressing "moments of vulnerability".[30] The Telegraph's James Hall wrote that his live vocals were "rich and vibrant" in the upper register, particularly on medium tempo songs like "Mantra".[164] Petridis observed that in ascending pitch on the song "Aye", Fender's voice "takes on the keening quality" of John Lydon.[170] Songwriting Fender told Billboard in 2019 that he was entering a phase of writing lyrics first due to his enjoyment of "just writing poetry or just writing freeform".[153] Fender mostly writes songs on the piano and converts them to the guitar, continuing the creative development to find slight variations of chords on the latter.[16] Byrne argued that Fender distinguished himself as "an artist interested in expressing lived emotion" when releasing his series of singles from 2017.[156] Rolling Stone music columnist Tim Ingham observed a "near-complete decline of the solo singer-songwriter pop hit" over the previous decade in 2019 and described Fender as "a rarity in the modern music industry: a major label priority act ... who entirely writes all of his own material".[178] Triple J's Al Newstead wrote that Hypersonic Missiles "introduced him as a songwriter with skill, honesty, and a great love for anthemic rock". Newstead further said that Fender "embrace the voice-of-a-generation mantle thrust upon him" on the first two albums' politically charged songs but, by contrast, is more effective at addressing mental health-related topics and personal experiences.[154] Moon deemed Fender's lyrics "powerful, poetic, personal" and his songwriting "descriptive", imbued with reality and details, exemplified in the lyrics of "The Dying Light", "This town is a world of waifs and strays, comedy giants, penniless heroes/Dead men at the bar, I drank with them all."[101] Petridis felt he moved away from Springsteen's influence on the second album and noted a significant improvement in the lyrical department through an approach to songwriting that placed greater autobiographical emphasis with the addition of romantic, novelistic aspects.[170] The urban environment and local pubs' atmosphere often serve as a thematic framework for his songs. Songs provide the narrative of his personal experiences and those of his friends, ranging from "troubled childhoods", working class life in North Shields, to male suicides.[103] His songs also addressed communication, romantic failures, and relationships—including "complicated" ones between fathers and sons. Some lyrics were about self-esteem and growing up in England, whilst others chronicled the country's political spectrum and the ensuing tensions.[16] Others thematically refer to teenage life, friendship, mental health,[179] poverty,[10] "toxic masculinity",[41] social media addiction, and "faceless" politicians.[18] Seventeen Going Under was described as Fender "turning the mirror on himself; his adolescence and the trials and tribulations of growing up", with North Shields as "the ever-present backdrop".[89] In 2022, some of his lyrics are being used for English teaching to Year 9 pupils as part of the Key Stage 3 National Curriculum for England at Whitley Bay High School due to the quality of their writing and "certain messages" conveyed that "resonate with young people".[25] Equipment Fender plays guitars of the same name.[16] He began playing a Les Paul in his early days, and then the Fender brand offered to provide him with free equipment. He subsequently developed an interest in the sound of the Jazzmaster.[180] He also uses a powder blue Stratocaster and a Takamine acoustic guitar; both are gifts from Elton John.[181][16] Although his guitar was previously tuned to Eb standard, he adjusted it to his belt voice and switched to C standard.[101] He recorded the second album tuned to C standard and Nashville tuning and used light gauge strings.[16] Backing band members Current[16][20] Dean Thompson – guitar, backing vocals (2017–present) Tom Ungerer – bass guitar (2017–present) Joe Atkinson – keyboards, synthesizers, guitar, backing vocals (2017–present) Drew Michael – drums (2017–present) Johnny "Blue Hat" Davis – saxophone (2019–present) Mark Webb – trumpet (2021–present)[182] Discography Main article: Sam Fender discography Studio albums Hypersonic Missiles (2019) Seventeen Going Under (2021) Extended plays Dead Boys (2018) Filmography Television Year Title Role Notes Ref. 2011 Vera Luke Armstrong Episode: "Hidden Depths" [121][183] 2012 Wolfblood Dean Episode: "Wolfsbane" [122][184] Awards and nominations Award Year Category Recipient(s) Result Ref. BBC Music Sound of... 2018 New Music Talent Sam Fender Nominated [185] Brit Awards 2019 Critics' Choice Award Won [186] 2020 Best New Artist Nominated [78] 2022 British Artist of the Year Nominated [187][188] Best British Alternative/Rock Act Won British Album of the Year Seventeen Going Under Nominated FanFair Alliance Award 2019 Outstanding Contribution to Live Music Sam Fender (Shared with manager Owain Davies) Won [189] Global Awards 2020 Best Indie Act Sam Fender Nominated [190] 2022 Won [191] Best British Act Nominated 2023 Best Indie Act Nominated [192] Best British Act Nominated Best Male Nominated Ivor Novello Awards 2020 Best Song Musically and Lyrically "Dead Boys" Nominated [85][193] 2022 "Seventeen Going Under" Won [109] Mercury Prize 2022 Album of the Year Seventeen Going Under Nominated [115] NME Awards 2020 Best New Act in the World Sam Fender Nominated [194] Best New British Act Nominated 2022 Best Album by a UK Artist Seventeen Going Under Won [195][196] Best Album in the World Won Best Solo Act from the UK Sam Fender Nominated Best Solo Act in the World Nominated Best Song by a UK Artist "Seventeen Going Under" Nominated Best Song in the World Nominated Northern Music Awards 2024 Artist of the Year Sam Fender Nominated [197] Q Awards 2019 Q Breakthrough Act Nominated [198][199] Rolling Stone UK Awards 2022 Song of the Year Award "Seventeen Going Under" Won [200] Scottish Music Awards 2021 Best UK Award Sam Fender Won [201][202] South Bank Sky Arts Award 2022 Pop Award Seventeen Going Under Nominated [203] UK Music Video Awards 2019 Best Rock Video − UK "Dead Boys" Won [204] 2020 "The Borders" Nominated [205][206] 2021 "Seventeen Going Under" Nominated [207][208] 2022 "Getting Started" (Director's Cut) Nominated [209][210] "Spit of You" Won Best Color Grading in a Video "Get You Down" Nominated Notes References
6803	dbpedia	3	21	https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/	en	Did Roger Daltrey play guitar on WHO records ?	https://forums.stevehoff…5.jpg?1529452455	https://forums.stevehoff…5.jpg?1529452455	[ "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/61/61305.jpg?1529452455", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/22/22859.jpg?1380634322", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/20/20634.jpg?1352955631", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/61/61305.jpg?1529452455", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/54/54985.jpg?1424886558", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/images/smilies/orangewink.gif", "http://s24.postimg.org/685lq38s5/roger_flute.jpg", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15744.jpg?1352778307", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15010.jpg?1354061619", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15744.jpg?1352778307", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/34/34778.jpg?1380981351", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/34/34778.jpg?1380981351", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/images/smilies/hide.gif", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/34/34778.jpg?1380981351", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/61/61305.jpg?1529452455", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/34/34778.jpg?1380981351", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/61/61305.jpg?1529452455", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/data/avatars/m/15/15505.jpg?1543618596", "https://forums.stevehoffman.tv/images/2017logo-780w-2.png" ]	[]	[]	[ "" ]	null	[]	null	As many of us know. Roger Daltrey can often be seen playing rhythm guitar onstage with The WHO. Going back at least to the Kenny Jones era, or earlier....	en	/images/apple-touch-icon.png?v=2017a	Steve Hoffman Music Forums	https://forums.stevehoffman.tv/threads/did-roger-daltrey-play-guitar-on-who-records.502340/	As many of us know. Roger Daltrey can often be seen playing rhythm guitar onstage with The WHO. Going back at least to the Kenny Jones era, or earlier. Some of us know Daltrey was actually the original lead guitarist in The WHO ! Townshend originally played 2nd or rhythm guitar ! A bit later Daltrey became the primary lead vocalist & dropped guitar. We know the sound of The WHO was quite full with just 3 instruments, but even from the first single with Jimmy Page on 2nd guitar, & the 1st album, with Nicky Hopkins adding piano, the WHO often added a 4th instrument. Particularly on poppy songs like Can't Explain, Kids Are Alright, & many others Did Daltrey ever play guitar or other instruments on WHO records ? If so which ones ? If not, why not ? Sure with Moons busy Drums, Entwistle's busy lead bass lines, Townshend's big chords & guitar riffing, you wouldn't always want him to. But with only 2 & 4 tracks in 1965-66, it might come in handy to track 2 guitars, & allow Entwistle or Townshend to play keyboards. We know Daltrey is somewhat competent on guitar, it looks good live when they both play. So what's the story with Daltrey playing guitar in The WHO ? I've never even heard anybody discuss this before. OK please chime in
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"https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/common-icon/icon-close-black.svg" ]	[]	[]	[ "" ]	null	[ "Stuart Derdeyn" ]	2019-12-04T19:09:37+00:00	WHO is the first new album from the surviving members of The Who in 13 years.	en	https://dcs-static.gprod.postmedia.digital/16.7.2/websites/images/broadsheets/favicon-vs.ico	vancouversun	https://vancouversun.com/entertainment/music/5-things-to-know-about-who-by-the-who	WHO is the first new album from the surviving members of The Who in 13 years. Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content WHO The Who \| Polydor Records We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. 5 things to know about WHO by The Who Back to video This eleven track recording is the first from the present configuration of The Who in 13 years. Presently touring with a full orchestra backing the classic rock crew, the music on WHO could never be mistaken as coming from any other band. The album’s release has been overshadowed by guitarist and songwriter Pete Townshend’s recent comments about taking all the credit for the band’s success over its six decades-long career and his relief that the late drummer Keith Moon and bassist John Entwistle are gone. He later offered up a half-hearted apology for the comments, but they had certainly done the job of getting the band far more press than WHO ever would on its own. Advertisement 2 Story continues below This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Vancouver Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Vancouver Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. Sign In or Create an Account Email Address or Article content This is not to say that the 11 songs recorded with Townshend, vocalist Roger Daltrey, drummer Zak Starkey, bassist Pino Palladino with contributions from longtime touring guitarist Simon Townshend, Benmont Tench, Carla Azar, Joey Waronker and Gordon Giltrap aren’t worthy of a listen. Without doubt, WHO is the best thing the band has put out in many decades. Daltrey is on record calling the album the band’s best since 1973s Quadrophenia. He’s probably right. With the exception of 1974s Odds & Sods collection, every album after Quadrophenia was weak. Townshend says he wrote almost all the material for WHO over the 2017-18 period to give Daltrey “some inspiration, challenges and scope for his newly revived singing voice.” Covering topics ranging from musical theft to the Grenfell Tower fire and Guantanamo Bay Prison torture, there is no mistaking who is performing the music. Particularly the pipes powering through those big arena choruses the group was a key architect of back on 1971s exceptional Who’s Next. Here are five things to know about WHO: 1: Daltrey’s vocals. Fans are less than impressed by Townshend dissing Moon and Entwistle, but he never would have achieved the degree of success for his songwriting if not for the explosive, assured bluesy grit of his lead singer. Following Daltrey’s serious battle with viral meningitis in 2015, which forced the band to postpone a bunch of dates on its 50th anniversary tour, it didn’t look like his voice would ever bounce back. But 2018s solo album As Long as I Have You proved that the voice was back and he sounds superb on everything from the jazzy cabaret swing of She Rocked My World to the handclap pop of I Don’t Wanna Get Wise. Vocal producer Dave Eringa did an amazing job. Advertisement 3 Story continues below This advertisement has not loaded yet, but your article continues below. Article content 2: Detour. Maximum R&B was the Who’s signature calling card and this track has all of the group’s best qualities. There is the air-punching shout out chorus, Townshend’s slashing guitar, Starkey’s Moon-esque pounding drums and the assured swagger of the verse heading into that transcendental musing break complete with 5:15-ish keyboards. We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Article content Advertisement 4 Story continues below This advertisement has not loaded yet, but your article continues below. Article content 3: The power of strings. Recalling the way the string section crashed like waves against the melody in Love, Reign O’er Me, Hero Ground Zero features huge orchestral washes dropping into valleys of a single strummed acoustic with a tin whistle and some quiet rhythm section only to build over and over. It’s classic The Who. 4: I’ll Be Back. Pete always gets a track or two per record and he drops a great lyric about the enduring legacy of a happy love in this jazzy ballad. Until the weird halfway point when the robotic spoken rap comes in and shakes everything up. Fortunately, the Toots Thielmans-esque harmonica returns a feeling of sunny days. 5: Rockin’ In Rage. Rockin’ in rage/No, I won’t leave the stage. At their peak, The Who made some of the most aggressive rock music of all time. At the heart of its success was the fragility and tenderness of the lyrics and many of the melodic hooks juxtaposed against the relentless attack of the band. Even at 74, Townshend still has anger to burn. After all, this is an artist who titled his first fiction novel The Age of Anxiety. Also out this week: We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Advertisement 5 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Gabriel Birnbaum Not Alone \| Arrowhawk Records From its album cover to the production, the latest solo release from the singer/guitarist of Brooklyn’s Wilder Maker bears more in common with music made on the opposite coast many decades earlier. Citing such California singer-songwriters as Jim Sullivan and John Philips and the beyond brilliant backing work of the Wrecking Crew, the nine song set will appeal to anyone with a love of world-weary singer-songwriters prone to frequent outbursts of Tom Petty-esque guitar rock. The slide solo at the 1:40 mark in mistakes is Lowell George-good and that’s high praise. We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Advertisement 6 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Hazar Ava Ensemble The Mystery of Nightingale’s Warbling \| Rumi Records The hazar (nightingale) is symbolic of both love and death in literature and assumes a frequent key role in the work of Persian poets such as the legendary Sufi mystic and writer Jalal ad-Din Muhammad Rumi (1207-1273). The Hazar Ava Ensemble is made up of Vancouver-based Composer and Ney player Amir Eslami, joined by vocalists Atoosa Nezakaty, Banafsheh Farahmand and Pegah Sherket. Established in 2016 to perform classics from the Persian canon, the quartet is backed by a 10-piece orchestra on the beautifully recorded 13 track recording. With its driving rhythmic quality juxtaposed against the three vocalists’ polyphonic singing, tracks such as Beloved are like choral masterworks. Elsewhere, instrumentals such as Joy Rouser showcase bowed alto and bass qeichak lutes in moody, meditative music. An impressive debut. We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Advertisement 7 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Pat Irwin and J. Walter Hawkes Wide Open Sky \| bandcamp.com NYC No Wave guitarist and B-52s touring member Pat Irwin (The Raybeats, 8 Eyed Spy), is well known for his composing for everything from Nurse Jackie to SpongeBob SquarePants. Trombonist/electronics player J. Walter Hawkes is a four time Emmy-winner who has credits in TV and with artists such as Norah Jones. The 10 songs the duo produce on Wide Open Sky have nothing to do with any of those past credits. The instrumentals range from the kind of ambient, space jams you would expect to hear in a very cool loft space (In Another Time, February) to theme songs for cyberpunk noir Netflix shows yet to be produced (Automatic 3) or perfect music for a romantic dinner (For A Dance). Listen if you like Bill Frisell, etc. We apologize, but this video has failed to load. Try refreshing your browser, or tap here to see other videos from our team. Advertisement 8 Story continues below This advertisement has not loaded yet, but your article continues below. Article content Lee “Scratch” Perry Heavy Rain \| On-U Sound Records Anyone familiar with the history of dub music knows that the name of Lee “Scratch” Perry and Adrian Sherwood together is going to generate some ridiculous bass-heavy jams. And that’s exactly what they do with tracks from Perry’s Rainford album, roping in everyone from Brian Eno (Here Come the Warm Dreads) to Gaudi and Vin Gordon to twiddle knobs and mess stuff up. Over the top, naturally, Perry ruminates on whatever is on his mind at the time — his collector of souls talk-singing in Enlightened is particularly, well, enlightening — and it’s deliciously weird and pulsating. END CUT sderdeyn@postmedia.com twitter.com/stuartderdeyn Article content Share this article in your social network Latest National Stories
6803	dbpedia	2	16	https://www.musicweek.com/labels/read/polydor-co-mds-reflect-on-eight-chart-topping-campaigns-breaking-talent-reveal-new-music-for-2024/088752	en	Polydor co-MDs reflect on eight chart-topping campaigns, breaking talent & reveal new music for 2024	http://www.musicweek.com/cimages/eec8b09ef8a25ef73dbc1c09c4ec8e25.jpg	http://www.musicweek.com/cimages/eec8b09ef8a25ef73dbc1c09c4ec8e25.jpg	[ "https://www.musicweek.com/images/logos/logo-svg.svg", "https://www.musicweek.com/cimages/58a49720ac74e9ff92e47f6cebec8c08.jpg", "https://www.musicweek.com/images/icons/twitter.png", "https://www.musicweek.com/cimages/89c794d0a4bfc6d2b1b9a95d4c319d63.jpg", "https://www.musicweek.com/cimages/f53f90251a043686fcc4a7d799ee05fc.jpg", "https://www.musicweek.com/cimages/a376f967190a6b2288648b7981dd464e.jpg", "https://www.musicweek.com/cimages/00854258fc363f8b847773776f89d496.jpg", "https://www.musicweek.com/images/img/MPU_v3_1.png", "https://www.musicweek.com/cimages/0b2b4d0efd3ad530095c125a493fa99f.png", "https://www.musicweek.com/cimages/cf6ff429c2701812c61cf69b58458935.png", "https://www.musicweek.com/cimages/919905b8b6a8fbc628879a471e2a16f8.png", "https://www.musicweek.com/images/mobile-img/h-767.jpg", "https://www.musicweek.com/images/img/MPU_v3_footer.jpg", "https://www.musicweek.com/images/img/MPU_v3_footer.jpg" ]	[ "https://www.youtube.com/embed/cW8VLC9nnTo?si=c-nYCnbdcimGeBHg", "https://www.youtube.com/embed/kNQaTajp5X8?si=Vp7todOaoDUiUnwt", "https://www.youtube.com/embed/Vahujobn2b8?si=HElX85CNsmtWdROq", "https://www.youtube.com/embed/VyLbEEwd7FI?si=CC08Bk8AfK927Yis" ]	[]	[ "" ]	null	[]	null	Polydor is riding high with a huge No.1 from the Rolling Stones. It’s one of several chart-topping albums for the label in 2023, including two debuts. Here, co-MDs Stephen Hallowes and Jodie Cammidge reflect on their hugely successful campaigns, breakthrough talent and returning acts, and look ahead to more big releases in 2024…	en	//favicon.ico		null	Polydor is riding high at the moment with a huge UK No.1 album from the Rolling Stones. Hackney Diamonds opened with staggering sales of 72,204 (Official Charts Company). Charting at No.3 in the US, the Rolling Stones have become the first act to reach the Top 10 there with new albums in every decade since the 1960s. The Stones’ comeback is one of seven No.1 albums for Polydor so far this year, putting the label joint first with EMI at this stage (chart week 43). Polydor also hit No.1 in the singles chart with Billie Eilish’s What Was I Made For? and Olivia Rodrigo's Vampire. Polydor, headed by label president Ben Mortimer, can also claim the most No.1s by different artists across albums and singles so far this year, as eight of their nine chart-topping results are for separate campaigns. To mark Polydor’s chart achievements in 2023, the label’s co-MDs Stephen Hallowes and Jodie Cammidge got together to reflect on their hugely successful campaigns, breakthrough talent and returning acts, and look ahead to more big releases in 2024… The Rolling Stones has been one of the biggest stories of the year, as well as being one of the most significant album campaigns. What were some of the highlights and challenges for quite a short pre-release period? Jodie Cammidge: “It’s been a truly remarkable experience to be involved in the Stones and we’re all incredibly happy and proud of how it’s gone so far with Hackney Diamonds. This is just the beginning though, now the full focus is on keeping the album flying throughout Q4 and beyond, and making sure the catalogue remains buoyant too. “Seeing the band all together at Hackney Empire for the launch was a huge highlight, but the tease campaign [including a spoof advert in the Hackney Gazette] that the Polydor team orchestrated leading up to that point was simply brilliant. It was tasteful, smart and fun. It generated tons of online conversation and resulted in multiple pieces across every major news programme and front pages of the papers. One of the main challenges was making the campaign feel fresh and young, but we’re delivering on that. It’s a truly modern campaign; the Angry video and the Spotify-FC Barca partnership is testament to that and there’s lots more to come.” Lana Del Rey had the biggest vinyl sales for much of the year and a strong opening week. Can you reflect on her campaign activity this year, which combined traditional retail sales with TikTok and catalogue activations? Stephen Hallowes: “Lana has had one of the best years of her career. The fandom around her is at an all-time high and you can see that translated into everything; the new album, her catalogue, global e-commerce revenue, the incredible live moments from Hyde Park to stadiums in South America, the conversation around her on social media. She’s the eighth biggest selling artist in the UK so far this year, and globally she now has more monthly listeners on Spotify than both Adele and Beyonce. She’s a true visionary who forges her own path which is often the road less travelled. But she’s always favoured her artistry over chasing immediate commercial success and that’s not necessarily easy. To see that pay off in the way it has this year is an inspiration.” We love the process of building an artist, but we’ve also had a lot of success helping more established artists take their careers to the next level Stephen Hallowes Olivia Rodrigo came back even stronger on album No.2. With its obvious array of singles, how has it been working on a campaign that’s set to deliver multiple hits? JC: “I mean, there was no other option than delivering a No.1 album for Olivia, right?! Thankfully, our job was made a little easier given that Guts is such a brilliant record but also Olivia is so hard-working, plus her management team and Geffen are magnificent partners. It’s been a juggle at times with the focus songs in some of the more traditional areas such as radio, as the album is filled with multiple hits (at one point we had three songs in the Top 10 including a No.1 single for Vampire), but that’s a champagne problem really. We’ve navigated it all well and currently all three of those songs are playlisted at Capital and Radio 1 added them all straight to their A List (as well as A-Listing the whole album too).” Boygenius had a No.1 album and a charting single. What was it like working on that indie supergroup campaign? SH: “Boygenius are one of the biggest breakthroughs of the year. The album surprised a lot of people; their audience profile is younger than you would imagine with heavy super-fandom – including many of us at the label! – meaning that, like Lana, they sell vinyl and stream. We could see the opportunity for a No.1 early on and we worked closely with them and their teams to make the right moves towards that but without ever compromising their credibility. And the campaign has continued all year, with the Gunnersbury Park show to 35,000 people in the summer, the album now nearing silver and the new EP last month, which yielded their first charting single. “We love the process of building an artist from scratch, but we’ve also had a lot of success over the years helping more established artists take their careers to the next level. Alongside Boygenius, Glass Animals has been a fantastic example of that and we’re very excited to be working with Self Esteem and Confidence Man moving forward, both artists with a certain amount of success under their belt but with huge potential to reach new heights.” Billie Eilish had the first No.1 from the Barbie soundtrack. How special was that result? JC: “Yeah, a very special result for us all. Billie loves the UK so much, we made it our mission to deliver her another No.1 single. It’s the best song in the film by quite some distance and it also soundtracks the movie’s most poignant moment. It’s all been said before, but artists like Billie don’t come along very often. She is uncompromising and boundary-breaking, and has a remarkable ability to connect instantly with a diverse audience through her music and persona. We’ve witnessed her performing on the smallest stages in London to headlining the very biggest of them all at Glastonbury and this year’s Reading & Leeds Festival, and she owns it with every performance. We’re all very excited to see what’s to come next for her.” Cian Ducrot was an incredible chart battle – does that show how you can break talent and really deliver on a campaign? SH: “Cian is one of only two artists to have their debut album go to No.1 this year. Boygenius are the other one. That’s something we’re extremely proud of as breaking artists isn’t easy to do in the current climate, and it’s a vital part of what we do. Polydor are known for consistently delivering fantastic results in the charts. In fact we have more individual artists with No.1 singles and albums than any other label so far this year.” Clavish is the biggest breakthrough of the year for a UK album act. What’s been key to his success and how can it build from here? JC: “It’s been a huge year for Clavish and the key for us is simple: always listen to him as he is completely in tune with his audience, and everything is done with authenticity and credibility. I was watching his performance at Wireless Festival this summer, and remember thinking he will be a future mainstage headliner there, I have no doubt about that. His work rate is also phenomenal, so to see his album as the No.1 best-selling debut album of the year is totally deserved. “Breaking artists is something we really do pride ourselves on at Polydor, and we have five of the Top 10 best-selling debut albums of the year in 2023 – Clavish, Boygenius, Cian Ducrot, Gracie Abrams and Ice Spice.” Jazzy has been one of the breakout stars of the year with multiple hits. What makes her unique in the dance space? SH: “Part of what makes Jazzy unique is actually the fact that she has managed to have multiple hits. Dance is such a vibrant genre right now but it’s also a genre that can sometimes favour tracks over artists. Giving Me is the biggest-selling debut single of the year, but what’s almost more exciting to us is that the follow-up single was also a hit. With Jazzy we’re building a proper fan community. The music coming next year is going to really take her to the next level.” You launched Chaos with a new approach to breaking talent, how is that ramping up for the year ahead in terms of live and multimedia content? JC: “It’s been a wild first six months for Chaos, they hit the ground running and have quickly become the most talked about dance label in the UK. What’s key to them is breaking artists in a hyper-localised way first, cementing super fans and building from there. They have ambitious plans for Chaos live events in 2024 – and not in London. They will continue to build on the brilliant livestream series that has been a big part of their culture so far, and will also be ramping up their merch range which flies out the moment they get a new delivery. “The Chaos team are also super aligned with the WUGD label and, alongside Dan Stacey, are doing superb work on Hannah Laing. She’s just announced two nights of massive homecoming shows at Caird Hall in Dundee, both sold out in minutes.” The Courteeners had a No.1 early in the year - how does Polydor approach a catalogue campaign in partnership with UMR? SH: “We love working with UMR. Hannah and Azi have brought an incredible fresh energy to that team, and we’ve made a real point this year of identifying and capitalising on these opportunities starting with the Courteeners but also including Haim, The 1975, Snow Patrol, ABBA, and that’s just the anniversary projects we’ve worked on. Every returning artist campaign needs to have a catalogue element to it. With UMR, it’s truly a collaborative process where we both bring our respective skill sets and strengths to deliver the best possible results. SJM were also fantastic partners on the Courteeners project in particular, having the artist and management buy-in was a huge factor in being able to achieve that No.1.” You also had the 10th anniversary of Haim with a return to the Top 20, how important have they been to the label over the past decade in terms of critical and commercial success? SH: “Haim are so beloved in the artist community, we’re so proud to have them on the label. They reached a new level of credibility with their last album being nominated for Album Of The Year at the Grammys, and winning the BRIT Award for International Group. They’re working on a new album at the moment which will hopefully come out next year, so this year it felt like the perfect opportunity to shine a light on their beloved debut to mark the anniversary. It’s a classic album and seeing them headline All Points East to 25,000 people over the summer was another brilliant moment in what’s been a fantastic career.” Ellie Goulding is one of Spotify’s Top 15 UK acts globally of the last 15 years. How have you helped to develop her into a long-term career artist? JC: “There are various factors at play here. Firstly, it goes without saying but Ellie is such a talented songwriter and has an amazing ability to craft meaningful and relatable lyrics that connect with so many people. From a label perspective, having a consistent release strategy for new music means we’re always maintaining Ellie’s presence. We’re also constantly finding ways to reintroduce her catalogue to new audiences and we’re reactive to social media trends too. Her live performances are also undoubtedly a contributing factor, she’s in the middle of another sold-out tour right now. Unquestionably, Ellie’s collaborations with other artists have expanded her reach and introduced her music to new audiences too. She’s also one of the most versatile artists around, you won’t believe what she’s planning next.” Breaking artists is something we pride ourselves on at Polydor, and we have five of the Top 10 best-selling debut albums of 2023 Jodie Cammidge Elmiene has been an interesting development story with sold-out shows, TV and fashion performances. What are the opportunities in 2024 in partnership with Def Jam? JC: “Elmiene is a truly exceptional artist, he has the lot… Sublime voice, incredible songs and he is also such an amazing character, honestly his live shows are borderline stand-up routines. He’s a naturally funny guy and manages to get the audience in the palm of his hands instantly. I went along with him to his debut TV appearance on Later… With Jools Holland earlier this year and he was the one artist that all the others wanted to chat with afterwards, they all knew they had witnessed something special. I could listen to him sing all day long. He has the world at his feet, and I don’t think we will be shy of opportunities in 2024.” Confidence Man is one of those acts where the word of mouth is incredible. How are you tapping into that growing awareness to take them to the next level? SH: “You’d have to be living under a rock to have not caught Confidence Man at a festival this summer. They are so much fun and their ability to win over a crowd is second to none. They’re also a testament to our meticulous approach to artist development. Our aim this year was to connect the live story back to their socials and their audience on streaming. Their Spotify listeners have quadrupled in part thanks to some clever features, including Now U Do with DJ Seinfeld, which was also a big radio record, and their social audience has followed a similar trajectory. Next year will be about releasing a lot more of their own music, which is sounding incredible – starting next week with a song called Firebreak that’s been going off in their live set all summer.” Troye Sivan's first full album in five years went Top 5 and he's now got multiple singles chart entries. Where can he go from here in terms of UK hits and audience building? SH: “Troye Sivan is such a brilliant example of long-term artist development in the modern age. He has slowly built up a huge audience globally over the last 10 years, and at the same time has had time to develop musically and creatively. As soon as we heard the music and saw the creative he had been working on for this album, we could see the potential to take it to the next level. He’s fantastic at short-form content and a real social media native, but he’s also really proven the value in the long-form music video is still there with the right creative. “We really encouraged him to spend as much time in the UK as possible over the summer to lay the groundwork for the campaign and it really paid off. He is a joy to work with, the whole team absolutely love him. He has such confidence in what he’s doing. Seeing all this translate into hits and the success of the album has been brilliant.” What are your other priorities early in 2024 in terms of breaking talent and returning acts? JC: “We’re all very excited for the return from Glass Animals; a few of us have been lucky enough to hear songs already and we are blown away by it, it sounds stadium-sized! Cannot wait for Sam Fender to be back with new music after a huge year headlining festivals and his enormous shows at Newcastle St James’ Park Stadium in 2023. We should have new music from Self Esteem who’s just started her run as Sally Bowles in Cabaret, is there anything she can’t do? “Elbow have just delivered one of the best albums of their career, a genuinely brilliant record that will blow people away. Paul Weller will be back, Celeste has been super busy in the studio, Inhaler will be back with their third album having spent the entire year touring the world and have their first ever arena show coming up in Dublin in November, too, which sold out months ago. Snow Patrol will be back too, and there will be a very exciting start to 2024 for Clavish with a new project. Also, we’re very much looking forward to introducing the world to Nia Smith and Kaeto.” SH: “Becky Hill’s second album is nearly delivered and packed with hits. She just put an arena tour on sale and sold over 70,000 tickets in the first day, which is spectacular, so we are excited to see what we can achieve on an album with her. Mabel has been working away on new music, which I think will surprise and really excite people when we start releasing early next year. Olly Alexander was just immortalised at Madame Tussaud’s, which was wild, he will have new music next year and has something very exciting up his sleeve. We can’t wait to hear what Michael Kiwanuka has been working on and hopefully that will come next year. In terms of new artists, we’ve been building Etta Marcus quietly for the last year and people are starting to take notice. And as I said, very excited to ramp things up release-wise with Confidence Man.” JC: “And that’s just the UK stuff! Lots more that we can’t talk about yet but we’re in for another big year at Polydor.” Subscribers can read our Jazzy interview here.
6803	dbpedia	1	14	https://www.cs.odu.edu/~salam/wsdl/inforet/wikihtml/Endless_Wire_(The_Who_album)_997b.html	en	Endless Wire (The Who album)			[ "https://www.cs.odu.edu/images/local/thumb/d/de/Endlesswirecover.jpg/200px-Endlesswirecover.jpg", "https://www.cs.odu.edu/images/shared/thumb/e/ee/3.5_stars.svg/55px-3.5_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/4/4e/3_stars.svg/55px-3_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/e/ee/3.5_stars.svg/55px-3.5_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/4/4e/3_stars.svg/55px-3_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/1/1b/4_stars.svg/55px-4_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/1/1b/4_stars.svg/55px-4_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/e/ee/3.5_stars.svg/55px-3.5_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/e/ee/3.5_stars.svg/55px-3.5_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/1/1b/4_stars.svg/55px-4_stars.svg.png", "https://www.cs.odu.edu/images/shared/thumb/4/4e/3_stars.svg/55px-3_stars.svg.png", "https://www.cs.odu.edu/images/local/d/d6/Ambox_style.png", "https://www.cs.odu.edu/skins/common/images/poweredby_mediawiki_88x31.png", "https://www.cs.odu.edu/misc/wikimedia-button.png" ]	[]	[]	[ "" ]	null	[]	null		en	../../../../misc/favicon.ico		null	From Wikipedia, the free encyclopedia Endless Wire Studio album by The Who Released 30 October 2006 (UK) 31 October 2006 (U.S.) Recorded Pete Townshend's home studio and Eel Pie Oceanic Studios, autumn 2002 â summer 2006 Genre Rock Length 58:45 64:51 (Extended Version) Label Universal Republic (U.S.) Polydor Records (world) Producer Pete Townshend Bob Pridden and Billy Nicholls (Roger Daltrey's vocals only) Professional reviews All Music Guide link Aversion link Being There Magazine link The Guardian link iTunes Mojo The Music Box link PopMatters link Rolling Stone link UNCUT link The Who chronology Thirty Years of Maximum R&B (1994) Endless Wire (2006) Endless Wire is the eleventh album by the English rock band The Who. It was their first new album of original material in twenty-four years following the release of It's Hard in 1982. The album was originally to be released in Spring 2005 under the working title WHO2. Endless Wire debuted at #7 on the Billboard album chart and #9 in the UK. Portions of it have been featured on The Who Tour 2006-2007. Most of the songs from this album were used in the rock musical adaptation of The Boy Who Heard Music which debuted in July 2007 as part of Vassar College's Powerhouse Summer Theater workshop series. Contents 1 Track listing 1.1 Bonus tracks on some editions 1.2 Bonus CD: The Who Live at Lyon 1.3 Bonus DVD: The Who Live at Lyon 2 Singles 3 Personnel 4 History of the album 5 Song breakdown 6 Additional songs 7 Adaptation as a rock musical 8 Miscellanea 9 External links [edit] Track listing All songs written by Pete Townshend, except where noted. "Fragments" (Townshend, Lawrence Ball) â 3:58 "A Man in a Purple Dress" â 4:14 "Mike Post Theme" â 4:28 "In the Ether" â 3:35 "Black Widow's Eyes" â 3:07 "Two Thousand Years" â 2:50 "God Speaks of Marty Robbins" â 3:26 "It's Not Enough" (Townshend, Rachel Fuller) â 4:02 "You Stand by Me" â 1:36 Wire & Glass: A Mini-Opera "Sound Round" â 1:21 "Pick Up the Peace" â 1:28 "Unholy Trinity" â 2:07 "Trilby's Piano" â 2:04 "Endless Wire" â 1:51 "Fragments of Fragments" (Townshend, Ball) â 2:23 "We Got a Hit" â 1:18 "They Made My Dream Come True" â 1:13 "Mirror Door" â 4:14 "Tea & Theatre" â 3:24 [edit] Bonus tracks on some editions "We Got a Hit" (extended version) â 3:03 "Endless Wire" (extended version) â 3:03 [edit] Bonus CD: The Who Live at Lyon Recorded at the Vienne Amphitheatre, Vienne, France on 17 July 2006. Included as an extra in Europe, Asia, and at Best Buy stores in the United States. "The Seeker" â 2:36 "Who Are You" â 6:58 "Mike Post Theme" â 3:55 "Relay" â 7:40 "Greyhound Girl" â 3:04 "Naked Eye" â 8:26 "Won't Get Fooled Again/Old Red Wine" â 10:40 [edit] Bonus DVD: The Who Live at Lyon Recorded at the Vienne Amphitheatre, Vienne, France on 17 July 2006. "I Can't Explain" â 3:04 "Behind Blue Eyes" â 4:39 "Mike Post Theme" â 3:41 "Baba O'Riley" â 5:59 "Won't Get Fooled Again/Old Red Wine" â 10:03 [edit] Singles The songs "Tea & Theatre" and "It's Not Enough" were released separately as singles on Universal in 2006, and "Black Widow's Eyes"/"It's Not Enough" on Polydor, also in 2006. "It's Not Enough" reached #37 on the U.S. Billboard Mainstream Rock charts. [edit] Personnel Roger Daltrey â lead vocals, guitar Pete Townshend â guitars, vocals, bass, drums, piano and keyboards, violin, banjo, mandolin, drum machine Pino Palladino â bass guitar John "Rabbit" Bundrick â Hammond organ Zak Starkey â drums (on "Black Widow's Eyes") Simon Townshend â backing vocals Billy Nicholls â backing vocals Peter Huntington â drums Stuart Ross â bass guitar (on "It's Not Enough") Jolyon Dixon â acoustic guitar (on "It's Not Enough") Rachel Fuller â keyboards (on "It's Not Enough"), orchestration supervisor (on "Trilby's Piano") Lawrence Ball â electronic music (on "Fragments") Gil Marley, Brian Wright, Ellen Blair and Vicky Matthews â violins, violas, and cellos (on "Trilby's Piano") Design and Art Direction by Richard Evans utilising elements created with the Visual Harmony software designed by Dave Snowdon and Lawrence Ball The only remaining original members of the band are Pete Townshend and Roger Daltrey. Keith Moon died in 1978, and John Entwistle died in 2002. Kenney Jones, the Who's second drummer, hasn't played with the group since 1988. Entwistle's place is currently being filled by Pino Palladino. Zak Starkey (son of Beatles drummer Ringo Starr), Peter Huntington, and Pete Townshend play drums on the album. Starkey, the longest-term fill-in for Keith Moon, has played with The Who since 1996. Additionally Simon Townshend (Pete Townshend's brother) and Billy Nicholls (who has played with both Roger Daltrey and Pete Townshend on solo albums and tours, and provided backing vocals during The Who's 1989 reunion tour) are providing some backing vocals for the album, with John "Rabbit" Bundrick playing some of the keyboards. Palladino has worked on some of Pete Townshend's solo projects. When Entwistle died unexpectedly on the eve of the Who's 2002 tour of the United States, Palladino was called in, and the new group were performing within days. Palladino has remained with the Who since, and played on the 2004 track "Old Red Wine". [edit] History of the album Most of what is known about the development of the album has come from Pete Townshend's website. On 21 March 2005, Pete Townshend officially announced the postponement of the new Who album[1]. On 24 December 2005, Townshend announced that manager Bill Curbishley had introduced a "great scheme" to allow the band to tour in Summer 2006 in support of new material, even if Townshend did not have "a full thirty tracks ready to go." [2] On 20 March 2006, Daltrey announced that he and Townshend were making progress with the album and that Townshend had written a song about Stockholm Syndrome, entitled "Black Widow's Eyes". Daltrey also said that Townshend is playing some bass on the album [3]. On 28 March 2006, Townshend announced through the diary portion of his website that a mini-opera, entitled "The Glass Household" now forms the core of the album. It is based on his novella "The Boy Who Heard Music". He also announced plans to have a shortened version of the opera released this summer, prior to the release of the full album. [4] This diary entry also confirmed the current lineup of the band: Pino Palladino on bass, Pete Townshend on guitars, his brother Simon Townshend is helping on backing vocals, and John "Rabbit" Bundrick is tackling keyboards. Peter Huntington, from Rachel Fuller's band, is on drums because Zak Starkey was still on tour with Oasis. On 9 April 2006, Townshend announced that the shortened version of "The Glass Household" has been played to executives at Polydor, and a release date has been set for June, with a tour of Europe following, and the album in September [5]. On 3 May 2006, Pete Townshend posted on his diary page that the mastering for the new EP, titled Wire & Glass, is complete and that the tracks will soon be sent to Polydor. Townshend anticipated a mid-June release for the EP, and a mid-September release for the full album. He has also announced that in 2 weeks The Who would begin rehearsing for their tour, during which time Townshend would finish recording the rest of the album with Roger Daltrey [6]. On 13 May 2006, Pete Townshend reported that his daughter is helping find a video director, but there may be some problems with releasing the mini-opera in North America at the same time as the rest of the world. However, he said he was certain "the Who have a new record in the can - almost finished, and it will be a good one," [7]. On 10 June 2006, Pete Townshend revealed that songs rehearsed for the upcoming tour would include "Cry If You Want" (last heard in 1982 and apparently requested by Roger Daltrey), "I Don't Even Know Myself", "Relay", "Getting In Tune", "The Seeker", "Another Tricky Day", "Naked Eye", "Bargain", "Pure and Easy", "I'm a Boy", "Tattoo", and "Let's See Action", while the North American shows will also get Roger Daltrey's second self-penned song, "Here for More", and The Who by Numbers track "Blue, Red and Grey", to be performed by Townshend on ukulele. He also mentioned the truncated rock opera, Wire & Glass, will be rehearsed and includes the following titles: "Sound Round", "Pick Up the Peace", "Endless Wire", "We Got a Hit", "They Made My Dreams Come True", and "Mirror Door" (the latter which has been getting radio play in the UK). A version of "It's Not Enough" was released online at artistdirect.com. "It's Not Enough" has tentatively been announced as the first single off the album, to be released simultaneously. On 3 October 2006, "It's Not Enough" was made available on iTunes. "Tea & Theatre" was also made available. Then on 14 October 2006, Polydor built a website for the album. It was announced from Pete Townshend's website. On the website endlesswire.co.uk samples of the songs "We Got a Hit" "Endless Wire" "It's Not Enough" "Black Widow's Eyes" "Mike Post Theme" and "Man in a Purple Dress" are available to listen to, but not to download. As of 23 October 2006, the entire album is available to stream on music.aol.com. [edit] Song breakdown On 6 September 2006, the track listing for the album was released on Pete Townshend's personal website [8]. On 27 September 2006, a press release was issued which featured track-by-track commentary by Pete [9]. All songs written by Pete Townshend except as noted. "Fragments"(Townshend/Ball) This song is based on one of the very first experiments by Lawrence Ball, a composer I commissioned to create a system, and software, that would recreate the 'Method' music (music accurately reflecting an individual via a website) described in my three interlocked rock-opera projects: Lifehouse (The Who 1972); Psychoderelict (Pete Townshend solo 1993); The Boy Who Heard Music (Weblog Novella 2005-2006). In The Boy Who Heard Music, a group of three young people form a band â The Glass Household â and their first big hit is this song. This song was performed live throughout the 2006 US tour. "A Man in a Purple Dress" After watching Mel Gibson's harrowing 2004 film The Passion of the Christ I immediately wrote three songs. This was one of them. It is not so much a rail against the principles of justice through the ages, but a challenge to the vanity of the men who need to put on some kind of ridiculous outfit in order to pass sentence on one of their peers. It is the idea that men need dress up in order to represent God that appalls me. If I wanted to be as insane as to attempt to represent God Iâd just go ahead and do it, I wouldn't dress up like a drag-queen. Another song performed throughout the 2006 US tour, Pete and Roger also appeared on the David Letterman Show on 14 September 2006, to perform the song, though it was reduced by two verses. "Mike Post Theme" Who songs have been used recently for TV shows. I thought a lot about why there are people who feel that isnât a cool thing to do. Mike Post is a man who has written a number of TV themes that I feel have created a kind of regular sparkle in my life â they have reminded me that life comes one day at a time, and that it is truly the little things in life (like Soap Operas on TV) that help ease the big troubles. The larger theme in the background of this song is the statement that we are no longer strong enough or young enough to love. In a very real way, movies, novels and TV series do help us to express selfless emotions as we once did when we were in love. Men cry quietly watching TV and movies, women maybe a little more openly, but when we do that we are reconnecting with our innocent and free-flowing feelings. If only we could still do that with the principle lover in our lives. In addition to the mini-opera, "Mike Post Theme" was debuted live at their Leeds University gig on 17 June 2006. When announcing the song, Roger said that it hadn't been recorded yet, leading fans to believe that it wouldn't appear on the album despite being a favourite among those who had heard it. It appears that a version was recorded during a brief break in the tour. "In the Ether" In my Novella The Boy Who Heard Music the narrator is Ray High, a rock star whose drug-abuse has led him to a sanatorium. While there he learns to meditate and begins to sense that someone is interfering with his quietude up in the place where he allows his mind to go. It seems almost as though they are using a Ham Radio, and old fashioned long-wave radio that was the specialist precursor to the modern internet Chat-Room. He may sense another presence, but this song reinforces how lonely it is to be .spiritual.. If the intention of the spiritual aspirant is to 'become one with the infinite', and yet life is almost the universally finite antidote to the infinite, isn't he likely to get very lonely? Debuted live by Pete at a solo gig for the Poetry Olympics at the Royal Albert Hall on 25 September 2005. The song was later released as a download on Pete's website, but fans were put off by Pete's strange vocals, reminiscent of Tom Waits, and Roger reportedly passed over singing the song for the album. "Black Widow's Eyes" A love song. We sometimes fall in love when we do not want to, and when we do not expect to. Suddenly. Foolishly. This song is about the man holding a child in the Beslan massacre who described the female terrorist who blew herself up, killing the child he held, as 'having the most penetrating and beautiful eyes'. Roger talked about this song in an interview in the spring of 2006, saying it was written about Stockholm syndrome and quoting it as one of his favourite tracks on the album. The song was performed infrequently on the 2006 US tour. "Two Thousand Years" This is one of the three songs I wrote after watching The Passion of the Christ. This one is about the fact that Judas may not have been acting to betray Christ at all, but precisely following his instructions. He waits two thousand years for us to consider this a possibility. We wait two thousand years for the New Christ. We need a lot of patience. Pete debuted this song on the In the Attic programme in 2005. "God Speaks of Marty Robbins" Very simple song. God is asleep, before Creation â before the Big Bang â and gets the whim to wake, and decides it could be worth going through it all in order to be able to hear some music, and most of all, one of his best creations, Marty Robbins. Pete had recorded an instrumental demo simply titled "Marty Robbins" in June 1984, which was released on his 2001 Scoop 3 album. He later debuted the song at an Internet-only streaming concert titled the Basement Jam on 4 December 2005. "It's Not Enough" (Townshend/Fuller) Watching Mepris, the '60s film by Jean Luc Godard starring Brigitte Bardot, I found myself wondering why it is that we choose people to partner who we feel aren't quite right. Bardot asks her lover, 'Do you adore my legs?' He nods. 'My breasts?' He nods. 'My arms?' He nods. She goes over her entire body. He nods every time. When she's finished she gets up and tells him, 'It's not enough.' "It's Not Enough" started off as a Rachel Fuller track, but Pete liked the music and asked her if he could use it for the new album. The song was released as an Internet download single in October 2006, where it reached #37 in the Billboard Hot Mainstream Rock Tracks. "You Stand by Me" I wrote this a few minutes before appearing on my partner Rachel Fuller's In the Attic Live webcast show from my studio in London. I had nothing new to play, and decide to write a song. This just came out. It is for her, and for Roger, for believing in me, and standing by me when I have been completely out of order. It could be for many of my family, friends and fans who have done the same. I have often been a very tricky man to live with. "Sound Round" The first song from Wire & Glass, a 'Mini-Opera', ten songs that comprise the principal music composed so far for the novella The Boy Who Heard Music. A young man (the young Ray High) is driving a large camper bus with extreme air-con around an Estuary close to a large Power Station. He can see that the sea is swarming with a plague of jellyfish encouraged by the over-heated sea water (this is based on something that happened around 1971 in the Blackwater Estuary in Essex). He stops and looks at the water, throws a stick for his dog, who he has to rescue. In the sky he sees the future â nothing ecological or apocalyptic, more a vision of a society strangled by wire and communications. Reportedly, this track, the following track ("Pick Up the Peace"), and an unreleased track titled "Ambition" (see below) were written in 1971. The character of Ray High also appeared as the protagonist of Townshend's solo album Psychoderelict. "Pick Up the Peace" Ray High, now an old '60s rocker, is meditating in what looks like a cell in a secure hospital. He sees three teenagers from his neighbourhood getting together as kids do, playing, flirting, talking, and forming a band. Then he has an intuition that they are going to become stars. They are Gabriel, Josh and Leila. (They call their band The Glass Household). In striking contrast he sees scenes from his own childhood in the same neighbourhood, bombed buildings and old soldiers. "Unholy Trinity" The three kids are from very different families. Gabriel is from a show biz family of lapsed Christians. Josh is from a fairly devout Jewish family (they observe Sabbath) who have suffered a tragedy, the loss of their father in an incident in Israel. Leila, from a Muslim family who have also suffered a loss: that of her beautiful and charismatic mother who died when she was very young. They each share fantasies, and afflictions, gifts and ideas, and become deeply committed friends. Like urchin-angels they share their secrets: Gabriel hears music; Josh voices; Leila can fly. To date, this was only performed on three occasions throughout the US 2006 tour (Philadelphia, Wantagh, and Calgary). "Trilby's Piano" Josh's widowed mother vests all her hopes in her brother Hymie becoming a great man. He falls in love with Trilby, Gabriel's goofy blonde Aunt. Trilby is the one who has nurtured Gabriel's great musical talent, unnoticed by his preoccupied mother. The kids decide to put on a musical play at Leila's father's studio featuring this song, and it finally breaks Josh's mother's resistance to the love match. The song is sung by Gabriel. The play is a naiive children's effort, but with a grand proscenium stage (like a large Victorian puppet theatre) a stairway and a cherub and angel filled backdrop. "Endless Wire" At some point in their rehearsals for the play, the three teenagers unearth documents that turn out to have belonged to Ray High, Leila's fatherâs old studio partner. The documents refer to a crazy scheme to use the global wire network Ray saw as a young man to spread unifying music to everyone. (This matches my own vision for the Lifehouse Method, a computer-driven website through which people can commission their unique musical portrait.) They pore over the plans and realize that his scheme might be something they can make happen. Pete performed this song solo at Joe's Pub on 14 September 2006. The Who had also performed it live in full in Berlin on 12 July 2006, separate from the mini-opera, which wasn't performed that night. On both occasions, when not performed with the mini-opera, the full version with a reprise of the first verse and an additional chorus was played; Pete has said this variation is one of two bonus tracks that will feature on special editions of the album. "Fragments of Fragments" (Townshend/Ball) A stripped version of FRAGMENTS to show off the Method music. "We Got a Hit" In a series of intense discussions the three metamorphose from kids to adults and expert media and internet manipulators and we see them performing a hit on TV, radio and stage. The hit referred to in the lyric is FRAGMENTS. Another song that was "extended" for a special edition of the album, with an additional verse not heard on the mini-opera version. "They Made My Dream Come True" Still in his cell, Ray High can observe the kids' rise to fame while meditating. He foresees a tragedy, someone at the bandâs biggest ever, and last, concert will die. He rues the fact that the rock industry seems unable to change. What is never clear is whether the concert he foresees ever takes place in reality, or actually remains a dream forever. "Mirror Door" The three pursue their own dream: to perform an extraordinary elaboration of their children's play in Central Park in New York that is webcast to the entire world for charity, and during which they demonstrate Ray's idea to 'turn everyone into music'. Where there was once a small puppet theatre stage, there is now a massive one; where there was once a small stairway to the back of the stage, there is now a stairway hoisted by blimps that seems to reach into the heavens. The band play, it becomes clear that there are terrorists on the streets trying to distract from the celebration, but the show goes on. At the top of the stairway appear gathered a series of legendary singers from popular music, all dead. A shot rings out and the tragedy is established. Josh, a paranoid schizophrenic, has stopped taking his medication and grabbed a pistol from someone and shot Gabriel. We cannot help our own. He ascends the stairway to join the dead. Even now, it is not clear whether this particular series of events actually takes place. It will be noted that one of the listed names of deceased singing geniuses (Doris Day) is still alive. In show-biz heaven, behind the âMirror Doorâ no one ever really dies (it is rather like an after-show pub gathering). FRAGMENTS, the kid's biggest hit, becomes a moment to look back and celebrate life, death, breath, creation, science, physics, maths, literature and growth. This song was released to the radio stations ahead of the mini-opera in June 2006, but was remixed for the Wire & Glass release later in July. "Tea & Theatre" Years later Josh and Leila â now old - take tea together. Coincidentally Josh's protective sanatorium cell is next to Ray's and they have just â together â revived once again the childrenâs play, this time with the inmates of the sanatorium. They reflect on their career and lives together. The inference here is that perhaps, just maybe, Ray (the narrator) has confused the play he just saw in the Sanatorium with the one they all hoped to see happen one day in New York, in the sky, and up into the universe. Fans have interpreted this song as being about the death of John Entwistle and Pete's and Roger's decision to carry on as The Who, though Pete refuted this in interviews, saying that it was the concluding track of The Glass Household, but that he was pleased that people interpreted it differently. "Tea & Theatre" was the final performance of The Who's concerts throughout the US 2006 tour, with just Pete (on acoustic guitar) and Roger at the front of the stage; the studio version utilizes a drum machine and bass guitar. An asterisk (*) denotes songs included on the Wire & Glass EP. There are two special edition versions: One contains a Bonus DVD with 5 live songs: "Mike Post Theme", "Baba O'Riley", "Who Are You", "Behind Blue Eyes", and "Won't Get Fooled Again". The second version contains a Live CD from Lyon 2006: "The Seeker", "Who Are You", "Mike Post Theme", "Relay", "Greyhound Girl", "Naked Eye", and "Won't Get Fooled Again". [edit] Additional songs In addition to the nineteen tracks listed above, three songs were either considered for inclusion on the album or reportedly recorded for the album but were left off: "Ambition" Reportedly written in 1971 for the Lifehouse concept, Pete debuted this song on In the Attic in 2006. "Uncertain Girl" Another song that was debuted by Townshend on In the Attic in 2006. It was recorded in the studio with Zak on drums, and Roger on vocals, but Pete expressed doubt on whether it would make it on the album or not when he first played it on In The Attic, and it wasn't included. However, it did make an appearance in the Vassar College workshop performance of the rock musical The Boy Who Heard Music. "How Can I Help You, Sir?" On 18 December 2005, Pete Townshend posted a diary entry that chronicled the recording of this track: Here is a film I made of a working day developing a demo of a song for the next Who album called "How Can I Help You, Sir?" I have played this in raw form on Rachel Fuller's IN THE ATTIC and last night on her Pay For View Christmas Special. That is the way it sounds played acoustic. What you can hear here is the way it is beginning to evolve as a rock track. Adding Roger's voice will increase the edge. In a very real sense every song I write when I sit at home with an acoustic guitar has two distinct lives. The acoustic version may seem to be softer and more intimate. But in this case - in a song about a sick person's refusal to allow anyone to help them, a lonely person refusing to allow anyone to get close - the acoustic version has more bite. The rock version seems altogether more jolly, almost a throwaway. It will be interesting to see how it sounds when Roger and I get it into the studio together. The song was not included on the album, but fans were approving of the track anyway. The video can be found here [10] "Certified Rose" A Roger Daltrey-penned song, rehearsed with John Entwistle on bass, was rumoured to be recorded for the album. It was also supposed to include a bass line from Entwistle that had been recorded at a soundcheck or a rehearsal, though this has not yet surfaced. At least three other songs were demoed, rehearsed, or recorded for the album. According to a Mojo article by Dave Marsh, the titles were "Cinderella" (about a friend of Townshend's who was abused as a child), "He Said, She Said" (about a relationship told through the views of both the man and woman), and "There's No Doubt" (based on something said to Townshend by The Who's manager Bill Curbishley when asked if his new wife was "the one"). Poems were posted on Pete's site throughout the spring of 2006 leading up to his 61st birthday, which fans thought could turn into song lyrics; indeed, Pete had posted an entry which gave lyrics to a song titled "You're Useless, but You're Mine" (about Townshend's dog) which were later removed. Fans thought Pete removed the lyrics because it was going to be recorded as a Who song but it's likely the song wasn't recorded; no explanation for the removal was ever given. [edit] Adaptation as a rock musical Pete Townshend is also working the songs from this album into a full-length rock musical, a rough version of which debuted 13 July 2007 as part of Vassar College's Powerhouse Summer Theater workshop series. The production was adapted and directed by Ethan Silverman and presented as a staged concert reading with minimal dialogue. The cast included John Hickok as Ray High, Jon Patrick Walker as Josh, Matt McGrath as Gabriel, and Bree Sharp as Leila. Songs in this adaptation included: Act I "Prelude" "Pick up the Peace" - Ray "In the Ether" - Josh, Ray "God Predicts Marty Robbins" - Gabriel, Ray "Unholy Trinity" - Gabriel, Josh, Leila "Trilby's Piano I" - Gabriel "I Can Fly" (by Fuller) - Leila "There's No Doubt" - Gabriel, Josh, Ray "Endless Wire Prelude" â Josh, Leila, Gabriel, Ray "Sound Round" - Ray and Company "Real Good Looking Boy" - Ray, Josh, Gabriel "Trilby's Piano II" - Trio "Fragments" - Company "Endless Wire" - Company Act II "We Got a Hit" - Company "She Said He Said" - Gabriel, Leila "Uncertain Girl" - Josh "Heart Condition" - Leila "It's Not Enough" (by Townshend and Fuller) - Gabriel, Josh, Leila "They Made My Dream Come True" - Ray "In the Ether" - Ray "Trilby's Piano III" - Gabriel, Josh, Leila "Mirror Door" - Company "Fragments" - Company "Tea & Theatre" - Ray, Josh, Leila The song "Real Good Looking Boy" was previously issued on The Who's compilation album Then and Now. The song "I Can Fly" was previously issued on Fuller's EP Shine. [edit] Miscellanea On the song "Mirror Door", Townshend's lyric consists of mentions of a number of music icons, all of whom, with the exception of Doris Day, are dead. It was only after recording the song and mass producing it on the maxi-single that Townshend discovered that the American singer and actress was in fact still alive. The Bonus DVD's on-screen ending slate incorrectly states that the concert was filmed in Lyon, Switzerland. In fact, it was filmed at the "Les CÃ´tes du rock" Festival in Vienne, IsÃ¨re (approx 30 km south of Lyon, France). [edit] External links
6803	dbpedia	1	1	https://music.fandom.com/wiki/Roger_Daltrey	en	Roger Daltrey	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	[ "https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Music Hub" ]	2024-07-29T22:27:06+00:00	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and...	en	/skins-ucp/mw139/common/favicon.ico	Music Hub	https://music.fandom.com/wiki/Roger_Daltrey	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine's list of the 100 greatest singers of all time. Early life[edit source \| editbeta][] Roger Harry Daltrey was born in the Hammersmith area of London, but was brought up in Acton, the same working class suburban district that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Daltrey attended Victoria Primary School and then Acton County Grammar School for Boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrolment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead. He made his first guitar from a block of wood, a cherry red Strat copy, and joined an existing skiffle band called the Detours in need of a lead singer. They told him he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too.[1] When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterwards was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled Roger had been a good pupil."[2] "Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock 'n' roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more."[citation needed] Daltrey became a sheet metal worker during the day, while practising and performing nights with the band at weddings, pubs and working men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, eventually being replaced by Keith Moon. Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m)). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives."[3] He generally selected the music they performed, including songs by the Beatles, various Motown artists, James Brown and other rock standards. In 1964 the group discovered another band working as the Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" During 1964, band manager Peter Meaden renamed the band the High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released one single, "I'm The Face/Zoot Suit", on Fontana Records. The single was unsuccessful. After Kit Lambert and Chris Stamp discovered the High Numbers at the Railway Hotel, the band changed their name back to The Who, since neither Lambert nor Stamp liked the name the "High Numbers". Music career[edit source \| editbeta][] The Who years[edit source \| editbeta][] With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. The other members of the Who expelled Daltrey from the band in late 1965 after he beat up drummer Keith Moon for supplying drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band during these years. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. [1][2]Daltrey, with microphone, and Townshend, on stage Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While others of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow.[4] With each of The Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others. [3][4]Daltrey, right, with Pete Townshend The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called McVicar about British bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to a deterioration of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album Under a Raging Moon and Townshend's solo album Iron Man. Daltrey turned to working as an actor, completing such high profile projects as The Beggar's Opera and The Comedy of Errors for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's The Hunting of the Snark (1987), The Little Match Girl (1987), Buddy's Song (1990), which he also produced, and Mack the Knife (1990). In 1991 he received a Grammy Award with the Chieftains for An Irish Evening: Live at the Grand Opera House, Belfast. The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of the rock opera Tommy. The tour featured a large backing band and guest appearances bySteve Winwood, Patti LaBelle, Phil Collins, Elton John and Billy Idol. Although Daltrey experienced severe health problems due to an abdominal hemangioma (later removed by surgery), he managed to complete the tour. He continued to work on stage and screen during these years, completing projects such as The Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Grey, Natalie Cole and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows. In 1994 Daltrey celebrated his 50th birthday by performing a two-night spectacular at Carnegie Hall titled A Celebration: The Music of Pete Townshend and The Who, and popularly calledDaltrey Sings Townshend. The show was produced by Daltrey's manager at the time, Richard Flanzer. The Who's music was arranged for orchestra by Michael Kamen, who conducted TheJuilliard Orchestra for the event. Bob Ezrin, who produced Pink Floyd's The Wall CD, among other famous albums, produced the live CD. Pete Townshend, John Entwistle, Eddie Vedder (who performed a special acoustic tribute), Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, the Chieftains and others performed as special guests. Michael Lindsay-Hogg directed the telecast, which was aired on satellite TV. The concert, at the time, was the fastest sell-out in the famed venue's history. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit due to the expense of providing extraordinary musicians and orchestras in every city to replicate the Carnegie Hall event. Significantly, the tour did attract attention to songs from the Who's rock opera Quadrophenia and gathered support for a staging and major tour of the rock opera in 1996–97. In 1996 Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full-out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section and backing vocalists were added, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as The Who. After their Quadrophenia tour was successful, the band returned as The Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. Bassist Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between the two principals Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album. In February 2010, Townshend and Daltrey, headlining as The Who, performed the halftime show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather, and Tom Meighan of Kasabiansang the part of Aceface,[5] and Tom Norris, London Symphony Orchestra Co-Principal Second Violin, played violin for the production. Rock persona[edit source \| editbeta][] [5][6]Daltrey singing with The Who in Hamburg, August 1972 When Colin Dawson left the Detours, Roger Daltrey took over as lead vocalist, giving up his guitar. The band as a whole acknowledged Moon and Entwistle's innovation and talent on their instruments, and Pete Townshend had begun writing hit songs, but Daltrey struggled to find a voice to present their new music. His expression carried Townshend's material well enough in recordings, and at the time his live persona suited the small club scene where The Who made their beginnings. However, this presentation lacked the confidence of later years, and he was arguably still a singer seeking a voice. The Who first toured North America in 1967, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a pivotal year with Townshend's movement beyond the quick three-minute single towards his goal of writing a rock opera. Beginning with "A Quick One (While He's Away)", a nine-minute mini-opera, Daltrey's performance in the Rolling Stones Rock and Roll Circus showed him with a new confidence in dealing with Townshend's material. In 1969, The Who's first major rock opera Tommywas released, and Daltrey found a voice for the lead character that carried The Who to world stardom at such music venues as Woodstock and the Isle of Wight Festival, and in opera housesaround the world during the next two years. Townshend later remarked in the film Amazing Journey, that with Tommy, and with Daltrey's adaptation to portraying the character on-stage, the singer evolved from what was essentially a tight, tough guy to one who outstretched his arms, bared his body to the audiences, and began to truly engage them. "With this change, the band was at last complete," he summed up. "It was a marriage," Townshend emphasised, "but it was a good marriage. Those were glorious years". Daltrey confirmed this, saying, he felt at last accepted, displaying a newly energetic role and sound during live performances. Daltrey has long been known as one of the most charismatic of rock's frontmen. According to Pete Townshend, "He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[6] His persona has earned him a position as one of the "gods of rock and roll"[7] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. Musical equipment[] Roger Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.[8] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solidbody electric guitar which he later sold to Pete Townshend on an easy payment plan.[9][10] After he took over vocals for the band in the 1960s and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.[11] He began playing guitar with The Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on The Who's 1982, 1989 and later tours.[12]During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe." During The Who's 1996–97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.[13] After 1999, it became more common for Daltrey to play guitar during both The Who and solo shows. He ordered a Versoul Buxom 6 handmade acoustic guitar that he played on The Who's 2002 tour.[14] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on The Who and solo tours in the late first decade of the 21st century.[15] On his 2009 tour, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[16] Roger Daltrey is known as one of the harmonica players who brought the instrument out of blues and into popular music.[17] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.[18] Daltrey plays using the blues harp (2nd position) or cross harp technique which originated in blues music. Daltrey uses Shure microphones with cords which he tapes to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,[19] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[20] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.[21] Who songs written by Daltrey[edit source \| editbeta][] Although never a writing force in The Who and overshadowed by the song writing talents of Townshend and Entwistle, Daltrey did contribute a small handful of songs to the band's catalogue during their early career: "Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend. "See My Way" (1966)-Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1968)-Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970)-B-side to "The Seeker". Daltrey also wrote a song called "Crossroads Now" for The Who which grew out of an onstage jam in 1999 after the song "My Generation."[22] Another Daltrey song, entitled "Certified Rose," was rehearsed by The Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death.[23] Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and might feature Entwistle's basslines from 2002), Townshend later stated that no such recording was made.[24] "Early Morning Cold Taxi", a song recorded during The Who Sell Out sessions in 1967 and released in 1994 on the Thirty Years of Maximum R&B boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston. Some sources report that the song was solely written by Langston.[25] At the time Daltrey and Langston were planning to form a writing-partnership, where all songs written by either of them would be credited as Daltrey/Langston. The partnership produced only one other song—an unreleased demo titled "Blue Caravan." Langston went on to play guitar on John Entwistle's first solo album, Smash Your Head Against the Wall, in 1970. Solo music career[edit source \| editbeta][] [7][8]Daltrey closing out a Trans-Siberian Orchestra concert, December 2007 Daltrey has released eight solo albums. The first was the self-titled Daltrey in 1973, recorded during a hiatus in The Who's touring schedule. The top single off the album, "Giving It All Away", reached number five in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography shows a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" on the B-side. Bizarrely, the British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of The Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second album, Ride a Rock Horse, was released in 1975 and is his second most commercially successful solo album. Its cover, photographed by Daltrey's cousin Graham Hughes, is remarkable for depicting the singer as a rampant centaur. When Sayer launched his own career as an artist, Daltrey called on a widening group of friends to write for and perform on his albums. Paul McCartney contributed the new song "Giddy" to One of the Boys, where the band included Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. On this cover, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting Reproduction Interdite. McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of The Who (Townshend, Entwistle and Kenney Jones). McVicar included two hit singles, "Free Me" and "Without Your Love", and is Daltrey's best-selling solo recording. The title track to Under a Raging Moon was a tribute to Who drummer Keith Moon, who died in 1978. Each of the album's tracks, including "Let Me Down Easy" by Bryan Adams, expresses the frustration of growing older as only a man who sang "Hope I die before I get old" can. On his album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything A Heart Could Ever Want". This was his first major effort as a song-writer for his own solo albums. In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock song "I Want It All", to pay homage to his lifelong friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS. Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (23 and 24 February ) later issued on CD and video called A Celebration: The Music of Pete Townshend and The Who, sometimes called Daltrey Sings Townshend, accompanied by the Juilliard Orchestra, Pete Townshend, John Entwistle, Irish dancers and other special guests. The success of these two shows led to a U.S. tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped. Daltrey took on a number of other solo projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005. Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert. In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock 'n' roll favourites. In 2009, Daltrey formed a new touring band. No Plan B/The Roger Daltrey Band[edit source \| editbeta][] Roger Daltrey embarked on a solo tour of the U.S. and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new band that he called "No Plan B" on the Alan Titchmarsh Show.[26] The band included Simon Townshend on rhythm guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.[27] Eddie Vedder made a guest appearance at the Seattle, WA show on 12 October.[28]In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[29] including Summerfest at Milwaukee, Wisconsin.[30] The band also scheduled additional dates in 2010 without Clapton. In 2011 the band performed the rock opera Tommy and other songs at a warm-up show in Bournemouth at the O2 Academy 19 March in preparation for a show scheduled at the Royal Albert Hall to benefit the Teenage Cancer Trust on 24 March.[31] Pete Townshend played and sang as a guest at the TCT show. Later in 2011, the band scheduled the "Tommy Reborn" tour of the UK and Europe, followed by a tour of the US and Canada. Additional dates were booked in Europe and Australia for 2012. Downloads from the tour were made available through the Internet. Non-Who songs written by Daltrey[edit source \| editbeta][] After his first efforts at writing songs with The Who, Daltrey wrote songs almost entirely for his solo recordings or for other projects. Daltrey first co-wrote songs for his solo albums beginning with the 1977 One of the Boys, including "The Prisoner", "Satin and Lace" and "Doing It All Again." On his 1985 album Under a Raging Moon, Daltrey is credited as co-writer on "Don't Talk to Strangers," "The Pride You Hide," "Move Better in the Night" and "It Don't Satisfy Me." On the 1987 album Can't Wait to See the Movie, Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On the 1992 Rocks in the Head, Daltrey is credited (along with Gerard McMahon) for co-writing seven of the eleven tracks, including: "Times Changed," "You Can't Call It Love," "Love Is," "Blues Man's Road," "Days of Light," "Everything A Heart Could Ever Want" and "Unforgettable Opera." For his 2005 compilation album Moonlighting, Daltrey co-wrote the song "A Second Out" with Steve McEwan of the band UnAmerican. The recording features Daltrey's vocals backed by McEwan on acoustic guitar. Daltrey's song-writing for other projects includes the 1975 soundtrack for Lisztomania, where he is credited with "Love's Dream", "Orpheus Song" and "Peace at Last." Daltrey also wrote "Child O Mine" with Gerard McMahon, featured on the soundtrack for The Banger Sisters and on the TV show Witchblade. In 2006, he wrote and performed a specially commissioned song, "Highbury Highs", for the Highbury Farewell ceremony following the final football match on 7 May at Highbury between Arsenal and Wigan Athletic, in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to the Emirates Stadium, Ashburton Grove, the following season. Discography[] Daltrey (1973) Ride a Rock Horse (1975) One of the Boys (1977) McVicar (1980) Parting Should Be Painless (1984) Under a Raging Moon (1985) Can't Wait to See the Movie (1987) Rocks in the Head (1992) Collaborations[edit source \| editbeta][] In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. In the same year, Daltrey provided backup vocals on Barry Gibb's song "Fine Line". The following year, he appeared in Barbra Streisand's music video for her single "Emotion", playing Streisand's emotionally uninterested husband. In 1992, he appeared on the Chieftains' Grammy Award-winning album, An Irish Evening: Live at the Grand Opera House. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol. Also in 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[33] He borrowed a guitar to play for the songs, after reassuring the owner that he would not break it. Daltrey taught thirteen-year-old Drake Bell how to play the guitar in 1999. Drake later starred in Drake and Josh and released two albums. In 2001, Daltrey provided backing vocals for the title track of the Joe Strummer and the Mescaleros album Global a Go-Go. In 2003, he provided backing vocals for thrash-metal band Anthrax on the song "Taking the Music Back" from their album We've Come for You All. The collaboration came about through Anthrax guitarist Scott Ian's girlfriend, Pearl Aday, daughter of Meat Loaf, whose mother was a friend of Daltrey and his wife. In 2005, Daltrey collaborated with the British pop band, McFly to sing his hit song "My Generation". On 14 and 15 December 2007, he appeared with the Trans-Siberian Orchestra at Nassau Coliseum in Uniondale, New York and Izod Arena in East Rutherford, New Jersey, performing "Behind Blue Eyes," "Pinball Wizard" and "See Me, Feel Me." On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On Sunday 5 July 2009, he joined Paul Weller onstage at Hop Farm Festival in Kent for an encore of "Magic Bus".[34] In 2011 Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.[35] Film and stage career[edit source \| editbeta][] Film[edit source \| editbeta][] [9][10]Daltrey in Boston's House of Blues in 2009 After The Who retired from active work in 1982, Daltrey developed his career in film and on the theatre stage. Daltrey's appearances in over 30 feature films include early starring roles inTommy, as "deaf, dumb and blind boy" Tommy Walker in 1975; Lisztomania, as Hungarian composer Franz Liszt in 1975, and McVicar, as British armed-robber-turned-journalist John McVicar in 1980. Through the 1980s and 1990s, he appeared in various musicals and dramas, including The Beggar's Opera, The Comedy of Errors, The Little Match Girl, Mack the Knifeand Buddy's Song. In 1992 Daltrey appeared in The Real Story of Happy Birthday to You, a children's animation. In 2003, he starred as the voice of Argon the Dragon Bus Driver in the award-winning children's DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD featured Daltrey as a costumed children's dragon, who drove a bus for two lost puppets trying to return to their home at the zoo. Daltrey provided vocals for children's classics, such as "The Wheels on the Bus Go Round and Round," in addition to songs written specifically for the home video. He later appeared in two other videos for this series. In addition to his career as an actor, Daltrey has been producer on several films, including: Buddy's Song (1990), McVicar (1980), Quadrophenia (1979) and an untitled Keith Moon film project in development.[36] Television roles[edit source \| editbeta][] Daltrey has played a number of television roles, including BBC Television Shakespeare as both Dromios in The Comedy of Errors, the police drama series The Bill, the science fiction series Sliders as Col. Angus Rickman, the VH1series Strange Frequency 2, Witchblade as the devil, and was a recurring guest star in Highlander: The Series as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod. In 1983, he played Macheath, the outlaw hero of BBC TV's production of John Gay's 1728 ballad opera, 'The Beggar's Opera'. In 1986 Daltrey appeared in the TV series Buddy. In 1993, he guest-starred (along with Steve Buscemi) in an episode of Tales From The Crypt entitled "Forever Ambergris". Daltrey appeared as a villain in a 1996 episode of Lois & Clark: The New Adventures of Superman. He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series Rude Awakening. Daltrey took part in an episode of the animated series The Simpsons, "A Tale of Two Springfields", providing the voice for himself, along with John Entwistle (Pete Townshend's voice was supplied by his brother Paul). In this episode, The Who helped Homer break down a wall he had built through the town of Springfield. A self-described history buff, Daltrey often involves himself in history research related media including television documentaries. Pirate Tales from 1997, is a documentary/action show about the age of piracy in the 18th century, in which Daltrey impersonated English buccaneer William Dampier in a main role as the narrator throughout the series. In 2003 he hosted the History Channel's Extreme History with Roger Daltrey talking about historical events and explaining the survival techniques the civilisations treated had available. He also appeared in "That '70s Musical", the 100th episode of That '70s Show as Fez's musical director. Daltrey guest starred in a 23 November 2006 episode of CSI: Crime Scene Investigation ("Living Legend") as Mickey Dunn, a prominent Las Vegas 1970s mob boss who returns to Las Vegas to avenge his attempted murder. The Who's music, and Daltrey's singing, provide the themes for all three of the series in the CSI franchise every week ("Who Are You" for the original show, "Won't Get Fooled Again" for CSI: Miami and "Baba O'Riley" for CSI: NY). In 2005, Daltrey made a cameo appearance as himself in the episode "The Priest and the Beast" in Series 2 of The Mighty Boosh. He is found by the main characters vacuuming a desert, presumably as a "karmic" consequence of leaving Woodstock early and not helping to clean up. Also in 2005, he played the part of loblolly boy in the TV drama Trafalgar Surgeon. Besides acting, Daltrey has performed on the soundtrack of a number of films and television shows, most notably CSI. He also appeared in the music video for "Emotion" by Barbra Streisand, although neither he nor The Who were the featured act. Filmography[edit source \| editbeta][] Roger Daltrey has acted in advertisements, television and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:[36] [11][12]Daltrey in 2008 prior to a screening of "The Who Live at Kilburn 1977" at the ArcLight Sherman Oaks 2008 List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Pop Pirates 2007 Producer film Murder: Ultimate Grounds for Divorce 1985 film The Hunting of the Snark 1987 The Barrister concert appearance The Little Match Girl 1987 Jeb Macklin musical film Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Taz TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Blue Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Stage roles[edit source \| editbeta][] Daltrey has appeared in stage in productions including Mike Batt's The Hunting of the Snark in 1987 as the Barrister, and also in Batt's Philharmania with the Royal Philharmonic Orchestra in 1998. He appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 as the Tin Man. Also in 1995 he starred in a three part Bert Coules BBC radio dramatisation of the Mutiny on the Bounty novels of Charles Nordhoff and James Norman Hall, and in 1996 he starred in a BBC Radio 2 production of Jesus Christ Superstar as Judas. In 1998, Daltrey played the part of Scrooge in the Radio City Music Hall production of A Christmas Carol in New York City. In 2003, he starred as Alfred P. Doolittle in a production of My Fair Lady at the Hollywood Bowl alongside John Lithgow and Melissa Errico. Literary work[edit source \| editbeta][] Roger Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[37] In 2009 he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[38] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[39] Honours and awards[edit source \| editbeta][] In 1976 Roger Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of The Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With The Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music. In 1990 Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of The Who.[40] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with The Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror Boy", and "Baba O'Riley".[41] In 2005 Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry.[42][43] In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[44] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.[45] As a member of The Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[46] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annualKennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.[47] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.[48] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[49] Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse, 9 November 2011, in London. In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[50] Charities[edit source \| editbeta][] Roger Daltrey supports many charities both as a solo artist and jointly with other members of The Who. In 1976, he performed at the Celtic Football Ground in Glasgow. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. He sang "Rock and Roll" on a charity single released as McEnroe & Cash with the Full Metal Rackets for Rock Aid Armenia in 1986, and performed with The Who at Concert for Kampuchea in 1979 and Live Aid in 1985. Daltrey appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 for the Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992. Roger Daltrey's 1994 Celebration raised funds to support Babies and Children's Hospital in New York City, as well. With The Who, he performed for the Robin Hood Foundation at the Concert for New York City and other benefits in 2001; at Neil Young's Bridge School Benefit in 1999; and in the Quadrophenia Concert for the Prince's Trust in Hyde Park, 1996. In addition, Daltrey performed at benefits in Vail, Colorado, in 1999, and attended a PETA benefit with Sarah McLachlan and Chrissie Hynde in the same year. All The Who's Encore Series profits go to young people's charities. Roger Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with The Who actually playing in 2000, 2002, 2004, 2007 and 2010 and Daltrey playing solo in 2011. He has endorsed The Whodlums, a Who tribute band which raise money for the Trust.[51] Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006, 2008; performed with The Who at Live 8 in 2005, for the Nordoff-Robbins Silver Clef benefit in 2005, and for the Los Angeles area City of Hope benefit in 2001 and 2004. The Who played with special guest Michael J. Fox at the 2008 "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. Daltrey performed at the first ChildLine Rocks concert at London's IndigO2 on 13 March 2008.[52] In 2009 Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[53][54] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.[55] In 2011, Daltrey, Steven Tyler and Julie Andrews provided funding for Bob Langer's research at the Massachusetts Institute of Technology into vocal chord repair for victims of cancer and other disorders.[56] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by The Who's charity Who Cares?.[57] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[58] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust.[59] Throat surgeries[edit source \| editbeta][] In 1978, during the recording of The Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.[60] In December 2010, Daltrey was found to have developed vocal chord dysplasia and consulted Dr. Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.[61] Both surgeries were considered successful. Personal life[edit source \| editbeta][] Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1964, Simon. The couple divorced in 1968. In 1967, Daltrey's son Mathias was born, the result of an affair withSwedish model Elisabeth Aronsson.[62] In 1968, he met the American Heather Taylor, his current wife whom he married in 1971. Together, they have three children, Rosie Lea (born in 1972), Willow Amber (born in 1975)[63] and Jamie (born in 1981). He also has five granddaughters, Lily, Lola, Ramona, Scarlet and Winter; and two grandsons, Liam and Jonjo. He also has three other children from relationships during the 1960s.[64] Daltrey owns a farm at Holmshurst Manor, a country estate near Burwash, Sussex, built in 1610, as well as his parents' old home in London. He designed and built Lakedown Trout Fishery near Burwash, documented in the filmUnderwater World of Trout, Vol. 1.[65] He bought a home in Los Angeles in the early 2000s. Daltrey also owns a house in Sturminster Newton, which appeared on the popular television series Grand Designs. Daltrey is a supporter of Arsenal F.C..[66] Daltrey claims to have never tried hard drugs and unlike his band mates, has stayed straight and free from addiction problems.[67] Views and advocacy[edit source \| editbeta][] Daltrey is a supporter of the Countryside Alliance and has played concerts to raise funds for the organisation.[68] Daltrey is a supporter of the Labour Party in Britain, but has been strongly critical of its policy of "mass immigration", arguing that the current immigration policies undermine the British working class. He has also expressed his admiration for Queen Elizabeth II.[69] Quotation[] We were still a bunch of rotten, dirty-boy rock 'n' rollers, but kids began identifying with our short hair and Ivy League clothes, and it just took off from there.
6803	dbpedia	0	19	https://theanalogkidblog.com/2013/10/	en	The Analog Kid	https://secure.gravatar.com/blavatar/20aa7567c3fed3aa903fa09297e735de25b4bafb01cf706edc590b7a39797a7b?s=200&ts=1723866100	https://secure.gravatar.com/blavatar/20aa7567c3fed3aa903fa09297e735de25b4bafb01cf706edc590b7a39797a7b?s=200&ts=1723866100	[ "https://theanalogkidblog.com/wp-content/uploads/2013/10/cropped-cropped-wallofvinyl.jpg", "https://theanalogkidblog.com/wp-content/uploads/2013/10/the-friends-of-mr-cairo.jpg?w=190&h=110&crop=1", "https://theanalogkidblog.com/wp-content/uploads/2013/10/dont-say-no.jpg?w=190&h=110&crop=1", "https://theanalogkidblog.com/wp-content/uploads/2013/10/big-fun.jpg?w=190&h=110&crop=1", "https://theanalogkidblog.com/wp-content/uploads/2013/10/loureedlou2.jpg?w=190&h=110&crop=1", "https://theanalogkidblog.com/wp-content/uploads/2013/10/sesamestreetfever.jpg?w=190&h=110&crop=1", "https://secure.gravatar.com/blavatar/20aa7567c3fed3aa903fa09297e735de25b4bafb01cf706edc590b7a39797a7b?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/20aa7567c3fed3aa903fa09297e735de25b4bafb01cf706edc590b7a39797a7b?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	5 posts published by The Analog Kid during October 2013	en	https://secure.gravatar.com/blavatar/20aa7567c3fed3aa903fa09297e735de25b4bafb01cf706edc590b7a39797a7b?s=32	The Analog Kid	null	I am a music junkie. If you are here, you are probably one as well.
6803	dbpedia	2	98	https://notion.online/polydor-2021-cian-ducrot/	en	Polydor 2021: Cian Ducrot	https://d2ljoqkkoec4f6.c…124257/cmain.jpg	https://d2ljoqkkoec4f6.c…124257/cmain.jpg	[ "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/10/28113940/notion_logo.svg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/10/28113940/notion_logo.svg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01114416/1200px-POLYDOR_LOGO.svg-330x150.png", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01114416/1200px-POLYDOR_LOGO.svg-330x150.png", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124127/c1-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124741/cian-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124741/cian-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124315/c9-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124315/c9-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124240/c6-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124240/c6-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124223/c5-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124223/c5-480x600.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124144/c2-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124144/c2-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124200/c4-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01124200/c4-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01165518/f3-155x210.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01165518/f3-155x210.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01120128/g2-155x210.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01120128/g2-155x210.jpg" ]	[]	[]	[ "" ]	null	[ "Aimee Phillips" ]	2021-01-04T10:00:26+00:00		en	https://d2ljoqkkoec4f6.c…icon-1-32x32.png	Notion	https://notion.online/polydor-2021-cian-ducrot/	Found anywhere between London, LA and his native Ireland, rising singer, songwriter, producer and classically-trained multi-instrumentalist, Cian Ducrot knows how much hard work pays off. Now 23-year-old, Cian was raised in the port town of Passage West in Cork. Drawn to music from an early age, he knew that in order to pursue his dreams of music school, he had to work hard enough to earn a scholarship. And land a scholarship he did, not once but twice, firstly at Wells Cathedral school in Somerset, then later at London’s prestigious Royal Academy of Music. Knowing that his break would come from writing his own music as opposed to covering others’, Cian dropped out of music school to focus on his career. Despite a tricky few months when everyone turned against him for his decision, it all paid off when Cian landed a record deal. Writing candid songs unpacking issues around love, loss, masculinity and frustration, Cian Ducrot is definitely one to watch as he continues to grow as an artist. Notion caught up with Cian at the Polydor Presents artist showcase to chat about the importance of being honest in his music, trusting his gut and much more. Dive in! Your approach to music is “honesty is absolutely the best policy”. How do you maintain that in your work? I think it’s incredibly easy, to be honest. It’s harder to be dishonest so I don’t really have to think about it I just say what’s true and I make sure what I make feels true to me also. It’s a gut feeling for a lot of it. How did growing up in Ireland, and more specifically, just outside of Cork, impact the artist you’ve become? Ireland has an amazing live music scene. I spent most weekends gigging and busking and I gained so much experience from it. It made me realise what I could do and what I needed to do to get to where I wanted. My teachers were always very supportive of my dreams and ambitions also which helped a lot. The difficult part is getting out of Ireland to make it in the world as the scene in Ireland isn’t big enough. Who are some of your favourite Irish musicians – both old and new? Honestly, I didn’t listen to many Irish musicians until I was a teenager and then I discovered Gavin James, Hudson Taylor, Kodaline and many more up and coming (at the time) artists who really inspired me. I did also realise I had been listening to tons of Rory Gallagher and Thin Lizzy as a kid and only discovered afterwards that they were Irish… You chose to drop out of your studies and follow your dream of becoming a musician full time. What finally gave you the push to make this move? Well I was always studying music anyway and I never wasn’t going to do music but I was studying classical music to become the best musician I could be to my ability. I always wished I could be that kid like John Mayer who dropped out of music school and moved to LA to work his ass off and signed a record deal – it sounded so exciting. Then one day I took a trip to LA in the summer for 10 days and on day one my gut told me, “this is it, you are ready, take the leap and it will all work out” and it did! I always trust my gut and I have an insanely strong gut feeling about things so I just go with it when I hear it. Having written across London, LA and Ireland, do you have a preferred location? LA any day always… I love the sun more than anything.. the warmth and the joy it brings and the ability to sit outside and write or take a break and have a hike in nature. That’s my dream. Your sound has been described as “raw, melancholic pop”, but how would you describe it? I honestly have no idea really. I’m just trying to make beautiful music that means something and is filled with true emotion. How did you arrive at this particular sound? Tell me about the journey you’ve been on to get here. I could tell you… but then I’d have to kill you. Jokes… a lot of trial and error.. and it’s still evolving. I don’t want my next releases or my first album to sound like my mixtape… I’ve already done that! I think classical music influenced me the most and then just a lot of random stuff that I connected with emotionally would inspire me. Which artists have left the biggest impression on your sound Damn that’s a big question… truly I don’t know. I think a lot of what I take from other artists is their “why or what” as opposed to their how. For example, I love Michael Jackson for his rhythm and melodies because they’re so catchy and melodic so I try to make my own melodies and rhythms catchy and melodic. I love John Mayer’s harmony and depth so I try to make my own music deep and harmonically interesting. I love how classical music – especially symphonies – grow gradually and texturally to a massive beautiful ending, so I try and do the same with my arrangements and production.
6803	dbpedia	2	20	https://www.instagram.com/polydorrecords/reel/C0WbKM1sam6/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
6803	dbpedia	2	36	https://www.instagram.com/geffenrecords/%3Fhl%3Den	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
6803	dbpedia	2	61	https://www.prnewswire.com/news-releases/tom-march-to-lead-capitol-music-group-as-companys-chairman--ceo-following-executives-highly-successful-two-years-as-geffen-records-president-and-six-years-as-co-president-of-universal-musics-london-based-polydor-records-302056303.html	en	TOM MARCH TO LEAD CAPITOL MUSIC GROUP AS COMPANY'S CHAIRMAN & CEO FOLLOWING EXECUTIVE'S HIGHLY SUCCESSFUL TWO YEARS AS GEFFEN RECORDS PRESIDENT AND SIX YEARS AS CO-PRESIDENT OF UNIVERSAL MUSIC'S LONDO	https://mma.prnewswire.c…t.jpg?p=facebook	https://mma.prnewswire.c…t.jpg?p=facebook	[ "https://www.prnewswire.com/content/dam/prnewswire/homepage/prn_cision_logo_desktop.png", "https://www.prnewswire.com/content/dam/prnewswire/homepage/prn_cision_logo_mobile.png", "https://rt.prnewswire.com/rt.gif?NewsItemId=LA31580&Transmission_Id=202402071106PR_NEWS_USPR_____LA31580&DateId=20240207" ]	[]	[]	[ "Capitol Music Group" ]	null	[ "Capitol Music Group" ]	2024-02-07T11:06:00-05:00	/PRNewswire/ -- Tom March has been appointed Chairman & CEO of Capitol Music Group (CMG), it was announced today by Interscope Geffen A&M Records (IGA)...	en	/content/dam/prnewswire/icons/2019-Q4-PRN-Icon-32-32.png		https://www.prnewswire.com/news-releases/tom-march-to-lead-capitol-music-group-as-companys-chairman--ceo-following-executives-highly-successful-two-years-as-geffen-records-president-and-six-years-as-co-president-of-universal-musics-london-based-polydor-records-302056303.html	LILLIA PARSA CONCURRENTLY NAMED CO-PRESIDENT OF CAPITOL MUSIC GROUP WILL WORK CLOSELY WITH MARCH TO DEFINE CREATIVE DIRECTION OF COMPANY FOLLOWING SIX YEARS OF MAJOR SUCCESS AT UNIVERSAL MUSIC PUBLISHING GROUP Announcement was made by John Janick, Chairman & CEO of Interscope Geffen A&M Records, following his recent elevation to lead broader portfolio of Universal Music Group's U.S. recorded music business. HOLLYWOOD, Calif., Feb. 7, 2024 /PRNewswire/ -- Tom March has been appointed Chairman & CEO of Capitol Music Group (CMG), it was announced today by Interscope Geffen A&M Records (IGA) Chairman & CEO John Janick, to whom March reports. In his new position, March is responsible for the overall management and direction of the company, which encompasses Capitol Records, Blue Note Records, Motown Records, Astralwerks, Harvest Records and Capitol Christian Music Group. Concurrently, Janick has appointed Lillia Parsa as Co-President of CMG, joining Co-President Arjun Pulijal, who will continue to focus on the company's artist development efforts. Parsa will work closely with March in planning the company's creative direction and future growth, including the pursuit and nurturing of partnerships with artist and executive entrepreneurs to broaden and strengthen CMG's connections within the creative community. Both March and Parsa will be based in Hollywood, within the iconic Capitol Tower. CMG and IGA are divisions of Universal Music Group [UMG], the world's leading music company. According to Janick, "I've worked closely with Tom for the better part of a decade, first as he looked after IGA repertoire in his role as co-President of Polydor in the UK and more recently in his position as President of Geffen," said Janick. "He is a passionate and savvy executive who is a relentless advocate for artists and is committed to building successful executive teams. I know he will thrive in this important new role. Lillia is a gifted creative executive with very strong relationships throughout our business. I've personally gotten to know her over the years through artists we've signed together and via the amazing roster of songwriters she's assembled at UMPG. I'm excited for her to take on this key position at Capitol, working alongside Arjun to continue to build a powerful platform for Capitol Music Group." March said, "I'm thrilled to be charged with leading Capitol Music Group. The company's deep legacy includes so many iconic artists and records that have long played important roles in my life, and the opportunity to help write CMG's next chapter is a dream come true. I'm excited for Lillia to be joining me to define the creative direction of the company; she is spectacularly talented, and one of the most respected A&R executives in the business today. "Together, we'll work with Arjun and the brilliant CMG team to enhance the careers of artists on our current roster, as well of those who will be joining us in the future. John Janick and I have forged a great working relationship over the past decade, and it's only become stronger with our amazing run at Geffen. That will absolutely intensify as we take CMG to the next level and share in even greater success together. I'm grateful to all of the artists at Geffen for their incredible music I've had the privilege to work on these past two years, and for the teams at Geffen and IGA who have been so supportive along the way." Parsa stated, "I'm excited to be working with Tom to write the next creative chapter for Capitol Music Group; to work with an array of artists that currently call CMG home, as well as those that will be joining us in the near future. I'm also looking forward to working alongside Arjun as co-president of a company with such an illustrious and ongoing legacy. I thank John Janick for this great opportunity, and my longtime mentor [UMPG Chairman & CEO] Jody Gerson for always supporting me and encouraging this next important step in my career." March was most recently President of Geffen Records, having joined that company two years ago after six highly successful years as co-president of London-based Polydor Records and nearly twenty years total within the Universal Music Group global system. Under March's leadership, Geffen Records has been thoroughly revitalized and is achieving its biggest wave of success in many years. Olivia Rodrigo's sophomore album GUTS, achieved #1 status in 14 countries; the company's partnership with HYBE, has delivered massive hits for V, Jung Kook and others; Kali Uchis, who is currently experiencing a massive global hit with "Igual Que Un Ángel," and has achieved two Top 3 albums, Red Moon In Venus and Orchideas, in 10 months; K-pop superstars JK and Jimin both had number one Hot 100 singles; newcomer Yeat delivered his third Top 10 album in the last 16 months; rock legends the Rolling Stones new album, Hackney Diamonds, became the #2 album in the US, was a global sensation and the group's highest-profile album release in years. During March's tenure as co-president of Polydor, the company was named Major Label of the Year by MusicWeek three years in a row, and became renowned for breaking a slew of artists. March has been integral to the careers of a diverse array of artists, leading projects for The 1975, ABBA, Avicii, James Blake, BlackPink, Billie Eilish, Eminem, Sam Fender, Florence & the Machine, Selena Gomez, Glass Animals, Ellie Goulding, Haim, Juice WRLD, Lorde, Lana del Rey, Michael Kiwanuka, Lady Gaga, Pop Smoke, Rolling Stones, Swedish House Mafia, The Who and many others. He was GM of Virgin EMI (now EMI Records) for three years before joining Polydor. March was the Chair of the highly successful 2022 BRIT Awards. Prior to joining CMG, Parsa was Senior Vice President of A&R at Universal Music Publishing Group (UMPG), based in New York, having joined the company in 2018. While there, she developed the reputation for spotting creative talent early in their careers, and working closely with them to nurture their abilities and develop them into hitmakers. Among the many superstar artists, writers and producers Parsa has signed, developed and built relationships with are Renee Rapp, Ice Spice, Julia Michaels, Billy Walsh, Blake Slatkin, Gracie Abrams, Omer Fedi, Nija Charles, Louis Bell, Cirkut, and Jimmy Napes. In only five years that Parsa has been at UMPG, her clients have worked across songs that have accumulated billions of streams, countless Grammy Award wins and nominations, and numerous Billboard Hot 100 #1s. These songs include Kid Laroi's "Stay (feat. Justin Bieber)," Lizzo's "About Damn Time," Sam Smith's "Unholy," Halsey's "Without Me," Lil Nas X's "Montero" and "That's What I Want," 24k Goldn's "Mood," and Ariana Grande's "Positions." Parsa's achievements have been recognized in Variety's Hitmakers, Billboard's Women in Music, Hits' Rainmakers, and Forbes' 30 under 30. SOURCE Capitol Music Group
6803	dbpedia	0	97	https://nj1015.com/the-beautiful-outsider-light-of-day-performer-willie-nile-remembers-david-bowie/	en	‘The Beautiful Outsider’ Light of Day performer Willie Nile remembers David Bowie	https://townsquare.media…c=1&s=0&a=t&q=89	https://townsquare.media…c=1&s=0&a=t&q=89	[ "https://townsquare.media/site/385/files/2018/08/nj1015b2.png", "https://townsquare.media/site/385/files/2023/01/attachment-Willie-Nile.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2022/03/attachment-Capture.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-Untitled-design-2024-08-16T125751.786.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/05/attachment-20-er-_-hospital-emergency-room.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-Untitled-design-2024-08-16T124126.207.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-GettyImages-1241108887.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-Source-Brewing-Jersey-Freeze-collab.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-Untitled-design-2024-08-16T001011.325.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-Untitled-design13.jpg?w=980&q=75", "https://townsquare.media/site/385/files/2024/08/attachment-RS40543_GettyImages-466154690-scr.jpg?w=980&q=75" ]	[]	[]	[ "willie nile", "the stone pony", "david bowie", "the stone pony lineup", "", "steve trevelise", "talking about ..." ]	null	[ "Steve Trevelise" ]	2023-01-10T22:09:26+00:00	When it came to the passing of David Bowie which was seven years ago today when we lost the Thin White Duke.	en	https://townsquare.media/site/385/files/2020/05/favicon.ico	New Jersey 101.5	https://nj1015.com/the-beautiful-outsider-light-of-day-performer-willie-nile-remembers-david-bowie/	It was definitely a "where were you when you heard the news?' when it came to the passing of David Bowie which was seven years ago today when we lost the "Thin White Duke." When it happened, I reached out to both Uncle Floyd whom Bowie was such a fan of that he had written a song about him called "Slip Away," and Willie Nile who was preparing to play at the Light of Day concert which he will be at again this year. You can see Willie Nile Jan. 13 at the Stone Pony "Asbury Angels" show performing with Joe Grushecky and the House Rockers, Tangiers Blues Band, and more by clicking here. Here's the conversation I had with Nile who was a huge Bowie fan the night after he passed. "You know I love Uncle Floyd's right remembrances," says Nile. "I woke up this morning as well. Really shocked and saddened to hear that David had passed away. He was the beautiful outsider." "I remember many things. I went to see him in the Elephant Man on Broadway. He somehow made it ok to be an outsider. He was the beautiful outsider." "My younger brother John", says Nile "Bowie was his hero, and he met Bowie when my brother as a young teenager moved to the UK." "The stories I hear from my brother John, years ago to my drummer, Alex Alexander, who played on the album David put out two years ago. He couldn't talk about it while it was happening but afterward, he said, What a gentleman he was What a classy guy." "And you know, he was original. How many of the icons that we love and there's so many of them you know in the music that we've grown up with that he was like, he was always his own man. Always classy. Always interesting." "My memories of David are of a guy who helped change the world and make it okay for people who felt outside the box that it was okay to be strange here he embraced the strange there's something to be said for that because all of us in some way or outside the norm and He epitomizes that." Nile got emotional as he continued. "I'm in my apartment right now. And I just found out tonight that he lived like six blocks away" Nile continued, "When we're off the phone I'm gonna go walk over there but some flowers outside the building where he lived." To see the whole Light of Day Events schedule click here Opinions expressed in the post above are those of New Jersey 101.5 talk show host Steve Trevelise only. Follow him on Twitter @realstevetrev. You can now listen to Steve Trevelise — On Demand! Discover more about New Jersey’s personalities and what makes the Garden State interesting . Download the Steve Trevelise show wherever you get podcasts, on our free app, or listen right now. Click here to contact an editor about feedback or a correction for this story. Top 200 '70s Songs Ultimate Classic Rock counts down the Top 200 '70s Songs.
6803	dbpedia	0	4	https://geirmykl.wordpress.com/2016/01/21/article-about-the-who-from-new-musical-express-august-9-1975/	en	ARTICLE ABOUT The Who from New Musical Express, August 9, 1975	https://geirmykl.wordpre…/01/img_1178.jpg	https://geirmykl.wordpre…/01/img_1178.jpg	[ "https://geirmykl.wordpress.com/wp-content/uploads/2016/01/img_1178.jpg?w=620", "https://geirmykl.wordpress.com/wp-content/uploads/2016/01/img_11801.jpg?w=620", "https://geirmykl.wordpress.com/wp-content/uploads/2016/01/img_1187.jpg?w=620", "https://0.gravatar.com/avatar/9f984929880edc5f3edb8e2c84e14e0545c5ec88eba9ce2febe8c1e1c44b47b2?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/a7838998f1867f0621eca13c544202b8d84875f83e858966d4f4061baaef8b49?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e478024de1b261643761c54c0601cb57d65c01a2e39000be9563071c1f841791?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/d2ea467cb0fa8dd23783cb97512de2a2a39be30b1b8782b2a6e648cde78479ac?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/8a2a4b68706a89221e73070e0e9ee459d52281b42288c2f70e941146fcbb0ebf?s=48&d=identicon&r=G", "https://www.internetdefenseleague.org/images/badges/final/shield_badge.png", "https://i0.wp.com/blogglisten.no/img/blogglisten.png", "http://hits.blogsoft.org/?eid=1361", "https://www.paypal.com/en_US/i/btn/x-click-but21.gif", "https://0.gravatar.com/avatar/9f984929880edc5f3edb8e2c84e14e0545c5ec88eba9ce2febe8c1e1c44b47b2?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/a7838998f1867f0621eca13c544202b8d84875f83e858966d4f4061baaef8b49?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e478024de1b261643761c54c0601cb57d65c01a2e39000be9563071c1f841791?s=48&d=identicon&r=G", "https://1.gravatar.com/avatar/d2ea467cb0fa8dd23783cb97512de2a2a39be30b1b8782b2a6e648cde78479ac?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/8a2a4b68706a89221e73070e0e9ee459d52281b42288c2f70e941146fcbb0ebf?s=48&d=identicon&r=G", "https://secure.gravatar.com/blavatar/08c9ca5e1d9983c0b4247d14ac88d0dbb7a2c179b0359dad3d61a7b062fb6699?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/08c9ca5e1d9983c0b4247d14ac88d0dbb7a2c179b0359dad3d61a7b062fb6699?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Geir Myklebust" ]	2016-01-21T00:00:00	This is the kind of interview that you don`t see too often these days. Today a band of The Who`s magnitude would be surrounded by managers, press agents or people from the record company that would control everything being said. Such honesty as revealed in this article would simply not be allowed. And probably for the better,…	en	https://secure.gravatar.com/blavatar/08c9ca5e1d9983c0b4247d14ac88d0dbb7a2c179b0359dad3d61a7b062fb6699?s=32	My Things - Music history for those who are able to read.	https://geirmykl.wordpress.com/2016/01/21/article-about-the-who-from-new-musical-express-august-9-1975/	This is the kind of interview that you don`t see too often these days. Today a band of The Who`s magnitude would be surrounded by managers, press agents or people from the record company that would control everything being said. Such honesty as revealed in this article would simply not be allowed. And probably for the better, as it would break up most bands. The Who are still an ongoing entity with Pete and Roger in the band. Quite interesting really, considering the odds after the articles published in 1975. Have a nice read! A few weeks ago Pete Townshend, in an interview with NME, got all hot and steamy and despairing about his role with The `Oo – and about The `Oo themselves. This week Roger Daltrey, also in an exclusive NME interview, returned Pete`s fire – with interest. And after this furious exchange of invective, the question on all our lips is: can The `Oo survive…in any shape or form at all? Tape Op: Tony Stewart Camera: Joe Stevens Who`s Last? Just how do you conduct yourself when interviewing a man who`s destined to become A Living Legend? Do you ensure your shoe laces are tied, your hair`s neatly brushed and that your breath smells sweetly? And then humbly sit opposite your subject, dutifully silent as you wait to hear his proclamations? Or perhaps you just take along a bucket and spade in case the Centaur – as his latest album sleeve depicts him – craps on the rug. After all, this is how Polydor are promoting Roger Daltrey. The Centaur photograph exploits all the romanticism of Greek Mythology to intimate Daltrey is A Living Legend, as well as incorporating the sexual blatancy of the classic Satyr – the lustful beast which is reputed to be part man, part goat. But moulding the hindquarters of a goat onto Daltrey`s fine torso would project a considerably less virile image than those of a stallion. Look at the shot closely, and you`ll see my (or his) point. “It`s nothing to do with me mate,” Daltry asserts. “I can never consider that. I wish I could become Charlie Bloggs. I`m pissed off with it, because I feel it`s not me. I`m not A Living Legend. A lot of old bollocks. It`s all half-truths and I don`t really want to be associated with that kind of thing. “I don`t really want to be A Pop Star, believe it or not. I`d like to have successful records, but that`s it. And I`d very much like never to do any more interviews or anything.” Gee thanks, Roger. “Well, you know, the occasional one. I suppose it`s the price you have to pay.” Yes. But Roger also has an ulterior motive in talking to us, and that`s to answer Pete Townshend`s attack on The Who, carried in a recent NME article. Stick around because the dirt flies like a sand storm. Somehow though, you just can`t come to terms with Daltrey`s new image. Here he is, in the Goldhawk Record company offices in London, sandwiched into a comfy chair between a filing cabinet and a stack of audio equipment, taking large hungry bites out of a pear, causing juice to trickle down his chin, the flow of which increases as he tries to talk with his mouth full. His moods change faster than a streetful of Belisha beacons, going from Sullen to Friendly, and from Aggressive to Rationally Polite. And invariably he`ll laugh at his own moods, throwing his head back and roaring like a triumphant bar-room brawler. You could describe him as an earthy streetboy. The interview, though, comes at an appropriate juncture. Sessions for the new Who album, “The Who By Numbers”, have just finished, and after our rap Daltrey will go off to hear the final mixes. “I`m really pleased with it,” he says, chewing on the pear. “One song particularly, called `Imaginary Man` I think is the best song Pete`s ever written. There`s a few mysteries in there, but it`ll be a good album. “The shape and form of it is similar to `Who`s Next` with a lot of varied material unlike `Quadrophenia` which was really one vein. But I don`t know what it`s going to do, because I don`t know what people are expecting. “I think it`s going to be surprising. “There`s not been a lot of style change at all. How can we? Moon still plays like Moon, John still plays like John, Pete still plays like Pete, and I still sing like me. “The only time that we really change is after extensive touring, never when we`re in the studio.” Yet the conversation doesn`t dwell on the album for long, as it`s quite apparent Daltrey wishes to discuss another topic. Like the Townshend feature. “I never read such a load of bullshit in all my life,” he comments, angrily. “To be perfectly honest, it really took a lot of my Who energy out reading that. Because I don`t feel that way about The Who, about our audiences or anything in that way. “It was an unbelievably down interview. And I still haven`t come out of it properly yet. “I`ve talked to fans,” he continues, “and I think Townshend lost a lot of respect from that article. He`s talked himself up his own ass. And there are quite a lot of disillusioned and disenchanted kids about now.” (In fact the tone of Townshend`s rap was itself disillusioned. He was highly critical of the band as a working unit, their audience and even of their future. In his introduction to the piece Roy Carr admirably precised the prevalent attitude the Axe man expressed. “Pete Townshend didn`t die before he got old. Yet death isn`t his problem, it`s the passing of the years and his current position in what he feels is a younger man`s occupation”. But that`s not 32-year-old Daltrey`s chief beef about the article. “My main criticism,” he elaborates, “was the generalisation of saying the Who were bad. The Who weren`t bad. I think we`ve had a few gigs where Townshend was bad… and I`ll go on record as saying that. “I think we had a few gigs where under normal circumstances we could have waltzed it. We could have done Madison Square Gardens with our eyes closed, only the group was running on three cylinders. Especially the last night. “You don`t generalise and say the Who was bad,” he stresses, his rage stronger now. “Because The Who wasn`t bad. Wasn`t quite as good as we could have been, but it was because Townshend was in a bad frame of mind about what he wanted to do. And he didn`t play well. “Sure, we all have our off nights. But don`t go round saying the Who was bad.” Did Pete sound like a Rock And Roll Martyr to you? “Yes. Very much. “You`re putting words in me mouth, ain`t ya?” He laughs. Well sure. But only if there`s room with the pear. “Right. That`s the impression I got. And it riles me when he generalises it to say the Who weren`t playing well. The Who can play as well as they ever did, if we can get down to it and take it for what it is. He`s just trying to make the Who something it isn`t. “I can understand his musical frustration,” he continues. “He must be so far ahead now with just writing songs for The Who. But surely if The Who isn`t a vehicle to get those frustrations out he should find another vehicle. “But use the Who for what it is. A good rock `n` roll band, that`s all. And one that was progressing.” Was? “I say was because we haven`t done anything for such a long time. Hopefully when we get back on the road we`ll still progress. But if we have any more statements like that I don`t see how we can. Cos I know it`s taken a lot of steam out of me and I`m sure it did with the others.” But Roger you said, was progressing, which strikes me as a rather strange comment to make just as you complete a new album. “I`m just talking about the road side of it,” he clarifies. “I mean, we are still progressing. We`re never really The Who in the studio. That`s one of the difficulties getting records made with the band. There was a lot wrong, but we rectified it on this album. We all got stuck in and made a record. “But there`s not a lot of room for a group because it`s becoming more and more dominated by Pete. It`s very hard to make a group contribution outside of what you actually do in the band. Outside of me just singing, for instance. “John seems to do alright at it – but every suggestion I make I just get laughed at. “But I can live with that. I don`t care if I`m just the singer anyway.” On this point, though, it was Townshend who complained he had to bear too much responsibility for The Who. There was, he bemoaned, too much pressure on him. “There`s all sorts of problems going down at the moment that have got bugger all to do with the music side of it,” counters Daltrey, “which is usually lumped on my bloody shoulders. But I don`t ever complain about it. “I agree that because he`s been the mainstay songwriter of the band he`s obviously going to be under that pressure. But I think he enjoys that. As far as going on the road goes I don`t think he`s under any more pressure than any of us, really.” Townshend`s argument – just to refresh your memories – was also that because the other three guys heavied him into the studio any songs he`d written for a solo album would be snapped up by them. And inadvertently he seemed to be moaning about the fact that Daltrey, Entwistle and Moon could work solo – but that he never saw his own efforts come to fruition – because of The Who. Daltrey does feel it would be a good thing for Townshend if he did record a solo album, but denies it was impossible because of The Who situation. “You see, I think if he made a solo album he would get some of the musical frustrations out which he can`t accomplish with The Who. Because he can do fucking incredible stuff that The Who`ll never do. They just haven`t got that sort of scope. “That`s why solo LPs are nice to do. They let your head run riot for a while. “And I don`t see why he couldn`t have done his own album before this Who set, because I can`t see this one getting released for ages because we`ve got so many problems, outside of just the music. Then The Who would have had second choice. “And I don`t see it would have hurt The Who.” “I think we needed this year break. We need to sort certain things out. Like, two months ago it looked as though we weren`t ever going to record again – and now at least we`ve made another record. And I really want to get back on the road. “I just don`t feel I`m in a group unless we`re playing on the road. It feels like you`re just another session man.” He pauses, having said his piece. “Want a cup of tea?” he inquires politely. Snippets of Daltrey`s rap keep flashing up on the brain`s screen like trailers at the cinema. And it could just be possible that`s yet to come. At intervals he`s made oblique, but apparent, references to some kind of internal problems other than musical that are having a detrimental effect on The Who`s well-being. Something seems greatly amiss. But as the mugs of tea are handed round – and you`ll be glad to know Centaurs do have sweet teeth, because Daltrey started to crunch sugar cubes. Roger seems reticent to divulge the relevant information. “There`s just certain things going down at the moment,” he does proffer, not particularly helpfully. “You`ll probably hear the whole story in about two month`s time.” Can`t we hear it now? “I can`t. There`s a lot of litigation going on between our record company and our management and everything else.” A clue. But not exactly a scoop. With a little gently prodding he does, however, begin to open up, revealing in unguarded terms there is, er, disagreement between the Who and their management. “If we were free now to do what we wanted to do we`d have our record out in the first week of October and we would be touring England in the third week of October and the first week of November. And we`d be off to the States in the second week of November, then back here for some Christmas shows.” He comes out with a series of anecdotes which, due to the laws of libel, I can`t repeat. Worse luck. “If the record doesn`t come out I don`t know what`s going to happen. “We could still tour – but we wouldn`t tour with a new act because it`s hopeless trying to play people unfamiliar material. It`s like, the worst thing any band can do. Even if it`s vaguely familiar. Like Elton John at Wembley playing `Captain Fantastic`. “It didn`t work. “I wouldn`t mind touring with the old stuff. But that`s what it`ll have to be.” Any dates pencilled in? “There are, but I can`t even talk about them because it`s so vague at the moment. “Maybe it will sort itself out and it`ll go ahead, but I can`t really see it somehow. It`s probably gonna be December before we actually get on the road. The way things are going, and the lack of decisions and various things.” Christ. Some Main Feature, huh? Going back to That Townshend Feature – and considering all Daltrey has just said – it does seem somewhat unfair Peter Meter should blame Daltrey`s involvement in “Lisztomania” for holding up the recording of the new album. Which he did. “Obviously he doesn`t want to talk about these other problems in the Press,” suggested Roger quite rationally. “I do it reluctantly, but I suppose it`s got to come out at one time. “I can see if it does happen then I`m gonna come out as The McCartney Of The Piece. But there again, what do you do? You can`t live on lies forever. But the last thing in the world I want to do is break The Who up. Anything I can do to stop that happening…I`ll do. “Now The Who have acted.” (Daltrey`s referring to the legals). “But I don`t know how long I could have gone on without them acting. I really don`t. “If the legal hassles hadn`t been going on, yeah, then Liszt would have held up The Who recording for three months. Which isn`t a long time. “I know it was a drag for The Who, and I don`t ever really want it to happen again. But there was nothing I could have done about it. “As it`s worked out, it didn`t really matter anyway.” Perhaps at this stage it`d be useful to clarify one or two other matters with so many insinuations whizzing around. Roger, how important is The Who to you then? “Obviously very important,” he responds immediately. “I mean it`s part of me life, and it`s the last ten years of me life. “I can accept the fact now it`s not going to go on forever. That`s for sure. You do start to see the boundaries. But I just don`t ever want to give up. “The Who comes before anything really. It didn`t come before Liszt but it was a group thing. I said, `What do I do?` “I think Liszt will do The Who good as well. That`s one of the main things in my mind about it, because people – especially in the States – are gonna start thinking I`m Tommy. And I`m not Tommy. I don`t think `Tommy` is – The Who`s best piece of work. “Liszt is a quick way of showing people that I ain`t Tommy. Which is, at least, a start in destroying that whole `Tommy` stigma.” But again, when discussing his career in the movies, Daltrey is prone to relate it to his musical pursuits and his role with The Who. For instance, working with Russell, he says, has given him a better understanding of PT`s song writing. “Ken is very similar to Pete,” he explains. “He`s very visual and thinks all the time. But unlike Pete I can talk to Ken. And he`ll explain how he sees a situation to me, and I`ve got a terrific rapport with him. “Unfortunately me and Pete have never actually got on, on that level. But I find now it`s not so important, because just working with Ken so much has taught me a lot about getting into things in the way I think you should. “It`s given me a lot more confidence. “If you can`t communicate on a talking level with someone, and you just go on feelings, and he`s given you a sheet of lyrics and you`ve got a demo to work with, then you need quite a lot of confidence.” At this point, however, Daltrey is understating his turbulent relationship with Townshend because, as our conversation unfolds – covering The Who`s music and the sheer aggression and frustration it incorporates – it`s necessary for Roger to explain why this should be such an overt facet. And in doing so he reveals considerably more about the personality structure of the band. “It`s probably because we`re so different,” he says, “and don`t particularly get on that well outside the band. I don`t want to be in a group with anybody else, although if I could choose three friends to go about with it wouldn`t be those three. “It`s a very weird situation, but it does lead to frustration. But it`s always worked because it`s led to creating something.” And also led, it should be noted, to fights. On occasion. “Yes. On occasion.” Agrees Daltrey. Well, your knuckles aren`t bruised so the recording sessions must have gone well. “Look!” He cries, laughing, and holding up his right fist. “Look at that!” He displays one severely swollen and purple set of knuckles. “No, no, no. We didn`t have any fights at all,” he points out. “That`s a mosquito bite. Believe it or not.” A likely story. “No. We didn`t have any fights this time. We had fights in `Quadrophenia`.” Tell us more. “I`ve only ever had one fight with Pete and that was during `Quadrophenia`. It was a bit of a shame because it was a non-argument, and the last thing I wanted to do in the world was to have a fist fight with Pete Townshend. “Unfortunately”, he adds petulantly, “he hit me first with a guitar. I really felt terrible about it afterwards. What can you say? Pete should never try and be a fighter. “But when he was being held back by two roadies and he`s spitting at me, calling me a dirty little cunt and hitting me with his guitar I become quite angry. And I was forced to lay one on him. But it was only one.” That was sufficient? “Well,” he roars with laughter, “when he came out of hospital…” But according to Daltrey there has always been a clash between him and Townshend – with Entwistle and Moon as mediators. And perhaps for this reason Daltrey is able to contend with being laughed at in the studio when he makes suggestions. “Like I say,” he explains, “I can put up with being just the singer. It doesn`t really bother me that much. It`s just one of those things that make you feel – what`s the word? – makes you feel a bit of a misfit. “But I`ve always felt a bit of a misfit in the Who. That`s another reason why solo things are good for me.” Cue. Change of reel, and subject. Everything seemed to be going well for Roger Daltrey, the solo artiste. He`s now grabbed himself a prestigious slice of the Movie Biz by doing the films “Tommy” and “Lisztomania” – with another, of which he`ll reveal nothing except he has to have his hair cropped, on the starting blocks. Even his solo-singing career had an auspicious debut, with the excellent “Daltrey” album, “Ride A Rock Horse”, however, isn`t too good. The vocal performance is good, the musicianship is good, OK, but the material just doesn`t have that stamp of quality. And to date, business has not been brisk with the set, which is certainly not the kind of sequel one would expect (either artistically or sales-wise) following his first album. “I`m pleased with it,” comments Roger. “I like it. But then I`m bound to, ain`t I? “It`s a very American kind of album and it`s not particularly the English people`s taste. But that was intentional. I aimed it at America. “Maybe I aimed it too much at America.” Perhaps, though, Daltrey, who as a prominent British vocalist would have the world`s established writers scrambling over each others` backs to get him to use their songs, has taken even more of a chance with the material than he did with the first set. Once again, he`s used unestablished writers (like Leo Sayer was). “I know it`s a gamble and maybe this time it hasn`t paid off, but I`m gonna carry on doing it. “It`s just that I get so many kids coming to with songs – and they`re not all good – but occasionally you get the good ones, and I think it`s worth taking a gamble. Maybe I`ve picked the wrong numbers this time… I don`t know. Obviously I haven`t in America. It`s in at 60 this week. “With a bullet. “So my judgement`s right somewhere. “I just remember the days when I would have done anything for a helping hand. If I can help somebody who can`t get a look in elsewhere… then it`s a valid thing to do.” Not, I wouldn`t have thought, if the album bombed, along with Daltrey`s sole reputation. Polydor (who can improve your image as Charles Atlas helped build your body) do seem to be putting the big promo wheels in motion. This when discussed, moves onto Roger`s own reluctance to be drawn into the area which he describes as “poshlust”. “But that`s the business, I suppose,” he remarks mildly. “I don`t suppose kids want to buy records wrapped up in paper bags. They want a bit of glamour. “You do need your Jaggers and Rod Stewarts, but they`re trying to make me into one, and I`m not. And I never will be.” Just why is he in the business in the first place then? You guessed it. “Cos I sings in a band called the `Oo and I likes it. And That Is It.” But according to Townshend (in That Feature) Daltrey would like to believe rock and roll was “making records, pullin` birds, getting pissed and having a good time.” “That” retorts Daltrey disgustedly, “just shows he doesn`t understand me at all. Because that proportion of my life which is devoted to that kind of living is such a minimal proportion. If he thinks that`s what rock and roll is to me he must be kidding. “Just coz I don`t live in a studio like he does doesn`t mean to say I don`t like rock and roll much.” He pauses. “There`s a terrible battle going on between me and him, ain`t there?” In fact you could say this last quote of Townshend`s proves to weigh heavily on Daltrey`s mind. It isn`t until near the end of the interview when he decides to elaborate on the point. “I`m just thinking about what he said,” he said. “That I`d like to believe that rock and roll was birds, booze and fun. The naivete of that is that the last few bad gigs the Who did were, in my opinion – apart from his head trip – bad because they were physically out boozing and balling all night. And by the time it got to the show at night they were physically incapable of doing a good show. “So… put that in your pipe and smoke it. Was that all of you? “No. That was Townshend. Moon does it, but he can control it. On a few of the last gigs Townshend was pissed and incapable.” Now Daltrey`s anger is rising. “So don`t talk to me about booze, because I`ve never been onstage drunk in the last seven years, Mr. Townshend! I don`t know if you`ve ever noticed, maybe he hasn`t but I have. I remember every show we`ve ever done! “I`m just getting a bit fed up with these left-handed attacks.” And now he`s retaliating. “One of the sad things is that Pete and I are probably never gonna be able to communicate,” he explains coolly. “I think I`ll have to sit down and write a letter to the band, because there`s no way of ever speaking to them about it.” Jesus. What`s the future going to bring then? Maybe Daltrey is outspoken, vitriolic and often enraged by the circumstances surrounding The Who, and yet underneath it all runs a deep devotion for the band. He may criticise Townshend for what he describes as “pathetic” guitar playing on one gig, and yet he`ll get back up on stage and work with him again. “The only other way is to give up, init? “From my point of view… I think I`ve got better on stage in the last six years… and it really frustrates me that the people who were heads, hands and feet above me before are starting to fall by the wayside. I think it`s unnecessary. “That`s why i want to get back on the road and do it. Because I know they can do it. “And if they don`t, then the Who breaks up. We`re not a government. It`s only a rock and roll band, after all. “It`ll be a terrible shame and a lot of people will be disgusted with us for letting it break up. But what can you do? “In a way,” he continues, “I don`t mind if the Who do finish, because I think we`ve done a helluva lot and I`d hate to see it fizzle. I`d hate to see anything mediocre come out by The Who.” And in a more dis-spirited moment he comments: “If I feel I`ve come to the stage where I can`t give anymore into rock, and I can`t do the things I like, then I might as well take up acting. “I might as well.” I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog. This number of New Musical Express also contains articles/interviews with these people: Gary Holton, Rod Stewart, Colosseum, Aston Barrett, Isaac Hayes, Mike Gibbs, Tim Hinckley. The original music paper this article came from (pictured at the top) is for sale!
6803	dbpedia	0	78	https://elusivedisc.com/the-who-whos-next-remastered-original-album-half-speed-mastered-180g-lp/	en	The Who Who's next (Remastered Original Album) Half-Speed Mastered 180g LP	https://cdn11.bigcommerc….500.750.jpg?c=2	https://cdn11.bigcommerc….500.750.jpg?c=2	[ "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/175x84/elusive-disc-logo_1572021221__59408.original.png", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/original/image-manager/cart-icon-40.png", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/1280x1280/products/45075/6128435/3geflp85220__45309.1722616419.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/50x50/products/45075/6128435/3geflp85220__45309.1722616419.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/45075/6128435/3geflp85220__45309.1722616419.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/45076/6128437/3geflp85840__87464.1722616424.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/45077/6128438/3geflp85853__97053.1722616427.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/29607/6128444/7geflp92302-large__58770.1722616441.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/16878/6128262/8geflp15614-large__16953.1722616078.jpg?c=2", "https://cdn11.bigcommerce.com/s-rdecee92oy/images/stencil/500x659/products/31311/6005151/unilp13651__90051.1697882314.jpg?c=2", "https://cdn11.bigcommerce.com/s-b0kh56ah6/product_images/uploaded_images/elusive-disc-logo.png", "https://seal-indy.bbb.org/seals/blue-seal-200-65-bbb-12000602.png", "https://cdn11.bigcommerce.com/s-rdecee92oy/stencil/df40aad0-fa7e-0137-a7bb-0242ac11001d/e/2b5da9b0-14aa-013a-63b1-5a8b2c5fcd37/img/payment-methods.png", "https://cdn11.bigcommerce.com/s-rdecee92oy/stencil/df40aad0-fa7e-0137-a7bb-0242ac11001d/e/9aa93480-62a0-013a-5749-665ca23a97ee/img/back-to-top.png" ]	[]	[]	[ "Vinyl Record", "Audiophile", "Phono Cartridge", "XRCD", "SACD", "Turntable", "Record Cleaner", "LP", "Analog Equipment", "Headphone Amp", "Record", "SACD Player", "Headphone Amplifier", "Vinyl Record Cleaners", "Record Cleaning" ]	null	[]	null	Elusive Disc, Inc., Features Only The Best In Audiophile Hardware, Accessories and Music. We Offer a Wide Variety Of Audiophile Turntables, Cartridges, Phono Stages, Record Cleaners, SACD Players, Speakers, Headphones, Pre-Amps, LP Cleaning Fluids, Cables, Vibration Control, Record Brushes & Sleeves, Record Clamps, Audiophile Vinyl LPs, SACDs, DVD-As, Dual Discs, Gold CDs, Gold CDRs, and More.	en	https://cdn11.bigcommerc…png?t=1566314309	Elusive Disc	https://elusivedisc.com/the-who-whos-next-remastered-original-album-half-speed-mastered-180g-lp/	Original Album Remastered on 180g Vinyl LP! Cut at Half-Speed by Miles Showell at Abbey Road! Analog Planet Rated 11/10 Music, 9/10 Sound! Michael Fremer Rated 10/10 Music, 8/10 Sound! Rolling Stone 500 Greatest Albums of All Time - Rated 77/500! Half-speed mastered version of the album, housed in the original jacket with a printed sleeve and pressed on 180 gram black vinyl. This has been cut at Abbey Road Mastering Studios by acclaimed engineer Miles Showell from tapes prepared by Jon Astley. Who's Next is the fifth studio album by English rock band The Who, released on August 14, 1971. At the beginning of the '70s, the impact of Tommy weighed heavily on Pete Townshend's shoulders. How on earth would he and the Who top such a successful and important album? The guitarist-songwriter felt he had to take his music and its conceptual strains one step further. He began writing a futuristic fable that would transcend itself beyond the usual conventions of modern music. Intended to be a film, a play, a concert, a mega multimedia and cerebral experience — Townshend called his new project Lifehouse. And although Lifehouse would stay frozen on the blocks for another 30 years, its seeds sprouted the Who's most cohesive and consistent effort, Who's Next. How Townshend's ambitious follow-up ended up as Who's Next isn't easy to discern. After several false starts and a break with Who manager/mentor, Kit Lambert, the record was eventually rescued and shaped by producer/engineer, Glyn Johns. Much of Townshend's vision was contained within his extensive demos — bits and pieces of a loosely constructed storyline set against experimental melodies and basic backbeats. The album's opening track, "Baba O'Riley," was originally an elongated cycle of synthesizer loops. What it became was an anthem, highlighted by a tumultuous build, Dave Arbus' rambling violin and Roger Daltrey's acclamation of a "Teenage Wasteland." The thunder is sustained by the contagious "Bargain" — now, like so much of the Who's music, a commercial jingle. "Love Ain't for Keeping" chugs away against a fierce acoustic rhythm while John Entwistle's sole contribution of "My Wife" remains one of his most electrifying songs. "This Song Is Over" features Nicky Hopkins' incomparable piano work and ends with a chorus pulled from "Pure and Easy," the central number of Lifehouse that failed to make the final cut, but would resurface three years later on the Odds And Sods compilation. The theme is maintained on "Getting in Tune," reintroduced during the Who's most recent tour, and "Going Mobile," a track with Townshend on lead vocals that recounts a couple of Lifehouse's characters cruising the streets in a Cadillac. For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his 'My Wife' is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art — this, even with its pretensions, is rock & roll. -Stephen Thomas Erlewine, AllMusic, 5/5 their best studio album -Rolling Stone, The 500 Greatest Albums of All Time The combination of a great original recording captured and mixed by Glyn Johns, bringing Pete Townshend's musical visions to life, coupled with sympathetic remastering from Close To The Edge's Jon Astley, plus an exacting half-speed lacquer cut by Abbey Road Studios' Miles Showell combined with Jamie Howarth's Plangent Processes restoration technology have made an already fabulous recording sound even better. In fact, I like this new edition so much that think I might get rid of my original U.S. Decca pressing once and for all. After all, I have no need to listen to it ever again, now that I have this 180g 1LP masterpiece edition of Who's Next in my collection. Time now to get yours. -Mark Smotroff, Analog Planet, Music 11/10, Sound 9/10 Features 180g Vinyl Black Vinyl Remastered Tapes Prepared by Jon Astley at Close to the Edge Cut at Half-Speed by Miles Showell at Abbey Road Studios Original Jacket with OBI Strip Printed Sleeve Made in Czech Republic
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"https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif" ]	[]	[]	[ "" ]	null	[ "uDiscover Team" ]	2020-06-25T12:48:12+00:00	Roger Daltrey is a Grammy-winning rock singer and songwriter known for his impressive solo career as well as his work as part of the Who.	en	https://www.udiscovermus…icon-32x32-1.png	uDiscover Music	https://www.udiscovermusic.com/artist/roger-daltrey/	As lead singer with The Who, the über-rock vocalist and performer Roger Daltrey should need no introduction. Many would concur that he is, was and always has been one of the greatest in his field. His career with that classic English rock group is, however, for another time and place. Here we’ll concentrate on Daltrey’s fine solo work, including eight studio projects, several compilations and a classic live album: A Celebration: The Music Of Pete Townshend And The Who, recorded at New York’s Carnegie Hall in 1994. (Given Daltrey’s acting credentials, it’s also worth seeking out his contributions to the excellent soundtracks Lisztomania, McVicar, Mack The Knife and the all-star British Rock Symphony, among others.) Daltrey was still in The Who when he embarked on his own thing, in 1973, with the eponymous Daltrey, recorded in his studio barn in Burwash, East Sussex. Thereafter, he gave us great music on a regular basis before The Who’s renaissance took him back into the fold after partial reunions. They’ve kept fans on tenterhooks since reviving Quadrophenia in 1996 but always re-emerge stronger in spirit than ever. An ardent supporter of Teenage Cancer Trust and Teen Cancer America, which he was instrumental in inaugurating in 2000, Daltrey is an also a committed contributor to a variety of other charity organisations: The Prince’s Trust, Neil Young’s Bridge School Benefit, PETA, Childline and many more fund-raising causes that concentrate on the welfare of sick and needy youngsters. ADVERTISEMENT Despite the reputation that rock’n’rollers have for being crazy party animals, Daltrey is an advocate of clean living. Given his own political views and working-class background, he is far removed from the flash lifestyle of some of his contemporaries. In 2004, he was appointed a Commander Of The Order Of The British Empire for his services to music, the entertainment industry and charity. Richly deserved as that was, he is also equally proud of his honorary degree from Middlesex University. In America, Daltrey, with The Who, received a Grammy Lifetime Achievement Award in 2001 and was inducted into the Rock And Roll Hall Of Fame in Cleveland, Ohio. In addition to these accolades, he has been honoured by Time magazine and, along with Who guitarist Pete Townshend, been acknowledged by the Kennedy Centre Honours. He was also tickled to accept the James Joyce Award from the Literary And Historical Society Of University College Dublin in 2009. Germany’s prestigious Steiger Award followed, as did a Roll Of Honour Award from Classic Rock magazine in 2011. Most recently, Daltrey and Townshend received the UCLA Student Alumni Association annual George And Ira Gershwin Award for Lifetime Musical Achievement. Yet he works hard at the day job. In 2014, Daltrey collaborated with the legendary Wilko Johnson on the vintage rhythm’n’blues album Going Back Home for the reactivated Chess Records. This critically acclaimed album found both veterans in outstanding form. As if to square the circle, that album was also recorded in East Sussex, in a modest studio, in the space of one week. That is real old school. Roger Harry Daltrey was born in East Acton, London, in 1944 and attended the local grammar school along with future bandmates Pete Townshend and John Entwistle. A model pupil and a brainy child, he became something of a rebel once rock’n’roll reared its persuasive head. Daltrey’s first band was the skiffle outfit The Detours. Not only did he sing and play the guitar with them, but he also made his own instrument, a cherry-red Stratocaster copy, and pretty much managed the band’s affairs – useful practice for later years. Entwistle soon joined the group and was followed by Townshend and, eventually, larger-than-life drummer Keith Moon. For those guys the rest is history: ‘I Can’t Explain’, ‘Anyway, Anyhow, Anywhere’, ‘My Generation’… Roger was the perfect foil for Pete’s angst, and his yowl of outrage at the end of The Who’s ‘Won’t Get Fooled Again’ is one of the era’s most spine-tingling moments. As the face and voice fronting the epic albums such as Tommy, Who’s Next, Quadrophenia, etc, Roger could have rested on his laurels, but his own interest in solo work and acting roles coincided on his debut, 1973’s Daltrey. The album came framed by the singer’s angelic mop of brown curls and contained an excellent set of songs produced by fellow West London pop star-turned-thespian Adam Faith and David Courtney, the latter co-writing the majority of the songs with Leo Sayer. The outstanding cuts here include ‘One Man Band’ (the lead vocal on the closing ‘Reprise’ was captured on the roof of The Beatles’ Apple Studios), ‘Thinking’ and ‘Giving It All Away’, the latter of which was a No.5 hit in the UK, and was performed by Daltrey on The Old Grey Whistle Test. Ride A Rock Horse followed in 1975. Produced by Argent’s Russ Ballard, it was a very tasty proposition with a fine band: Ballard, Humble Pie’s Clem Clempson, bassist Dave Wintour and noted Welsh session drummer Henry Spinetti. Daltrey went back to his roots to cover the Rufus Thomas dance hit ‘Walking The Dog’, though record buyers somehow missed the allure of ‘Come And Get Your Love’ and a version of Philip Goodhand-Tait’s ‘Oceans Away’. Courtney was back to boss the console with former Shadow Tony Meehan on 1977’s One Of The Boys (1977). Released at the height of the punk revolution, it nevertheless stands up well as an eclectic and adventurous project that is ripe for rediscovery, not least for the Paul McCartney-composed song ‘Giddy’: a grand power-pop venture that finds Roger backed by Entwistle and Moon, Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. Elsewhere, Jimmy McCulloch, Jimmy Jewell, Andy Fairweather Low and other luminaries act as a roll call of Great British talent. Songs from Murray Head, Steve Gibbons, Colin Blunstone (check ‘Single Man’s Dilemma’) and the artist’s own pieces, ‘The Prisoner’ and ‘Satin And Lace’, embellish a proper gem. Daltrey opened the 80s with his fourth solo album, McVicar (produced by Jeff Wayne, he of the musical version of War Of The Worlds), which doubled as the soundtrack to the biopic of the English bank-robber. Excitingly for Who fanatics, it also saw the participation of all the then extant band members, as well as the prodigiously talented pop cult star Billy Nicholls, whose ‘Without Your Love’ gave Daltrey a big US hit. The album also did the business Stateside, making No.22 in the charts. Following the well-chosen items on Best Bits, a compilation with extras, Roger decided that The Who’s increasingly metallic style was not really to his liking, so he worked on an antidote, the pointedly titled Parting Should Be Painless, choosing songs that vented his frustrations. Roxy Music’s Bryan Ferry offered ‘Going Strong’, while Daltrey also took on the Eurythmics-penned ‘Somebody Told Me’. Somewhat lost in the shuffle in 1984, the album now sounds like an engaging set that captures Daltrey at his most reflective. The following year’s Under A Raging Moon (the title track of which paid tribute to the late Who drummer, Keith Moon, who’d died in 1978) re-established Roger as a commercial force. Townshend and Daltrey buried the hatchet on the former’s ‘Under The Fire’, while the title track featured a roster of classy kit men: Martin Chambers, Zak Starkey, Mark Brzezicki, Roger Taylor, Cozy Powell, Carl Palmer and The Police’s Stewart Copeland. Usually modest and sometimes stung by criticism of his solo outings, Daltrey said of this effort: “That was the album I really wanted to make,” Daltrey said of the record. “It got great airplay and sold an awful lot.” A switch to a more polished London-meets-LA sound accompanied 1987’s Can’t Wait To See the Movie, which boasted David Foster and Alan Shacklock’s production expertise. However, Daltrey’s solo career went on a small hiatus to make way for more Who-related activities before he had time to put together the Best Of Rockers And Ballads compilation in 1991. It was swiftly followed by 1992’s terrific Rocks In The Head, on which where Gerard McMahon produced and got Daltrey back into songwriting mode. In great voice (when is he not?), Daltrey stepped up to the plate with some of his best songs, of which ‘Everything A Heart Could Ever Want (Willow)’, dedicated to his daughter Willow Amber, became a firm favourite. Finally, there came the type of album that was always in the pipeline: A Celebration: The Music Of Pete Townshend And The Who (aka Daltrey Sings Townshend). Recorded during a record-breaking two-night slot at New York’s Carnegie Hall, in February 1994, this star-studded affair features guest turns from Townshend (on ‘Who Are You’) and Entwistle (‘The Real Me’), with an appearance from The Chieftains on ‘Baba O’Riley’ and ‘After The Fire’. Other featured players include jazz saxophonist David Sanborn, arranger/conductor Michael Kamen, and New York’s Juilliard Orchestra. If you haven’t discovered this classic then put that right. It is a complete triumph. As an overview, the 2005 compilation Moonlighting: The Anthology covers all the bases. For something completely different, 2014’s Going Back Home was a rollicking collaboration with Wilko Johnson. A No.3 album in the UK, it has since gone gold and boasts the back-to-basics beauty of the Johnson/Mick Green title track, along with a cover of Dr Feelgood’s ‘Sneaking Suspicion’ and a superb take on of Bob Dylan’s ‘Can You Please Crawl Out Your Window?’. The main participants are perfectly attuned, and The Blockheads’ rhythm section, Norman Watt-Roy and Dylan Howe hold down the beat with Mick Talbot adding tasty keyboards throughout. Never discount the possibility of new Who material, but for Roger Daltrey, it’s more a case of: what’s next? Max Bell Format: UK English
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"https://cdn1.umg3.net/352-cdn/assets/img3/scroll-prompt-mob.png", "https://cdn1.umg3.net/352-cdn/assets/img3/plus-red.png" ]	[]	[]	[ "" ]	null	[]	2023-08-16T09:01:45+00:00	A British record label and company that operates as part of Universal Music Group		https://cdn1.umg3.net/13…on-red-75x75.png	Polydor Official Website	https://www.polydor.co.uk/about/	About Few labels can boast as long, prestigious and varied a musical history as Polydor Records. From the 60s ‘beat boom’ onwards, through the eras of progressive rock, disco and punk, the label has been in the vanguard of every significant new musical development, while today the likes of the Lady Gaga, HAIM, Ellie Goulding and Lana Del Rey maintain Polydor’s enviable cutting-edge reputation. Founded in Germany in 1946 as the popular music arm of the long-established Deutsche Grammophon label, the UK division of Polydor was not established until ten years later – perfectly timed to coincide with the rock’n’roll revolution that was transforming the musical landscape and establishing youth culture for the first time as a significant phenomenon. Initially, the label concentrated on releasing continental-made recordings – but with Germany a popular touring destination for the emerging British ‘beat’ groups, there were rich pickings to be had. In August 1961, German Polydor released a single called My Bonnie by Tony Sheridan and The Beat Boys. Nobody realised it at the time, but the record was destined to change the face of popular music, for the backing group was none other than the Beatles. Recorded in Hamburg during the band’s legendary three month residency at that city’s Top Ten Club, My Bonnie was the first official release by the group and was reissued two years later, when it briefly charted in Britain during the first flush of ‘Beatlemania’. Polydor went on to place itself at the centre of the creative melting-pot that was British music in the 1960s by signing a series of adventurous production deals with some of the most dynamic pop entrepreneurs. At the time the approach was highly unusual, but it established a model that has since been much-copied. Giorgio Gomelsky, who had discovered the Rolling Stones and managed the Yardbirds, brought in Julie Driscoll and Brian Auger. Kit Lambert and Chris Stamp brought in the The Who, and via their Track Records imprint, Jimi Hendrix, the Crazy World of Arthur Brown and Thunderclap Newman. And Robert Stigwood brought two big-hitters to the label with the Bee Gees and Cream. Between them, they created an enviable pop and rock roster of British-based talent that left the competition trailing in its wake. At the same time, Polydor developed its American connections to become a significant soul and r’n’b powerhouse. Among the acts who came through Polydor was the Godfather of Soul himself, James Brown, while the UK license to the Stax and Atlantic labels gave them Otis Redding, Aretha Franklin and a host of other top names. In the 1970s, a combination of enlightened deals with entrepreneurs such as Stigwood and the adventurous policy of the label’s in-house A’n’R team, built an impressively broad-based roster. Progressive rock was represented by the likes of the late, great Irish guitarist Rory Gallagher, Jack Bruce and Eric Clapton, both solo and with Derek and the Dominos. Glam rock was represented by Slade and the Rubettes. Then there was a Swedish group who won the Eurovision song contest in 1974 and went on to dominate the charts all over the world for years to come. They went by the name of Abba and their greatest hits Gold album still sells strongly to this day. Via Robert Stigwood’s RSO stable, Polydor also led the way in disco, with the Bee Gees and the chart-topping Saturday Night Fever soundtrack. At one point in 1977-78, Polydor/RSO held the number one slot in the American charts for 23 consecutive weeks, with six different singles. At the same time, Polydor was in the forefront of the punk revolution, signing the Jam, Siouxsie and the Banshees and Sham 69, among others. Into the 1980s, the dance-funk of Level 42, The Wonder Stuff and Paul Weller’s Style Council added further diversity to the roster. In the 1990s the label became even more eclectic. Credible singer-songwriters such as Van Morrison and Eagle-Eye Cherry were signed alongside Britpop heroes Cast and Shed Seven. Former Stones Roses frontman Ian Brown launched a solo career on the label, while the Lighthouse Family and Boyzone flew the flag for the mainstream. Polydor’s link with the Interscope, Geffen and A’n’M labels also brought on board an impressive roster of American talent, including Eminem, 50 Cent, Lady Gaga, Will.i.am and Imagine Dragons as well as the Nirvana catalogue. Into the new millennium, the label continues to boast plenty of big pop names from Ellie Goulding to The Rolling Stones. But it has also built an adventurous roster to revive the potent excitement of the halcyon days of the 1960s. From the realm of contemporary British music came the trailblazing Mercury Music Prize-winners The Klaxons, while HAIM, The 1975, Lady Gaga and Lana Del Rey spearhead an impressive pop contingent.
6803	dbpedia	3	40	https://www.sputnikmusic.com/bands/Roger-Daltrey/48824/	en	Roger Daltrey reviews, music, news	https://sputnikmusic.com/favicon.gif	https://sputnikmusic.com/favicon.gif	[ "https://www.sputnikmusic.com/newdesign/images/logo2.jpg", "https://www.sputnikmusic.com/images/albums/278937.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136598.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136597.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136595.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136593.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136590.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136589.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136588.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136587.jpg-thumbl", "https://www.sputnikmusic.com/images/albums/136599.jpg-thumbl", "https://www.sputnikmusic.com/images/facebook_16.png", "https://www.sputnikmusic.com/images/twitter_16.png" ]	[]	[]	[ "Roger Daltrey", "Roger Daltrey reviews", "Roger Daltrey news", "Roger Daltrey music", "discussion" ]	null	[]	null	Album reviews, biography and music news for Roger Daltrey at sputnikmusic		https://sputnikmusic.com/favicon.gif		https://www.sputnikmusic.com/bands/Roger-Daltrey/48824/	Roger Daltrey Daltrey has been known as one of the most charismatic of rock's front-men and famed for his powerful voice and energetic stage presence.
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"https://www.thewho.info/photogallery/photo00013803/Liszto-Cass-Ven-Roger_Daltrey.jpg", "https://www.thewho.info/photogallery/photo00013803/Liszto-2-CD-UK.jpg", "https://www.thewho.info/photogallery/photo00013803/The_Real_Lisztomania-CD-2018-UK.jpg", "https://www.thewho.info/_themes/fangweb/apixrule.gif", "https://www.thewho.info/_themes/fangweb/apixrule.gif", "https://www.thewho.info/_themes/fangweb/apixrule.gif" ]	[]	[]	[ "The Who", "Pete Townshend", "Keith Moon", "Roger Daltrey", "John Entwistle", "The Who Concerts", "The Who Discography", "The Who Singles", "The Who Albums", "The Who LP", "45", "The Who CD", "The Who Photos", "The Who Pictures", "The Who Posters", "The Who Videos", "The Who Books", "The Who Sheet Music", "The Who Tourbooks", "The Who Magazines", "The Who Music Books", "The Who Promotional", "Simon Townshend", "The Who Links", "The Who Search", "White Fang", "The Who Programs", "The Who Cassettes", "The Who 8-Tracks", "The Who Reel-To-Reel", "The Who Bootlegs", "The Who Live", "The Who My Generation", "The Who A Quick One", "The Who Sell Out", "The Who Tommy", "The Who Live At Leeds", "The Who Who's Next", "The Who Meaty Beaty Big And Bouncy", "The Who Quadrophenia", "The Who Odds & Sods", "The Who By Numbers", "The Who Who Are You", "The Who The Kids Are Alright", "The Who Quadrophenia Soundtrack", "The Who Face Dances", "The Who It's Hard", "The Who Endless Wire", "The Who Songs", "The Who Reviews", "The Who Sound Quality", "The Who Ads", "The Who Press Photos", "The Who Press Kits", "The Who Store Displays", "The Who Meher Baba", "The Who Clothing", "The Who Tickets", "The Who Backstage Passes", "The Who Flyers", "The Who Radio Shows", "The Who Pete Townshend", "The Who Roger Daltrey", "The Who Keith Moon", "The Who John Entwistle" ]	null	[]	null					null	About: Daltrey I used to really like this album when I was in my 20s and early 30s (must be an "age" thing). It was different. As Roger has described it: "I put together a bunch of ballads as I didn't want to compete with The Who." Apparently the album made Kit Lambert nervous as he told Roger it was "crap" because he didn't want any success of the album getting to his head and for him to "leave the band"... (That didn't go over well with Roger!) The album (like any other) has some really good songs and some "weaker" songs. One of the problems with any Roger album is that without Pete Townshend's song writing, you have a great vocal performance, but not the kind of "strong" material that Who fans have come to expect. My favorite songs on the album are: * One Man Band * Thinking * It's A Hard Life * Giving It All Away (which Roger performed live in 1985 on his first solo tour) Back in 1983, I had collected every officially released version of every Who/Who solo song, except... "There Is Love" - the "b" side to "Thinking"... However, "Thinking" was a tough one (at the time). Plenty of USA promos (double A side), but no stock copies anywhere to be found. This was before the Internet and you actually had to pick up the phone and call people. After calling what seemed like every record store in the USA, I came across a store called Val Shivley's Records in Upper Darby, PA (outside of Philadelphia). He only carried 45s. After a moment of putting me on hold - he had a copy! How much? THREE DOLLARS???? That was it? I asked him for directions and when he heard I was driving from close to NYC, he said, "Are you nuts? I will put it in the mail for you. It's a $3 record!" Nope. I wanted it immediately. After searching for it for months and months, I wanted it now. He gave me directions; I hopped in the car, drove South West and got my record as he shakes his head at me... I get home, put it on my father's turntable (no stereo setup at the time) and listened carefully to it... It's a GOSPEL SONG! Wow! That was different. It wasn't a bad gospel song, but rather a good one! I really liked the song too! :) Patience sometimes pays off (other times it doesn't). The Polydor CD is better than the Repertoire or Castle CDs (too much compression), but even the Polydor is "thin" sounding compared to the best pressing (the Japan LP). This is another good candidate to be remastered... About: Ride A Rock Horse (& Bonus Tracks) And what??? I played my LP to CDr copy. Way back in the day before all/most of our albums were issued on CD, I would take my "best sounding" vinyl of an unreleased album (on CD) and copy it to CD so I would have a "play" copy. Initially CDrs were only 74 minutes (later extended to 80 minutes) and the blanks were about $2 each. Regardless of the cost, many of these "older" albums were between 9-12 songs and didn't run very long (by today's standards), so I'd like to fill each disc up with "bonus tracks"... Hence a bit of an extended review - with some songs that perhaps you are unfamiliar with... I original bought "Ride A Rock Horse" (along with "Daltrey" and "One Of The Boys") at a shopping mall in Ft. Lauderdale, Florida. I'm not sure if I spent more time hunting down records or studying for my MBA - but it sure seems like I spent more time with the records, doesn't it? During my time in South East Florida (1982/83), I tracked down every record store known to man. It was "an adventure"... "Ride A Rock Horse" is one of my 2 favorite Roger Daltrey solo albums (the other being Parting Should Be Painless). While each of his albums has from a few to many great songs, this one is very consistent, as if it were thoughtfully pieced together vs. "a collection of songs". I like the music, the song writing and especially Roger's vocal performances - which are outstanding... I like every song on the album, but if I had to just pick one, it would be... "Come And Get Your Love" (also titled, "Get Your Love") - this is a great song written by Russ Ballard (who also wrote "Free Me"). Interesting enough... "Walking The Dog" (which has a bit of a "Magic Bus" flavor to it) was performed by The High Numbers and The Who as part of the Young Vic 1971 rehearsals. I suppose Roger finally wanted to record/release a version of this song... This is a great album - and also a great candidate to be remastered on CD. The CD version that was released was done during the time period where "compression" was in vogue and I personally find it too harsh to play. The LP version(s) sound really good - but I'd bet a newly remastered CD would sound even better... Now onto the bonus tracks... Mind you, these weren't added to see what best "fits" as opposed to, "here are some extra tracks I want to listen to, let me see how I can make them fit best at the end of this album".... * Treachery - This was a Steve Swindells written track from "Best Bits" (which supposedly was written about the death of Anwar Sadat). Perhaps it was, but if I have to think about it too long, it means that I "don't quite get that". :) I wasn't a real fan of the song when it came out (a bit slower than I normally like) - but it is a really good song that grows on you over time... This was from another post "McVicar" project along with "Martyrs & Madmen"... (Which is not on this CD - but is on "Best Bits"). * Is There Anybody Out There? - I'm not sure why I stuck this on the CD. I recall breaking up "Parting Should Be Painless" and putting its tracks on various "compilation" albums I made of Pete and Roger solo material - this might have been a leftover... Good song. * Don't Let The Sun Go Down On Me - This is from "The Lost Boys" soundtrack - Roger's cover of the Elton John song. I never saw the movie, so it might "fit" well with it, but I probably would have produced this a bit differently. The Who version of "Saturday Night's Alright For Fighting" is incredible - and it shows you what the boys can do when they put some effort into something. This version of the song is a bit slow and dry. A nice rendition, but could be "snappier". * If I Only Had A Heart - Yes, the song from... "The Wizard Of Oz" - except that this was from "The Wizard Of Oz In Concert". I went to that show (in NY). Roger played the Tin Man. After Jackson Brown's timid and relatively quiet "Scarecrow" performance, Roger came out (in the silver outfit and matching hat) swinging his microphone and sang this song as if The Who were playing it -great performance. The audience was blown away and it certainly was the highlight of a very good show! * The Pig Must Die - Another obscure song - this one is from Mike Batt's, "The Hunting Of The Snark" (Roger also did "The Boys of Summer" for another Mike Batt album). This is a really cool song and I enjoy it every time I hear it (in this case - it seems that was about 6 years ago!). * Quicksilver Lightning - This one is from the "Quicksilver" Soundtrack. A movie starring Kevin Bacon (who happens to be a huge Who fan). Some of you may remember the MTV video. I really liked this song a lot when it came out in 1986, but I may have had a bit of a burn out on it - as I like it less today. Still a very good song though... * Unforgettable Opera - I'm not a real fan of "Rocks In The Head", but I always loved "Days Of Light". Perhaps this was my "next favorite song - so I stuck it on this CD to listen to... * Break Out - This is an obscure b side from certain pressings of "The Pride You Hide" single. It's an obvious outtake from "Under A Raging Moon" and a fairly "weak" song. I used to love finding this kinda stuff, but this particular song was never well developed and OK for an occasional listen or to be stuck at the end of an album as a "bonus track"...
6803	dbpedia	2	50	https://metro.co.uk/2024/01/24/inside-brits-record-breaker-rayes-dramatic-exit-major-label-20168363/	en	Inside Raye’s dramatic exit from label as Brit Awards history beckons	https://metro.co.uk/wp-c…200&h=630&crop=1	https://metro.co.uk/wp-c…200&h=630&crop=1	[ "https://metro.co.uk/wp-content/uploads/2022/04/Kitty-3c96.png?w=240&quality=90&strip=all&zoom=1&resize=40%2C40", "https://metro.co.uk/wp-content/uploads/2024/01/GettyImages-1734805414.jpg?quality=90&strip=all&zoom=1&resize=644%2C429", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/uploads/2024/04/SEI_201589551-94c2.jpg?quality=90&strip=all&crop=0px%2C176px%2C2500px%2C1406px&resize=650%2C366&zoom=1", "https://metro.co.uk/wp-content/uploads/2024/08/comp-1723819115.png?crop=4px%2C0px%2C1996px%2C1125px&resize=650%2C366&quality=90&strip=all&zoom=1", "https://metro.co.uk/wp-content/uploads/2024/08/SEI_217351843-24c0.jpg?quality=90&strip=all&crop=0px%2C69px%2C2080px%2C1170px&resize=650%2C366&zoom=1", "https://metro.co.uk/wp-content/uploads/2024/08/88572019-0-image-m-101_1723743430344.jpg?quality=90&strip=all&crop=1px%2C0px%2C635px%2C358px&resize=650%2C366&zoom=1", "https://metro.co.uk/wp-content/uploads/2018/01/music-harry-styles.png?strip=true&quality=90", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/client-mu-plugins/metro-branding/images/fallback.png", "https://metro.co.uk/wp-content/themes/metro-parent/img/ipso-logo.jpg" ]	[]	[]	[ "" ]	null	[ "Kitty Chrisp" ]	2024-01-24T00:00:00	Raye has broken records for The Brits 2024 with seven nominations. Here's how she did it after being dropped by Polydor Records in 2021.	en	https://metro.co.uk/wp-c…n-black.png?w=32	Metro	https://metro.co.uk/2024/01/24/inside-brits-record-breaker-rayes-dramatic-exit-major-label-20168363/	Raye’s record label dropped her in 2021. Three years later, and she is breaking records at the Brit Awards 2024. Here’s how it happened. The Escapism hitmaker, 26, is recognisable for her gravelly Winehouse-reminiscent voice, and soulful songwriting, for which she’s been nominated for a remarkable seven Brit Awards. What’s more, she’s already scooped another, first award ahead of the main Brits ceremony, after being named songwriter of the year, an honour she said she would ‘treasure’ as she follows in the footsteps of previous winners Ed Sheeran and Kid Harpoon. She’s also landed the most Brit nominations received by any artist in a single year in its almost five decade history – but she’s had an arduous journey to the top. It’s hard to ignore Raye – real name Rachel Agatha Keen – once you’ve listened to any track from her debut album My 21st Century Blues, or if you’ve seen her perform. But while it may seem Raye has only shot to fame recently, she’s been the genius behind some of the most beloved artists of the past decade. The Brit School alumni signed to Polydor Records as a teenager, lending her vocals to top hits by David Guetta and Jax Jones and writing lyrics for Beyonce and Rihanna. Despite her clear talent, Raye miraculously remained somewhat of an undiscovered gem – except, she was discovered, because she’d signed a four-album deal with Polydor back in 2014. And yet, no one had heard of her. Ten years later, and it’s only now, since the genre-spanning musician left the label in 2021, that her talents were fully realised. One question: Why? Raye claimed in 2021 that Polydor Records prevented her from releasing an album, and three weeks later she was dropped. In a series of posts to X, formerly Twitter, she wrote: ‘Imagine this pain. I have been signed to a major label since 2014… and I have had albums on albums of music sat in folders collecting dust, songs I am now giving away to A list artists because I am still awaiting confirmation that I am good enough to release an album.’ The Londoner said she had ‘done everything’ they asked her to do, including switching genres and working long weeks. ‘I’m done being a polite pop star. I want to make my album now, please that is all I want,’ she said. Less than a month later, she was dropped by the label and emerged as an independent artist. Then came her critically acclaimed debut album My 21st Century Blues, which is now nominated for the coveted album of the year prize. She also got two spots in the song of the year category for her viral hit, Escapism, featuring US rapper 070 Shake; and dance track, Prada, with Casso and D-Block Europe. Raye is also nominated for artist of the year and best new artist as well as best pop act and best R&B act. This comes after Raye blew away Glastonbury on the Pyramid Stage last year with an unforgettable nine-song set. After opening the set with Oscar Winning Tears, what followed was an emotional ride. ‘The brilliant thing about being a writer, being a musician is that everything ugly in my life I get to turn into a song,’ she said. Choking up, she reminisced on being eight-years-old, when all she ever wanted was to be a writer, musician, and singer. ‘And I haven’t had the simplest of journeys,’ she explained. ‘I was told that I would never have a fan base big enough for anyone to care about an album, and right now Glastonbury, in front of the Pyramid Stage, I’m performing my album. My debut album. My baby, and my first child.’ She continued to the engrossed crowd: ‘And you know what’s beautiful about this moment is that there’s a lot of stories that I held in silence, and I dealt with a lot of things alone. ‘I dealt with a lot of tough things. You know, that’s just the journey of life, right, and I’m going to bring the mood down just for a second. Introducing her song Ice Cream Man, she said: ‘This next song is about sexual abuse, and rape, and sexual violence. And I know that’s heavy, okay. But I also know one in four men and women will experience that in their lifetime. ‘So I know that I’m not alone when I sing this today.’ Raye then explained how she sings this song because it makes her feel powerful. ‘Powerful in a time where I was silent,’ she continued. ‘Powerful in a time I had no voice. A story I waited a long time to tell.’ Got a story? If you’ve got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us celebtips@metro.co.uk, calling 020 3615 2145 or by visiting our Submit Stuff page – we’d love to hear from you. MORE : Kylie Minogue fans threaten to ‘riot’ after Padam Padam’s Brits 2024 snub
6803	dbpedia	1	13	https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/who	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about The Who", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about The Who", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	THE WHO Formed: 1964, London, England [1] Members: Pete Townshend [2], guitar, vocals (born London, England, 19 May 1945); Roger Daltrey [3], lead vocals (born London, 1 March 1944).	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/who	The Who Rock group For the Record… Selected discography Sources The Who, with songwriter, guitarist, and keyboard player Pete Townshend, vocalist Roger Daltrey, bass player John Entwistle, and drummer Keith Moon, became one of the most enduring parts of the British invasion of the 1960s. With hits like “I Can’t Explain” and “My Generation,” the band became a symbol of the era’s youth movement. They helped define and popularize the concept of the rock opera with the critically acclaimed “Tommy” and “Quadrophenia.” Despite setbacks, such as the death of Moon and long dry spells during which the group was considered disbanded, the Who has managed to maintain its following, which has been augmented by the ranks of fans who were babies when the band first burst upon the music scene. As David Gates reported in Newsweek, “after the Beatles and the Stones, they’re it. ” The roots of the band that would become the Who grew early. Townshend, Daltrey, and Entwistle were school acquaintances during their adolescence in London, England. Particularly close were Townshend and Entwistle, who played together in a Dixieland band For the Record… Group became the Who in 1964; members included Pete Townshend (full name, Peter Dennis Blandford Townshend; born May 19, 1945, in London, England; son of Clifford [a musician] and Betty [a singer] Townshend, mother’s maiden name: Dennis; married Karen Astley, 1968; children: Emma and Aminta), songwriter, guitarist, keyboard player; Roger Daltrey (born March 1, 1944, in London, England) vocalist; John Entwistle (born September 10, 1944 [one source says October 9, 1946] in London, England) bass player; Keith Moon (born August 23, 1946, in London, England; died September 7, 1978, in London, England) drummer; Kenny Jones (born September 16, 1949, in England) replaced Moon as drummer. Entwistle, Daltrey, and Townshend performed in a group called the Detours, 1962; added Keith Moon and changed their name to the High Numbers, 1963; changed group name to the Who, 1964; drummer Keith Moon died, 1978; added Kenny Jones as drummer, 1979; group disbanded, c. 1983; reformed to appear at Live Aid, 1985; reformed with Simon Phillips replacing Jones, and Steve Bolton, for a reunion tour, 1989. Appeared in films, including Tommy, Quadrophenia, and The Kids Are Alright. Awards: Many gold and platinum albums. Addresses: Home —(Townshend) The Boathouse, Ranelagh Dr., Twickenham, TW11QZ, England. Office —(Townshend) c/o Entertainment Corporation of America, 99 Park Ave., 16th Floor, New York, N.Y. 10016–1502. Record company—Warner Brothers Records, Inc., 3300 Warner Blvd., Burbank, Calif. 91505. when they were thirteen. Eventually they lost interest in that type of music and both became enamored of rock and roll, but while Townshend went to an art college, Entwistle joined a group called the Detours with Daltrey. When the Detours concluded that their guitarist was inadequate, Townshend was recruited. By 1962, they were one of the most popular attractions in London’s small clubs. In 1963, the Detours came under the management of Pete Meaden and Helmut Gordon, who changed the group’s name to the High Numbers in hopes of appealing to England’s new “Mod” youth culture—Mods valued psychedelic drugs, and it was hoped that “High” would be interpreted as a reference to intoxication. Also in keeping with the image, Meaden and Helmut decided that the band’s thirty-five-year-old drummer was too old to attract young fans and should be replaced. While in the throes of these changes, the High Numbers recorded an unsuccessful single, “I’m the Face.” With the drumming question unresolved, they were playing at the Oldfield Hotel in Greenford when a drummer from a surf band asked if he could sit in with them for a few sets. The High Numbers and their managers liked what they heard, and Keith Moon joined the group. Shortly afterwards, the High Numbers again came under new management, film directors Kit Lambert and Chris Stamp. Lambert and Stamp suggested yet another name change, and this one stuck. As the Who, the band attracted even more attention, gaining a reputation in London’s clubs for violent stage antics like Townshend’s now famous guitar-smashing and Daltrey’s equally renowned twirling his microphone cord like a lariat. As for Moon, countless critics have described his manner with the drums as “attacking” or “destroying.” Entwistle, perhaps for contrast, stood relatively still while playing his bass. By the end of the same year, 1964, the Who had also landed a recording contract with Decca Records (later MCA). Their first major single, “I Can’t Explain,” was released early in 1965. Though the disc was only moderately successful in the United States, it made the top ten of the British charts. A string of English hits followed, including 1965’s “Anyway, Anyhow, Anywhere,” and “My Generation,” 1966’s “The Kids Are Alright,” and “Happy Jack,” 1967’s “I Can See for Miles,” and 1968’s “Magic Bus.” The Who gained important U.S. exposure with their appearances at the Monterey Pop Festival in 1967 and at Woodstock in 1969, and their following in the United States had been growing steadily since the release of “My Generation”; but their star did not really rise there until the advent of their rock opera, “Tommy.” Townshend’s story of “Tommy,” a deaf, dumb, and blind boy who becomes both a phenomenal pinball player and a sort of messiah, changed the way rock music was perceived. The Who performed “Tommy” in serious opera houses all over the world, including the Royal Theatre of Copenhagen in Denmark, the Cologne Opera House in Germany, and the Champs Elysees Theatre in Paris, France. Their presentation of “Tommy” at the Metropolitan Opera House in New York City was judged one of the greatest rock concerts of all time by Rolling Stone.As the magazine concluded, the rock opera “directly challenged the cultural establishment’s dismissal of rock as three-minute segments of cacophony.” In addition to gold albums, such as 1971’s Who’s Next and Meaty Beaty Big and Bouncy, the Who also created a second rock opera, which they released on the 1973 album, Quadrophenia. Like “Tommy,” “Quadrophenia” was primarily written by Townshend and also eventually became a successful film; the latter creation centers on a member of the Mod culture named Jimmy, whose diverse character aspects reflect those of the Who’s members. But the band was beginning to age—in fact, the theme behind 1975’s The Who by Numbers was the question of whether older rock musicians could retain their relevancy. The Who suffered its first major setback in 1978 when Keith Moon died of an overdose of an anti-alcoholism drug. Though Kenny Jones was enlisted to take over drumming duties, the band continued to have problems, including some close calls with drugs on Townshend’s part. A1979 concert in Cincinnati, Ohio, further lowered the Who’s morale when eleven people were trampled to death in the crowd’s rush to get to the seats. The group changed to Warner Brothers Records to release Face Dances in 1981 and It’s Hard in 1982, but despite hits like “You Better You Bet,” “Athena,” and “Eminence Front,” most of the Who’s members felt these albums were not of consistent quality with their previous work. Townshend told Rolling Stone reporter Steve Pond: “I think the Who stopped two albums too late.” Also, the group was never completely at ease with Jones’s style of drumming, and missed Moon. As Townshend confided to Pond, “the fact of the matter is, there is a ghost… . There’s the ghost of the void which is left when the person is gone.” After a farewell tour that ended early in 1983, the Who disbanded. The band reunited in 1985, however, to perform for Live Aid, the concert effort for Ethiopian famine relief. The Who came together again in 1989 for a reunion tour, despite the problems created by Townshend’s debilitating tinnitus, a hearing problem probably caused by his many years of exposure to the high decibel levels of the group’s music. For the 1989 tour, Townshend, Daltrey, and Entwistle were joined by drummer Simon Phillips—who is said to recall Moon’s energetic style—and guitarist Steve Bolton. Fred Goodman reported that “for most of [the tour’s] shows…the Who rumbled and thundered with the authority of a freight train…the group brought an urge and verve to many of its warhorse anthems.” The proceeds from two performances of “Tommy” benefited charities for autistic and abused children; the proceeds from another two concerts featuring the Who’s hits over the years went to Special Olympics. Selected discography LPs My Generation, Decca, 1966. Happy Jack, MCA, 1966. The Who Sell Out, Decca, 1967. Magic Bus, Decca, 1968. Tommy, Decca, 1969. Live at Leeds, Decca, 1970. Who’s Next, Decca, 1971. Meaty Beaty Big and Bouncy, Decca, 1971. Quadrophenia, MCA, 1973. Odds and Sods, MCA, 1974. The Who by Numbers, MCA, 1975. Who Are You, MCA, 1978. The Kids Are Alright, Polydor, 1979. Hooligans, MCA, 1981. Face Dances, Warner Brothers, 1981. It’s Hard, Warner Brothers, 1982. Sources Books Marsh, Dave, Before I Get Old: The Story of the Who, St. Martin’s, 1983. Periodicals Newsweek, July 3, 1989. Rolling Stone, June 4, 1987; July 13, 1989; August 10, 1989. —Elizabeth Thomas THE WHO Formed: 1964, London, England Members: Pete Townshend, guitar, vocals (born London, England, 19 May 1945); Roger Daltrey, lead vocals (born London, 1 March 1944). Former members: Kenney Jones, drums (born London, 16 September 1948); Keith Moon, drums (born 23 August 1947; died London, 7 September 1978); John Entwistle, bass (born London, 9 October 1944; died Las Vegas, Nevada, 27 June 2002). Genre: Rock Best-selling album since 1990: Thirty Years of Maximum R&B (1994) The Who's golden age was over by 1980; by then the British band had consolidated enough of a reputation as a live act and had produced sufficient material to ensure an upper berth in the pantheon of rock performers. Along the way, the group's history was peppered by the same tragedies that scarred many of the leading groups that came to prominence in the 1960s. Addiction and death (two original members of the four-piece band have passed on) have marked a story that has been sustained, in the last two decades, primarily through touring. Yet the magnificent body of recorded material, which flowed principally from the musical pen of guitarist Pete Townshend from 1964 to the end of the 1970s, confirms the Who's glittering standing in the gallery of greats. Their potent blend of raw rock and roll, white R&B, and incisive lyrical commentary coupled with their awesome power as a live outfit left a deep imprint on their fans and generations of young bands who followed. Origins The product of London's nascent rock scene of the early 1960s, the band first emerged as the High Numbers and was linked to the ferment of the mod subculture: fashion-conscious young men and women who dressed with a sharp elegance and subscribed to the sounds of the British blues revival and American soul. In 1964 the High Numbers issued a single, "I'm the Face," the B-side of which was "Zoot Suit." The single's failure led the group to hire two new co-managers, Kit Lambert and Chris Stamp. The group's name was changed to the Who, and a residency at London's famous R&B venue the Marquee quickly followed. In a stunning burst of energy, the Who then released a sequence of singles that left a deep impression on the British pop charts: "I Can't Explain," "Anyway Anyhow Anywhere," and "My Generation"; the last was speedily adopted as an anthem of fast-living adolescents. "People try to put us down / Just because we get around" sings Daltrey, reflecting on a new confidence and optimism infusing British youth culture. But it was Townshend's line, "Things they do look awful cold / Hope I die before I get old," that distilled the spirit of this youthful assault and reflects perceptively on the notion of a generation gap between adults and the young. The energy and aggression of their shows were soon legendary, and the smashing of their instruments onstage became a notorious aspect of their live appearances. This element of the Who's persona, embodied particularly in the excessive behavior of drummer Keith Moon when on tour, helped to form the band's mystique. By 1966 Townshend's songwriting abilities had been further showcased in tracks like "Substitute" and "I'm a Boy." Yet there were unusual aspects to their progress—they did not manage to ride the early British Invasion wave that allowed the Beatles, Rolling Stones, and others to make headway in the United States. Tommy and After The spring of 1967 brought the group belated transatlantic recognition as their live gigs in New York won applause. Their appearance that same summer at the Monterey Festival in California, the first-ever open-air rock event, stole the show. In the fall, "I Can See for Miles" gave them a hit in both England and the United States. In the spring of 1969, the larger vision that Townshend had already hinted at was unveiled when "Pinball Wizard" trailed the arrival of Tommy, a double-album odyssey, inspired by a short story by the British journalist Nik Cohn, that related the experiences of a deaf, dumb, and blind boy with a penchant for playing pinball. As the first single famously announces, "But I ain't seen nothing like it in any amusement hall / That deaf, dumb and blind kid sure plays a mean pinball." The band's status as perhaps the premier live act of the period was confirmed some months later when the Who took the stage at the Woodstock Festival in August 1969 and proceeded to deliver a memorable, powerful set. Yet their insistence that they be paid in cash before going on stage at the event, the high tide of the hippie subculture, left almost as great an impact as their performance. The tour album Live at Leeds (1970) captures some of their live electricity, and the song "Won't Get Fooled Again" (1971) stunningly voices the political frustrations of the previous decade. In the early 1970s Tommy began to take on a life of its own. In 1972 it became a stage musical, one of the first rock operas, and 1974 saw the release of the movie version, directed by Ken Russell and featuring Elton John, Tina Turner, and a number of other notable stars. With Quadrophenia (1973) the Who's creative conveyor belt kept rolling. Another double album with a strong conceptual thread, the piece looked back to the mid-1960s, when the fashion-conscious mods, fans of the Who, clashed with their rivals the rockers, followers of earlier rock and roll. Although the collection spawned some single successes, like "5.15," the focus of the band was drifting as a series of solo projects took group members in different directions. Dissolving and Re-forming In 1978 Keith Moon died of an overdose of a drug that he was taking to battle his alcoholism; it was an unsurprising conclusion to a life that had been lived to the extreme. By the beginning of 1979, former Faces drummer Kenney Jones had been drafted to replace him. The early 1980s saw the band tread water in many ways, and by 1983 the group announced its dissolution. But the Who re-formed to play at Live Aid, the transatlantic live event that featured dozens of rock and pop acts in a benefit concert for African hunger charities. A decision to return to touring in 1989 proved that the split had been far from final. Townshend's prodigious appetite for work resulted in a fine solo album, Empty Glass, in 1980. He also became involved with the literary publishing house Faber in an advisory capacity—they had already published his short stories; in 1989 he collaborated with the British poet laureate, Ted Hughes, in creating a musical version of Hughes's children's story The Iron Man. Inducted into the Rock and Roll Hall of Fame in 1990, the Who have continued to play and tour intermittently. Townshend issued a further concept work in 1993 with Psychoderelict, a musical piece interspersed with dialogue, and that same year Tommy enjoyed a successful Broadway incarnation. Daltrey's fiftieth birthday celebration in 1994 brought a galaxy of stars, including Lou Reed and Eddie Vedder, to Carnegie Hall. In 1996 Quadrophenia was mounted in a well-received revival in London's Hyde Park, but the group's ensuing tours seemed to rely too heavily on the legacy of the past and made less impact. In the wake of the terrorist attacks of September 11, 2001, the band was present at the New York benefit concert for victims of those events. In June 2002 the original lineup suffered a further major blow when John Entwistle died of a heart attack on the eve of another U.S. tour amid news that Town-shend, Daltrey, and Entwistle were working on their first new material in more than twenty years. Although the tour still proceeded as a tribute to the man they nicknamed the Ox, with Pino Palladino on bass and Zak Starkey on drums, the Who could not escape dark headlines. At the start of 2003, Townshend, whose solo profile had been relatively low for some time, was propelled into the media glare once more with his arrest for having allegedly accessed an Internet site devoted to child pornography. Townshend asserted that he had been researching a project on the nature of child abuse. The Who, like the Rolling Stones, produced a collection of albums and singles in their first decade that sustained their reputation long after the peak of their creative output had passed. Their outstanding sequence of early singles prefaced their more sustained, keynote works, Tommy and Quadrophenia. Yet those acclaimed concept albums, which enjoyed life as stage shows and movies, have become almost a burden to their principal creator. Townshend, a proven master of the three-minute single by the end of the 1960s, has spent most of his professional life since striving to make bigger statements. In so doing he has attracted criticism for the very scale of his ambition, often from those nostalgic commentators who still remember him fondly as the young mod with an extraordinary capability for devising one-off pop classics. SELECTIVE DISCOGRAPHY: My Generation (MCA, 1965); A Quick One (Happy Jack) (MCA, 1966); The Who Sell Out (MCA, 1967); Magic Bus (MCA, 1968); Tommy (MCA, 1969); Live at Leeds (MCA, 1970); Who's Next (MCA, 1971); Meaty Beaty Big and Bouncy (MCA, 1971); Quadrophenia (MCA, 1973); The Who by Numbers (MCA, 1975); Who Are You (MCA, 1978); Thirty Years of Maximum R&B (MCA, 1994). BIBLIOGRAPHY: A. Neill and M. Kent, Anyway, Anyhow, Anywhere: The Complete Chronicle of the Who, 1958–1978 (London, 2002); L. D. Smith, Pete Townshend: The Minstrel's Dilemma (London, 1999). WEBSITES: www.thewho.net; www.petetownshend.co.uk; www.bbc.co.uk/aboutmusic/profiles/who.shtml. simon warner The Who Still regarded in the late 1990s as one of the greatest rock bands of all time, the Who were bold innovators who changed the face of popular music forever. Having planted the seeds of heavy metal, art rock, punk, and electronica, the Who are almost without peer in their range of influence upon subsequent music. The Who boasted a dynamic singer and stage presence in Roger Daltrey, a powerful virtuoso bassist in John Entwistle, and one of the world's greatest drummers in the frenetic Keith Moon. But the guiding genius of the Who was guitarist and songwriter Pete Townshend, who wrote and arranged each song, and recorded the guitar, bass, drums, and vocals onto a demo before presenting it to the band to learn and perform. Born in West London in 1945, Townshend attended Ealing Art school, where he learned about Pop Art and the merging realms of high and low culture. When he formed the Who, he found a suitable audience for this background among a youth subculture called the Mods, who wore Pop Art clothing and sought out stylish new music and amphetamine-driven dance styles. The Who's manager, Kit Lambert, encouraged the band to adopt the Mod look and write significant songs that would appeal to Mods. Their early hit, "Can't Explain" (1964) expressed adolescent frustration, followed by the angst-ridden "My Generation" (1965), one of the great rock anthems of the period. The Who were most famous for outrageous stage performances. Townshend specialized in "windmill" power chords, in which he would swiftly swing his arm 360 degrees before striking a chord. The Who often smashed their instruments at the end of a show, with Townshend shoving his guitar through the amplifier and Moon smashing through the drumskins and kicking over the entire drum set. Despite their commercial success, the Who remained in debt until 1969 because of this expensive habit. The Who released their first album, The Who Sing My Generation in 1965. Their next album, A Quick One (1967; renamed Happy Jack in America) featured a miniature "rock opera" on side two, a series of five songs narrating a tale of suburban infidelity. The Who Sell Out (1968) satirized commercials, again revealing their interest in Pop Art. Magic Bus (1968) was the best album of their early period but offered no hint of the grandeur of their next project, a full-scale rock opera. The double album Tommy (1969) told the story of a deaf, dumb, and blind boy who, after a miracle cure, becomes a cult leader. The album was influenced by Townshend's involvement with his guru, Meher Baba. If spirituality was an unexpected theme from the author of teen frustration and masturbation, the music was an equally bold advance, establishing Townshend as a versatile guitarist and ambitious composer. Nevertheless, responses to Tommy were mixed, partly due to the difficulty of following the story. Charges of pretentiousness were frequent. The artistic audacity of Tommy left the Who with a formidable dilemma—where do you go from here? The Who followed up the rock opera with the raunchy, visceral Live at Leeds (1970), but soon Townshend grew ambitious again, formulating another opera, Lifehouse. Eventually the concept was abandoned, and the better half of the songs written for the project were released as Who's Next (1971), which many regard as the greatest rock album ever made. Among its highlights are "Behind Blue Eyes," "Teenage Wasteland," and one of the greatest rock songs of all time, "Won't Get Fooled Again," a masterpiece of overwhelming power, featuring incredible performances by each band member. Who's Next made innovative use of synthesizers and sequencers, anticipating electronic music, and it established the Who as a major creative power in rock. The following year, Townshend released a solo album, Who Came First, devoted to Meher Baba. Townshend then embarked upon yet another opera, based on the raw passions of youth rather than philosophical ideas. Quadrophenia (1973) told the story of the Mods and their rival subculture, the Rockers. The story was simpler than Tommy but still rather confusing. However, the Who had grown musically since their first opera. Townshend was a more sophisticated arranger and made greater use of piano (played by himself) and horns (played by Entwistle). Quadrophenia was regarded as Townshend's masterpiece, the definitive expression of adolescent angst, combining the ambitions of Tommy with the virtuosity and emotional power of Who's Next. Both Tommy and Quadrophenia were made into movies, the former an awkward musical starring Daltrey, the latter a gritty drama which helps to explain the album's plotline, as well as the cultural milieu in which the Who developed. For most Americans, the movie version of Quadrophenia is a prerequisite for understanding the album. The triumph of Quadrophenia left the Who in the same quandary that Tommy had: where do you go from here? They avoided the question with Odds & Sods (1974), a mixture of singles, B-sides, and leftovers from the Lifehouse project. For a hodgepodge, it was a fine album. The Who by Numbers (1975) was quieter, with thoughtful, introspective lyrics. Who Are You (1978) found the Who delivering up-tempo rock again. The lengthy title song was a worthy follow-up to "Won't Get Fooled Again." The entire album was reminiscent of Who's Next, packed with powerful songs, and again featuring innovative use of synthesizers. Unfortunately, Keith Moon died shortly afterwards from an overdose of anti-alcoholic medication. Following this tragedy, Townshend withdrew to record the fascinating Empty Glass (1981), his finest solo album. Moon was replaced by Kenny Jones of the Small Faces, and the Who recorded two albums, Face Dances (1981) and It's Hard (1982), before breaking up. Then came countless collections of rarities, outtakes, B-sides, demo tapes, etc., testifying to the Who's enduring popularity, although respect for the group was compromised by the weakness of the post-Moon albums and by various anticlimactic reunions in the 1980s and 1990s. Townshend remained prolific as a solo artist but tended to rely overmuch on concept albums. He published a book of short stories, Horse's Neck, in 1985. —Douglas Cooke Further Reading: Barnes, Richard. The Who: Maximum R & B. London, Eel Pie, 1982.
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6803	dbpedia	2	85	https://atlasrecords.co.uk/blogs/all-about-vinyl/tales-behind-the-label-the-lasting-impact-of-fiction-records	en	Tales Behind The Label: Fiction Records — Atlas Records	http://atlasrecords.co.uk/cdn/shop/articles/the-cure-friday-im-in-love-1-1683292264625.jpg?crop=center&height=1200&v=1690969045&width=1200	http://atlasrecords.co.uk/cdn/shop/articles/the-cure-friday-im-in-love-1-1683292264625.jpg?crop=center&height=1200&v=1690969045&width=1200	[ "https://atlasrecords.co.uk/cdn/shop/files/A_Larger.png?v=1708445680&width=280, //atlasrecords.co.uk/cdn/shop/files/A_Larger.png?v=1708445680&width=560 2x", "https://atlasrecords.co.uk/cdn/shop/files/Sale_-_Under_20_-_2.png?v=1709823413&width=400, //atlasrecords.co.uk/cdn/shop/files/Sale_-_Under_20_-_2.png?v=1709823413&width=800 2x", "https://atlasrecords.co.uk/cdn/shop/files/Sale_-_Under_20_-_2.png?v=1709823413&width=800", 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//atlasrecords.co.uk/cdn/shop/files/Sale_-_100_610ced38-61ed-4020-ad4f-048d46fa85e0.png?v=1709823418&width=800 800w, //atlasrecords.co.uk/cdn/shop/files/Sale_-_100_610ced38-61ed-4020-ad4f-048d46fa85e0.png?v=1709823418&width=900 900w", "https://atlasrecords.co.uk/cdn/shop/files/Sale_-_100_610ced38-61ed-4020-ad4f-048d46fa85e0.png?v=1709823418&width=460" ]	[ "https://www.youtube.com/embed/q1pwB6oGKaw" ]	[]	[ "" ]	null	[ "Holly" ]	2023-07-19T00:00:00+00:00	Fiction Records is a British independent record label that has been a significant player in the music industry since its inception in 1978. The label has been responsible for the launch of numerous successful artists, including The Cure, Elbow, and Snow Patrol, among others.	en	//atlasrecords.co.uk/cdn/shop/files/Logo.png?crop=center&height=48&v=1671373420&width=48	Atlas Records	https://atlasrecords.co.uk/blogs/all-about-vinyl/tales-behind-the-label-the-lasting-impact-of-fiction-records	Fiction Records is a British independent record label that has been a significant player in the music industry since its inception in 1978. The label has been responsible for the launch of numerous successful artists, including The Cure, Elbow, and Snow Patrol, among others. In this blog post, we will take a closer look at the history and impact of Fiction Records on the music industry. Fiction Records was founded in 1978 by Chris Parry, a former A&R executive at Polydor Records. The label's first release was "Killing an Arab" by The Cure, which became a hit in the UK and helped to establish the band as one of the most influential and enduring acts in alternative rock. “Killing an Arab” was based on the classic novel "The Stranger" by Albert Camus. The song's lyrics were inspired by the book's opening scene, in which the protagonist kills an Arab on a beach. Over the next few years, Fiction Records would continue to release albums by The Cure, as well as other artists such as Fad Gadget, The Associates, and Billy Mackenzie. Fiction was also home to a subdivision called ‘Non Fiction Records’ who were responsible for their special edition releases. In 1983, Fiction Records was sold to Polydor Records, which became part of the newly formed PolyGram group the following year. The label continued to release albums by The Cure, and in 1987, the band released their most successful album to date, "Kiss Me, Kiss Me, Kiss Me," which went on to become a platinum-selling record in the United States. Fiction became dormant in 1995, aside from a small number of The Cure releases. In 2004 the label was relaunched to “give Polydor a bit more of a guitar stronghold.” With signings including Snow Patrol, Elbow and Kaiser Chief, Fiction came back strong. The first release on ‘new’ Fiction was “Run” by Snow Patrol, which reached the top 5 in the UK charts and has appeared in it again multiple times since. Did you know? Many of the earlier Fiction record catalogue numbers start with 'FIX' or 'FICS', directly referencing the name of the label. In 2014, Fiction Records was acquired by Universal Music Group, which is currently the label's parent company. Current Fiction signings include The Amazons, Tame Impala and Self Esteem. Fiction has been responsible for launching many artists careers, including Kate Nash, The Big Moon and Black Honey. Fiction Records has had a significant impact on the music industry since its inception. The label's early success with The Cure helped to establish the band as one of the most influential acts in alternative and goth rock, and the band's continued success throughout the 1980s and beyond helped to cement Fiction Records' reputation as a label that could develop and nurture successful artists. In addition to The Cure, Fiction Records has been responsible for launching the careers of numerous other successful artists. Elbow, for example, released their fourth album, "The Seldom Seen Kid," on Fiction Records in 2007. The album received critical acclaim and earned the band a Mercury Music Prize in 2008, helping to establish them as one of the most respected and enduring acts in British music. Similarly, Snow Patrol released their breakthrough album, "Final Straw," on Fiction Records in 2003. The album went on to become a commercial and critical success, selling over 3 million copies worldwide and earning the band numerous awards and accolades. Fiction Records has also played an important role in the development of British music. The label's focus on alternative and indie rock has helped to establish the genre as an important part of the British music scene, and many of the label's artists have gone on to inspire and influence countless other musicians. While The Cure are one of the most significant artists in the development of modern music history, the more recent Fiction story is arguably just as impactful and successful. We really enjoyed this in depth video look into Fiction legends, The Cure. Interested in other labels?
6803	dbpedia	3	26	https://music.fandom.com/wiki/Roger_Daltrey	en	Roger Daltrey	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	[ "https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Music Hub" ]	2024-07-29T22:27:06+00:00	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and...	en	/skins-ucp/mw139/common/favicon.ico	Music Hub	https://music.fandom.com/wiki/Roger_Daltrey	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine's list of the 100 greatest singers of all time. Early life[edit source \| editbeta][] Roger Harry Daltrey was born in the Hammersmith area of London, but was brought up in Acton, the same working class suburban district that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Daltrey attended Victoria Primary School and then Acton County Grammar School for Boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrolment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead. He made his first guitar from a block of wood, a cherry red Strat copy, and joined an existing skiffle band called the Detours in need of a lead singer. They told him he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too.[1] When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterwards was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled Roger had been a good pupil."[2] "Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock 'n' roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more."[citation needed] Daltrey became a sheet metal worker during the day, while practising and performing nights with the band at weddings, pubs and working men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, eventually being replaced by Keith Moon. Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m)). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives."[3] He generally selected the music they performed, including songs by the Beatles, various Motown artists, James Brown and other rock standards. In 1964 the group discovered another band working as the Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" During 1964, band manager Peter Meaden renamed the band the High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released one single, "I'm The Face/Zoot Suit", on Fontana Records. The single was unsuccessful. After Kit Lambert and Chris Stamp discovered the High Numbers at the Railway Hotel, the band changed their name back to The Who, since neither Lambert nor Stamp liked the name the "High Numbers". Music career[edit source \| editbeta][] The Who years[edit source \| editbeta][] With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. The other members of the Who expelled Daltrey from the band in late 1965 after he beat up drummer Keith Moon for supplying drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band during these years. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. [1][2]Daltrey, with microphone, and Townshend, on stage Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While others of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow.[4] With each of The Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others. [3][4]Daltrey, right, with Pete Townshend The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called McVicar about British bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to a deterioration of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album Under a Raging Moon and Townshend's solo album Iron Man. Daltrey turned to working as an actor, completing such high profile projects as The Beggar's Opera and The Comedy of Errors for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's The Hunting of the Snark (1987), The Little Match Girl (1987), Buddy's Song (1990), which he also produced, and Mack the Knife (1990). In 1991 he received a Grammy Award with the Chieftains for An Irish Evening: Live at the Grand Opera House, Belfast. The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of the rock opera Tommy. The tour featured a large backing band and guest appearances bySteve Winwood, Patti LaBelle, Phil Collins, Elton John and Billy Idol. Although Daltrey experienced severe health problems due to an abdominal hemangioma (later removed by surgery), he managed to complete the tour. He continued to work on stage and screen during these years, completing projects such as The Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Grey, Natalie Cole and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows. In 1994 Daltrey celebrated his 50th birthday by performing a two-night spectacular at Carnegie Hall titled A Celebration: The Music of Pete Townshend and The Who, and popularly calledDaltrey Sings Townshend. The show was produced by Daltrey's manager at the time, Richard Flanzer. The Who's music was arranged for orchestra by Michael Kamen, who conducted TheJuilliard Orchestra for the event. Bob Ezrin, who produced Pink Floyd's The Wall CD, among other famous albums, produced the live CD. Pete Townshend, John Entwistle, Eddie Vedder (who performed a special acoustic tribute), Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, the Chieftains and others performed as special guests. Michael Lindsay-Hogg directed the telecast, which was aired on satellite TV. The concert, at the time, was the fastest sell-out in the famed venue's history. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit due to the expense of providing extraordinary musicians and orchestras in every city to replicate the Carnegie Hall event. Significantly, the tour did attract attention to songs from the Who's rock opera Quadrophenia and gathered support for a staging and major tour of the rock opera in 1996–97. In 1996 Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full-out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section and backing vocalists were added, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as The Who. After their Quadrophenia tour was successful, the band returned as The Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. Bassist Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between the two principals Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album. In February 2010, Townshend and Daltrey, headlining as The Who, performed the halftime show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather, and Tom Meighan of Kasabiansang the part of Aceface,[5] and Tom Norris, London Symphony Orchestra Co-Principal Second Violin, played violin for the production. Rock persona[edit source \| editbeta][] [5][6]Daltrey singing with The Who in Hamburg, August 1972 When Colin Dawson left the Detours, Roger Daltrey took over as lead vocalist, giving up his guitar. The band as a whole acknowledged Moon and Entwistle's innovation and talent on their instruments, and Pete Townshend had begun writing hit songs, but Daltrey struggled to find a voice to present their new music. His expression carried Townshend's material well enough in recordings, and at the time his live persona suited the small club scene where The Who made their beginnings. However, this presentation lacked the confidence of later years, and he was arguably still a singer seeking a voice. The Who first toured North America in 1967, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a pivotal year with Townshend's movement beyond the quick three-minute single towards his goal of writing a rock opera. Beginning with "A Quick One (While He's Away)", a nine-minute mini-opera, Daltrey's performance in the Rolling Stones Rock and Roll Circus showed him with a new confidence in dealing with Townshend's material. In 1969, The Who's first major rock opera Tommywas released, and Daltrey found a voice for the lead character that carried The Who to world stardom at such music venues as Woodstock and the Isle of Wight Festival, and in opera housesaround the world during the next two years. Townshend later remarked in the film Amazing Journey, that with Tommy, and with Daltrey's adaptation to portraying the character on-stage, the singer evolved from what was essentially a tight, tough guy to one who outstretched his arms, bared his body to the audiences, and began to truly engage them. "With this change, the band was at last complete," he summed up. "It was a marriage," Townshend emphasised, "but it was a good marriage. Those were glorious years". Daltrey confirmed this, saying, he felt at last accepted, displaying a newly energetic role and sound during live performances. Daltrey has long been known as one of the most charismatic of rock's frontmen. According to Pete Townshend, "He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[6] His persona has earned him a position as one of the "gods of rock and roll"[7] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. Musical equipment[] Roger Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.[8] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solidbody electric guitar which he later sold to Pete Townshend on an easy payment plan.[9][10] After he took over vocals for the band in the 1960s and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.[11] He began playing guitar with The Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on The Who's 1982, 1989 and later tours.[12]During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe." During The Who's 1996–97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.[13] After 1999, it became more common for Daltrey to play guitar during both The Who and solo shows. He ordered a Versoul Buxom 6 handmade acoustic guitar that he played on The Who's 2002 tour.[14] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on The Who and solo tours in the late first decade of the 21st century.[15] On his 2009 tour, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[16] Roger Daltrey is known as one of the harmonica players who brought the instrument out of blues and into popular music.[17] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.[18] Daltrey plays using the blues harp (2nd position) or cross harp technique which originated in blues music. Daltrey uses Shure microphones with cords which he tapes to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,[19] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[20] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.[21] Who songs written by Daltrey[edit source \| editbeta][] Although never a writing force in The Who and overshadowed by the song writing talents of Townshend and Entwistle, Daltrey did contribute a small handful of songs to the band's catalogue during their early career: "Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend. "See My Way" (1966)-Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1968)-Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970)-B-side to "The Seeker". Daltrey also wrote a song called "Crossroads Now" for The Who which grew out of an onstage jam in 1999 after the song "My Generation."[22] Another Daltrey song, entitled "Certified Rose," was rehearsed by The Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death.[23] Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and might feature Entwistle's basslines from 2002), Townshend later stated that no such recording was made.[24] "Early Morning Cold Taxi", a song recorded during The Who Sell Out sessions in 1967 and released in 1994 on the Thirty Years of Maximum R&B boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston. Some sources report that the song was solely written by Langston.[25] At the time Daltrey and Langston were planning to form a writing-partnership, where all songs written by either of them would be credited as Daltrey/Langston. The partnership produced only one other song—an unreleased demo titled "Blue Caravan." Langston went on to play guitar on John Entwistle's first solo album, Smash Your Head Against the Wall, in 1970. Solo music career[edit source \| editbeta][] [7][8]Daltrey closing out a Trans-Siberian Orchestra concert, December 2007 Daltrey has released eight solo albums. The first was the self-titled Daltrey in 1973, recorded during a hiatus in The Who's touring schedule. The top single off the album, "Giving It All Away", reached number five in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography shows a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" on the B-side. Bizarrely, the British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of The Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second album, Ride a Rock Horse, was released in 1975 and is his second most commercially successful solo album. Its cover, photographed by Daltrey's cousin Graham Hughes, is remarkable for depicting the singer as a rampant centaur. When Sayer launched his own career as an artist, Daltrey called on a widening group of friends to write for and perform on his albums. Paul McCartney contributed the new song "Giddy" to One of the Boys, where the band included Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. On this cover, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting Reproduction Interdite. McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of The Who (Townshend, Entwistle and Kenney Jones). McVicar included two hit singles, "Free Me" and "Without Your Love", and is Daltrey's best-selling solo recording. The title track to Under a Raging Moon was a tribute to Who drummer Keith Moon, who died in 1978. Each of the album's tracks, including "Let Me Down Easy" by Bryan Adams, expresses the frustration of growing older as only a man who sang "Hope I die before I get old" can. On his album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything A Heart Could Ever Want". This was his first major effort as a song-writer for his own solo albums. In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock song "I Want It All", to pay homage to his lifelong friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS. Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (23 and 24 February ) later issued on CD and video called A Celebration: The Music of Pete Townshend and The Who, sometimes called Daltrey Sings Townshend, accompanied by the Juilliard Orchestra, Pete Townshend, John Entwistle, Irish dancers and other special guests. The success of these two shows led to a U.S. tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped. Daltrey took on a number of other solo projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005. Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert. In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock 'n' roll favourites. In 2009, Daltrey formed a new touring band. No Plan B/The Roger Daltrey Band[edit source \| editbeta][] Roger Daltrey embarked on a solo tour of the U.S. and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new band that he called "No Plan B" on the Alan Titchmarsh Show.[26] The band included Simon Townshend on rhythm guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.[27] Eddie Vedder made a guest appearance at the Seattle, WA show on 12 October.[28]In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[29] including Summerfest at Milwaukee, Wisconsin.[30] The band also scheduled additional dates in 2010 without Clapton. In 2011 the band performed the rock opera Tommy and other songs at a warm-up show in Bournemouth at the O2 Academy 19 March in preparation for a show scheduled at the Royal Albert Hall to benefit the Teenage Cancer Trust on 24 March.[31] Pete Townshend played and sang as a guest at the TCT show. Later in 2011, the band scheduled the "Tommy Reborn" tour of the UK and Europe, followed by a tour of the US and Canada. Additional dates were booked in Europe and Australia for 2012. Downloads from the tour were made available through the Internet. Non-Who songs written by Daltrey[edit source \| editbeta][] After his first efforts at writing songs with The Who, Daltrey wrote songs almost entirely for his solo recordings or for other projects. Daltrey first co-wrote songs for his solo albums beginning with the 1977 One of the Boys, including "The Prisoner", "Satin and Lace" and "Doing It All Again." On his 1985 album Under a Raging Moon, Daltrey is credited as co-writer on "Don't Talk to Strangers," "The Pride You Hide," "Move Better in the Night" and "It Don't Satisfy Me." On the 1987 album Can't Wait to See the Movie, Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On the 1992 Rocks in the Head, Daltrey is credited (along with Gerard McMahon) for co-writing seven of the eleven tracks, including: "Times Changed," "You Can't Call It Love," "Love Is," "Blues Man's Road," "Days of Light," "Everything A Heart Could Ever Want" and "Unforgettable Opera." For his 2005 compilation album Moonlighting, Daltrey co-wrote the song "A Second Out" with Steve McEwan of the band UnAmerican. The recording features Daltrey's vocals backed by McEwan on acoustic guitar. Daltrey's song-writing for other projects includes the 1975 soundtrack for Lisztomania, where he is credited with "Love's Dream", "Orpheus Song" and "Peace at Last." Daltrey also wrote "Child O Mine" with Gerard McMahon, featured on the soundtrack for The Banger Sisters and on the TV show Witchblade. In 2006, he wrote and performed a specially commissioned song, "Highbury Highs", for the Highbury Farewell ceremony following the final football match on 7 May at Highbury between Arsenal and Wigan Athletic, in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to the Emirates Stadium, Ashburton Grove, the following season. Discography[] Daltrey (1973) Ride a Rock Horse (1975) One of the Boys (1977) McVicar (1980) Parting Should Be Painless (1984) Under a Raging Moon (1985) Can't Wait to See the Movie (1987) Rocks in the Head (1992) Collaborations[edit source \| editbeta][] In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. In the same year, Daltrey provided backup vocals on Barry Gibb's song "Fine Line". The following year, he appeared in Barbra Streisand's music video for her single "Emotion", playing Streisand's emotionally uninterested husband. In 1992, he appeared on the Chieftains' Grammy Award-winning album, An Irish Evening: Live at the Grand Opera House. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol. Also in 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[33] He borrowed a guitar to play for the songs, after reassuring the owner that he would not break it. Daltrey taught thirteen-year-old Drake Bell how to play the guitar in 1999. Drake later starred in Drake and Josh and released two albums. In 2001, Daltrey provided backing vocals for the title track of the Joe Strummer and the Mescaleros album Global a Go-Go. In 2003, he provided backing vocals for thrash-metal band Anthrax on the song "Taking the Music Back" from their album We've Come for You All. The collaboration came about through Anthrax guitarist Scott Ian's girlfriend, Pearl Aday, daughter of Meat Loaf, whose mother was a friend of Daltrey and his wife. In 2005, Daltrey collaborated with the British pop band, McFly to sing his hit song "My Generation". On 14 and 15 December 2007, he appeared with the Trans-Siberian Orchestra at Nassau Coliseum in Uniondale, New York and Izod Arena in East Rutherford, New Jersey, performing "Behind Blue Eyes," "Pinball Wizard" and "See Me, Feel Me." On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On Sunday 5 July 2009, he joined Paul Weller onstage at Hop Farm Festival in Kent for an encore of "Magic Bus".[34] In 2011 Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.[35] Film and stage career[edit source \| editbeta][] Film[edit source \| editbeta][] [9][10]Daltrey in Boston's House of Blues in 2009 After The Who retired from active work in 1982, Daltrey developed his career in film and on the theatre stage. Daltrey's appearances in over 30 feature films include early starring roles inTommy, as "deaf, dumb and blind boy" Tommy Walker in 1975; Lisztomania, as Hungarian composer Franz Liszt in 1975, and McVicar, as British armed-robber-turned-journalist John McVicar in 1980. Through the 1980s and 1990s, he appeared in various musicals and dramas, including The Beggar's Opera, The Comedy of Errors, The Little Match Girl, Mack the Knifeand Buddy's Song. In 1992 Daltrey appeared in The Real Story of Happy Birthday to You, a children's animation. In 2003, he starred as the voice of Argon the Dragon Bus Driver in the award-winning children's DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD featured Daltrey as a costumed children's dragon, who drove a bus for two lost puppets trying to return to their home at the zoo. Daltrey provided vocals for children's classics, such as "The Wheels on the Bus Go Round and Round," in addition to songs written specifically for the home video. He later appeared in two other videos for this series. In addition to his career as an actor, Daltrey has been producer on several films, including: Buddy's Song (1990), McVicar (1980), Quadrophenia (1979) and an untitled Keith Moon film project in development.[36] Television roles[edit source \| editbeta][] Daltrey has played a number of television roles, including BBC Television Shakespeare as both Dromios in The Comedy of Errors, the police drama series The Bill, the science fiction series Sliders as Col. Angus Rickman, the VH1series Strange Frequency 2, Witchblade as the devil, and was a recurring guest star in Highlander: The Series as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod. In 1983, he played Macheath, the outlaw hero of BBC TV's production of John Gay's 1728 ballad opera, 'The Beggar's Opera'. In 1986 Daltrey appeared in the TV series Buddy. In 1993, he guest-starred (along with Steve Buscemi) in an episode of Tales From The Crypt entitled "Forever Ambergris". Daltrey appeared as a villain in a 1996 episode of Lois & Clark: The New Adventures of Superman. He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series Rude Awakening. Daltrey took part in an episode of the animated series The Simpsons, "A Tale of Two Springfields", providing the voice for himself, along with John Entwistle (Pete Townshend's voice was supplied by his brother Paul). In this episode, The Who helped Homer break down a wall he had built through the town of Springfield. A self-described history buff, Daltrey often involves himself in history research related media including television documentaries. Pirate Tales from 1997, is a documentary/action show about the age of piracy in the 18th century, in which Daltrey impersonated English buccaneer William Dampier in a main role as the narrator throughout the series. In 2003 he hosted the History Channel's Extreme History with Roger Daltrey talking about historical events and explaining the survival techniques the civilisations treated had available. He also appeared in "That '70s Musical", the 100th episode of That '70s Show as Fez's musical director. Daltrey guest starred in a 23 November 2006 episode of CSI: Crime Scene Investigation ("Living Legend") as Mickey Dunn, a prominent Las Vegas 1970s mob boss who returns to Las Vegas to avenge his attempted murder. The Who's music, and Daltrey's singing, provide the themes for all three of the series in the CSI franchise every week ("Who Are You" for the original show, "Won't Get Fooled Again" for CSI: Miami and "Baba O'Riley" for CSI: NY). In 2005, Daltrey made a cameo appearance as himself in the episode "The Priest and the Beast" in Series 2 of The Mighty Boosh. He is found by the main characters vacuuming a desert, presumably as a "karmic" consequence of leaving Woodstock early and not helping to clean up. Also in 2005, he played the part of loblolly boy in the TV drama Trafalgar Surgeon. Besides acting, Daltrey has performed on the soundtrack of a number of films and television shows, most notably CSI. He also appeared in the music video for "Emotion" by Barbra Streisand, although neither he nor The Who were the featured act. Filmography[edit source \| editbeta][] Roger Daltrey has acted in advertisements, television and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:[36] [11][12]Daltrey in 2008 prior to a screening of "The Who Live at Kilburn 1977" at the ArcLight Sherman Oaks 2008 List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Pop Pirates 2007 Producer film Murder: Ultimate Grounds for Divorce 1985 film The Hunting of the Snark 1987 The Barrister concert appearance The Little Match Girl 1987 Jeb Macklin musical film Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Taz TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Blue Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Stage roles[edit source \| editbeta][] Daltrey has appeared in stage in productions including Mike Batt's The Hunting of the Snark in 1987 as the Barrister, and also in Batt's Philharmania with the Royal Philharmonic Orchestra in 1998. He appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 as the Tin Man. Also in 1995 he starred in a three part Bert Coules BBC radio dramatisation of the Mutiny on the Bounty novels of Charles Nordhoff and James Norman Hall, and in 1996 he starred in a BBC Radio 2 production of Jesus Christ Superstar as Judas. In 1998, Daltrey played the part of Scrooge in the Radio City Music Hall production of A Christmas Carol in New York City. In 2003, he starred as Alfred P. Doolittle in a production of My Fair Lady at the Hollywood Bowl alongside John Lithgow and Melissa Errico. Literary work[edit source \| editbeta][] Roger Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[37] In 2009 he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[38] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[39] Honours and awards[edit source \| editbeta][] In 1976 Roger Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of The Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With The Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music. In 1990 Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of The Who.[40] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with The Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror Boy", and "Baba O'Riley".[41] In 2005 Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry.[42][43] In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[44] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.[45] As a member of The Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[46] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annualKennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.[47] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.[48] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[49] Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse, 9 November 2011, in London. In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[50] Charities[edit source \| editbeta][] Roger Daltrey supports many charities both as a solo artist and jointly with other members of The Who. In 1976, he performed at the Celtic Football Ground in Glasgow. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. He sang "Rock and Roll" on a charity single released as McEnroe & Cash with the Full Metal Rackets for Rock Aid Armenia in 1986, and performed with The Who at Concert for Kampuchea in 1979 and Live Aid in 1985. Daltrey appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 for the Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992. Roger Daltrey's 1994 Celebration raised funds to support Babies and Children's Hospital in New York City, as well. With The Who, he performed for the Robin Hood Foundation at the Concert for New York City and other benefits in 2001; at Neil Young's Bridge School Benefit in 1999; and in the Quadrophenia Concert for the Prince's Trust in Hyde Park, 1996. In addition, Daltrey performed at benefits in Vail, Colorado, in 1999, and attended a PETA benefit with Sarah McLachlan and Chrissie Hynde in the same year. All The Who's Encore Series profits go to young people's charities. Roger Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with The Who actually playing in 2000, 2002, 2004, 2007 and 2010 and Daltrey playing solo in 2011. He has endorsed The Whodlums, a Who tribute band which raise money for the Trust.[51] Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006, 2008; performed with The Who at Live 8 in 2005, for the Nordoff-Robbins Silver Clef benefit in 2005, and for the Los Angeles area City of Hope benefit in 2001 and 2004. The Who played with special guest Michael J. Fox at the 2008 "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. Daltrey performed at the first ChildLine Rocks concert at London's IndigO2 on 13 March 2008.[52] In 2009 Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[53][54] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.[55] In 2011, Daltrey, Steven Tyler and Julie Andrews provided funding for Bob Langer's research at the Massachusetts Institute of Technology into vocal chord repair for victims of cancer and other disorders.[56] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by The Who's charity Who Cares?.[57] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[58] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust.[59] Throat surgeries[edit source \| editbeta][] In 1978, during the recording of The Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.[60] In December 2010, Daltrey was found to have developed vocal chord dysplasia and consulted Dr. Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.[61] Both surgeries were considered successful. Personal life[edit source \| editbeta][] Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1964, Simon. The couple divorced in 1968. In 1967, Daltrey's son Mathias was born, the result of an affair withSwedish model Elisabeth Aronsson.[62] In 1968, he met the American Heather Taylor, his current wife whom he married in 1971. Together, they have three children, Rosie Lea (born in 1972), Willow Amber (born in 1975)[63] and Jamie (born in 1981). He also has five granddaughters, Lily, Lola, Ramona, Scarlet and Winter; and two grandsons, Liam and Jonjo. He also has three other children from relationships during the 1960s.[64] Daltrey owns a farm at Holmshurst Manor, a country estate near Burwash, Sussex, built in 1610, as well as his parents' old home in London. He designed and built Lakedown Trout Fishery near Burwash, documented in the filmUnderwater World of Trout, Vol. 1.[65] He bought a home in Los Angeles in the early 2000s. Daltrey also owns a house in Sturminster Newton, which appeared on the popular television series Grand Designs. Daltrey is a supporter of Arsenal F.C..[66] Daltrey claims to have never tried hard drugs and unlike his band mates, has stayed straight and free from addiction problems.[67] Views and advocacy[edit source \| editbeta][] Daltrey is a supporter of the Countryside Alliance and has played concerts to raise funds for the organisation.[68] Daltrey is a supporter of the Labour Party in Britain, but has been strongly critical of its policy of "mass immigration", arguing that the current immigration policies undermine the British working class. He has also expressed his admiration for Queen Elizabeth II.[69] Quotation[] We were still a bunch of rotten, dirty-boy rock 'n' rollers, but kids began identifying with our short hair and Ivy League clothes, and it just took off from there.
6803	dbpedia	3	71	https://rock.fandom.com/wiki/Roger_Daltrey	en	Roger Daltrey	https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633	https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633	[ "https://static.wikia.nocookie.net/rock/images/e/e6/Site-logo.png/revision/latest?cb=20210713164633", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Rock Music Wiki" ]	2024-07-29T22:27:06+00:00	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and...	en	/skins-ucp/mw139/common/favicon.ico	Rock Music Wiki	https://rock.fandom.com/wiki/Roger_Daltrey	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine's list of the 100 greatest singers of all time. Early life[edit source \| editbeta][] Roger Harry Daltrey was born in the Hammersmith area of London, but was brought up in Acton, the same working class suburban district that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Daltrey attended Victoria Primary School and then Acton County Grammar School for Boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrollment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead. He made his first guitar from a block of wood, a cherry red Strat copy, and joined an existing skiffle band called the Detours in need of a lead singer. They told him he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too.[1] When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterwards was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled Roger had been a good pupil."[2] "Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock 'n' roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more."[citation needed] Daltrey became a sheet metal worker during the day, while practising and performing nights with the band at weddings, pubs and working men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, eventually being replaced by Keith Moon. Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m)). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives."[3] He generally selected the music they performed, including songs by the Beatles, various Motownartists, James Brown and other rock standards. In 1964 the group discovered another band working as the Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" During 1964, band manager Peter Meaden renamed the band the High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released one single, "I'm The Face/Zoot Suit", on Fontana Records. The single was unsuccessful. After Kit Lambert and Chris Stamp discovered the High Numbers at the Railway Hotel, the band changed their name back to The Who, since neither Lambert nor Stamp liked the name the "High Numbers". Music career[edit source \| editbeta][] The Who years[edit source \| editbeta][] With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. The other members of the Who expelled Daltrey from the band in late 1965 after he beat up drummer Keith Moon for supplying drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band during these years. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. [1][2]Daltrey, with microphone, and Townshend, on stage Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While others of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow.[4] With each of The Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others. [3][4]Daltrey, right, with Pete Townshend The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called McVicar about British bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to a deterioration of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album Under a Raging Moon and Townshend's solo album Iron Man. Daltrey turned to working as an actor, completing such high profile projects as The Beggar's Opera and The Comedy of Errors for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's The Hunting of the Snark (1987), The Little Match Girl (1987), Buddy's Song (1990), which he also produced, and Mack the Knife (1990). In 1991 he received a Grammy Award with the Chieftains for An Irish Evening: Live at the Grand Opera House, Belfast. The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of the rock opera Tommy. The tour featured a large backing band and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins, Elton John and Billy Idol. Although Daltrey experienced severe health problems due to an abdominalhemangioma (later removed by surgery), he managed to complete the tour. He continued to work on stage and screen during these years, completing projects such asThe Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Grey, Natalie Cole and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows. In 1994 Daltrey celebrated his 50th birthday by performing a two-night spectacular at Carnegie Hall titled A Celebration: The Music of Pete Townshend and The Who,and popularly called Daltrey Sings Townshend. The show was produced by Daltrey's manager at the time, Richard Flanzer. The Who's music was arranged for orchestra by Michael Kamen, who conducted TheJuilliard Orchestra for the event. Bob Ezrin, who produced Pink Floyd's The Wall CD, among other famous albums, produced the live CD. Pete Townshend, John Entwistle, Eddie Vedder (who performed a special acoustic tribute), Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, the Chieftains and others performed as special guests. Michael Lindsay-Hogg directed the telecast, which was aired on satellite TV. The concert, at the time, was the fastest sell-out in the famed venue's history. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit due to the expense of providing extraordinary musicians and orchestras in every city to replicate the Carnegie Hall event. Significantly, the tour did attract attention to songs from the Who's rock opera Quadrophenia and gathered support for a staging and major tour of the rock opera in 1996–97. In 1996 Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full-out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick andJon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section and backing vocalists were added, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as The Who. After their Quadrophenia tour was successful, the band returned as The Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. Bassist Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between the two principals Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album. In February 2010, Townshend and Daltrey, headlining as The Who, performed the halftime show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather, and Tom Meighan of Kasabian sang the part of Aceface,[5] and Tom Norris, London Symphony Orchestra Co-Principal Second Violin, played violin for the production. Rock persona[edit source \| editbeta][] [5][6]Daltrey singing with The Who in Hamburg, August 1972 When Colin Dawson left the Detours, Roger Daltrey took over as lead vocalist, giving up his guitar. The band as a whole acknowledged Moon and Entwistle's innovation and talent on their instruments, and Pete Townshend had begun writing hit songs, but Daltrey struggled to find a voice to present their new music. His expression carried Townshend's material well enough in recordings, and at the time his live persona suited the small club scene where The Who made their beginnings. However, this presentation lacked the confidence of later years, and he was arguably still a singer seeking a voice. The Who first toured North America in 1967, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a pivotal year with Townshend's movement beyond the quick three-minute single towards his goal of writing a rock opera. Beginning with "A Quick One (While He's Away)", a nine-minute mini-opera, Daltrey's performance in the Rolling Stones Rock and Roll Circus showed him with a new confidence in dealing with Townshend's material. In 1969, The Who's first major rock opera Tommy was released, and Daltrey found a voice for the lead character that carried The Who to world stardom at such music venues as Woodstock and the Isle of Wight Festival, and in opera houses around the world during the next two years. Townshend later remarked in the film Amazing Journey, that with Tommy, and with Daltrey's adaptation to portraying the character on-stage, the singer evolved from what was essentially a tight, tough guy to one who outstretched his arms, bared his body to the audiences, and began to truly engage them. "With this change, the band was at last complete," he summed up. "It was a marriage," Townshend emphasised, "but it was a good marriage. Those were glorious years". Daltrey confirmed this, saying, he felt at last accepted, displaying a newly energetic role and sound during live performances. Daltrey has long been known as one of the most charismatic of rock's frontmen. According to Pete Townshend, "He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[6]His persona has earned him a position as one of the "gods of rock and roll"[7] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. Musical equipment[edit source \| editbeta][] See also: The Who's musical equipment[7][8]Daltrey, exuberant and confident with his role on stage. October 1976 Roger Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.[8] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solidbody electric guitar which he later sold to Pete Townshend on an easy payment plan.[9][10]After he took over vocals for the band in the 1960s and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.[11] He began playing guitar with The Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on The Who's 1982, 1989 and later tours.[12] During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe." During The Who's 1996–97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.[13] After 1999, it became more common for Daltrey to play guitar during both The Who and solo shows. He ordered a Versoul Buxom 6 handmade acoustic guitar that he played on The Who's 2002 tour.[14] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on The Who and solo tours in the late first decade of the 21st century.[15] On his 2009 tour, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[16] Roger Daltrey is known as one of the harmonica players who brought the instrument out of blues and into popular music.[17] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.[18] Daltrey plays using the blues harp (2nd position) or cross harptechnique which originated in blues music. Daltrey uses Shure microphones with cords which he tapes to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,[19] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[20] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.[21] Who songs written by Daltrey[edit source \| editbeta][] Although never a writing force in The Who and overshadowed by the song writing talents of Townshend and Entwistle, Daltrey did contribute a small handful of songs to the band's catalogue during their early career: "Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend. "See My Way" (1966)-Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1968)-Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970)-B-side to "The Seeker". Daltrey also wrote a song called "Crossroads Now" for The Who which grew out of an onstage jam in 1999 after the song "My Generation."[22] Another Daltrey song, entitled "Certified Rose," was rehearsed by The Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death.[23]Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and might feature Entwistle's basslines from 2002), Townshend later stated that no such recording was made.[24] "Early Morning Cold Taxi", a song recorded during The Who Sell Out sessions in 1967 and released in 1994 on the Thirty Years of Maximum R&B boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston. Some sources report that the song was solely written by Langston.[25] At the time Daltrey and Langston were planning to form a writing-partnership, where all songs written by either of them would be credited as Daltrey/Langston. The partnership produced only one other song—an unreleased demo titled "Blue Caravan." Langston went on to play guitar on John Entwistle's first solo album, Smash Your Head Against the Wall, in 1970. Solo music career[edit source \| editbeta][] [9][10]Daltrey closing out a Trans-Siberian Orchestra concert, December 2007 Daltrey has released eight solo albums. The first was the self-titled Daltrey in 1973, recorded during a hiatus in The Who's touring schedule. The top single off the album, "Giving It All Away", reached number five in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography shows a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" on the B-side. Bizarrely, the British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of The Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second album, Ride a Rock Horse, was released in 1975 and is his second most commercially successful solo album. Its cover, photographed by Daltrey's cousin Graham Hughes, is remarkable for depicting the singer as a rampant centaur. When Sayer launched his own career as an artist, Daltrey called on a widening group of friends to write for and perform on his albums. Paul McCartney contributed the new song "Giddy" to One of the Boys, where the band included Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. On this cover, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting Reproduction Interdite. McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of The Who (Townshend, Entwistle and Kenney Jones). McVicar included two hit singles, "Free Me" and "Without Your Love", and is Daltrey's best-selling solo recording. The title track to Under a Raging Moon was a tribute to Who drummer Keith Moon, who died in 1978. Each of the album's tracks, including "Let Me Down Easy" by Bryan Adams, expresses the frustration of growing older as only a man who sang "Hope I die before I get old" can. On his album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything A Heart Could Ever Want". This was his first major effort as a song-writer for his own solo albums. In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock song "I Want It All", to pay homage to his lifelong friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS. Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (23 and 24 February ) later issued on CD and video called A Celebration: The Music of Pete Townshend and The Who, sometimes called Daltrey Sings Townshend, accompanied by the Juilliard Orchestra, Pete Townshend, John Entwistle, Irish dancers and other special guests. The success of these two shows led to a U.S. tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped. Daltrey took on a number of other solo projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005. Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert. In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock 'n' roll favourites. In 2009, Daltrey formed a new touring band. And Daltrey is talking about making a new solo album because "The Who don’t do enough gigs for me. If I stop singing at the age I am now, my voice will be gone within two years. So I’ve got to keep it going. It’s like a car engine you’ve got to keep running.”[26] No Plan B/The Roger Daltrey Band[edit source \| editbeta][] Roger Daltrey embarked on a solo tour of the U.S. and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new band that he called "No Plan B" on the Alan Titchmarsh Show.[27] The band included Simon Townshend on rhythm guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.[28] Eddie Vedder made a guest appearance at the Seattle, WA show on 12 October.[29] In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[30] including Summerfest at Milwaukee, Wisconsin.[31] The band also scheduled additional dates in 2010 without Clapton. In 2011 the band performed the rock opera Tommy and other songs at a warm-up show in Bournemouth at the O2 Academy 19 March in preparation for a show scheduled at the Royal Albert Hall to benefit the Teenage Cancer Trust on 24 March.[32] Pete Townshend played and sang as a guest at the TCT show. Later in 2011, the band scheduled the "Tommy Reborn" tour of the UK and Europe, followed by a tour of the US and Canada. Additional dates were booked in Europe and Australia for 2012. Downloads from the tour were made available through the Internet. Non-Who songs written by Daltrey[edit source \| editbeta][] After his first efforts at writing songs with The Who, Daltrey wrote songs almost entirely for his solo recordings or for other projects. Daltrey first co-wrote songs for his solo albums beginning with the 1977 One of the Boys, including "The Prisoner", "Satin and Lace" and "Doing It All Again." On his 1985 album Under a Raging Moon, Daltrey is credited as co-writer on "Don't Talk to Strangers," "The Pride You Hide," "Move Better in the Night" and "It Don't Satisfy Me." On the 1987 album Can't Wait to See the Movie, Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On the 1992 Rocks in the Head, Daltrey is credited (along with Gerard McMahon) for co-writing seven of the eleven tracks, including: "Times Changed," "You Can't Call It Love," "Love Is," "Blues Man's Road," "Days of Light," "Everything A Heart Could Ever Want" and "Unforgettable Opera." For his 2005 compilation album Moonlighting, Daltrey co-wrote the song "A Second Out" with Steve McEwan of the band UnAmerican. The recording features Daltrey's vocals backed by McEwan on acoustic guitar. Daltrey's song-writing for other projects includes the 1975 soundtrack for Lisztomania, where he is credited with "Love's Dream", "Orpheus Song" and "Peace at Last." Daltrey also wrote "Child O Mine" with Gerard McMahon, featured on the soundtrack for The Banger Sisters and on the TV show Witchblade. In 2006, he wrote and performed a specially commissioned song, "Highbury Highs", for the Highbury Farewell ceremony following the final football match on 7 May at Highbury between Arsenal and Wigan Athletic, in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to the Emirates Stadium, Ashburton Grove, the following season.[33] Discography[edit source \| editbeta][] Main article: Roger Daltrey discography*Daltrey (1973) Ride a Rock Horse (1975) One of the Boys (1977) McVicar (1980) Parting Should Be Painless (1984) Under a Raging Moon (1985) Can't Wait to See the Movie (1987) Rocks in the Head (1992) Collaborations[edit source \| editbeta][] In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. In the same year, Daltrey provided backup vocals on Barry Gibb's song "Fine Line". The following year, he appeared in Barbra Streisand's music video for her single "Emotion", playing Streisand's emotionally uninterested husband. In 1992, he appeared on the Chieftains' Grammy Award-winning album, An Irish Evening: Live at the Grand Opera House. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol. Also in 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[34] He borrowed a guitar to play for the songs, after reassuring the owner that he would not break it. Daltrey taught thirteen-year-old Drake Bell how to play the guitar in 1999. Drake later starred in Drake and Josh and released two albums. In 2001, Daltrey provided backing vocals for the title track of the Joe Strummer and the Mescaleros album Global a Go-Go. In 2003, he provided backing vocals for thrash-metal band Anthrax on the song "Taking the Music Back" from their album We've Come for You All. The collaboration came about through Anthrax guitarist Scott Ian's girlfriend, Pearl Aday, daughter of Meat Loaf, whose mother was a friend of Daltrey and his wife. In 2005, Daltrey collaborated with the British pop band, McFly to sing his hit song "My Generation". On 14 and 15 December 2007, he appeared with the Trans-Siberian Orchestra at Nassau Coliseumin Uniondale, New York and Izod Arena in East Rutherford, New Jersey, performing "Behind Blue Eyes," "Pinball Wizard" and "See Me, Feel Me." On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On Sunday 5 July 2009, he joined Paul Weller onstage at Hop Farm Festival in Kent for an encore of "Magic Bus".[35] In 2011 Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.[36] Film and stage career[edit source \| editbeta][] Film[edit source \| editbeta][] [11][12]Daltrey in Boston's House of Blues in 2009 After The Who retired from active work in 1982, Daltrey developed his career in film and on the theatre stage. Daltrey's appearances in over 30 feature films include early starring roles in Tommy, as "deaf, dumb and blind boy" Tommy Walker in 1975; Lisztomania, as Hungarian composer Franz Liszt in 1975, and McVicar, as British armed-robber-turned-journalist John McVicar in 1980. Through the 1980s and 1990s, he appeared in various musicals and dramas, including The Beggar's Opera, The Comedy of Errors, The Little Match Girl, Mack the Knife and Buddy's Song. In 1992 Daltrey appeared in The Real Story of Happy Birthday to You, a children's animation. In 2003, he starred as the voice of Argon the Dragon Bus Driver in the award-winning children's DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD featured Daltrey as a costumed children's dragon, who drove a bus for two lost puppets trying to return to their home at the zoo. Daltrey provided vocals for children's classics, such as "The Wheels on the Bus Go Round and Round," in addition to songs written specifically for the home video. He later appeared in two other videos for this series. In addition to his career as an actor, Daltrey has been producer on several films, including: Buddy's Song (1990), McVicar (1980), Quadrophenia (1979) and an untitled Keith Moon film project in development.[37] Television roles[edit source \| editbeta][] Daltrey has played a number of television roles, including BBC Television Shakespeare as both Dromios in The Comedy of Errors, the police drama series The Bill, the science fiction series Sliders as Col. Angus Rickman, the VH1 series Strange Frequency 2, Witchblade as the devil, and was a recurring guest star in Highlander: The Series as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod. In 1983, he played Macheath, the outlaw hero of BBC TV's production of John Gay's 1728 ballad opera, 'The Beggar's Opera'. In 1986 Daltrey appeared in the TV series Buddy. In 1993, he guest-starred (along with Steve Buscemi) in an episode of Tales From The Crypt entitled "Forever Ambergris". Daltrey appeared as a villain in a 1996 episode of Lois & Clark: The New Adventures of Superman. He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series Rude Awakening. Daltrey took part in an episode of the animated series The Simpsons, "A Tale of Two Springfields", providing the voice for himself, along with John Entwistle (Pete Townshend's voice was supplied by his brother Paul). In this episode, The Who helped Homer break down a wall he had built through the town of Springfield. A self-described history buff, Daltrey often involves himself in history research related media including television documentaries. Pirate Tales from 1997, is a documentary/action show about the age of piracy in the 18th century, in which Daltrey impersonated English buccaneer William Dampier in a main role as the narrator throughout the series. In 2003 he hosted the History Channel's Extreme History with Roger Daltreytalking about historical events and explaining the survival techniques the civilisations treated had available. He also appeared in "That '70s Musical", the 100th episode of That '70s Show as Fez's musical director. Daltrey guest starred in a 23 November 2006 episode of CSI: Crime Scene Investigation ("Living Legend") as Mickey Dunn, a prominent Las Vegas 1970s mob boss who returns to Las Vegas to avenge his attempted murder. The Who's music, and Daltrey's singing, provide the themes for all three of the series in the CSI franchise every week ("Who Are You" for the original show, "Won't Get Fooled Again" for CSI: Miami and "Baba O'Riley" for CSI: NY). In 2005, Daltrey made a cameo appearance as himself in the episode "The Priest and the Beast" in Series 2 of The Mighty Boosh. He is found by the main characters vacuuming a desert, presumably as a "karmic" consequence of leaving Woodstock early and not helping to clean up. Also in 2005, he played the part of loblolly boy in the TV drama Trafalgar Surgeon. Besides acting, Daltrey has performed on the soundtrack of a number of films and television shows, most notably CSI. He also appeared in the music video for "Emotion" by Barbra Streisand, although neither he nor The Who were the featured act. Filmography[edit source \| editbeta][] Roger Daltrey has acted in advertisements, television and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:[37] [13][14]Daltrey in 2008 prior to a screening of "The Who Live at Kilburn 1977" at the ArcLight Sherman Oaks 2008 List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Pop Pirates 2007 Producer film Murder: Ultimate Grounds for Divorce 1985 film The Hunting of the Snark 1987 The Barrister concert appearance The Little Match Girl 1987 Jeb Macklin musical film Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Taz TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Blue Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Once Upon a Time in Wonderland 2013 Blue Caterpillar TV series[38] Stage roles[edit source \| editbeta][] Daltrey has appeared in stage in productions including Mike Batt's The Hunting of the Snark in 1987 as the Barrister, and also in Batt's Philharmania with the Royal Philharmonic Orchestra in 1998. He appeared inThe Wizard of Oz in Concert: Dreams Come True in 1995 as the Tin Man. Also in 1995 he starred in a three part Bert Coules BBC radio dramatisation of the Mutiny on the Bounty novels of Charles Nordhoff andJames Norman Hall, and in 1996 he starred in a BBC Radio 2 production of Jesus Christ Superstar as Judas. In 1998, Daltrey played the part of Scrooge in the Radio City Music Hall production of A Christmas Carol in New York City. In 2003, he starred as Alfred P. Doolittle in a production of My Fair Lady at the Hollywood Bowl alongside John Lithgow and Melissa Errico. Literary work[edit source \| editbeta][] Roger Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[39] In 2009 he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[40] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[41] Honours and awards[edit source \| editbeta][] In 1976 Roger Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of The Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With The Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music. In 1990 Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of The Who.[42] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with The Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror Boy", and "Baba O'Riley".[43] In 2005 Daltrey received a British Academy of Songwriters, Composers and AuthorsGold Badge Award for special and lasting contributions to the British entertainment industry.[44][45] In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[46] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.[47] As a member of The Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[48] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annual Kennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.[49] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.[50] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[51]Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse, 9 November 2011, in London. In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[52] Charities[edit source \| editbeta][] Roger Daltrey supports many charities both as a solo artist and jointly with other members of The Who. In 1976, he performed at the Celtic Football Ground in Glasgow. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. He sang "Rock and Roll" on a charity single released as McEnroe & Cash with the Full Metal Rackets for Rock Aid Armenia in 1986, and performed with The Who atConcert for Kampuchea in 1979 and Live Aid in 1985. Daltrey appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 for the Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992. Roger Daltrey's 1994Celebration raised funds to support Babies and Children's Hospital in New York City, as well. With The Who, he performed for the Robin Hood Foundation at the Concert for New York City and other benefits in 2001; at Neil Young's Bridge School Benefit in 1999; and in the Quadrophenia Concert for the Prince's Trust in Hyde Park, 1996. In addition, Daltrey performed at benefits in Vail, Colorado, in 1999, and attended a PETA benefit with Sarah McLachlan and Chrissie Hynde in the same year. All The Who's Encore Series profits go to young people's charities. Roger Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with The Who actually playing in 2000, 2002, 2004, 2007 and 2010 and Daltrey playing solo in 2011. He has endorsed The Whodlums, a Who tribute band which raise money for the Trust.[53] Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006, 2008; performed with The Who at Live 8 in 2005, for the Nordoff-Robbins Silver Clef benefit in 2005, and for the Los Angeles area City of Hope benefit in 2001 and 2004. The Who played with special guestMichael J. Fox at the 2008 "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. Daltrey performed at the first ChildLine Rocks concert at London's IndigO2 on 13 March 2008.[54] In 2009 Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[55][56] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.[57] In 2011, Daltrey, Steven Tyler and Julie Andrews provided funding for Bob Langer's research at the Massachusetts Institute of Technology into vocal chord repair for victims of cancer and other disorders.[58] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by The Who's charity Who Cares?.[59] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[60] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust.[61] Throat surgeries[edit source \| editbeta][] In 1978, during the recording of The Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.[62] In December 2010, Daltrey was found to have developed vocal chord dysplasiaand consulted Dr. Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.[63] Both surgeries were considered successful. Personal life[edit source \| editbeta][] Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1964, Simon. The couple divorced in 1968. In 1967, Daltrey's son Mathias was born, the result of an affair with Swedish model Elisabeth Aronsson.[64] In 1968, he met the American Heather Taylor, his current wife whom he married in 1971. Together, they have three children, Rosie Lea (born in 1972), Willow Amber (born in 1975)[65] and Jamie (born in 1981). He also has five granddaughters, Lily, Lola, Ramona, Scarlet and Winter; and two grandsons, Liam and Jonjo. He also has three other children from relationships during the 1960s.[66] Daltrey owns a farm at Holmshurst Manor, a country estate near Burwash, Sussex, built in 1610, as well as his parents' old home in London. He designed and built Lakedown Trout Fishery near Burwash, documented in the film Underwater World of Trout, Vol. 1.[67] He bought a home in Los Angeles in the early 2000s. Daltrey also owns a house in Sturminster Newton, which appeared on the popular television series Grand Designs. Daltrey is a supporter of Arsenal F.C..[68] Daltrey claims to have never tried hard drugs and unlike his band mates, has stayed straight and free from addiction problems.[69] Views and advocacy[edit source \| editbeta][]
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https://i0.wp.com/theseconddisc.com/wp-content/uploads/Nik-Kershaw-The-MCA-Years.jpg?resize=80%2C80&ssl=1 80w", "https://i0.wp.com/theseconddisc.com/wp-content/uploads/Nik-Kershaw-The-MCA-Years.jpg?resize=80%2C80&ssl=1" ]	[ "https://www.youtube.com/embed/h2IN8wYqQ6E?enablejsapi=1&autoplay=0&cc_load_policy=0&cc_lang_pref=&iv_load_policy=1&loop=0&modestbranding=0&rel=1&fs=1&playsinline=1&autohide=2&theme=dark&color=red&controls=1&", "about:blank", "https://open.spotify.com/embed/album/3vTzDpCjM9VXnr80VO9b4R?si=X4IStcAST5mSoehdKglh1w&utm_source=oembed", "https://www.youtube.com/embed/QpKhGNaiS6c?enablejsapi=1&autoplay=0&cc_load_policy=0&cc_lang_pref=&iv_load_policy=1&loop=0&modestbranding=0&rel=1&fs=1&playsinline=1&autohide=2&theme=dark&color=red&controls=1&", "about:blank", "https://open.spotify.com/embed/album/0joAFKb8bHE3TF3bOomE08?si=pkNVFotxQcG2OeLyUjPzww&utm_source=oembed" ]	[]	[ "" ]	null	[ "Sam Stone", "Andy E Nemeth says", "Sam Stone says", "Bill says", "Jarmo Keranen says", "Phil Cohen says", "www.facebook.com" ]	2019-09-13T00:00:00	UPDATE: Details have been announced about the bonus tracks for the upcoming deluxe edition. Read on for more! Today, legendary rockers The Who announced plans for their long-awaited new album, simply entitled WHO. It's their first studio effort in 13 years, due November 22 December 6 on CD, deluxe CD,…	en	https://theseconddisc.com/wp-content/themes/seconddisc/images/favicon.ico	The Second Disc	https://theseconddisc.com/2019/09/13/detour-the-who-announce-new-album-who-release-preview-track-ball-and-chain/	UPDATE: Details have been announced about the bonus tracks for the upcoming deluxe edition. Read on for more! Today, legendary rockers The Who announced plans for their long-awaited new album, simply entitled WHO. It's their first studio effort in 13 years, due November 22 December 6 on CD, deluxe CD, digital, cassette, standard vinyl, and deluxe color vinyl. They've also unveiled the album's artwork - designed by frequent collaborator Peter Blake - and released a new single, "Ball and Chain," followed shortly after by "All This Music Must Fade." Together and apart, Pete Townshend and Roger Daltrey have been hard at work in recent years with tours, solo efforts, reissues, and literary work. When Townshend and Daltrey reconvened this year for their symphonic Moving On! tour, Townshend said he'd only agreed to the tour because there'd be new music to perform. He and co-producer Dave Sardy worked for months in London and L.A. amping up demos with members of The Who's touring band before Daltrey cut vocals for the tracks. While many of The Who's previous albums have delved into the rock-opera form, WHO is more straight-forward. As Pete Townshend says in a statement, ""This album is almost all new songs written last year, with just two exceptions. There is no theme, no concept, no story, just a set of songs that I (and my brother Simon) wrote to give Roger Daltrey some inspiration, challenges and scope for his newly revived singing voice." Besides the lead single "Ball and Chain," there's "Hero Ground Zero" which will include a full orchestra, "Beads on One String" resurrected from a demo Townshend completed circa 2015, the Simon Townshend-penned "Break the News," and "Detour," a nod to their early days. The songs cover a wide range of topics, including spirituality, memory, The Grenfell Tower fire, and theft. There's even a nod to "Sand," an unreleased Who song from 1965 that gets a reboot here. "Ball and Chain" is our first taste of WHO. It's a re-recording of Pete Townshend's "Guantanamo," which was originally released as a bonus track on his 2015 career-spanning compilation Truancy. For WHO, the song is rendered more powerful-- beefed-up with Daltrey's fiery lead vocal which remains strong despite the years, Townshend's thrashing acoustic guitar chords and electric leads, the ever-punchy rhythm section of Zak Starkey (drums) and Pino Palladino (bass), and spacey Mellotron lines from producer Sardy. It's certainly whetted The Second Disc's appetite for even more new Who! The wait for the new album ends November 22 December 6. WHO will be released in an 11-track standard CD version, alongside a deluxe, slipcased CD edition that adds three bonus tracks. Those three bonus tracks are entitled "This Gun Will Misfire," "Got Nothing To Prove," and "Danny & My Ponies." While the deluxe edition will be available on Amazon's digital service and physically around the world through the retail giant, the only place U.S. listeners can purchase the deluxe CD is through the mega-mart Target. WHO will also available on cassette (exclusive to their Online Store) and in a standard 180-gram vinyl package complete with download card. Brick and mortar record shops will have an exclusive indie retail 2-LP set that includes the WHO album on LP 1 and an 8-song collection of classic hits on LP 2, including the single edit of "Won't Get Fooled Again." The set will be pressed on black vinyl and will include a download card for the new songs. Collectors and audiophiles may want to go for the deluxe, webstore-exclusive vinyl configuration. Housed in a deluxe gatefold sleeve, the three-disc set will present the album on two 45-rpm, 180-gram LPs (one red and one blue), plus a white 10" EP featuring Pete Townshend's previously unreleased 1965 demo for "Sand," exclusive to this edition. It will not include the three bonus tracks from the Deluxe CD and digital configurations. The band's online store will also offer various format bundles for sale. No matter your preferred configuration, WHO promises to be a return to form with exciting new music from the rock titans. You can enjoy the new singles, "Ball and Chain" and "All This Music Must Fade" below! The Who, WHO (Polydor, 2019) Standard CD: Amazon U.S. / Amazon U.K. / Amazon Canada / The Who Online Store Deluxe CD: Target U.S. / Amazon U.K. / Amazon Canada / The Who Online Store Standard LP: Amazon U.S. / Amazon U.K. / Amazon Canada / The Who Online Store Indie record shop 2LP edition: Bull Moose / HMV Deluxe 45rpm 2LP/EP: The Who Online Store Cassette: The Who Online Store Format Bundles: The Who Online Store * denotes bonus track exclusive to deluxe CD edition All This Music Must Fade Ball and Chain I Don't Wanna Get Wise Detour Beads On One String Hero Ground Zero Street Song I'll Be Back Break The News Rockin' In Rage She Rocked My World This Gun Will Misfire * Got Nothing To Prove * Danny & My Ponies * Exclusive to 10" EP on 3-disc vinyl version: Sand (1965 demo) Indie record store-exclusive edition adds second LP with the following tracks: Side 1: Baba O'Riley My Generation Who Are You Behind Blue Eyes Side 2:
6803	dbpedia	2	93	https://www.slideshare.net/slideshow/institution-and-ownership-of-polydor-records/44163013	en	Institution and ownership of polydor records	https://cdn.slidesharecd…t=640&fit=bounds	https://cdn.slidesharecd…t=640&fit=bounds	[ "https://public.slidesharecdn.com/images/next/svg/logo/slideshare-scribd-company.svg?w=128&q=75 1x, https://public.slidesharecdn.com/images/next/svg/logo/slideshare-scribd-company.svg?w=256&q=75 2x", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-1-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-1-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-1-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-2-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-2-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-2-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-3-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-3-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-3-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-4-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-4-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-4-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-5-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-5-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-5-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-6-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-6-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-6-2048.jpg 2048w", "https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-7-320.jpg 320w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/85/Institution-and-ownership-of-polydor-records-7-638.jpg 638w, https://image.slidesharecdn.com/institutionandownershipofpolydorrecords-150202093125-conversion-gate01/75/Institution-and-ownership-of-polydor-records-7-2048.jpg 2048w" ]	[]	[]	[ "" ]	null	[]	2015-02-02T09:31:25+00:00	Institution and ownership of polydor records - Download as a PDF or view online for free	en	https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico	SlideShare	https://www.slideshare.net/slideshow/institution-and-ownership-of-polydor-records/44163013	Polydor Records is a subsidiary label of Universal Music UK, which is owned by Universal Music Group. Polydor was founded in 1946 as a division of Deutsche Grammophon and established its UK division 10 years later. It is currently owned by Universal Music Group. The document discusses Polydor's affiliation with other labels and its subsidiaries Fascination Records and Fiction Records. It also provides examples of promotion campaigns for Lady Gaga's Artpop album and Lana Del Rey's Ultraviolence album released through Polydor.
6803	dbpedia	3	30	https://www.billboard.com/artist/roger-daltrey/	en	Biography, Music & News	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[]	null	Explore Roger Daltrey's music on Billboard. Get the latest news, biography, and updates on the artist.	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/artist/roger-daltrey/	Billboard is a part of Penske Media Corporation. © 2024 Billboard Media, LLC. All Rights Reserved. Powered by WordPress.com VIP
6803	dbpedia	2	1	https://en.wikipedia.org/wiki/List_of_Polydor_Records_artists	en	List of Polydor Records artists	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2006-03-02T13:39:57+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/List_of_Polydor_Records_artists	This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: Consistent order - most artists are by surname, but a lot by forename. Please help improve this article if you can. (Learn how and when to remove this message)
6803	dbpedia	3	51	https://www.iheart.com/artist/roger-daltrey-39903/	en	Listen to the Best Podcasts & Shows Online, Free	https://www.iheart.com/s…sets/fb_logo.png	https://www.iheart.com/s…sets/fb_logo.png	[ "https://i.iheart.com/v3/catalog/podcast/43034875?ops=fit(480%2C480)", "https://i.iheart.com/v3/catalog/podcast/28888454?ops=fit(480%2C480)", "https://i.iheart.com/v3/catalog/podcast/29319113?ops=fit(480%2C480)", "https://i.iheart.com/v3/catalog/podcast/107829796?ops=fit(480%2C480)", "https://i.iheart.com/v3/catalog/podcast/202444194?ops=fit(480%2C480)", "https://i.iheart.com/v3/catalog/podcast/29574197?ops=fit(480%2C480)" ]	[]	[]	[ "Talk", "Show", "Host", "Personality", "On Demand", "Topic", "Category", "Health", "News", "Politics", "Comedy", "Station", "Internet", "Online", "iHeartRadio", "iHeart" ]	null	[]	null	Listen to the latest episodes from top podcasts. Get news, sports & lifestyle info from your favorite personalities for free!	en	https://www.iheart.com/static/assets/favicon.ico	iHeart	https://www.iheart.com/podcast/	In May 1992, nine days after marrying her high-school sweetheart, 20-year-old Jennifer Judd was killed in her apartment in Baxter Springs, Kansas. The killer had used knives from Jennifer's own set, a wedding gift the couple had only just opened. Upon returning home from work, her husband, Justin Judd, finds Jennifer lying on the kitchen floor with the blade of a knife still lodged in her back. Police immediately suspect one of Jennifer and Justin’s friends. A decade later, another man confesses. However, the case is never solved. In this captivating new series from ID, investigator Sarah Cailean attempts to answer the 32-year-old question: Who Killed Jennifer Judd? She’ll speak with Jennifer’s friends and family as she seeks to understand Jennifer’s life and untimely death. Throughout, Sarah also attempts to understand why police dismissed the confession of convicted murderer, Jeremy Jones. Also, go back and listen to Season 1, Why Can't We Talk About Amanda's Mom? On Why Can't We Talk About Amanda's Mom? host Sarah Cailean recounts her three-year investigation into the unsolved murder of Renée Bergeron that seems to leave more questions than answers. Hosted on Acast. See acast.com/privacy for more information. Lance Armstrong presents a singular perspective on the world’s most iconic cycling races, including the Tour de France and the Classics, as well as the broader endurance sports scene. Not your typical cycling or sports podcast, THEMOVE brings listeners deep inside the racing action, imparting insights from someone who knows the suffering and splendor like no one else. In addition to course previews and timely race analysis from Armstrong’s distinct point of view, the audience also gets to hear from featured guests, who regularly swing by the THEMOVE studio to join the always-lively conversation. Guests have included former teammates like George Hincapie during the Tour de France, and Mark Allen and Dave Scott in advance of the IRONMAN World Championship. THEMOVE is an audio-video experience that transforms every listener from fan and spectator into the ultimate insider.
6803	dbpedia	0	90	https://altrockchick.com/2019/06/06/the-jam-all-mod-cons-classic-music-review/	en	The Jam – All Mod Cons – Classic Music Review	https://altrockchick.com…ll-mod-cons.jpeg	https://altrockchick.com…ll-mod-cons.jpeg	[ "https://i0.wp.com/altrockchick.com/wp-content/uploads/2019/04/jam-all-mod-cons.jpeg?resize=600%2C600&ssl=1", "https://secure.gravatar.com/avatar/f2b965e6a44abb6929d2af16b519d298?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/6f551ae6f26e23bba7dc79376f904187?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/3f71f313f49c31e5a8adb425f4397c16?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/30d56e4dff31c3cf69146e150dc9877c?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/3f71f313f49c31e5a8adb425f4397c16?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/7a00af2496a633025775b9e0bd9ac6ad?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/3f71f313f49c31e5a8adb425f4397c16?s=80&d=wavatar&r=r", "https://secure.gravatar.com/avatar/7a00af2496a633025775b9e0bd9ac6ad?s=80&d=wavatar&r=r", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2023/06/81l0Vps-YL._SL1500_-1024x1017.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2013/06/preservation-combined-revised.jpg?resize=200%2C200", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2022/07/R-8050742-1454883953-1317.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2023/02/71G4HRIQG-L._SL1425_.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2020/09/peter_green_musician-e1600668099329.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2022/07/Sundays-RWA.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2023/06/GD-Europe-72.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2016/08/114768115.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2022/12/something-anything-todd-rundgren-double-album.png.webp?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2019/04/petergabriel-us.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/altrockchick.com/wp-content/uploads/2023/10/cropped-Alt-ponder-alt.jpg?fit=300%2C300&ssl=1" ]	[ "https://www.youtube.com/embed/e16_8ZhPDZU?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/5wRGnbqZBeE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/Zve5DJn_9R8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/hf4EFDGP4yg?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "altrockchick on" ]	2019-06-06T00:00:00	Someone should do a longitudinal study on the applicability of the phrase "third time's the charm" to rock albums, starting with the hypothesis that it takes three albums for rockers to truly come into their own. The third time was certainly the charm for The Rolling Stones (Out of Our Heads), The Who (The Who…	en	https://i0.wp.com/altroc…it=32%2C32&ssl=1	altrockchick	https://altrockchick.com/2019/06/06/the-jam-all-mod-cons-classic-music-review/	Someone should do a longitudinal study on the applicability of the phrase “third time’s the charm” to rock albums, starting with the hypothesis that it takes three albums for rockers to truly come into their own. The third time was certainly the charm for The Rolling Stones (Out of Our Heads), The Who (The Who Sell Out), The Clash (London Calling), Blur (Parklife) and Radiohead (OK Computer). You could certainly make a credible argument that A Hard Day’s Night represented the artistic and energetic height of Beatlemania and add the Fab Four to the list. It’s debatable if the formula applies to David Bowie or Jethro Tull, but it certainly doesn’t apply to Oasis (whose third album was the definition of “disaster”). Top-of-the-head calculations like these won’t do the trick, though—we need someone who can design a large and complex database that connects albums to record sales and critical consensus while developing a sensible algorithm that gives appropriate weight to subjective and objective data. In other words, someone with no life and no prospects of ever having one. While we wait for that one person out of 7.3 billion willing to take on the task, we’ll consider whether or not The Jam’s third album fits the theory. As 80% of my reading audience hail from the United States, where The Jam and Paul Weller are virtual unknowns, permit me a few moments for a brief introduction. The Jam first entered the public eye in 1977 as the media-designated leaders of something called the “Mod Revival.” They dressed in the tailored suits of the British Invasion while producing music reminiscent of a high-wattage punk version of The Who Sings My Generation. The frontman of this three-piece ensemble was a young gent by the name of Paul Weller, who handled guitar, most of the lead vocals and nearly all of the songwriting duties; Bruce Foxton supplied the unusually powerful bass and supporting vocals while a fellow named Rick Buckler pounded the skins. The first album (In the City) showed promise, more than a little spunk and definitive proof the band could kick serious ass while handling the high velocities demanded by punk. This Is the Modern World (also released in 1977) was In the City redux and didn’t add much to their legacy. The problem they faced at this juncture was one of identity. Though The Jam had proved themselves more than capable of handling the back-to-basics aspect of punk rock—and while Paul Weller could certainly do the angry young man bit when required—it simply wasn’t in them to fully embrace either the inherent nihilism (Sex Pistols) or the socio-political emphasis (The Clash) of early punk. The band’s temperament and talents fit better with the more diverse ethos of the Mod Revival, but to survive in that mode, they needed to figure out a way to distinguish themselves from the original mod rockers (The Who, The Kinks, Small Faces) and place their own stamp on the genre. Independent of artistic objectives, the pressure needle hovered in the red zone—the label had rejected their initial offerings for the third album, largely because Paul Weller was curiously detached and suffering from what amounted to writer’s block. Only one way to get past that, mate: get off your bloody arse! Modern World was a low point. You make your first album – basically, it’s your live set. It took about 10 days to record. All of a sudden, we’d used our 10 songs and you’ve been out on the road and you’ve got to sit down and write another album. Which we did, the same year – and it shows. But it didn’t happen. It was . . . what’s the word I’m looking for? ‘Shit! It was shit.’ I thought, ‘Am I going to let this slide or fight against it?’ My back was against the wall. It was a matter of self-pride. I had to prove my worth, sort of, ‘This is it.’ —Paul Weller, Interview with Uncut. The result was All Mod Cons (a British idiom for “all modern conveniences”), one more piece of solid evidence supporting the third-time’s-the-charm theory. The seeds for success were planted a year before during a less-than-successful tour of the USA where Paul Weller managed to pick up several Kinks albums from the Golden Period, albums then unavailable in the U.K. (!). That bit of serendipity would not only result in one of the best Kinks cover songs ever but a way past his writer’s block. While Weller had dabbled in the socio-political arena on songs like “Bricks and Mortar” and “Time for Truth,” the approach was more meat cleaver than scalpel, little more than us-against-them. At his best, Ray Davies is the master of translating major socio-political issues into the real-life everyday experiences of living, breathing human beings. It’s one thing to talk about “urban renewal” or “displacement,” but when you hear someone sing, “They’ll move me up to Muswell Hill tomorrow/Photographs and souvenirs are all I’ve got/They’re gonna try and make me change my way of living/But they’ll never make me something that I’m not,” you begin to fully appreciate the human impact and the knock-on problems spawned by the people in grey and their inconsiderate policies. Weller’s work on All Mod Cons reflects this crucial shift in perspective, but it also helped that Ray Davies didn’t limit himself to socio-political themes and that the two songwriters shared a deep love for their country, its traditions and its culture. If nothing else, rescuing those old Kinks albums from the bargain bins likely helped Paul Weller realize that his potential playing field was much larger than either the punk or Mod Revival movements. The title track kicks things off with a quick burst of exuberance and a reminder that Ray Davies wasn’t the only 60’s rocker to influence The Jam’s sound. Though the speed is decidedly within punk parameters, the melodies and harmonies reflect Pete Townshend’s compositional style. Townshend’s guitar attack clearly influenced the sound of their early works, but at this point The Jam has moved on from My Generation to The Who Sell Out, minus the whimsy of that masterwork. What is equally apparent is the band’s stunning tightness as they move through this stutter-stop piece with due precision. Bruce Foxton and Rick Buckler form an exciting rhythmic duo, with Foxton also providing crucial thematic support and a brief bass solo. The lyrics deal directly with the troubles they were having with their once-adoring label masters and the pressure to produce profits or get tossed out on their bums: And all the time we’re getting rich You hang around to help me out But when we’re skint, oh God forbid! You drop us like hot bricks Artistic freedom, do what you want But just make sure that the money ain’t gone I love that word . . . skint. It calls up images of a sallow-faced bloke in a worn tweed cap politely asking someone to stand him a pint. So much more evocative than the American “broke.” Further indications of The Who’s influence appear in “To Be Someone (Didn’t We Have a Nice Time),” where at certain points I could swear that Roger Daltrey has dropped in for a cameo. A delightful mix of melody, harmony and pure rock power with varying rhythms and dynamics, the story plays out in a first-person dramatic monologue with an unusual but meaningfully imbalanced structure, “To Be Someone” continues the theme of “If you ain’t got the money, you ain’t shit,” expanding the discussion to how our sick modern cultures demand you show evidence of success before you are granted an identity: To be someone must be a wonderful thing A famous footballer a rock singer Or a big film star, yes I think I would like that To be rich and have lots of fans Have lots of girls to prove that I’m a man And be No. 1, and liked by everyone We can now officially change the lyrics of “You’re Nobody ’til Somebody Loves You” to “You’re Nobody If You’re Not on the Screen, And That Means You—Teachers, Carpenters, Plumbers and Nurses.” An extended instrumental passage featuring a fabulous arpeggiated guitar and bass duet follows these opening verses, as if Weller decided we needed a few moments to fully digest the magnitude of our hero’s insecurity. The break also allows Weller to fast-forward the film, where lo and behold, our hero has earned the identity of his dreams: “Getting drugged up with my trendy friends/They really dig me, man, and I dig them.” Hooray—-no, hold that hooray and get your accountant on the phone, pronto: And the bread I spend, is like my fame, it’s quickly diminished And there’s no more swimming in a guitar shaped pool No more reporters at my beck and cool No more cocaine it’s only ground chalk No more taxis now we’ll have to walk While it’s odd that our hero would follow in Webb Pierce’s footsteps with a guitar-shaped pool, what’s truly odd is that his first reaction is to make-believe that the roller coaster ride was worth it: But didn’t we have a nice time, Didn’t we have a nice time Oh wasn’t it such a fine time The first two lines are sung in unison with loud bravado, but on the third line Weller drops off and allows Bruce Foxton to take it, a clear sign of second thoughts. The following passage is quite Who-like, the sweet but sad sound of a boy lost in the big, bad world: I realize I should have stuck to my guns Instead shit out to be one of the bastard sons He gives the “didn’t we have a nice time” masquerade one more shot before ending the song right where he started: “To be someone must be a wonderful thing.” I hope “To Be Somebody” was the moment when first-time listeners back in the fall of 1978 realized, “Hey, these guys have really upped their game.” It’s a musical gas and a brilliant lyrical composition that clocks in at just under two-and-a-half minutes, economic rock poetry at its best. “Mr. Clean” is an even more complex composition, featuring two key changes that also reflect changes in the narrator’s mood. The dominant opening passages dominated by an eerily quiet and dark Dm/Am combination reflect the have-not narrator’s rancid bitterness towards one of the haves, suddenly and explosively expressed in the lines, “‘Cause I hate you and your wife/And if I get the chance I’ll fuck up your life.” This passage is reminiscent of Jarvis Cocker’s revenge fantasy in “I Spy,” though Cocker’s plans for revenge are much more elaborate and sophisticated. The second passage opens with Em7 but resolves to the C chord root of the third passage. These passages describe British class dynamics—a curious mix of resentment, acceptance of one’s lot in life and a sense of latent systemic danger: Surround yourself with dreams Of pretty young girls, and anyone you want, but Please don’t forget me or any of my kind ‘Cause I’ll make you think again When I stick your face in the grind Rather than call for revolution, though, the lower classes find comfort in poking fun at the loathsome habits of the uppers, just as the uppers find solace in their disdain for the lowers: Getting pissed at the annual office do Smart blue suit and you went to Cambridge too You miss Page 3, but the Times is right for you And mum and dad are very proud of you The snob may or may not take a peep at the tits on Page 3 of The Sun, but such things are not spoken of in polite company. “Mr. Clean” should have served as a warning bell that classism in the U.K. was metastasizing into cancer, but the British do cherish their traditions and decided to let Maggie Thatcher run the show the following year. The Jam’s version of “David Watts” takes that Davies classic and imbues it with greater rock sensibility by giving the guitar the lead position in the opening passage and balancing the piano in the verses with a stronger and more assertive bass. Performed to a slightly higher tempo than the original, the Jam’s decision to give Foxton the lead vocals on the verses and Weller the lead vocal on the bridges adds to the obvious excitement the band brought to this number. While The Jam add a few embellishments, this is a faithful and (dare I say) loving tribute to the original—and one of the strongest rockers on the album. You could make a good argument that the most important song on the album is “English Rose,” an acoustic ballad that was not listed on the album cover. Some sources say Paul Weller had it whacked from the cover because he was embarrassed by its emotional honesty; others claim he left it off because the words didn’t make sense without the music. An interview with Mojo in 2010 pretty much settled that debate: It was me emotionally naked, speaking openly about being in love. I was aware it was something that blokes from my background didn’t do. They didn’t reveal their feelings, their sensitive side. What puzzles me is that he had to have known that people would hear the song when listening to the album . . . so . . . what was the point? Guys are so complicated. The song lends itself to both patriotic and romantic interpretations, and though the quote above argues strongly for the latter, the latent sentiment for Jolly Olde England certainly didn’t hurt the song’s acceptance in the home country. As a seafaring empire, long separations between man and love interest were common occurrences over the centuries, so the longings of a rock musician for his girl while on tour in the USA likely evoked sentiments deeply embedded in cultural history. Paul Weller certainly did not betray his origins by writing the song in a rustic style, a lyrical choice most vividly demonstrated by the use of the female subject pronoun where proper grammar demands the object: “I will return to my English rose/For no bonds can ever keep me from she.” Whether he intended to elevate woman from object to subject is unknown, but as a human being who has spent most of her life living under the stigma of objectification, I deeply appreciate his choice. Girls are so sensitive. However you choose to interpret “English Rose,” it is a tender and touching song expressing emotional humility and human fragility. While there are a billion songs with the line “I need you,” I’ve rarely heard a song that expresses the need for another as sincerely as this one. Although he seemed loth to accept it, writing the song allowed Paul Weller to access his sensitive side, further expanding his songwriting possibilities. “In the Crowd” starts as a breezy little number filled with echoes of both The Kinks and The Who. The melody and chord structure of the transitional verses (the first is marked by a shift to G and begins with the line “And everyone seems just like me”) bears more than a striking resemblance to the transitional passages in “Johnny Thunder,” and the power chords in the extended jam at the end of the song are pure Townshend. The lyrics are in the form of a semi-conscious meditation on the automation of routine life occasioned by Paul Weller taking a spin through the supermarket. Feeling alienated by the regimentation of the modern shopping experience, he imagines a common bond with his fellow shoppers: And everyone seems just like me, They struggle hard to set themselves free And they’re waiting for the change Remember that double entendre—yes, they’re standing in line waiting for the clerk to give them their change, but Weller also opines that they’re longing for comprehensive social change as well. As he proceeds blindly past the “walls of ice cream,” still lost in meditation about social conditions, he realizes that the challenge is far greater than he imagined: And everyone seems that they’re acting a dream Cause they’re just not thinking about each other And they’re taking orders, which are media-spawned And they should know better, now you have been warned And don’t forget you saw it here first The tragic impact of this massive brainwashing effort is communicated through the change of a single consonant as Weller realizes that his fellow shoppers have no stomach for shaking up the routine: And life just simply moves along In simple houses, simple jobs And no one’s wanting for the change Though more than a little derivative, the very pleasant music fits nicely with the theme of induced happiness, and the melody is one of the catchiest on the album. Kudos to the band for this full version with the extended fade, which exceeds the arbitrary three-minute barrier of early punk dogma by a solid two-and-a-half. It sounds fucking great. Paul Weller argued that “Billy Hunt” would make a great single; Polydor disagreed; hooray for Polydor. While I appreciate the exposure of the “nobody messes with me” chip-on-the-shoulder that many young men in subordinate positions carry with them on their journey through life–and the clever integration of the “superhero-wish” manifested in Billy claiming the power of Steve Austin of The Six Million Dollar Man—-the repetitive onslaught of “Billy Hunt, Billy Hunt, Billy Billy Billy” drives me fucking insane. I find suitable relief in the classic mod number “It’s Too Bad,” a mid-60’s boy-has-problem-with-girl tune that might have hit the Top 30 back in ’64 or ’65 (though Bruce Foxton’s marvelously powerful bass runs would have blown out the speakers on the transistor radios of the era). “Fly” is a more complex expression of love for a woman, though the soft-LOUD dynamic weakens the intimacy of the piece. I’m somewhat befuddled by the couplet “Let’s disappear love, let’s fly away/Into the demi-monde, into the twilight zone.” Whoa, wait a minute there, sonny! The demi-monde “refers to a group of people who live hedonistic lifestyles, usually in a flagrant and conspicuous manner,” while the Twilight Zone is one weird place with Martians running diners and hiding their third eye under a chevron cap. As a hedonist, I am seriously wounded and deeply offended by this juxtaposition! If they’d dropped that couplet and stuck to an acoustic arrangement, I would have given the song a thumbs-up. “The Place I Love” could have been subtitled “The Refuge of the Introvert” or “My World and Stay the Hell Out of It,” as the song deals with the search for a private world separate from the competitive, back-stabbing universe of modern existence. Holding onto one’s identity in a world that constantly attempts to shape it into standard issue is a challenge for introverts and extroverts alike; here the refuge isn’t the loving relationship sought in many a rock song, nor is it a return to nature, strictly speaking. The safe house where the narrator makes “a stand against the world” is instead one where nature encroaches on the trappings of civilization, a place where people aren’t so manic about imposing order but instead seek to peacefully integrate human presence with the natural environment: The place I love is overgrown now With beautiful moss and colorful flowers And goldfish that swim in a pool, there’s a small brick wall With neon lighting controlled by lightning The introductory riff seems to have been borrowed and modified by Blur (albeit with more notes and greater speed) in the song “Bank Holiday,” and I hope they acknowledged the influence as honestly as The Jam acknowledged theirs. “‘A’ Bomb on Wardour Street” may have taken its cue from the discovery of a WWII bomb on the day when The Jam were to sign their contract with Polydor, but if so, it’s merely a starting point for a full-frontal assault on British hooliganism. Since discovering a buried Nazi A-bomb is a historical impossibility, it follows that Weller used the term “A-Bomb” to identify a destructive force that spreads beyond the initial point of detonation, i.e., hooliganism. While Wardour Street was the home to the British film industry and a few recording companies, it also hosted the punk venue The Vortex Club during the punk heyday, where violence was part of the show: I’m stranded on the Vortex floor My head’s been kicked in and blood’s started to pour Through the haze I can see my girl Fifteen geezers got her pinned to the door I try to reach her but fall back to the floor ‘A’ bomb in Wardour Street It’s blown up the West End, now it’s spreading throughout the city Waller sings this piece in an early Joe Strummer sneering growl over a straightforward rock riff integrating distorted guitar, thumping bass and steady drums (though they do throw in some Townshend-esque power chords and mod riffs). The anger comes through as righteous rather than frothing, balancing outrage with reason. The passage that rang most true for me involves the linking of violence to a loss of freedom—something the gun nuts in the States are too stupid to comprehend. What the fuck good is freedom if you’re dead? Law and order takes a turn for the worst In the shape of a size ten boot Rape and murder throughout the land And they tell you that you’re still a free man If this is freedom I don’t understand ‘Cause it seems like madness to me To seal the deal, Waller closes the circle by linking the thirst for violence to football hooliganism with the reference to “Dr. Martens’ A-P-O-C-A-L-Y-P-S-E,” the favorite shoes of sodden football fanatics. Dismissed by Stuart Mason of AllMusic as “the sound of a band saying goodbye to an ill-fitting suit of clothes,” I would suggest that the listener look beyond the punk trappings and view the song as a timeless protest about a recurring human problem that remains unresolved. Any doubt that Paul Weller had taken his songwriting to a higher level is completely obliterated by the experience of “Down in the Tube Station at Midnight.” The power of this horrifying story of a man of a different color brutally attacked in the Underground by a pack of skinheads lies in the choice to present the tale as a first-person narrative from the victim’s point of view. This device serves to give the poet some distance from the subject matter, reducing the possibility that the poet will be tempted to shape the story or introduce their own emotional baggage. It also humanizes the experience to the nth degree. The story begins with the man headed for the subway around midnight, probably a guy who has just finished the late shift at a restaurant or similar service establishment. On his way down to the tube he notices the day’s refuse, in particular a stale morning paper filled with “Headlines of death and sorrow, they tell of tomorrow/Madmen on the rampage.” When he recites the closing line of the verse, “And I’m down in the tube station at midnight,” we automatically connect his situation to the headlines and share his sense of foreboding. Still, he proceeds through the turnstile, probably telling himself that he’s made the trip hundreds of times before without incident. I fumble for change, and pull out the Queen Smiling, beguiling I put in the money and pull out a plum Behind me Whispers in the shadows, gruff blazing voices Hating, waiting “Hey boy” they shout, “have you got any money?” And I said, “I’ve a little money and a takeaway curry I’m on my way home to my wife She’ll be lining up the cutlery, you know she’s expecting me Polishing the glasses and pulling out the cork” His innocent response seems to be an attempt to find common ground with his likely attackers by sharing a common human experience, thereby presenting himself as harmless. It doesn’t work; it was never going to work. I first felt a fist, and then a kick I could now smell their breath They smelt of pubs and wormwood scrubs And too many right-wing meetings My life swam around me It took a look and drowned me in its own existence Once they’ve had their fun, he struggles to maintain awareness of his surroundings, storing memories that will later seem absurdly trivial before realizing that these thugs may go after the person he loves most and there is nothing he can do to protect her: The last thing that I saw as I lay there on the floor Was “Jesus saves” painted by an atheist nutter And a British rail poster read, “Have an away day, a cheap holiday Do it today.” I glanced back on my life, and thought about my wife ‘Cause they took the keys, and she’ll think it’s me The music has an ironically breezy urban feel to it, a soundtrack that seems weirdly dissonant and weirdly appropriate at the same time–as if to remind us that life goes on, lah-dee-dah, another gruesome tale for the headlines, now get back to the daily grind. Since right-wing thugs have made a comeback in Europe and the USA, “Down in the Tube at Midnight” has tragically earned status as a timeless piece of art, but I’m positive that Paul Weller would have traded that honor in exchange for an end to such brutality. p. s. Fuck the BBC for banning this song and fuck Radio 1 DJ Tony Blackburn for complaining that, “It’s disgusting the way punks sing about violence. Why can’t they sing about trees and flowers?” It’s that kind of idiotic denial that allows the twin cancers of racism and hate to flourish. With a hot songwriter leading the way, The Jam would go on to produce a series of successful albums before Paul Weller decided to move in a different direction with a new band called The Style Council. Eventually he would embark on a solo career that further cemented his status as one of Britain’s leading songwriters. While I think Weller would have found a way to the forefront even if The Jam had collapsed before the recording of All Mod Cons, his moment of truth paved the way for one of the most engaging listening experiences of the era. The third time was definitely the charm for The Jam.
6803	dbpedia	2	66	https://www.rollingstone.co.uk/music/going-it-alone-why-artists-are-ditching-major-labels-to-go-independent-26150/	en	Going it alone: why artists are ditching major labels to go independent	https://www.rollingstone…2023/01/Raye.jpg	https://www.rollingstone…2023/01/Raye.jpg	[ "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2022/10/Rolling-Stone-Logo-UK-PRIMARY-_1_-300x60.png", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2022/10/Rolling-Stone-Logo-UK-PRIMARY-_1_-300x60.png", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2021/09/Stream-Logo_Large-1.png", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2023/01/Raye-1024x650.jpg", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2023/01/YMA6-1024x1024.jpg", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2021/09/Stream-Logo_Large.png", "https://www.rollingstone.co.uk/wp-content/uploads/sites/2/2022/10/rolling-stone-logo-uk-small-1024x173.png" ]	[]	[]	[ "" ]	null	[ "Mark Sutherland" ]	2023-01-25T11:44:38+00:00	Earlier this month, RAYE secured her first UK number one after a very public break with her label. Here, other artists explain why they decided to go it alone.	en	https://www.rollingstone…on-new-32x32.png	Rolling Stone UK	https://www.rollingstone.co.uk/music/going-it-alone-why-artists-are-ditching-major-labels-to-go-independent-26150/	Raye’s recent Number One single was not like other Number One singles. When the star hit the top of the charts with ‘Escapism (feat. 070 Shake)’ and the Official Charts Company presented her with the trophy to mark the occasion, she burst into tears. “I’m an independent artist,” she sobbed. “This is proof that [you should] back yourself, no matter what.” And backing herself is literally what Raye has done. Last year, she publicly called out her major label, Polydor, for refusing to release her debut album, despite signing her to a four-album deal back in 2014. “I’m sick of being slept on and sick of being in pain about it,” she Tweeted. “This is not business to me, this is so personal.” To their credit, Polydor – who had used similar long-game tactics to turn Mabel and Becky Hill into stars – released her from the deal. But while, once upon a time, that might have meant the end of Raye’s recording career, she decided to go it alone. Escapism was released via artist/label services company, Human Re-Sources, but has nonetheless become a monster hit. “Money can’t buy where we are right now and that is so exciting,” Raye told Rolling Stone UK earlier this month. Because, while Raye must have felt pretty alone when she took to social media in the depths of her despair, she is far from on her own when it comes to building a successful career away from the confines of a traditional record deal. “The video she put out was reminiscent of how I felt when we had a Number One with [2021 album] Suckapunch,” says Josh Franceschi of rockers You Me At Six, whose brilliant new album, Truth Decay, will be their third on their own Underdog label, via services company AWAL (Artists Without A Label). The band previously had stints on a small indie (Slam Dunk), a major (Virgin) and a big indie (BMG). “There are so many gatekeepers that are still like, ‘If you want success in this industry, [you need] me and our board. And if you’re not in our circle, it ain’t happening for you’. It’s nice when you realise that, actually, if you’re resilient enough, you work hard enough and you’re lucky enough to have a fanbase that will be there with you, you’re only ever one song away from being at the top.” And these days, everywhere you look, artists are making like B&Q and doing it themselves. DIY distributor TuneCore says its self-releasing artists have earned £2.48 billion since the platform launched in 2006. Central Cee nabbed two 2023 BRITs nominations while dropping tunes through his Live Yours label. Dave and Little Simz have become huge stars without signing a label deal. And even Sugababes put out most recent album The Lost Tapes independently. “Everyone’s realising the shoddy deals that people are getting,” says Karl ‘Konan’ Wilson of Krept & Konan, whose ace new single, Dat Way, is the first release on their own Play Dirty label (now distributed by Virgin Music Label & Artist Services) since their debut album, after eight successful years on EMI. “Everybody’s realising we don’t need [labels] to validate us anymore, we’re going to get to the fans instantly without the middleman. For the labels, that must be scary, because no one wants to sign a major deal no more…” In fact, labels still dominate chart success. All of last year’s Top 20 albums came out via traditional major or indie record companies; Dave’s We’re All Alone In This Together was the biggest-selling self-released album, at Number 25. As far as much of the music industry is concerned, that indicates the label system works perfectly well while, at the same time, there are now plenty of other options for artists that don’t want to fit into its structures. “In the current market, there is variety and choice in a way there hasn’t been ever before,” says Sophie Jones, chief strategy officer/interim CEO of the BPI, which represents 500 British record companies, including all three majors. “There’s a healthy ecosystem. Different things work for different artists at different stages of their career – it’s not one size fits all.” Artists certainly have more options than in the pre-digital age, when record deals were the only way to release music and came with multiple strings attached (often involving signing over the rights to your recordings in perpetuity and accepting a royalty rate heavily weighted in favour of the label). But the Department for Digital, Culture, Media & Sport Committee’s recent inquiry into the economics of music streaming showed that fault lines still exist between those releasing the music and those making it. While streaming has returned the labels to growth after years of decline, many signed artists struggle to make a living from their records. And self-releasing is one way to take a much greater share of streaming revenues, while retaining the rights to your music and – perhaps most importantly – enjoying total creative control. “All of the artists that I work with have built loyal fanbases over the years,” says Andy Musgrave, manager of self-releasing star AJ Tracey, amongst others. “They own their rights, consistently put authentic art into the world, are building a catalogue that they own – and they make good money off streaming.” Musgrave – whose Supernature company also provides label services such as distribution to artists – prefers to talk about artist ‘autonomy’ rather than ‘independence’. “It’s really about whether the artist is in control of their career and destiny,” he says. “That can be true within a major label deal or outside of it. Stormzy makes the major label system work for him. And Raye is a great example of the major label system <<not>> working for someone.” Both You Me At Six and Krept & Konan agree that there were plenty of positives – and not just financial ones – about their stints with labels, although Josh Franceschi questions the “pressure” big companies can put on young artists to succeed. And post-streaming inquiry, changes are being made. Deal terms are improving slowly, while all three majors have agreed to pay streaming royalties on pre-2000 contracts, regardless of whether the artist has recouped the original advance. But, with the #FixStreaming and #BrokenRecord campaigns calling for a more fundamental reset in how artists get paid, will such modifications be enough to keep labels relevant? “Having a label can help you,” says Casyo ‘Krept’ Johnson. “There are good A&Rs out there that can help bring the best out of an artist. But a lot of people are realising it’s not impossible to do it yourself.” Sophie Jones says labels’ contributions to success are “under-appreciated,” citing £494.8 million worth of record company investment in A&R, marketing and promotion in 2021; more than double 2016’s figure. That financial firepower, she says, is crucial in helping artists cut through in 2023’s ultra-competitive streaming landscape. “Labels are core investors in the creation of new music and the development and nurturing of new talent,” she says. “That is absolutely vital to keep the whole music ecosystem moving.” Indeed, the majors even have a hand in many ‘independent’ successes – Human Re-Sources and AWAL are ultimately owned by Sony Music, Virgin is part of Universal and Warner has a similar service, ADA. But as the trickle of self-releasing successes threatens to turn into a flood, many believe the labels’ traditional model is in danger of sinking – unless they become much more artist-friendly. “The success that AJ and I have been fortunate enough to create tells a really important story,” says Andy Musgrave. “But stories like ours in isolation can be written off as a fluke. With every additional artist that manages to create success without these structures, [self-releasing] becomes more credible.” “I completely understand the value that major labels offer to artists, but there are so many other models that work now,” adds Josh Franceschi. “It’s been a decade since we were last at a major, so I hope a lot has changed. But if that much had changed, we probably wouldn’t be having this conversation…” Raye, at least, seems to have found her happy place. But it remains to be seen if other artists still have more tears left to cry…
6803	dbpedia	0	3	https://ultimateclassicrock.com/roger-daltrey-the-who-no-new-album/	en	Roger Daltrey on New Who Album: ‘What’s the Point?’	https://townsquare.media…c=1&s=0&a=t&q=89	https://townsquare.media…c=1&s=0&a=t&q=89	[ "https://townsquare.media/site/295/files/2021/04/logo256.png", "https://townsquare.media/site/295/files/2023/02/attachment-daltrey.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2016/02/Roger-Daltrey-Pete-Townshend.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-PeteTowns.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-GettyImages-2159337464.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-WhoBallet.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-GettyImages-3297256.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-roger-1.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2018/08/moon.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/06/attachment-Daltrey-2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2019/12/oo.jpg?w=980&q=75" ]	[]	[]	[ "the who roger daltrey no new album", "news" ]	null	[ "Bryan Rolli" ]	2023-03-10T16:53:25+00:00	Roger Daltrey explained why he doesn't expect to release a new album with the Who in a March 2023 interview.	en	https://townsquare.media…/04/favicon1.png	Ultimate Classic Rock	https://ultimateclassicrock.com/roger-daltrey-the-who-no-new-album/	The Who fans shouldn't expect a new album from the British rock icons, as even Roger Daltrey doesn't think it would serve any purpose. "What’s the point?" the singer said in a recent NME interview when asked about the prospect of new music. "What's the point of records? We released an album four years ago [2019's Who], and it did nothing. It's a great album, too, but there isn't the interest out there for new music these days. People want to hear the old music. I don't know why, but that's the fact." Daltrey, now 79, noted that the Who's fan base runs the gamut "from 80 years old all the way down to 8 years old," but it would still be difficult to market new material to a captive audience. "We've got quite a lot of young people in our audience these days. It's quite interesting that they're picking up on our music," he said. "But record companies, they just don't do the same job as they used to." The Who is currently preparing for a summer U.K. tour where they'll be backed by an orchestra. "When you hear real strings and amplify the orchestrations with the arrangements we're doing, the sound is just extraordinary," Daltrey told NME. He said the difference between using real strings and synthesizers is "like the live equivalent of a vinyl record, as opposed to the CD player. CDs are crap! It's only when you hear vinyl that you realize how crap they are." The band previously employed an orchestra in 2019 at London's Wembley Stadium, and the performance will be immortalized on the upcoming The Who With Orchestra Live at Wembley album, out March 31. Despite his disinterest in releasing new music, Daltrey is still keen to experience new things nearly seven decades into his career. The Who will reportedly headline the National Transport Trust Vintage Transport Festival at England's Fawley Hill in May. In exchange, Daltrey — an avowed train enthusiast — will get to drive one of the locomotives. "Roger is a massive model railways fan," a source told The Sun. "When he heard they were looking for a headliner for their vintage transport rally, he offered up the band's services — but with a special request." Daltrey, who has a model railway in his home in Sussex, England, will "be behind the wheel of the steam train at some point over the weekend, which really will be a dream come true."
6803	dbpedia	2	89	https://www.suffolknews.co.uk/bury-st-edmunds/news/it-s-just-crazy-suffolk-rapper-hits-big-time-after-major-9350771/	en	Bury St Edmunds rapper EV heads for the big time after signing record deal with Polydor, home of artists including Lady Gaga, Billie Eilish, Lana Del Rey and Ellie Goulding	https://www.suffolknews.…OTJADHEI7J26.jpg	https://www.suffolknews.…OTJADHEI7J26.jpg	[ "https://www.suffolknews.co.uk/_assets/suffolklogo.jpg", "https://www.suffolknews.co.uk/_assets/SNWeatherSponsorPatersonsSiteTop.jpg", "https://www.suffolknews.co.uk/_assets/twitterxfollowprem_1.png", "https://www.suffolknews.co.uk/_assets/suffolklogo.jpg", "https://www.suffolknews.co.uk/_assets/SNWeatherSponsorPatersonsSiteTop.jpg", "https://www.suffolknews.co.uk/_assets/twitterxfollowprem_1.png", "https://www.suffolknews.co.uk/_media/img/JJJZ0G7LPMKBR7R4MX41.jpg", "https://www.suffolknews.co.uk/_media/img/SNC5VYBMWCFNPJDPPUHV.jpg", "https://www.suffolknews.co.uk/_media/img/52NMCQ1RB8DHGGLTUZ57.jpg", "https://www.suffolknews.co.uk/_assets/buryfreepresslogo.svg", "https://www.suffolknews.co.uk/_assets/summercomp-promo2_1.jpg", "https://www.suffolknews.co.uk/_assets/twitterxfollowprem_1.png", "https://www.suffolknews.co.uk/_assets/iliffe_media_logo.png", "https://www.suffolknews.co.uk/_assets/ipso_regulated.jpg", "https://api.iliffemedia.co.uk/_pixel/p.gif", "https://api.iliffemedia.co.uk/_pixel/abe77731-ba78-4df6-bd16-ec4f159839d1/6556b356-d3aa-4fc9-8127-9c253a85b450/t.gif", "https://www.suffolknews.co.uk/1x1.gif" ]	[]	[]	[ "Music", "Bury St Edmunds", "Arts and Entertainment", "Suffolk Homepage", "Celebrities" ]	null	[ "Chris Morris", "www.facebook.com" ]	2024-01-30T15:39:06+00:00	A former mechanic is heading for the big time after signing a record deal with one of the UK’s biggest labels.	en	/favicon.ico	Suffolk News	https://www.suffolknews.co.uk/bury-st-edmunds/news/it-s-just-crazy-suffolk-rapper-hits-big-time-after-major-9350771/	A former mechanic is heading for the big time after signing a record deal with one of the UK’s biggest labels. Shortly before Christmas, the 27-year-old rapper, known as EV, from Haughley, near Bury St Edmunds, was working as a lorry mechanic. He’d been recording songs in his bedroom and releasing them online since 2018. But after two songs went viral at the end of last year, the offers came rolling in. Nine record labels called before he received a life-changing offer from record bosses at London-based Polydor. The legendary label boasts chart-topping stars such as Lady Gaga, Lana Del Rey, Ellie Goulding, Billie Eilish, and even Abba. “It’s just crazy,” said EV, a former Thurston Community College student. “Music has been a lifelong hobby and you get to the point where you think: is anything going to happen? “I was enjoying it so it didn’t really matter, but I still can’t believe how things have taken off.” The record company advanced EV, whose real name is Evan, enough money to pursue a music career full-time for the ‘foreseeable future’. He now travels to London several times a week to recording studios and for meetings. He describes his music as ‘dancey lad rap’ - a cross between 1990s rave and MC inspired lyrics. The two tracks, called Sirens and Come Down, which went viral, clocked up nine million hits between them. In early January, a track called Friday Nights, was chosen by BBC Introducing and played on Radio 1 shows, twice a day, for week. EV said: “I’ve always made music but nailed my sound in the last year or so. “I was putting the songs together in my bedroom, working every single hour I got free, on a laptop, when I wasn’t at work. “For the lyrics, I just tell stories from my life, my friends’ life, observing things that I see around me: night life, love stories. “I’m now working on EPs and albums and seeing how my first year as a full-time musician goes.” EV’s friends help keep him grounded. “It’s a dream, really. You go to London, you rub shoulders with all these people and think: wow, what is life sometimes. “But then you come home, go to the pub with the boys and talk it all over and there’s nothing better. “They all keep it real and me, very grounded.”
6803	dbpedia	2	31	https://www.islandrecords.co.uk/	en	Island Records UK	https://cdn1.umg3.net/60…1/opengraph2.png	https://cdn1.umg3.net/60…1/opengraph2.png	[ "https://cdn1.umg3.net/603/files/2020/01/islandsquare.png", "https://www.islandrecords.co.uk/files/2023/10/TLDP_PRESS_CM_4-scaled.jpg", "https://www.islandrecords.co.uk/files/2019/12/DSC08114-EDIT_2-1-scaled.jpg", "https://www.islandrecords.co.uk/files/2019/09/Press-Shoot-August6196_Retouched-1-scaled.jpg", "https://www.islandrecords.co.uk/files/2022/08/flo-coats.jpg", "https://www.islandrecords.co.uk/files/2018/12/Group-1-copy-3-2-scaled.jpg", "https://www.islandrecords.co.uk/files/2019/01/theweeknd.jpg", "https://www.islandrecords.co.uk/files/2022/08/LEAD-scaled.jpg", "https://www.islandrecords.co.uk/files/2020/06/Image-19-SH-Edit-square-copy-red-red-red.jpg", "https://www.islandrecords.co.uk/files/2018/12/hozier-DSP-only-scaled.jpg", "https://www.islandrecords.co.uk/files/2019/01/green-main-shervin-4-scaled.jpg" ]	[]	[]	[ "" ]	null	[]	2018-12-20T14:43:50+00:00	Island Records has spent the past 6 decades blessing the world with truly great artists and incredible music. These artists, from Amy Winehouse and Bob Marley, to U2 and Mumford & Sons have helped define eras and shape the prevailing culture.		https://cdn1.umg3.net/60…ecords-32x32.png	Island Records	https://www.islandrecords.co.uk/	Emails will be sent by or on behalf of Universal Music Operations Ltd, 4 Pancras Square, London. N1C 4AG, UK. +44 (0)20 3932 6000. You may withdraw your consent at any time. See Privacy Policy at https://www.umusic.co.uk/privacy.html By ticking the SMS opt in box and submitting this form, I agree to receive text messages from and about Island Records (including prerecorded and/or by autodialer). Up to 20 messages per month per opt-in. Consent is not a condition of any purchase. Msg & data rates may apply. See Privacy Policy and Terms for further information.
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1024w,https://framerusercontent.com/images/kHqo6HX7jFh8a4SlwQrvATkXBg.jpg 1440w", "https://framerusercontent.com/images/0oaq4BuAGI0GbNFF0xuREouZvI.jpg?scale-down-to=1024 819w,https://framerusercontent.com/images/0oaq4BuAGI0GbNFF0xuREouZvI.jpg 1440w" ]	[]	[]	[ "" ]	null	[]	null	Welcome to ROSTR, the best directory for music industry contacts, data, and jobs. Build your network, save time & stay updated. Built for music industry professionals: artist managers, booking agents, A&Rs, promoters, venues, industry relations & more.	en	https://frameruserconten…sWW25MtmeuXo.png		https://hq.rostr.cc/	If you work with the music industry, ROSTR is an essential tool to save you time & help you do your job. It's like having an assistant that tracks the industry for you: artist team info, contact details, insights, tours, festivals, news, new companies & more. Sign up for a free account or keep scrolling to find out more... If you work with the music industry, ROSTR is an essential tool to save you time & help you do your job. It's like having an assistant that tracks the industry for you: artist team info, contact details, insights, tours, festivals, news, new companies & more. Sign up for a free account or keep scrolling to find out more... If you work with the music industry, ROSTR is an essential tool to save you time & help you do your job. It's like having an assistant that tracks the industry for you: artist team info, contact details, insights, tours, festivals, news, new companies & more. Sign up for a free account or keep scrolling to find out more... ROSTR is the world's fastest, largest & most up-to-date music industry directory. We track hundreds of thousands of relationships between artists, record labels, music publishers, booking agents & artist managers. Wrapped in a modern, clean & super-fast interface, ROSTR is the best place for quickly finding out who works with who. ROSTR is the world's fastest, largest & most up-to-date music industry directory. We track hundreds of thousands of relationships between artists, record labels, music publishers, booking agents & artist managers. Wrapped in a modern, clean & super-fast interface, ROSTR is the best place for quickly finding out who works with who. ROSTR is the world's fastest, largest & most up-to-date music industry directory. We track hundreds of thousands of relationships between artists, record labels, music publishers, booking agents & artist managers. Wrapped in a modern, clean & super-fast interface, ROSTR is the best place for quickly finding out who works with who. Once you find who you're looking for, getting contact info for booking agents & artist managers is just a click away. Plus, if you're on ROSTR Pro & we don't have info listed, just ask & we'll find it for you. Once you find who you're looking for, getting contact info for booking agents & artist managers is just a click away. Plus, if you're on ROSTR Pro & we don't have info listed, just ask & we'll find it for you. Once you find who you're looking for, getting contact info for booking agents & artist managers is just a click away. Plus, if you're on ROSTR Pro & we don't have info listed, just ask & we'll find it for you. Every management company, booking agency, record label, & publisher on ROSTR has their own profile. Company profiles list artists, staff, offices, the genres they work with, external links & company data. And, everything on ROSTR is linked, so getting to a staff member or an artist is just a click away. Every record label, publisher, booking agency, booking agent, management company & manager on ROSTR have their own profile. Company profiles list artists, staff, offices, the genres they work with, external links & company data. And, everything on ROSTR is linked, so getting to a staff member, or one of their artists, is just a click away. Every management company, booking agency, record label, & publisher on ROSTR has their own profile. Company profiles list artists, staff, offices, the genres they work with, external links & company data. And, everything on ROSTR is linked, so getting to a staff member or an artist is just a click away. ROSTR is one of the most used tools in the live music industry. That's not surprising as we not only track booking agent info but also tours & festivals. ROSTR's tour & festival directories give you tools to search for & find who's playing, when & where. All with one click access to then find their manager or agent info. ROSTR is one of the most used tools in the live music industry. That's not surprising as we not only track booking agent info but also tours & festivals. ROSTR's tour & festival directories give you tools to search for & find who's playing, when & where. All with one click access to then find their manager or agent info. ROSTR is one of the most used tools in the live music industry. That's not surprising as we not only track booking agent info but also tours & festivals. ROSTR's tour & festival directories give you tools to search for & find who's playing, when & where. All with one click access to then find their manager or agent info. There's more too... Features on ROSTR as well as news & analysis we publish give you unique tools to be a more knowledgeable music industry professional. There's more too... Features on ROSTR as well as news & analysis we publish give you unique tools to be a more knowledgeable music industry professional.
6803	dbpedia	1	25	https://blabbermouth.net/news/the-who-frontman-roger-daltrey-to-release-as-long-as-i-have-you-album-in-june	en	THE WHO Frontman ROGER DALTREY To Release 'As Long As I Have You' Album In June	https://assets.blabbermo…gaspromo_638.jpg	https://assets.blabbermo…gaspromo_638.jpg	[ "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/logo.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-search.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-facebook.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-twitter.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-rss.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-facebook.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-twitter.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-rss.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/logo.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-search.svg", "https://assets.blabbermouth.net/media/rogerdaltreyaslongaspromo_638.jpg", "https://assets.blabbermouth.net/media/rogerdaltreyaslongascd_0.jpg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-facebook.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-twitter.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-reddit.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-externallink.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-previous.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-next.svg", "https://assets.blabbermouth.net/media/davemustaineteemuaug2024_420x237.jpg", "https://assets.blabbermouth.net/media/coalchamberbandaug2024_420x237.jpg", "https://assets.blabbermouth.net/media/timmontanajerrycantrell_420x237.jpg", "https://assets.blabbermouth.net/media/fallinginreversepopularcd.jpg", "https://assets.blabbermouth.net/media/Thotcrime2024.jpg", "https://assets.blabbermouth.net/media/darktranquillityendtime.jpg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/logo.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-facebook.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-twitter.svg", "https://drnizx3otcofi.cloudfront.net/5327cd02-5a20-4831-81c6-7d3636fa32c4/img/icons/icon-rss.svg" ]	[ "https://www.youtube.com/embed/8MYrSo50xpw" ]	[]	[ "" ]	null	[]	2018-03-15T10:54:34+00:00	Legendary THE WHO frontman Roger Daltrey will release a brand new studio album, "As Long As I Have You", on June 1 via Polydor/Republic. Daltrey has sold over 100 million records, including nine U.S. and 10 U.K. top ten albums and 14 U.K. top ten singles. He's played over well over 2000 gigs in a ca...	en	https://drnizx3otcofi.cl…e-touch-icon.png	BLABBERMOUTH.NET	https://blabbermouth.net/news/the-who-frontman-roger-daltrey-to-release-as-long-as-i-have-you-album-in-june	Legendary THE WHO frontman Roger Daltrey will release a brand new studio album, "As Long As I Have You", on June 1 via Polydor/Republic. Daltrey has sold over 100 million records, including nine U.S. and 10 U.K. top ten albums and 14 U.K. top ten singles. He's played over well over 2000 gigs in a career spanning over 50 years including venues such as Woodstock, Monterey Pop, Glastonbury (twice),Hyde Park (four times),The Isle Of Wight (three times),Desert Trip, Shea Stadium, Super Bowl half-time show and Live Aid, to name but a very few. Roger has raised tens of millions of pounds for charity all over the world and was awarded a CBE for his work with The Teenage Cancer Trust and is in the Rock And Roll Hall Of Fame, the UK Music Hall Of Fame and has lifetime achievement awards from the Brits and from the Grammys. "As Long As I Have You" was produced by Dave Eringa, best known for his work with the MANIC STREET PREACHERS and on Roger and Wilko Johnson's album "Going Back Home", and features Pete Townshend's inimitable guitar on seven tracks as well as guest performances from Mick Talbot (DEXYS, THE STYLE COUNCIL) on keyboards and Sean Genockey (lead guitar),who has worked with SUEDE, SHAME and THE PROCLAIMERS. Work on "As Long As I Have You" was started shortly after the Top 5 gold-selling "Going Back Home" was released and continued during breaks on THE WHO's record-breaking 50th-anniversary tour "The Who Hits 50". The album is a mixture of tracks such as "Certified Rose" and the soulful ballad "Always Heading Home" along with songs that have inspired Daltrey over the years, including Nick Cave's "Into My Arms", "You Haven't Done Nothing" by Stevie Wonder, Stephen Stills's "How Far" and the title track originally recorded by Garnet Mimms in 1964; the year that Daltrey, Townshend, Entwistle and Moon changed their name from THE HIGH NUMBERS and became THE WHO. Roger Daltrey on "As Long As I Have You": "This is a return to the very beginning, to the time before Pete [Townshend] started writing our songs, to a time when we were a teenage band playing soul music to small crowds in church halls. That's what we were, a soul band. And now, I can sing soul with all the experience you need to sing it. Life puts the soul in. I've always sung from the heart but when you're 19, you haven't had the life experience with all its emotional trials and traumas that you have by the time you get to my age. You carry all the emotional bruises of life and when you sing these songs, those emotions are in your voice. You feel the pain of a lost love. You feel it and you sing it and that's soul. For a long time, I've wanted to return to the simplicity of these songs, to show people my voice, a voice they won't have heard before. It felt like the right time. It's where I am, looking back to that time, looking across all those years but also being here, now, in the soulful moment." Roger will headline the Royal Albert Hall on March 22 in aid of The Teenage Cancer Trust. "As Long As I Have You" track listing:
6803	dbpedia	2	70	https://www.last.fm/tag/polydor%2Brecords/artists	en	Top polydor records artists	https://www.last.fm/stat…15d8133be114.png	https://www.last.fm/stat…15d8133be114.png	[ "https://www.last.fm/static/images/defaults/player_default_album.430223706b14.png", "https://www.last.fm/static/images/icons/facebook.e0cc15e8e1d2.svg", "https://www.last.fm/static/images/icons/twitter.841d4ebdbe86.svg", "https://www.last.fm/static/images/icons/facebook.e0cc15e8e1d2.svg", "https://www.last.fm/static/images/icons/twitter.841d4ebdbe86.svg", "https://www.last.fm/static/images/footer_logo@2x.49ca51948b0a.png" ]	[]	[]	[ "" ]	null	[]	null	Browse the top polydor records artists to find new music. Scrobble songs to get recommendations on tracks you'll love.	en	https://www.last.fm/stat…b06eb8ad89be.png	Last.fm	https://www.last.fm/tag/polydor%2Brecords/artists
6803	dbpedia	2	71	https://www.hypebot.com/hypebot/2021/11/all-the-reasons-that-labels-refuse-to-release-an-artists-music.html	en	All the reasons that labels refuse to release an artist’s music	https://www.hypebot.com/…3118786_1280.png	https://www.hypebot.com/…3118786_1280.png	[ "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/logo.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/logo.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img,w_250,h_250/https://www.hypebot.com/wp-content/uploads/2021/09/record-3118786_1280-250x250.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img,w_251,h_256/https://www.hypebot.com/wp-content/uploads/2020/09/Grammy-award_silhouette-e1606742332284-1005x1024.jpg", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img,w_251,h_256/https://www.hypebot.com/wp-content/uploads/2020/09/Grammy-award_silhouette-e1606742332284-1005x1024.jpg", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/powered-by.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/powered-by.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/subscribe.png", "https://sp-ao.shortpixel.ai/client/to_webp,q_lossy,ret_img/https://www.hypebot.com/wp-content/themes/revenue/assets/img/subscribe.png" ]	[]	[]	[ "" ]	null	[ "Alana Bonilla" ]	2021-11-30T14:15:00+00:00	Sometimes an artists will write songs and even whole albums that they cannot release of their record label. Keep reading to discover some real-life examples and why this happens. A. Continue reading	en		Hypebot	https://www.hypebot.com/hypebot/2021/11/all-the-reasons-that-labels-refuse-to-release-an-artists-music.html	Sometimes an artists will write songs and even whole albums that they cannot release of their record label. Keep reading to discover some real-life examples and why this happens. A guest post by Janelle Borg from AmplifyYou Popstar Raye has recently made headlines after claiming that after 7 years with Polydor (which is owned by Universal), she is unable to release her debut album. “I’ve done everything they asked me” Raye explained her dire situation in a series of tweets: “Hey my dears, so for the last 7 days I have woken up crying my eyes out, not wanting to get out of bed and feeling so alone. These are emotions we usually hide from social media and I have become such an expert at hiding my tears and my pain and I wanted to talk about it today. holding it inside and pretending I am 100% fabulous will only hurt more. So here it is. Today I feel like a toilet. I’m going to be brave and talk about it. You are not alone, we can talk about our worries and our tears. It’s not embarrassing to speak out, It is brave Imagine this pain I have been signed to a major label since 2014…and I have had albums on albums of music sat in folders collecting dust, songs I am now giving away to A list artists because I am still awaiting confirmation that I am good enough to release an album. For context, in order for an album to be created, the label has to release money for songs to be finished, fees for producers, mixes, masters and marketing support etc… I have waited 7 years for this day and I am still waiting. So now I’m being told if Call On Me does well then I can do my album but there can’t be a green light until…. imagine the PRESSURE of me waking up every day frantically looking at numbers and stats hoping that I can just make MY BLOODY FIRST ALBUM. I know this is the kind of thing I’m supposed to keep behind closed doors, but I have worked and waited and hustled and given EVERYthing I have and if I am going to suffer I am NOT going to do it in silence anymore. I’ve done everything they asked me, I switched genres, I worked 7 days a week, ask anyone in the music game, they know. I’m done being a polite pop star. I want to make my album now, please that is all I want.” This is not the first time that this has happened to artists signed to multi-record deals. JoJo’s 7-year feud with her ex-label was widely publicised. Rachel Platten, Kesha, Sky Ferreira, Fifth Harmony and Normani are some of the artists that were also sabotaged by their labels. This kind of treatment is not exclusive to major labels. Indie labels also have a track record of sabotaging their own artists’ careers, as explained by Shura on Twitter: “I get my masters back from Universal in the next ten years. My indie label will continue to own my record after I’m dead. It’s not as simple as major versus indie. At least Polydor never made me pay for my own PR.” But what are some of the reasons why this kind of thing happens in the first place? The label merges or is taken over by another company When labels merge with other labels or are taken over by other companies, the artists end up stuck in the middle. This obviously impacts their career trajectory. Sky Ferreira is a clear example of an artist who experienced this first hand. Her label went through a merger and around four or five different presidents, leaving her in limbo. The artist’s A&R leaves the label Losing the person who most believes in the artist can be detrimental to their career. According to Paul Fakler, a media and entertainment lawyer at Arent Fox, “Once you get signed, the question is politics within the record company; the person who’s championing you — how much power do they have? Are they still going to be there in six months?” A label’s priorities shift over time Artists that are still gaining momentum or are in the developmental stage sometimes end up being ignored by the label staff when a bigger artist or a similar act is about to release their album, leaving the emerging artist in limbo. The artist is left in development hell Labels may snatch up artists due to their talent but the artist may not be ready to debut straight away. Therefore, these artists end up trudging to tens of different studios, in the hopes of making a hit single. If the label heads aren’t satisfied with the result, the artist is left in development hell. The label snatches an artist that’s on-trend An artist may get signed because their music is bang on-trend. In an interview with Buzzfeed, music business executive and cultural critic Casey Rae said, “If a garage sound was popular like The White Stripes and now The Black Keys, then maybe they just sign up all The White Stripes and Black Keys–sounding bands.” A label may sign an artist so that nobody else can have them, a tactic that leaves a lot of frustrated artists whose careers never actually materialise. Final notes Is it easy for artists like Raye to get out of their contract? Not really. Some contracts require artists to put out X amount of albums with a label before they can part ways with the label. Furthermore, most eager artists do not have access to legal representation at the beginning of their career and end up signing exclusive contracts where they have absolutely no leverage whatsoever. Others are coerced to sign a 360 deal. Good management and legal representation are absolutely essential when it comes to putting pen to paper on a record deal. Legal representatives should ensure that the label is legally obligated to release music within a particular timeframe and to cover all the essential costs. By taking control of the narrative, hardworking artists like Raye will, hopefully, get the respect that they deserve from the decision-makers that are supposed to fight their corner in the first place. Janelle Borg knows a thing or two about the music industry. Having been involved in the industry since the age of 13, she’s now involved in a variety of music-related projects and is always keen to share industry tips ‘n’ tricks with fellow musicians. Alana Bonilla on 11/30/2021 in Indie Music \| Permalink \| Comments (0) Share on:
6803	dbpedia	2	26	https://www.musicbusinessworldwide.com/polydor-says-its-at-the-forefront-of-breaking-uk-acts-after-brits-critics-choice-result/	en	Polydor says it’s ‘at the forefront of breaking UK acts’ after BRITs Critics’ Choice result	https://www.musicbusines…-at-20.36.36.jpg	https://www.musicbusines…-at-20.36.36.jpg	[ "https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-80x54.jpg 80w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-160x108.jpg 160w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-320x215.jpg 320w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-418x281.jpg 418w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-648x436.jpg 648w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.36.36-836x563.jpg 836w", "https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.42.58-80x50.jpg 80w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.42.58-160x99.jpg 160w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.42.58-320x199.jpg 320w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.42.58-418x259.jpg 418w", "https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-80x55.jpg 80w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-160x110.jpg 160w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-320x221.jpg 320w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-418x289.jpg 418w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-648x447.jpg 648w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-836x577.jpg 836w, https://www.musicbusinessworldwide.com/files/2017/11/Screen-Shot-2017-11-30-at-20.44.19-1296x895.jpg 1296w", "https://www.musicbusinessworldwide.com/files/2021/06/Screenshot-2021-06-25-at-12.55.41-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/02/Screenshot-2024-02-07-at-11.44.21-e1707306320894-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2022/01/CRAWLERS-LABEL-SIGNING-scaled-e1642509337912-256x144.jpeg", "https://www.musicbusinessworldwide.com/files/2022/01/Amy-Morgan-credit-Jenny-Hueston-e1641989283650-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2023/04/Entergain-logo-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2023/02/Burwood-Logo-2-e1656592237635-256x144.webp", "https://www.musicbusinessworldwide.com/files/2023/05/Beautiful-Digital-1296x729--256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/07/BIMM-logo-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/07/hipgnosis-256x144.png", "https://www.musicbusinessworldwide.com/files/2024/08/Screenshot-2024-08-14-at-16.34.20-e1723649684141-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/08/Screenshot-2024-08-15-at-16.52.09-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/08/Tencent-Music-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/08/Screenshot-2024-08-14-at-14.15.48-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/08/The-worlds-greatest-MANAGERS-Angela-Becker-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2023/12/Inspiring-women_300x100-2-14.48.42.gif", "https://www.musicbusinessworldwide.com/files/2021/12/WL-Banner_300x100-2-1.gif", "https://www.musicbusinessworldwide.com/files/2020/04/WGM-Banner_300x100.gif", "https://www.musicbusinessworldwide.com/files/2024/06/WGS-Banner_300x100.gif", "https://www.musicbusinessworldwide.com/files/2020/04/WGP-Banner_300x100.gif", "https://www.musicbusinessworldwide.com/files/2024/08/Tomas-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/07/Eliahpod-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/07/Emmanuel-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/05/Temi-256x144.jpg", "https://www.musicbusinessworldwide.com/files/2024/04/DavidIspod-256x144.jpg" ]	[ "https://www.youtube.com/embed/DNdLFbEZC2Y", "https://www.youtube.com/embed/O3TDhPVx1Do" ]	[]	[ "" ]	null	[ "Tim Ingham" ]	2017-11-30T20:30:26+00:00	“Polydor is the best label in the UK today in terms of breaking new artists.”…	en	/wp-content/themes/mb/assets/img/icons/apple-touch-icon-57x57.png	Music Business Worldwide	https://www.musicbusinessworldwide.com/polydor-says-its-at-the-forefront-of-breaking-uk-acts-after-brits-critics-choice-result/	Universal‘s Polydor Records is the only major label with an artist on next year’s BRIT Awards Critics’ Choice shortlist. Two, in fact. The final three for 2018 is made up of Stefflon Don and Mabel – both signed to Polydor – in addition to independent artist Jorja Smith, with the winner set to be revealed on Monday (December 4). Previous winners of the Critics’ Choice prize include a run of stars who have gone on to multi-platinum success, such as Adele (2008), Florence + The Machine (2009), Ellie Goulding (2010), Emeli Sande (2012), Sam Smith (2014), James Bay (2015) and Rag N Bone Man (2016). Speaking to MBW, Polydor co-President Tom March (pictured, left) said: “We’re very proud and excited for Steff and Mabel – it’s incredible to see them recognised like this. “It also reinforces our belief that Polydor is the best label in the UK today in terms of breaking new artists.” Fellow co-President Ben Mortimer (pictured, right) said: “This is a big result for us, and it’s testament to the fact that Polydor is all about the new. “We’re at the forefront of labels breaking UK acts, and we take a long-term approach with the acts we sign. “We know there’s a long way to go until either of these artists are at the Grammys, but the seeds of success have been sown. “And [Polydor] won’t stop pushing until they are where they deserve to be. I’ve never seen this label looking so determined to succeed.” Both March and fellow Polydor co-President Ben Mortimer have tasted Critics’ Choice success before: Mortimer signed Florence + The Machine to Island before the British artist picked up the accolade in 2009, while March worked with Florence as well as fellow winners James Bay, Jessie J and Mika in the past. “I’ve seen first-hand that if you win it, or you’re just being one of three that are highlighted, it can have a huge impact on your career,” added March. “Everyone talks about what it means for the Top 5 artists named on the Grammys Best New Artist [shortlist], but I believe the Critics Choice is now starting to have the same resonance.” Tom March, Polydor “Everyone talks about what it means for the Top 5 artists named on the Grammys Best New Artist [shortlist], but I believe the Critics’ Choice is now starting to have the same resonance. It’s played a big role in launching some phenomenal careers, and it’s incredible to be a big part of it this year.” Both Mabel and Stefflon Don have already enjoyed significant chart success this year: Mabel recently broke into the mainstream with track Finders Keepers (feat Kojo Funds), which reached No.8 on the UK’s Official Singles Chart and stayed in the Top 10 for five weeks. Meanwhile Stefflon Don’s Hurtin’ Me (feat French Montana) hit No.7 in the summer and has racked up more than 25m plays on Spotify. In addition to its Critics’ Choice-approved duo, Polydor’s other hotly-tipped new British singings today include Mura Masa – who was nominated for a Grammy earlier this week in the Best Dance/Electronic Album category. There’s also Jax Jones, whose You Don’t Know Me has sold over 5m worldwide and 1m in the UK alone, and the guest vocalist on that track, Raye. In addition, Polydor is working with Tap Management-signed Grace Carter, American band Lany and Colombian-Canadian Jessie Reyez, who Polydor has co-signed with fellow UMG label Island Records in New York. “We’re at the forefront of labels breaking UK acts, and we take a long-term approach with the acts we sign. Ben Mortimer, Polydor Its roster is also graced by new non-domestic/international talent like Julia Michaels (via Republic), Maggie Rogers (via Capitol), Billie Eilish and 6Lack (via Interscope). “A year ago everyone was saying it was a bit tough [A&R-wise] in the UK market, but now the industry is properly breaking artists again and Polydor is at the forefront of that,” added March. “I think it took everyone a moment to work out the new world of streaming, across both labels and the media. But now there are some very hot domestic scenes happening in the UK with so many exciting artists coming out of them. “We feel like we can take on the world with our new British artists.” Stefflon Don was signed by Polydor via her own V-IV imprint earlier this year, with reports at the time suggesting her deal with the Universal label was worth more than £1m. March and Mortimer wouldn’t be specifically drawn on that figure – but it’s clear that, should it be true (and we reckon it is), they think she’s worth every penny. “From the the first moment we met Steff we were blown away by the quality of her music – even back then she had for or five massive songs, and that didn’t include Hurtin’ Me,” said March. “We didn’t have a second thought in terms of the level of investment we were willing to put into her career – she’s going to be around in this business for a long time. “We really believe Steff can break beyond the UK. She’s got a big character, her records sound really global, she’s incredibly well connected and has a great team.” Tom March, Polydor “She’s always had the ambition and the talent to take over the world and it’s our job to help her achieve that.” Added Mortimer: “We really believe Steff can break beyond the UK. She’s got a big character, her records sound really global, she’s incredibly well connected and has a great team. “She completely leads the charge; we work in the background and follow her direction.” Stefflon Don is released in the US by Capitol Records via the Quality Control label – with fingers crossed for a big 2018 for the act in the States. “We know Steff is an absolute priority for QC and Capitol, and we have some big features in the bag to be revealed in the future,” said March. “We’re going to really put the time in the US next year with a lot of promo, with a January trip already locked in. And then her record will crack it wide open. “All the right people out there are saying the right things about her.” Ben Mortimer signed Mabel to Polydor over two years ago. The artist, the daughter of singer and songwriter Neneh Cherry and Massive Attack producer Cameron McVey, is currently working on her debut album – following the commercial success of Finders Keepers, which was released in May. “Only two other new British acts this year have had records stay in the Top 10 longer than Mabel [Rag N Bone Man and Jax Jones], and we know she’s going to become much more than one hit single,” said Mortimer. “I’ve heard the new music she’s got coming and it’s brilliant – she’s going to have a great career.” “I’ve heard the new music Mabel’s got coming and it’s brilliant – she’s going to have a great career.” Ben Mortimer, Polydor Added March: “We’ve been developing Mabel for nearly three years now and we’ve got some real breakout songs coming. Both Mabel and her manager, Radha, have been absolutely fantastic to work with.” As for the third finalist on the Critics’ Choice list… rumour has it that every major British label is extremely keen to bring Walsall-born Jorja Smith onto their rosters. But, for now, she remains committed to being an independent artist on her own label, FAMM. Said Mortimer: “Jorja Smith is an incredible artist – and, like many people, I think signing her would be a wonderful thing! “But you have to hand it to Jorja and Zubin [Irani, manager], who are doing a phenomenal job themselves. “We are full of respect and admiration for them.”Music Business Worldwide
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I, like many other viewers, burst with joy as I watched the singer jump up and down on the stage, barefoot and in tears of triumph. For some, Raye is a new artist behind catchy songs like 'Escapism', 'Prada' and 'Flip A Switch', but others are more familiar with the struggles faced by the 26-year-old singer-songwriter from Croydon since entering the music industry. As co-host Clara Amfo put it, "When we first met in 2014... from 10 years [ago], it just shows that you there is no such thing as an overnight success." Raye, whose full name is Rachel Keene, signed her first record deal with Polydor Records when she was just 17, who now have the likes of Billie Eilish, Olivia Rodrigo and Kendrick Lamar on their books. Despite joining for a four-album deal, her debut solo release, My 21st Century Blues, didn't come out until nine years later – when she had parted ways with the label, and was instead standing on her own two feet as an independent artist. As she accepts six out of seven awards she was nominated for at the BRITs, here's why her win is so important for the music industry and independent artists. Raye rose to fame at 19-years-old, when she featured on Jax Jones' catchy dance track, 'You Don't Know Me'. She then lent her dreamy vocals for similar songs by David Guetta and Major Lazer, and began writing music for the likes of Beyoncé, Ellie Goulding, Rita Ora and more. But, behind the scenes, she was struggling, and in 2021, Raye called out her record label, Polydor. In a series of posts on X (formerly known as Twitter) at the time, she wrote, "Imagine this pain. I have been signed to a major label since 2014… and I have had albums on albums of music sat in folders collecting dust, songs I am now giving away to A-list artists because I am still awaiting confirmation that I am good enough to release an album. "I’ve done everything they asked me, I switched genres, I worked seven days a week, ask anyone in the music game, they know. I’m done being a polite pop star. I want to make my album now. Please that is all I want," she concluded. Speaking to Cosmopolitan UK, she expanded, "I just felt awful. I wasn’t proud of my art or the way I was living... I wasn’t proud of the woman I was becoming. There was a lot of substance abuse, I was numbing my feelings. I had started avoiding the people who genuinely wanted the best for me because I didn’t want to have to look at my situation. I was spiralling." After her tweets went viral, Raye was released from her contract with Polydor without the threat of lawyers, and two years later, she released her first album, My 21st Century Blues, as an independent artist with distribution by Human Re Sources. As she makes BRIT Awards history, it highlights the importance of artists owning their choices. The music industry is dominated by record labels like Polydor, Universal and Sony, who often own the master rights to a musician's work. This means that the singers themselves can miss out on the money made from their music, with labels even deciding if and when an artist can release their records. But, with the rise of streaming meaning that a record deal isn't the only way into the industry, musicians are increasingly choosing to go it alone. Independent artist can have full creative control over the creation and direction of their music. While it often means that they have to front the costs, they also have full jurisdiction over distribution, marketing, artwork, deadlines and more. There are cons, yes, but the advantages are increasingly appealing in the age of streaming and social media. Whether it's Taylor Swift re-recording her albums so she can own her masters or Raye, Stormzy, Central Cee, Chance the Rapper and many more releasing their music independently, is it really any surprise that artists often know the best thing for their careers? Hopefully, Raye breaking records and winning Brits is just the tip of the iceberg when it comes to normalising this. "There is something so poetic about Raye breaking records with her debut album as an independent artist after being treated like sh*t by the industry for a decade," a fan wrote on X. "Few are as talented and work as hard as her. My 21st Century Blues is such a personal album and she deserves this." And I agree. "I want to normalise giving songwriters master royalty points," Raye said while accepting the Songwriter Of The Year award. "It doesn’t have to be at your expense, but it just means that if the songs win big, then the writers get to win big too. Please allow that to happen," she continued, addressing music executives. The singer making BRIT Award history is a win for independent musicians and artists everywhere, and given her experiences in the industry, there is no one more deserving than Raye. You Might Also Like
6803	dbpedia	3	9	https://www.bso.org/profiles/roger-daltrey	en	Roger Daltrey	https://dgpuo8cwvztoe.cl…mtime=1712771248	https://dgpuo8cwvztoe.cl…mtime=1712771248	[ "https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Andris-Nelsons/_s_xl/andris-nelsons.jpg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Andris-Nelsons/_s_lg/andris-nelsons.jpg 750w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Andris-Nelsons/_s_md/andris-nelsons.jpg 500w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Andris-Nelsons/_mm_ss/andris-nelsons.jpg 300w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Andris-Nelsons/_s_sm/andris-nelsons.jpg 250w", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Tanglewood-Campus/_s_xl/Tanglewood.jpg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Tanglewood-Campus/_s_lg/Tanglewood.jpg 750w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Tanglewood-Campus/_s_md/Tanglewood.jpg 500w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Tanglewood-Campus/_mm_ss/Tanglewood.jpg 300w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Tanglewood-Campus/_s_sm/Tanglewood.jpg 250w", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Keith-Lockhart/_f_xl/Best-Keith-0599.jpg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Keith-Lockhart/_f_lg/Best-Keith-0599.jpg 800w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Keith-Lockhart/_f_md/Best-Keith-0599.jpg 600w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Keith-Lockhart/_f_sm/Best-Keith-0599.jpg 300w", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Symphony-Hall/Exterior-Images/_s_xl/POPS_HALL_EXTERIOR_MBlanchard-Save-as-JPG.jpg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Symphony-Hall/Exterior-Images/_s_lg/POPS_HALL_EXTERIOR_MBlanchard-Save-as-JPG.jpg 750w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Symphony-Hall/Exterior-Images/_s_md/POPS_HALL_EXTERIOR_MBlanchard-Save-as-JPG.jpg 500w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Symphony-Hall/Exterior-Images/_mm_ss/POPS_HALL_EXTERIOR_MBlanchard-Save-as-JPG.jpg 300w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Venues/Symphony-Hall/Exterior-Images/_s_sm/POPS_HALL_EXTERIOR_MBlanchard-Save-as-JPG.jpg 250w", "https://www.bso.org//static/img/logos/print-logos.svg", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Event-Services/Gourmet-Caterers/food-photos/_o_xl/122023-256.jpg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Event-Services/Gourmet-Caterers/food-photos/_o_lg/122023-256.jpg 800w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Event-Services/Gourmet-Caterers/food-photos/_o_md/122023-256.jpg 600w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Event-Services/Gourmet-Caterers/food-photos/_o_sm/122023-256.jpg 300w", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_f_xl/Roger-Daltrey.jpeg 1000w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_f_lg/Roger-Daltrey.jpeg 800w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_f_md/Roger-Daltrey.jpeg 600w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_f_sm/Roger-Daltrey.jpeg 300w", "https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_h_xl/Roger-Daltrey.jpeg 1600w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_h_lg/Roger-Daltrey.jpeg 1200w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_h_md/Roger-Daltrey.jpeg 800w, https://dgpuo8cwvztoe.cloudfront.net/uploads/Musician-Portraits/Guest-Artists/_h_sm/Roger-Daltrey.jpeg 400w", "https://www.bso.org//static/img/logos/logo-mcc.svg" ]	[]	[]	[ "" ]	null	[ "Roger Daltrey" ]	null	If any one member of The Who can be said to be the group’s founding member, it is singer Roger Daltrey, who was born in the West London suburb of…	en	/static/img/favicon/apple-touch-icon.png	BSO	https://www.bso.org/profiles/roger-daltrey	If any one member of The Who can be said to be the group’s founding member, it is singer Roger Daltrey, who was born in the West London suburb of Shepherd’s Bush on March 1, 1944. Daltrey first assembled the group that would become The Who in 1959 while at Acton County School, recruiting John Entwistle and subsequently agreeing to Entwistle's proposal that Pete Townshend should join. In those days, Daltrey, whose daytime job was in a sheet metal factory, even made the band’s guitars, and it was his energy and ambition that drove the group during their formative years. That same energy, coupled with his unwavering resolve, has sustained the group during periods of uncertainty ever since. Daltrey's earliest tastes in music ran to the blues and R&B, which formed the setlist during their early years as the Detours, as well as fifties rock ’n’ roll, which is reflected in his outstanding interpretations of such noted Who covers as Summertime Blues and Shakin’ All Over. In surrendering his leadership of the band to Townshend when the latter became the group’s songwriter, Daltrey became the mouthpiece for Townshend's lyrics and ideas. At the same time, he contributed to the group’s sense of showmanship by developing his unique skill at twirling his microphone lead around like a lasso and, by the time of “Tommy” in 1969, becoming one of rock’s most iconic sex symbols with his golden curls, bare chest and fringed suede coats. In this respect, Daltrey became Tommy — the deaf, dumb, and blind boy of Townshend's imagination — and it was therefore only natural that he should assume the role in Ken Russell’s movie adaptation of the rock opera in 1975, for which he received a Golden Globe nomination. This, in turn, led Daltrey to develop a concurrent career as a film actor while continuing to sing with The Who. Other film credits over the years include Ken Russell’s "Lizstomania," the title role in "McVicar," "Lightning Jack" with Paul Hogan, "Teen Agent," and numerous roles in TV dramas. Most recently, he appeared in the U.S. CBS TV show "CSI" — which uses Who songs as theme music — as five separate, differently made-up characters, one of them a middle-aged African-American woman. Other U.S. TV appearances include "Lois & Clark" (Superman), "Midnight Caller," "William Tell," "Sliders," and "Highlander," as well as "Leprechauns" for Celtic Leprechaun Ltd. and "The Bill," the long-running U.K. TV police drama. He has also narrated a series for the History Channel, undergoing extreme hardships similar to those faced by pioneering settlers in America and elsewhere. Daltrey has also cultivated a singing career outside of The Who, beginning in 1973 when he found himself on the BBC’s “Top of the Pops,” the U.K.’s then-premier chart TV show, promoting the single “Giving It All Away,” which reached No. 5 in the U.K. charts. It was a track from his first solo album “Daltrey,” released that same year, which he followed up with the albums “Ride a Rock Horse” (1975), “One of the Boys” (1977), the soundtrack to “McVicar” (1980), and “After the Fire” (1985). Daltrey has appeared on stage away from The Who on many occasions, and his 1994 solo concert at New York’s Carnegie Hall with the Juilliard Orchestra was the fastest-selling event in the venue’s history. The following year he appeared on stage as the Tin Man in a production of The Wizard of Oz at Lincoln Center, and in 1998 he starred as Scrooge in A Christmas Carol at Madison Square Garden. He has also performed with his friends The Chieftains, the traditional Irish band, and toured the world with the British Rock Symphony interpreting a variety of rock classics. As well as being one of the original supporters of Nordoff Robbins, The Who have raised many millions for a multitude of charities throughout their career. Since 2000, Daltrey has been a patron of the Teenage Cancer Trust, a charity that builds specialized wards for teenagers with cancer in the U.K. That year Daltrey had the idea of setting up the first show at the Royal Albert Hall by “The Who & Friends,” with ticket sales and revenue from a DVD and CD raising over £1.2 million. As a result, Daltrey was given a Humanitarian Award in 2003 from Time magazine. In February 2005, Roger was awarded a CBE by the queen at Buckingham Palace for his services to music and good causes. As a member of The Who, who were already members of the Rock and Roll Hall of Fame, Daltrey was inducted in 2005 into the U.K. Music Hall of Fame. In December 2008, he and Pete Townshend were honored with America's most prestigious cultural award as recipients of the 31st annual Kennedy Center Honors in Washington, D.C., by then-President of the United States, George W. Bush. On March 4, 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field. On March 12, 2011, he received the Steiger Award in Germany for excellence in music. Daltrey and Pete Townshend received the Classic Album Award for “Quadrophenia” from the Classic Rock Roll of Honour Awards at the Roundhouse on November 9, 2011. On March 24, 2011, Daltrey and his band gave a complete performance of “Tommy” at a Teenage Cancer Trust show at the Royal Albert Hall, London, supported by imagery which he commissioned from students of Middlesex University. Over the next year, he toured “Tommy” in the U.S., Europe, and Japan. After playing the legendary Super Bowl in 2010 and closing the Olympics in 2012, The Who continued their charity work by playing a concert in January 2011 to raise money for trials of a new cancer treatment called PDT. Then in December 2012, they played at the Hurricane Sandy Benefit in New York, and in January 2014, they played a set to support the Stand Up to Cancer charity. Ever pursuing his mission to give something back to teenagers — “without whom,” as he said, “we would have no career” — in November 2012 Daltrey, with Pete Townshend at his side, launched Teen Cancer America. The charity is now established in the U.S., with offices in Los Angeles and devoted Teen Cancer units being opened in hospitals all over the U.S. Between November 2012 and July 2013, The Who toured an arena production of “Quadrophenia + More” in the U.S. and the U.K., with added shows in Paris and Amsterdam. Daltrey directed the staging and visuals of the show himself. The tour received rave reviews from the press and fans alike. In December 2013, Daltrey recorded an album with Wilko Johnson, guitarist of the legendary British R&B band Dr. Feelgood, for release on the revived Chess Label in March 2014. The album charted at No. 3 and sold over 150,000 copies in the U.K. In October 2014, The Who embarked on a critically acclaimed U.K. and U.S. tour to mark their 50th anniversary, which included headlining at Hyde Park and Glastonbury. The tour lasted until May 2016, raising over $500,000 for Teen Cancer America along the way. At the end of the tour on May 31, 2016, Daltrey and The Who played at a benefit in Los Angeles raising $1.5 million for Teen Cancer America and an equal amount for an autism charity. In 2016, The Who performed further shows, including headlining the Isle of Wight and playing at the Festival in the Desert in October. In 2017, they did a residency at Caesars Palace in Las Vegas as well as several other U.S. shows and toured South America for the first time. They still found time for a short U.K. tour and performed “Tommy” at the Royal Albert Hall to benefit the Teenage Cancer Trust. 2018 saw the release of Daltrey’s autobiography and his first solo album in 26 years as well as a hugely successful orchestral solo tour of “Tommy” in the U.S. He also organized a benefit in L.A. for Teen Cancer America featuring Ed Sheeran, Van Morrison, Don Maclean, Jewel, and Daltrey’s solo band that raised $2 million for his charity. 2019 saw The Who on the road again with a 46-piece orchestra touring the U.S. and playing at Wembley Stadium in July. In June, Daltrey celebrated the 50th anniversary of the release of “Tommy” with a live recording of his 2018 solo orchestral tour followed by another star-studded benefit show in L.A. for Teen Cancer featuring The Who, the Foo Fighters, Pink, and Kenny Loggins that raised another $2 million for the charity. A new Who album “WHO” was released in December to massive critical acclaim, charting at No. 2 in the U.S. and No. 3 in the U.K. The same month saw them being the first artists to be honored with a stone on the new Camden Music Walk of Fame before the pandemic prevented The Who from doing their U.K. and U.S. tours in 2020. 2022 saw him touring the U.S. again with The Who as well as a string of solo dates in the U.K. during the summer in what was one of his busiest years ever. 2023 saw him touring Europe and the U.K. with The Who. However busy he is with his solo work and charitable endeavors, the group he formed at a Shepherd's Bush youth club at the age of 16 will always be his first love. Even more than his colleagues, it has been Daltrey who has done his best to keep The Who's flag flying during those periods when Townshend felt the need to seek creative outlets elsewhere. The respect he has earned from Who fans as a result is something he cherishes deeply. This was never more apparent than when, in 1995, Daltrey took the trouble to generously assemble a band to appear at the first British Who Convention, organized by Who fans for Who fans, at Shepherd's Bush, the area of London where he was born which has become synonymous with the band. As the ad hoc group, which included John Entwistle and Townshend's brother Simon, left the stage, Daltrey gazed over the sea of faces. “Thank you,” he said, genuinely moved by the occasion. “You've given us a wonderful life.”
6803	dbpedia	0	91	https://chirpradio.org/blog/music-as-memory-getting-witchy-with-tori-amos	en	Music as Memory: Getting Witchy with Tori Amos	https://chirpradio.org/_…fav/facebook.png	https://chirpradio.org/_…fav/facebook.png	[ "https://www.facebook.com/tr?id=1228460400651747&ev=PageView&noscript=1", "https://chirpradio.org/_/files/blog/Pics_2018_Jan_Jun/tori_boys.jpg", "https://chirpradio.org/_/files/ads/social square1.png", "https://chirpradio.org/_/img/logos/chirprecordfair.png", "https://chirpradio.org/_/img/logos/chirpvolunteers.png", "https://chirpradio.org/_/img/logos/chirpfirsttime.png", "https://chirpradio.org/_/img/logos/chirp_logos_2024.png, /_/img/logos/chirp_logos_2024@2x.png 2x" ]	[]	[]	[ "low power fm", "lpfm", "independent radio", "indie radio", "live radio", "freeform radio", "internet radio", "radio", "music", "news", "independent music", "indie music", "independent media", "chicago indie radio", "chicago independent radio project", "chicago", "dj", "live dj" ]	null	[]	2024-08-16T22:31:36	CHIRPradio.org is a listener-supported music and arts focused community radio station in Chicago staffed by more than 150 volunteers.	en	/_/img/fav/apple-touch-icon-144.png		https://chirpradio.org/?blog/music-as-memory-getting-witchy-with-tori-amos	theironkurtain writesMusic as Memory: Getting Witchy with Tori Amos by Kurt Conley May 30th, 1996, Benedum Center, Pittsburgh, PA September 12th, 1996, Warner Theater, Erie, PA When I think about certain musicians, I tend to think of them in relationship terms. Things can start hot and heavy when I discover a new artist, and all I can do is think about them, wanting to consume everything they have to offer. Eventually, things cool off and maybe I stop seeing them. Or we fall into a comfortable routine. Or maybe I just ghost on them altogether. This is my roundabout way of saying my long term relationship with Tori Amos is a complicated one. It started out carefree and fun in the early '90s. I first discovered her on Canadian television. Erie county is relatively close to Canada, and that allowed for us to pick up Toronto’s City TV station. It was my go-to channel for the many years we didn’t have cable. There were a few programs in particular that would show music videos, and that’s where I saw the video for “Cornflake Girl,” one of Amos’ biggest hits. I wouldn’t become enamored with her fully until the release of Boys for Pele. To this day, it’s still my favorite Tori album. Dark, sweeping, gothic without being “goth,” and achingly, wonderfully poetic. Around the same time, The Craft had arrived in theaters, and I was all about exploring my pagan side, so Tori’s esoteric lyrics struck me at exactly the right time. I didn’t at first recognize the feminist overtones of lyrics like “I’ve shaved every place that you’ve been, boy,” but it was the audacity of her music that captured my attention. The sumptuous harpsichord of “Blood Roses” thrumming in after the plantive, piano-driven “Horses” left me dumbstruck and smitten. Unsurprisingly, my dad played her albums even more than I did. At first he listened to her with trepidation. Maybe it was too girly for him? But once he gave them the time of day, he’d play her first two albums, Little Earthquakes and Under the Pink, almost religiously. When she announced her “Dew Drop Inn” tour, my dad and I were two of the first people in line for tickets. This was just before the age of online ticket sales. Only a few places sold Ticketmaster tickets in Erie, and if you wanted good seats, you had to be in line early. And the chilly Erie spring made it even harder. But we were resolute. As were the group of girls in line in front of us. Unbeknownst to either of us, these gals would wind up being a significant part of our lives. We called them the Meadville Witches. I don’t think they ever knew that’s what we affectionately referred to them as, but it was fitting. Even though none of them actually practiced witchcraft. Some of their names escape me, but the core group was Diane, Dee (Diane’s girlfriend), and Emmy. They all lived in Meadville, a town about 30 minutes south of Erie (which was a cultural hotbed by comparison). They were all older than me—graduated high school or just about to—in varying shades of punk and goth, and they all smoked like Dickensian chimneys. Not sure if it was the camaraderie of waiting in the cold for tickets or just my dad’s charming and gregarious nature (at that point I was a notorious introvert), but after that we all became fast friends. The concert was at the Benedum Center in Pittsburgh, a gorgeous theater that gives some of the venues in Chicago a run for their money. We had seats in the mezzanine, my dad, Kellea and I. The Witches had seats near the front row. It was a breathtaking show. At one point, my dad had to step out because he got so emotional. About halfway through her set, Tori’s harpsichord broke—Boys for Pele was largely performed on it—she recovered with aplomb, shifting over to her piano and making up a new set list on the spot. On the way back from the concert, we all stopped at the Denny’s in Mars, PA (about halfway between Pittsburgh and Erie) and ate bad food and talked Tori, with the Witches smoking the entire time. The idea of a smoking section in a restaurant is laughable today, but it was still ubiquitous in the '90s. Cigarette smoke would be a point of contention between me and the Witches for as long as I knew them. Between then and our next Tori concert in September, the Witches would be a semi-permanent fixture at our house. I’d stay up in my room, though; the aforementioned cigarettes and introverted nature kept me hidden away. And for as cool as I thought they were, I was intimidated by the Witches. They were strange and wild and boisterous and older and I hadn’t encountered anyone like them before. There were times I’d hang out with them, usually when it was just Diane or Emmy or Dee, who’d come upstairs to chat with me about our other favorite musician, PJ Harvey. But when they all got together they were an extroverted force of nature, and I shied away from them. September came around, and for me a cold came with it. I was on the other side of my illness when our entourage walked into the Warner Theater. It’s one of the coolest places Erie has to offer; a classic theater about half the size of the Benedum but just as beautiful. It was a boon when anyone of note would deign to play our tiny city. And Tori playing Erie was a big deal. Maybe it was the cold medicine, but the energy in the theater that evening was palpable. It surged and swayed and I felt carried off by it. To this day I still believe that that show cured my cold. By the time she’d done a second encore, I felt entirely fine. In retrospect, my honeymoon phase with Tori ended that night. The Witches would go their separate ways in the early 2000s; most of them had graduated and moved away, which meant no more hanging out downstairs. We’d see Diane and Dee now and again, but they stopped coming by after a while. Last time we saw Diane, she was getting into heavier drugs than cigarettes and pot, and we eased away from hanging out with her. I still wonder where she is now. Regardless of her drug use, she was an incredibly smart and warm person and I hope she’s out there still causing trouble. I’d see Dee again years later, in 2007, when I was an undergrad in college. She was finishing up her graduate degree at the same university. We didn’t talk much, but it was nice to see each other in the halls. Much like my relationship with the Witches, my relationship with Tori petered out. After Boys for Pele came From the Choir Girl Hotel and To Venus and Back, which I both enjoyed, but it felt like diminshing returns. I fell out of touch with her. I’d give each consecutive album a listen, but all with varying degrees of quality. I didn’t necessarily want another Pele—I understood a singular work when I heard it—but much of her later music fails to touch upon that era. To this day we remain friends that enjoy the idea of each other’s company, and might say hello to each other in passing, but we’ll fail to ever reconnect. Just like the Witches and I. Both the Benedum Center for the Performing Arts and the Warner Theater are still host to a wide variety of performances. Boys for Pele recommended listening: “Blood Roses” “Little Amsterdam” “Not the Red Baron” “Doughnut Song”
6803	dbpedia	2	67	https://notion.online/polydor-2021-declan-j-donovan/	en	Polydor 2021: Declan J Donovan	https://d2ljoqkkoec4f6.c…2845/decmain.jpg	https://d2ljoqkkoec4f6.c…2845/decmain.jpg	[ "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/10/28113940/notion_logo.svg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/10/28113940/notion_logo.svg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01114416/1200px-POLYDOR_LOGO.svg-330x150.png", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/01114416/1200px-POLYDOR_LOGO.svg-330x150.png", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132725/d2-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132902/dq-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132902/dq-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132800/d4-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132800/d4-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132743/d3-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04132743/d3-545x750.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04150344/d.jpg", "https://d2ljoqkkoec4f6.cloudfront.net/wp-content/uploads/2020/12/04150344/d.jpg" ]	[]	[]	[ "" ]	null	[ "Blessing Borode" ]	2021-01-04T10:00:10+00:00	Declan J Donovan shares how his music helps him through challenging times, his favourite place to write and what we can expect from him in the near future.	en	https://d2ljoqkkoec4f6.c…icon-1-32x32.png	Notion	https://notion.online/polydor-2021-declan-j-donovan/	Essex based singer and songwriter, Declan J Donovan, first made an appearance into the scene in 2017 with a song titled “Fallen So Young” – independently recorded and released on Soundcloud. Little fact – the song was originally written for his brother’s wedding. The mellow guitar-driven track gathered over a million streams within six months and from that point onwards it has been a journey of growth and maturity in the singer’s writing and overall style. Declan’s latest release, “Perfectly Imperfect” (released via Polydor Records) is a true testament to this, touching on the topic of self-worth and inner beauty he displays his powerful yet delicate vocal range. In 2018, Donovan had the chance to grace the stage at BBC Music’s Biggest Weekend as an unsigned artist where he appeared alongside Taylor Swift, Sam Smith, Florence + The Machine and more. Donovan’s voice is instantly noticeable, with lyrics that feel as though he is baring his soul to his listeners and vulnerability that exudes off of every track. We had the chance to chat with Declan J Donovan at the Polydor 2021 artist showcase to see what his plans are for the near future and more. How much of your writing is autobiographical, and how much is derived from dreams and the lives of others? I’d say that it’s very 50/50. I get so inspired by lots of things! Whether it’s a story from a friend or an amazing film I’ve watched, but lately I’ve been writing much more about my own life. How do you want people to feel when they listen to your music? I want them to feel whatever they want to feel really! I love the nostalgic aspect of music so I’d probably say that. If you could summarise it, what would be the story of how you became a musician? I wrote a song for my brothers wedding back in 2014, and then released it on sound cloud a few months later. And it completely kickstarted my career out of nowhere after the song went viral! Which artists have been the most instrumental in influencing your sound? Bon iver and Matt Corby are two artists I’ve always looked up to and I’d say that had the biggest impact on me when I was starting out making music. What are you hoping to achieve in the next few years? Mainly to just Be happy! And hopefully have an album out. I don’t like to put too much pressure on myself and just trust the process. What would be your dream collab? My dream collab songwriting wise would be Ryan Tedder, he’s been my favourite writer for years. What is something you’d like people to know about you? Ive got double jointed thumbs so they’re crazy bendy As a musician, how has artistic expression helped you through tough times? I think just having the freedom to make whatever music I wanna make and that helps me be as honest as possible in my music Where do you love to write the most? Is there anywhere in particular you feel most inspired or creative? Writing in Devon in the countryside with my close mates is definitely the place I feel most inspired! But different from the outside of my house in Essex haha. What can we expect next from you? More music! I’m writing all the time and hopefully a few collabs coming soon.
6803	dbpedia	2	88	https://www.tiktok.com/%40polydorrecords/video/7260165102773538074	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
6803	dbpedia	3	50	https://www.laphil.com/musicdb/artists/1334/roger-daltrey	en	Roger Daltrey	https://ucarecdn.com/f02fe934-5219-4be7-a892-77bff6e097d7/-/crop/1900x997/0,266/-/resize/1200x630/	https://ucarecdn.com/f02fe934-5219-4be7-a892-77bff6e097d7/-/crop/1900x997/0,266/-/resize/1200x630/	[ "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/static-avatar.png", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-desktop.svg", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-desktop-white.svg", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-mobile-black.svg", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-mobile-white.svg", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-mobile-white.svg" ]	[]	[]	[ "" ]	null	[]	null	Roger Daltrey, , Los Angeles Philharmonic	en	https://ucarecdn.com/f4a28915-0e67-4482-a319-8f1a76bfc1d1/-/preview/180x180/	LA Phil	https://www.laphil.com/musicdb/artists/1334/roger-daltrey	ROGER DALTREY has been a world-famous star since the early sixties when as lead singer of The Who he embarked upon a career as a recording and performing artist that ranks him as one of the four or five best known lead singers in the history of rock music. Since then, The Who have sold approximately 100 million albums and toured extensively round the world, but have undoubtedly been most successful in the USA where, even more than in their home territory of the UK, The Who are renowned as the biggest touring rock band in history. The awards and prizes that Roger Daltrey has won in that time are too numerous to list, but apart from a multitude of gold and platinum albums, he has won the two most prestigious British awards - namely The Brit award and Ivor Novello award - both for special achievement in popular music. He has also received the Nordoff Robbins' award for special achievement and The Who have also been inducted into The Rock 'n' Roll Hall Of Fame. The Who achieved world-wide acclaim for touring the first ever rock opera, Tommy, in prestigious theaters and opera houses internationally. They were the first and only band to ever perform at the New York Metropolitan Opera House. Roger Daltrey created the role of Tommy which led to the Tony award-winning Broadway production. His acting career, which started in the early seventies, includes the title role in the Ken Russell film Tommy, for which he received a Golden Globe nomination. Other film credits include Ken Russell's Lisztomania, the title role in McVicar, Lightning Jack with Paul Hogan and Teen Agent. He is currently filming a series for the History Channel. Among his many film and TV credits are: The Dromio Twins in Shakespeare's "Comedy Of Errors" -- (BBC TV and PBS) Macheath in Jonathan Miller's "The Beggar's Opera" -- (BBC TV and PBS) The Narrator in "Threepenny Opera - Mack The Knife" -- US film Lois & Clark (Superman) -- US TV Midnight Caller -- US TV William Tell -- US TV Sliders -- US TV Highlander -- US TV Leprechauns -- Celtic Leprechaun Ltd The Bill -- Pearson As a solo recording and performing artist he enjoyed great success from the seventies to the nineties with many hit singles and in 1994 his solo concert at Carnegie Hall, with The Juilliard Orchestra, was the fastest selling event in the venue's history. He also appeared on stage as The Tin Man in a production of The Wizard of Oz at Lincoln Center in 1995 with Deborah Winger, Jackson Browne, Natalie Cole, and Nathan Lane. In 1996 and 1997 he co-produced, directed and starred with other members of The Who and guest stars in an audio-visual presentation of the rock-opera Quadrophenia in which the opera was performed interacting with a background of documentary and dramatic film footage and toured all over the USA and Europe. In 1998 he starred as Scrooge in A Christmas Carol at Madison Square Garden. The Who reformed in late 1999 for a series of charity concerts in the USA, and in 2000 completed a hugely successful soldout US Tour. This was followed by a concert at The Royal Albert Hall in London with various guest artists including Eddie Vedder and Bryan Adams which, together with the DVD and CD of the concert, has raised over $2 million for The Teenage Cancer Trust, a charity that builds specialised wards for teenagers with cancer in the UK. Roger has become patron of this charity and organised concerts in 2001 and 2002 featuring the cream of British rock musicians, raising a huge amount for the charity and winning him a Humanitarian Award in 2003 from Time magazine. In October 2001, Roger and The Who stole the show at The Concert For New York in aid of victims of the September 11th attacks. In 2002 The Who undertook another US tour, marred by the tragic death on the eve of the tour of Roger's friend and bandmate John Entwistle. The tour carried on to huge acclaim, and Roger and Pete as the surviving members plan to continue touring. A new album, their first in over 20 years, is scheduled for 2004. Donations to The Teenage Cancer Trust can be given through their website www.teencancer.org
6803	dbpedia	3	11	https://www.usatoday.com/story/entertainment/music/2024/06/07/roger-daltrey-interview/74005347007/	en	Roger Daltrey says live music is 'the only thing that hasn’t been stolen by the internet'	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/videos/videoelephant/thumbnails/72954972007.jpg", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-play-alt-white.svg", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png" ]	[]	[]	[ "" ]	null	[ "USA TODAY", "Melissa Ruggieri" ]	2024-06-07T00:00:00	We talk to Roger Daltrey, legendary frontman of The Who, as he embarks on a solo tour. He's as bitingly honest and funny as fans would expect.	en	https://www.gannett-cdn.…ages/favicon.png	USA TODAY	https://www.usatoday.com/story/entertainment/music/2024/06/07/roger-daltrey-interview/74005347007/	Roger Daltrey has some thoughts. He doesn’t want to disclose much about his impending electric/acoustic summer solo tour because he doesn't want to ruin any potential surprises. "Remember the days when you would go to a show and be wowed because you didn’t know what was next? There’s something to be said about mystique,” he says. While he reaffirms his comment to USA TODAY from 2023 that he doubts The Who would ever play the U.S. again, he also wishes, in a way, that “we could go backward. I’d love to show people where we started, with a lot of energy.” So, is that a possibility? “No,” he says with a laugh. “We’re too old. I’d have a go at it, but Pete (Townshend) would have quite a shock. In those days, what we lacked in technique, we made up for in volume, and we can’t do that anymore.” How about the current version of The Who’s masterful rock opera “Tommy” now playing on Broadway. Has he seen it? “No.” Does he plan to? “No.” But Daltrey will never shirk from elaborating a position. “I’m just not interested. I prefer the original, the original, the original. The Who created the best rock opera ever written and it should remain there as far as I’m concerned.” When he mentions that longtime guitarist in his solo band, Simon Townshend – younger brother of Who legend Pete – is “my soul partner on the road. He’s my replacement for Pete,” one wonders how Pete feels about this. “I don’t know. And I don’t care.” More: Robert Plant and Alison Krauss are equal parts ribbing and respect ahead of summer tour Daltrey’s bracing honesty is both amusing and laudable. His comments could be construed as the crankiness of an 80-year-old, but his demeanor is that of a bloke in a pub having a pint and laughing as easily at himself as the world around him. And really, his bluntness should be celebrated, because even if you disagree with his positions, he makes valid points. As one of the most captivating frontmen in rock ‘n’ roll history, Daltrey has pushed his gritty roar of a voice behind timeless anthems – “Won’t Get Fooled Again,” “Baba O’Riley,” “Pinball Wizard,” “Who Are You” – and searing ballads such as “Behind Blue Eyes” and the whisper-to-a-bellow “Love, Reign O’er Me.” His 11-date summer tour kicks off June 10 in Glenside, Pennsylvania, before making stops in northern Virginia, upstate New York, Boston and Detroit among other cities. He’ll be joined by the aforementioned Simon Townshend on guitar, Scott Devours on drums, Geraint Watkins on keyboards and accordion, John Hogg on bass, Doug Boyle on guitar, Jody Linscott on percussion, Katie Jacoby on violin, Steve Weston on harmonica and Billy Nicholls on mandolin. It’s a large ensemble for a tour billed as semi-acoustic, but Daltrey quickly clarifies that attendees shouldn’t expect a quiet evening of unplugged classics. “It’s just varied instrumentation. The one thing about the show, though, is no synthesizers, which I’m happy about,” he says. “I like the rawness of real instruments and in some ways (synths) can wind up doing too much.” So “Baba O’Riley” will be minus its synth loop and “Won’t Get Fooled” also scrubbed to basics, which Daltrey is anticipating. “It opens people’s minds to maybe hearing the song for the first time,” he says. The show will also include songs pulled from his 10 solo albums, possibly some covers and a Q&A segment with the audience. Despite the uncertainty that comes with giving the mic to fans, Daltrey is undaunted about the questions he might field. “I didn’t say I’m going to answer all of them,” he says with a chuckle. “A lot are so stupid you wouldn’t want to hear the answers, anyway. But it can be a lot of fun, or it can be disastrous if the questions aren’t any good.” The openers on his June run of dates are a rotation of KT Tunstall, Dan Bern, Leslie Mendelson and Inhaler. Tunstall, of “Black Horse and the Cherry Tree” fame, will join the bill on most shows and Daltrey says he chose her because “she’s a fabulous artist, really gutsy. That’s what it’s all about.” Daltrey first met Tunstall in 2014, when she performed at his dearly held annual Teenage Cancer Trust concert. Since 2000, Daltrey has curated the all-star event at the Royal Albert Hall in London, raising more than $40 million for the Teenage Cancer Trust organization, which funds specialized nurses and hospital units in the U.K.’s National Health Service along with additional support for young people with cancer. More: The Beatles' 'Love' closes July 6. Why Ringo Starr says 'it’s worth seeing' while you can After this year’s installment in January – which featured a walloping lineup including longtime pal Robert Plant, Eddie Vedder and Pete Townshend – Daltrey announced he would step down as curator. “I don’t feel at this age I can be responsible for the charity,” he says, noting that he will remain in an honorary position and if a concert curator isn’t available for the 2025 edition, he’ll happily assume his position one more time. But, he says, “I just feel I’ve got to hand it over to younger blood to carry it forward … but I’ll always be there for it.” Daltrey’s involvement in the charity always pokes at his softer side. But he wouldn’t be Daltrey without offering one more worldly perspective. “This whole tour,” he says, “I just want to make sure we give the audience a great time. It’s a tough old world at the moment and thank God live music is there and that it’s the only thing that hasn’t been stolen by the internet. I think all of the YouTube stuff is very unhelpful. I don’t think it enhances (getting) anyone’s bums in seats. I think people are much more likely to go if they don’t know what to expect,” he says. Then adds with another throaty laugh, “Let’s go watch them fail!”
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6803	dbpedia	3	31	https://www.wnycstudios.org/podcasts/heresthething/episodes/roger-daltrey-founder-and-lead-singer-of-the-who	en	Roger Daltrey, Founder and Lead Singer of The Who	https://media.wnyc.org/i…P_7603111399.jpg	https://media.wnyc.org/i…P_7603111399.jpg	[ "https://media.wnyc.org/i/200/200/l/85/1/HTT_Square_1400X1400_P4m1AUj.png", "https://media.wnyc.org/i/200/200/l/85/1/HTT_Square_1400X1400_P4m1AUj.png", "https://media.wnyc.org/i/800/0/l/85/2018/11/AP_7603111399.jpg", "https://media.wnyc.org/i/216/116/l/85/1/dark_at_2x.png", "https://media.wnyc.org/i/400/400/l/85/1/stay_tuned_with_preet_3000x3000.jpg", "https://media.wnyc.org/i/400/400/l/85/1/snap-judgment-wnyc.jpg", "https://media.wnyc.org/i/400/400/l/85/2019/01/The_New_Yorker_Radio_Hour_Logo_3000x3000_final_nb.png", "https://media.wnyc.org/i/400/400/l/85/1/APOW_1000px_9jxwcaT.png" ]	[]	[]	[ "podcasts", "npr", "new york", "WNYC Studios", "arts", "culture", "classical", "music", "news", "public", "radio" ]	null	[]	null	The Who helped invent power pop, arena rock -- maybe even punk. Roger Daltrey, with Jagger and Plant, invented the rockstar mystique. Daltrey tells Alec the story behind the band.	en	//www.wnycstudios.org/favicon.ico	WNYC Studios	https://www.wnycstudios.org/podcasts/heresthething/episodes/roger-daltrey-founder-and-lead-singer-of-the-who
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"https://ichef.bbci.co.uk/news/240/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 240w,https://ichef.bbci.co.uk/news/320/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 320w,https://ichef.bbci.co.uk/news/480/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 480w,https://ichef.bbci.co.uk/news/640/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 640w,https://ichef.bbci.co.uk/news/800/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 800w,https://ichef.bbci.co.uk/news/1024/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 1024w,https://ichef.bbci.co.uk/news/1536/cpsprodpb/cdf3/live/2bb53c20-5be9-11ef-b970-9f202720b57a.jpg.webp 1536w", "https://www.bbc.com/bbcx/grey-placeholder.png", "https://ichef.bbci.co.uk/news/240/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 240w,https://ichef.bbci.co.uk/news/320/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 320w,https://ichef.bbci.co.uk/news/480/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 480w,https://ichef.bbci.co.uk/news/640/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 640w,https://ichef.bbci.co.uk/news/800/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 800w,https://ichef.bbci.co.uk/news/1024/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 1024w,https://ichef.bbci.co.uk/news/1536/cpsprodpb/12dd/live/b9515ed0-5bc4-11ef-b073-d3921346410f.jpg.webp 1536w" ]	[]	[]	[ "" ]	null	[ "Interview Sam Gruet" ]	2021-06-30T11:54:43+00:00	The 23-year-old Call on Me singer says she's done "everything" the record label's asked her for.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/news/newsbeat-57663925	Singer-songwriter Raye says she's been left in "tears and pain" as her record label holds back the release of her debut album. The singer said in a series of tweets that the situation with Polydor - who she was signed by in 2014 - has made her "not want to get out of bed". And speaking to Radio 1 Newsbeat, the 23-year-old said she's "reached breaking point". A Polydor spokeswoman said the record label was "saddened" by Raye's tweets. She added that they've contacted Raye's management team "to discuss and offer our full support". The singer, who has collaborated with Rudimental and David Guetta, released her new single, Call on Me, earlier this month. She said she'll only be allowed to make an album if the single does well. She told Newsbeat that not releasing an album yet makes her "feel like a fraud". "Imagine the pressure of me waking up every day frantically looking at numbers and stats," she added in her Twitter thread. Raye first released music on her record label in 2016 with singles Distraction, Ambition - which featured Stormzy - and I, U, Us. In her tweets, she said: "I've done everything [Polydor] asked me, I switched genres, I worked seven days a week. "I'm done being a polite pop star." Raye, who was born Rachel Keen, told Newsbeat she's "not sad" about not having solo success so far because she's not in this "for the numbers". "For me it's always been about the art. But it makes it difficult when I'm feeling I'm not good enough or being told it's not good enough when I'm not doing those numbers on singles." Raye said she truly believes "great music finds the light", especially in the age of streaming. "Music speaks louder than words, a sales pitch or marketing campaign could ever," she said. "We've seen music erupt and blow everyone's expectations, and it's come from the weirdest places. I disagree with limiting artists to one attempt in a single as opposed to a body of work." 'Run for the hills' Raye added that if she could go back in time and tell her 16-year-old anything, it would be to "run for the hills". "Knowing what I know now, I would not have put pen to paper on a full album record deal." She said Polydor are "an incredible company when they want to be" but if they're not going to let her release an album, she wants them to "just let me go". Polydor haven't responded to a request for comment on the interview Raye has given to Newsbeat. Allow Twitter content? This article contains content provided by Twitter . We ask for your permission before anything is loaded, as they may be using cookies and other technologies. You may want to read and before accepting. To view this content choose ‘accept and continue’. Other stars have been quick to show their support, including fellow singer-songwriter MNEK. Raye describes feeling "liberated" by tweeting and says it's good for her fans to "understand why I haven't released an album". "It's made me feel like I do have a voice and I'm not alone in feeling like this. A lot of artists have reached out to me and said they're in the same situation," she says.
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It includes the band’s first two studio albums In The City and This Is The Modern World, demos, live tracks and Peel sessions, as well as the five disc which brings the visual work together. A pretty busy year – and all the more astonishing considering that five years between albums is not unheard of for some acts. ‘In The City’ still stands as one of the great debut singles. Like all great debuts should do, it sounds like a manifesto and a call to arms. Paul Weller was just eighteen and exhorting listeners to come to London and hear what was going on. ‘In the city there’s a thousand things I want to say to you But when I approach you, you make me look a fool I wanna say, I wanna tell you About the young ideas but you turn them into fears.’ It still sounds astonishingly fresh. The descending chord structure that opens the song was blatantly cribbed by the Sex Pistols for their ‘Holidays In The Sun’ (frankly, it would need a musicologist to show the latter wasn’t a crib.) As for the parent album, it fair crackles along. Weller drew on the likes of The Kinks and The Who (it could be said that his voice has echoes of Roger Daltrey and his guitar-playing is certainly shaped by Pete Townshend). If the throwaway cover of the Batman theme seems like filler, then songs like ‘Art School’ and ‘Away From The Numbers’ means that the title track was no fluke. Inbetween the release of their debut album and their second The Jam released a second single ‘All Around The World’ coupled with ‘Carnaby Street.’ The b-side is probably better – but it’s a sign of how The Jam would do things. The band would make a number of strong non-album singles in the years to come – ‘When You’re Young’ ‘Going Underground’ and perhaps their finest single of all ‘Strange Town.’ This Is The Modern World followed a mere seven months after the debut. Perhaps anticipating the difficulties that affect the reception of a second album, Weller snarls: ‘Don’t have to explain myself to you I don’t give two fucks about your review.’ Did he need to worry? If he had seen how beloved the band would be forty years on, maybe he wouldn’t have been so defensive. There’s evidence of Weller’s growing maturity as a songwriter – ‘Here Comes The Weekend’ and ‘Tonight At Noon’ while Bruce Foxton contributes one of the most underrated songs in The Jam’s catalogue ‘Don’t Tell Them You’re Sane.’ Even in terms of covers the band had stepped up a gear and given the first indication of how soul would shape the band; the album finishes with an energetic, if a little rough and ready version of Wilson Pickett’s ‘In The Midnight Hour.’ The Jam have often been re-packaged over the years since they split in late 1982 – and it’s impressive how much extra material has been brought together here. The John Peel session version of ‘In The City’ is sufficiently different to the album version and an energetic live version of ‘Carnaby Street’ are amongst the highlights. In terms of what the band would achieve over the next few years, it may be said that their first year was the band just getting into their stride. The band’s third album All Mod Cons, released in 1978, was the start of them becoming a truly great band. But the box set gives a compelling insight into just what helped them lay the groundwork for the coming years.
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"https://i.dailymail.co.uk/1s/2024/08/01/12/88037135-0-image-m-24_1722512904452.jpg", "https://i.dailymail.co.uk/1s/2024/07/30/14/87943623-0-image-m-9_1722347631539.jpg", "https://i.dailymail.co.uk/i/furniture/misc/logo_cookie_reg.png" ]	[]	[]	[ "dailymail", "femail", "Brit Awards", "Raye", "London", "Harry Styles", "Adele" ]	null	[ "Lydia Hawken", "Lydia Hawken For Mailonline", "www.facebook.com" ]	2024-03-03T12:16:57+00:00	The singer-songwriter, 26, from South London , made Brit Award history when she scooped six accolades in one night - beating records set by Blur, Harry Styles and Adele .		/favicon.ico?v=2	Mail Online	https://www.dailymail.co.uk/femail/article-13151273/raye-brit-awards-rise-fame-drop-school-music-label-battle.html	She once described herself a 'little girl from Croydon with a dream' - and at last night's Brit Awards, they all seemed to finally come true for Raye. The singer-songwriter, 26, from South London, made Brit Award history when she scooped six accolades in one night - beating records set by Blur, Harry Styles and Adele. Raye, whose full name is Rachel Agatha Keen, won Best New Artist, Songwriter of the Year, Song of the Year, Best R&B Act, Artist of the Year and Mastercard's Album of the Year. For the final award, the star - who was forced to release her music independently after being restricted by a previous record label - was in floods of tears as she was joined by her grandmother on stage. She said: 'You just don't understand what this means to me. I'm ugly crying on national television. 'All I ever wanted to be was an artist, and now I'm an artist with an album of the year. Thank you so much, this is too much - come on Grandma, let's go.' As a teenager, Raye attended BRIT school for two years before then dropping out because she 'hated being told how to write a song'. When she was 17-year-old, the rising star was assaulted by a music producer - and revealed how she turned to alcohol and drugs to cope. Since then, Raye has appointed her father as her manager while she also works closely with her sister. In June 2021, Raye revealed that her record label, Polydor Records, had been withholding her debut album for several years - forcing her to then release her music independently. Here FEMAIL delves into Raye's incredible rise to fame and her remarkable musical comeback. South London upbringing and dropping out of school Rachel Keen was born in Tooting to a Ghanaian-Swiss mother and English father and was one of three daughters. When Raye was still a child, the family relocated to Croydon - where she attended Woodcote High School. In an interview with F Word magazine, Raye said Croydon was a 'really great place to grow up'. She explained: '[It is] very down to earth, very multi-cultured, very fun, really great. I grew up in the church as well, so I go to church every Sunday with the family. 'That’s where I learnt how to sing and understand my love for music.' When she was 14 years old, Raye was accepted into Brit School - whose alumnae include Adele, Ella Eyre, Jessie J and Leona Lewis. Speaking to The Times earlier this month, Raye explained how she dropped out of the school after two years because she 'hated' being told how to write a song. She said: 'It’s not in my nature to follow rules. I didn’t get on with them in school and I don’t understand why they even exist in music. 'I love songs that don’t do what you expect them to. For me it’s liberating to write something sonically different every time that doesn’t sound like anyone else. Otherwise, what’s the point?' What's more, the star also told the BBC that she felt 'confined' as a student at Brit school - as other students were all 'cool, underground, indie artists'. Bagging first record deal When she was 16 years old, radio host Clara Amfo played Raye's music on her show for the first time. The following year, she signed a four-album deal with the record label Polydor. In 2017, she was shortlisted for the BBC Music Sound of… award and came in third place. After this, she won at the ASCAP London Music Awards and was nominated for a BRIT award for her You Don't Know Me single in 2018. Around this time, Raye was assaulted by a music producer - who forced his hand between her legs when she was 17 years old. Whilst performing on the Pyramid Stage last year at Glastonbury she paused between singing the song saying: 'This next song is about sexual abuse, and rape, and sexual violence. And I know that's heavy, okay. 'But I also know one in four men and women will experience that in their lifetime. So I know that I'm not alone when I sing this today.' In an interview with Cosmopolitan last year, she said she still suffers from panic attacks and PTSD regularly. 'When I think about the panic attacks, the PTSD...you realise that someone's actions become your burden to carry, and there is nowhere you can put it other than a therapy session,' she said. 'Every girl I know in this industry has some sort of story to tell me. The studio is such a vulnerable space. 'And if you say something, you create an enemy who will spread rumours or blacklist you – and you need those connections to open doors for yourself. 'Even though the people decide very much what's consumed on the outside, inside, the music industry is still very much a gatekept society.' Despite the buzz around her music and her regular appearances at festivals, Raye's debut album never materialised - as she later revealed she was in a stand-off with her record label. Battle with record label and turning to drugs In an emotional interview with Lous Theroux last November 2023, Raye revealed that she was 'constantly in some kind of sedation' when she first started her career. During the television interview, Raye said all she wanted was to be 'in control of her life' as she discussed her frustration with her old label Polydor for not allowing her to release an album. During the conversation, Raye admitted to taking 'codine' and 'MDMA' as she 'reached her limit' and had 'nothing left to lose'. She said: 'I think I wasn't able to get along with my career because I was just constantly in some form of sedation just to get along with it. Whether it be weed or other things which I write about on my album. 'This is the thing, when I became sober, I realised, wow, I can't do this sober. Like, this is deep. It's actually deep. 'It's so deep what I'd realized I'd actually been doing to myself as a person to try and be somebody that they wanted me to be. 'And it's so sad. So I just got into that point where I was just like, "What is my life right now?" "What is the point?" 'Yeah, so I just was at a point where I just had nothing left to lose. Yeah, so I was just like, "F*** it." I've absolutely reached my limit.' Raye says she reached breaking point when her label would not let her release an album - which led to her venting her frustrations on social media. She continued: 'But that is how far you push me. They either listen to me now, listen to their artists in pain, or we part ways, and they can save themselves this headache because I'm about to make it a headache.' After Raye started giving interviews about her label not allowing her to release her debut album, she was able to part ways with Polydor in 2021. Raye's album My 21st Century Blues is her first project as an independent artist The singer touches on substance abuse, assault and sexual violence and anxiety in her lyrics, and previously explained why she didn't want to shy away from 'difficult' topics. She told MailOnline: 'I just want to be a woman discussing uncomfortable topics that we don't talk about, these are all things I battled with in the darkness and in silence. 'You hope in writing about these songs and putting them out into the world, you just hope that people hear them, and and relate to them also. 'It's very much medicine in a way that you have a different feeling to to put quite a painful emotion to it. 'For me is just very empowering, and I hope it can be medicine for anyone else who who needs it.' During her interview with F Word magazine, Raye revealed that her dad is her manager while she also works closely with her sister. One of her younger sister has also had music featured in a Target advert in the US. Raye added: 'Music is in all our genes. Mum is the next one, she’s taking some of the workload with Dad. She’s worked in the NHS all her life so she is the next, hopefully in a year or two she will be able to join the team and it’ll be a full family empire.' TikTok support In January 2023, Raye's single 'Escapism' went to UK number one and became a huge hit on TikTok. The single now has been used in over 700,000 videos on the social media platform. The star partnered up with TikTok for the launch of their #ElectronicMusic campaign in September and her single Call on Me was also named the platform's Song of the Summer in 2021. Speaking to Cosmo Middle East, Raye explained how she never expected to gain such success on TikTok. She said: 'I think my sister pointed it out [it was blowing up on TikTok]. I checked, and it had like 1000 videos made to the sound. 'I was like “oh that’s exciting!” and then the next day it was 2000 and it just kept doubling out of nowhere and I was like “wow!" 'It’s the kind of thing you can’t plan. You can’t be like “Okay I’m gonna have a viral hit”. You know, it just doesn’t work like that. I’m just grateful that TikTok was like “Yeah we like that. Let’s make so many videos to it”. I was very overwhelmed.' Despite her music's sudden surge in popularity, Raye told The Times she does her own makeup and hair while on tour. She also bought a house in Streatham, South-West London two years and continues living with her two sisters. Career-defining turnaround at BRITs Raye's incredible sweep at the Brits last night marks one of the music industry's greatest ever comebacks - just three years after Polydor refused to release any of her albums. This led to Raye leaving the company and releasing her critically acclaimed, and now award winning, debut My 21st Century Blues as an independent artist. The singer/songwriter scooped the Song of the year award for her hit Escapism ft 070 Shake, shortly before also taking home the R&B Act gong and Best New Artist. 'I'm shaking. I don't really know what to say right now, but... thank you. I've always dreamed of saying that,' she said as the reached the podium to accept her first award of the night. Referencing her new beginning in her Best New Artist Speech, Raye said: ''I have to thank my mum and my dad who are also part of my team, and my grandma. Yes grandma! I, in ways, do feel like a new artist. I released my first song when I was 15, my first mixtape when I was 16, don't go and listen to it because it's not that good any more. 'But I do feel like a new artist, I got to start again. The artist I was three years ago would not believe what she's seeing today. I'm my own boss now, I'm in control. Thank you!' She also scooped the first ever BRIT Award for R&B act, which is voted for by the public via Instagram and is a new standalone genre category after musicians and fans complained about R&B being conjoined with the pop last year. Raye acknowledged the the uproar in her speech, telling the crowd: 'Look I just wanna say, when I was about 16, 15 years old, I wanted to be an R&B artist, that's what I would say. And I was told, I think, a lie that R&B doesn't sell in the UK so I needed to learn how to make different kinds of music.' 'I know that's a bit shady but I need to say R&B is so important and there are so many R&B artists in the UK eating it up. I wanna shout out to Mahalia, who campaigned for this award, Cleo Sol, who's immaculate, Sault. This really is a lot – thank you.' Raye also won Songwriter of the Year, which was announced ahead of the live ceremony, with host Clara Amfo handing her the gong in a surprise moment after her Best New Artist win. Clara - who gave Raye her first ever radio play - told the star: 'There is no such thing as an overnight success, I am so proud of you.'
6803	dbpedia	1	7	https://pennyspoetry.fandom.com/wiki/Roger_Daltrey	en	Roger Daltrey	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Penny's poetry pages Wiki" ]	2024-07-29T22:27:06+00:00	Roger Harry Daltrey CBE (born 1 March 1944) is an English singer-songwriter, actor and film producer. He is a founder, member, and lead singer of the rock band the Who. Daltrey is known for his powerful voice and energetic stage presence.[1][2] Daltrey's hit songs with The Who include "My...	en	/skins-ucp/mw139/common/favicon.ico	Penny's poetry pages Wiki	https://pennyspoetry.fandom.com/wiki/Roger_Daltrey	Roger Harry Daltrey CBE (born 1 March 1944) is an English singer-songwriter, actor and film producer. He is a founder, member, and lead singer of the rock band the Who. Daltrey is known for his powerful voice and energetic stage presence.[1][2] Daltrey's hit songs with The Who include "My Generation", "Pinball Wizard", "Won't Get Fooled Again", "Baba O'Riley" and "You Better You Bet". Daltrey began his solo career in 1973, while still a member of the Who. Since then, he has released ten solo studio albums, five compilation albums, and one live album. His solo hits include "Giving It All Away", "Walking the Dog", "Written on the Wind", "Free Me", "Without Your Love" and "Under a Raging Moon". The Who are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide. As a member of the band, Daltrey received a Lifetime Achievement Award from the British Phonographic Industry in 1988,[3] and from the Grammy Foundation in 2001.[4] He was inducted into the Rock and Roll Hall of Fame in 1990, and the UK Music Hall of Fame in 2005.[5][6][7] He and Pete Townshend received Kennedy Center Honors in 2008 and The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016.[8] Daltrey has also been an actor and film producer, with roles in films, theatre, and television.[9] Planet Rock listeners voted him rock's fifth greatest voice in 2009,[10] and he was ranked number 61 on Rolling StoneTemplate:'s list of the 100 greatest singers of all time in 2010.[11] Early life[] Roger Harry Daltrey was born on 1 March 1944, in Hammersmith Hospital, East Acton, west London, England, one of three children of Harry and Irene Daltrey. Daltrey's father fought in World War II at the time, and came home a few years later.[12] Daltrey attended Victoria Primary School and then Acton County Grammar School along with Townshend and Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven-plus examination that led to his enrolment at the Acton County Grammar School.[13] He made his first guitar from a block of wood in 1957,[14] a cherry red Stratocaster replica, and joined a skiffle band called the Detours, who were in need of a lead singer. They told him that he had to bring a guitar, and within a few weeks he showed up with it. When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band; soon afterwards he was expelled from school for tobacco smoking. Townshend wrote in his autobiography, "until he was expelled Roger had been a good pupil."[15] Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature. According to Townshend, Daltrey "ran things the way he wanted. If you argued with him, you usually got a bunch of fives" (slaps or punches).[16] In 1964, the band discovered another band performing as the Detours and discussed changing their name. Townshend suggested "the Hair" and Townshend's roommate Richard Barnes suggested "the Who." The next morning, Daltrey made the decision for the band, saying "It's the Who, innit?".[17] The Who[] Overview[] With the band's first hit single ("I Can't Explain") and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decrease.Template:Cn The other members of the Who fired Daltrey from the band in late 1965 after he beat up their drummer Keith Moon for supplying illegal drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised that there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with the Who, I would be a sheet metal worker for the rest of my life."[18] The band's second single, "Anyway, Anyhow, Anywhere", was a collaboration between Daltrey and Townshend.[19] As Townshend developed into one of rock's most accomplished composers, Daltrey gained an equally vaunted reputation as a powerful singer and riveting front-man. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration, and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll.[20] By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While other members of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check the Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor, and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend hit Daltrey over the head with his guitar, and Daltrey responded by knocking Townshend unconscious with a single blow.[21] With each of the Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, and was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film.Template:Cn The Who continued after the death of their drummer Keith Moon in 1978, but tension continued to rise as Daltrey felt that new drummer Kenney Jones was the wrong choice.[22] The Who retired from active touring in 1982 when Townshend felt that he was no longer able to write for the band.[23] The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of their rock opera Tommy. The tour featured a large backing band, and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins, Elton John, and Billy Idol. In spite of an abdominal hemangioma (later removed by surgery), Daltrey managed to complete the tour.Template:Cn In 1996, Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. Daltrey agreed to help produce a one-off performance. The opera was performed with a large backing band. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as the Who.Template:Cn After the success of their Quadrophenia tour, the band returned as the Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as the Who. Bass player Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the much-discussed artistic tension within the Who lay between Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album.Template:Cn In February 2010, Townshend and Daltrey, headlining as the Who, performed the half-time show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather and Tom Meighan of Kasabian sang the part of Aceface.[24] Daltrey's songs for the Who[] Daltrey contributed a handful of songs to the band's catalogue during their early career: "Anyway, Anyhow, Anywhere" (1965) – The Who's second single, co-written with Townshend. "See My Way" (1966) – Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1968) – Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970) – B-side to "The Seeker". Daltrey also wrote a song entitled "Crossroads Now" for the Who. The song grew out of an onstage jam session in 1999.[25] Another Daltrey song, "Certified Rose", was rehearsed by the Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death.[26] Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and may have featured Entwistle's basslines from 2002), Townshend later stated that no such recording was made.[27] A more recent recording of "Certified Rose" was finally released on Daltrey's 2018 album, As Long As I Have You.Template:Cn "Early Morning Cold Taxi" is a song recorded during The Who Sell OutTemplate:'s recording sessions in 1967. It and was released in 1994 on the Thirty Years of Maximum R&B box set. It is credited to Daltrey and the Who roadie Dave "Cyrano" Langston.[28] Solo career[] Overview[] Daltrey has released eight solo studio albums. The first was the self-titled Daltrey in 1973, recorded during a hiatus time in the Who's touring schedule. The best-selling single from the album, "Giving It All Away", peaked at No. 5 in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography showed a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" as the B-side. The British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of the Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window.[29] Daltrey's second solo album, Ride a Rock Horse, was released in 1975, and is his second most commercially successful solo album.Template:Cn McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of the Who at the time (Townshend, Entwistle, and Kenney Jones). McVicar included two hit singles, "Free Me", and "Without Your Love", which is Daltrey's best-selling solo recording.[30] On release, Parting Should Be Painless received negative critical reviews, and was Daltrey's poorest selling studio album up to that point. The album was a concerted effort on Daltrey's part to vent his frustrations in the wake of the Who's break-up by assembling a set of roughly autobiographical songs. These included a track contributed by Bryan Ferry ("Going Strong"), and one contributed by Eurythmics ("Somebody Told Me"). Musically, according to Daltrey the album covered areas that he had wanted the Who to pursue.[31] The title track to Under a Raging Moon was a tribute to the former Who drummer Keith Moon, who died in 1978, at the premature age of 32. On his next album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything a Heart Could Ever Want". This was his first major effort as a songwriter for his own solo career.Template:Cn In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock Queen song "I Want It All", to pay homage to his friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS.[32][33] Daltrey celebrated his 50th birthday in 1994 by performing two shows at Carnegie Hall. A recording of the concerts was later issued on CD and video; it was entitled A Celebration: The Music of Pete Townshend and The Who, and is sometimes called Daltrey Sings Townshend. The success of these two shows led to a US tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show, and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped.Template:Cn An avid fan of Premier League football club Arsenal F.C., Daltrey wrote and performed a specially commissioned song, "Highbury Highs", for the 2006 Highbury Farewell ceremony following the final football match at Highbury.[34] Daltrey's performance was part of Arsenal's celebration of the previous 93 years at Highbury as the club prepared for their move to the Emirates Stadium the following season.[35] Daltrey embarked on a solo tour of the US and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new touring band he called "No Plan B" on the Alan Titchmarsh Show.[36] The band included Simon Townshend on rhythm guitar and backing vocals, Frank Simes on lead guitar, Jon Button on bass guitar, Loren Gold on keyboards, and Scott Devours on drums.[37] Eddie Vedder made a guest appearance at the Seattle show on 12 October.[38] In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[39] including Summerfest at Milwaukee, Wisconsin.[40] On 15 March 2018, Daltrey announced the forthcoming release, on 1 June, of his new solo studio album As Long as I Have You.[41] He appeared on BBC One's The Graham Norton Show, on 13 April 2018, to promote the single taken from the album.[42] Discography[] Main article: Roger Daltrey discography Solo Daltrey (1973) Ride a Rock Horse (1975) One of the Boys (1977) McVicar (1980) Parting Should Be Painless (1984) Under a Raging Moon (1985) Can't Wait to See the Movie (1987) Rocks in the Head (1992) As Long as I Have You (2018) Collaborations with other artists Going Back Home (2014) (with Wilko Johnson from Dr Feelgood) Other recordings Tommy (1972) (LSO version) Tommy (1975) (soundtrack) Lisztomania (1975) (soundtrack) Collaborations[] In 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[43] On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On 5 July 2009, he joined the Jam's lead singer, Paul Weller on stage at Hop Farm Festival in Kent for an encore of "Magic Bus".[44] In 2011, Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.[45] In November 2014, while staying at the Mar Hall Hotel in Bishopton, Renfrewshire – ahead of the Who's gig at The SSE Hydro – Daltrey joined the band Milestone for an impromptu rendition of "I Can't Explain". The band were playing at a wedding reception in the hotel.[46] Legacy[] Daltrey has long been known as one of the most charismatic of rock's frontmen. According to Pete Townshend, he "almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[1] His persona has earned him a position as one of the "gods of rock and roll".[2] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. According to a review of the Who's performance at the Quart Festival in 2007: "Suddenly each and everyone stopped caring about the down-pouring rain. When the Who took the stage we couldn't do anything but to reach for the sky and howl. Anyone who has ever thought of calling these gods old men and dinosaurs should be deeply ashamed. The reports we've heard from around the world were true: Live rock doesn't get any better."[47] Equipment[] See also: The Who's musical equipment Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.[48] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solid-body electric guitar which he later sold to Pete Townshend on an easy payment plan.[49][50] After he took over vocals for the band in the 1960s, and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.[51] He began playing guitar with the Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on the Who's 1982, 1989 and later tours.[52] During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe". During the Who's 1996–97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.[53] After 1999, it became more common for Daltrey to play guitar during both the Who and solo shows. He played a Versoul Buxom 6 handmade acoustic guitar on the Who's 2002 tour.[54] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on the Who and solo tours in the late first decade of the 21st century.[55] On his 2009 tour, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[56] Daltrey is among those who first brought the harmonica into popular music.[57] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.[58] Daltrey uses Shure microphones with cords that are taped to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,[59] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[60] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.[61] Acting career[] Daltrey has acted in advertisements, television shows, and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:[62] List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Murder: Ultimate Grounds for Divorce 1984 Roger Cunningham film Pop Pirates 1984 Producer film Buddy 1986 Terry Clark TV series The Hunting of the Snark 1987 The Barrister concert appearance The Little Match Girl 1987 Jeb Macklin musical film Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Bad English I: Tales of a Son of a Brit 1995 film Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Tez TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance The Simpsons (episode "A Tale of Two Springfields") 2000 Himself, as The Who TV series Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film The Mighty Boosh 2005 Himself TV series, Series 2 episode 2 'The Priest and the Beast' Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Literary work[] Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[63] In 2009, he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[64] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[65] In October 2018, he published his memoir, Thanks a Lot Mr. Kibblewhite: My Story.[66] The title is a reference to the man who threw him out of Grammar School, enabling him to go into a successful music career.[67] Awards and achievements[] In 1976, Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of the Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With the Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music.Template:Cn In 1990, Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of the Who.[68] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with the Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror!", and "Baba O'Riley".[69] In 2005, Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry.[70][71] In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[72] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.[73] As a member of the Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[74] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annual Kennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.[75] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.[76] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[77] In November 2011, Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse in London.Template:Cn In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[78] Daltrey has received numerous awards for his music, including Best Blues Album in the British Blues Awards 2015 alongside Wilko Johnson.[79] Charities[] All of the Who's Encore Series profits go to young people's charities. Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with the Who actually playing in 2000, 2002, 2004, 2007, and 2010, and Daltrey playing solo in 2011, and in 2015 as the Who. The annual concerts have raised over £20 million. He has endorsed the Whodlums, a Who tribute band which raise money for the Trust.[80] Daltrey performed at the first ChildLine Rocks concert at London's the O2 on 13 March 2008.[81] In 2009, Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[82][83] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.[84] In 2011, Daltrey, Steven Tyler, and Julie Andrews provided funding for Robert S. Langer's research at the Massachusetts Institute of Technology into vocal cord repair for victims of cancer and other disorders.[85] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by the Who's charity Who Cares?.[86] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant, and Dave Grohl.[87] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust.[88] Politics[] In 1970, Daltrey publicly supported The National Campaign for Freedom of Information, saying: "I come from a working-class background and I am proud of it and I intend to fight for the workers' right to know. We all need to know what goes on behind the scenes that is causing this country's economic mess. When we have a Freedom of Information Act in this country we shall have restored our Right to Know the Truth and that will bring sanity to our tax laws."[89] Daltrey was previously a supporter of the British Labour Party, but he withdrew his support citing his opposition to the "mass immigration" policies put in place under the Blair government.[90] In 2018, he expressed criticism of Labour leader Jeremy Corbyn, describing him as a "communist".[91] Daltrey supported Britain leaving the European Union.[92] He wrote in The Mirror: "Whatever happens our country should never fear the consequences of leaving. We went into the Common Market in 1973. Do you know what was going on before we went in? It was the 1960s. The most exciting time ever – Britain was Swinging. Films, Theatre, Fashion, Art and Music... Britain was the centre of the world. You got that because Britain was doing its own thing. It was independent. Not sure we'll ever get that again when we're ruled by bureaucrats in the European Union."[93] He once again criticised the EU in 2019, saying, "If you want to be signed up to be ruled by a f****** mafia, you do it. Like being governed by FIFA".[94] In 2017, Daltrey asserted that a "dead dog" could have defeated Hillary Clinton in the 2016 United States presidential election.[95] In 2018, he criticised the Me Too movement, saying: "I find this whole thing so obnoxious. It's always allegations and it's just salacious crap."[96] Personal life[] Daltrey has been married twice. In 1964, he married Jacqueline "Jackie" Rickman, and later that year they welcomed their son Simon; they divorced in 1968. In 1967, another son, Mathias, was the result of his affair with Swedish model Elisabeth Aronsson.[62] In 1968 he met Heather Taylor, a model who was born in the UK, living with her grandmother at the time, and the subject of the 1967 Jimi Hendrix song "Foxy Lady".[97] Daltrey and Taylor were introduced by her friend, who knew she was down after a recent break-up with Jimmy Page of Led Zeppelin (personal account from Taylor's parents[98]). Daltrey and Taylor have been married since 1971, and have three children together: daughters Rosie Lea (born in 1972) and Willow Amber (born in 1975),[99] and son Jamie (born in 1981).Template:Cn On 1 March 1994 – the day of his 50th birthday – Daltrey received a letter from a woman claiming to be his daughter, from a brief relationship during the interval between his marriages.[100] Within a few years, Daltrey met two more daughters born during this period in the late 1960s.[100] All three girls had been adopted and grown to adulthood before meeting their biological father; Daltrey states that Heather joined him in welcoming the three daughters to their extended family.[97] He points out that the couple embrace the extended family, which he affectionately refers to as "the whole tribe", even going on vacations that include his son Simon, his first wife Jackie, and Jackie's children by her second marriage.[100] As well as his eight children, Daltrey has fifteen grandchildren.[101] In 1971, Daltrey bought a farm at Holmshurst Manor, near Burwash, Sussex.[89] In 1978, during the recording of the Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.[102] During a solo tour in 2009, Daltrey began finding it harder to reach the high notes. In December 2010, he was diagnosed with vocal cord dysplasia, and consulted Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.[103] Both surgeries were considered successful. As dysplasia recurs Daltrey has regular checks to monitor his condition.[104] Daltrey has an allergy to cannabis that affects his singing voice; when second-hand marijuana smoke from an audience has impacted his performance, he has been known to pause the concert to request that people not smoke it, with bandmate Pete Townshend even threatening to end the show if they don't comply.[105][106] Daltrey has stated that he has never taken hard drugs.[107][108] Daltrey is a supporter of Arsenal F.C.[109] References[] Further reading[] Roger Daltrey, 2018. Thanks A Lot Mr Kibblewhite: My Story, Blink Publishing; Henry Holt & Co Template:ISBN Steve Huey, Roger Daltrey – Biography, AllMusic.com David M. Barling, Biography of Roger Daltrey, Archived extract at Wayback machine [] Template:Sister [[[:Template:Official website/http]] Official website] Roger Daltrey at Allmusic Template:Discogs artist Roger Daltrey at the Internet Movie Database Template:Roger Daltrey Template:The Who Template:Kennedy Center Honorees 2000s Template:Use dmy dates Template:EngvarB
6803	dbpedia	2	51	https://dittomusic.com/en/blog/independent-vs-signed	en	Independent vs Signed Artists: Whatâs Best for Your Music Career?	https://cdn.prod.website…vs-signed-og.png	https://cdn.prod.website…vs-signed-og.png	[ "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce01ec_%27logo-2048-black.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/661e832e43d2c1165be378b6_promo-icon-circle.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce03ad_chartbreaker.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/6596984646c16172e0615192_pro-icon-circle.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/659698466a751c9510cbc5b0_label-icon.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce03b0_DX.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/65969846530626847b6bae4f_playlist.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce03af_promo.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce065f_Chartbreaker%20Icon%202.png", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/6596984646c16172e0615192_pro-icon-circle.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/659698466a751c9510cbc5b0_label-icon.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce03b0_DX.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/65969846530626847b6bae4f_playlist.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0267_worldwide.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0220_unsignedadvice-logo-black.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0649_arrow-small-left.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0fbc_independent-vs-signed-header.png", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f8b_erHtUrqHROShxukzXBcG.png", "https://cdn.prod.website-files.com/62d5657db412a8b60ebb7c3a/636a52497c6e9a28fb920dac_%27logo-2048-white-pro2.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/65bb7b3f183d742202a7b372_features.png", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f8a_tMfBL0KERmH36C4TsFGw.jpeg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f88_muT7JdNRVOnMeeva94BA.jpeg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f87_TMfevh0SaGEeUDOTsMYF.jpeg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f89_nA5Y4fQMSDK4RQJdAVlU.png", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01c7/655e0fa544c67c1ee5ce0f8c_KHjwL1c1Sru1II636Dca.png", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0220_unsignedadvice-logo-black.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0459_hand%20(3).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce037a_down-arrow.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0381_app%20buttons.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce037e_instagram%20(4).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce067c_twitter%20(3).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce037d_tik-tok.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0382_spotify%20(1).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce0380_youtube%20(3).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce024c_linkedin%20(3).svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce024a_facebook-circular-logo.svg", "https://cdn.prod.website-files.com/655e0fa544c67c1ee5ce01a4/655e0fa544c67c1ee5ce01fc_%27logo-2048-white.svg" ]	[]	[]	[ "" ]	null	[]	null	What are the differences between staying independent and being a record label signed artist? Learn more about how to succeed as an independent artist in 2023.	en	https://cdn.prod.website…o-favicon-32.png		https://dittomusic.com/en/blog/independent-vs-signed	A discussion most musicians will have at some point is whether or not to stay independent or to try and land a record label deal. Over past decades, signing to a major record label was seen as the common goal of nearly all musicians - but things have changed drastically over the last few years. With an increasing number of label contracts coming under heavy scrutiny from the public and artists, more and more musicians are choosing to stay independent and keep their careers in their own hands. Weâre here to help you weigh up the advantages of staying independent and to map out your music's career path. Independent artists vs signed artists It is absolutely possible to achieve success as an independent musician in this day and age. In fact, opportunities for independents are largely on the up and it's now more feasible than ever for artists to break into the mainstream without the funding of a major label. Â Getting signed to a record label definitely comes with financial advantages, but this certainly doesnât mean a deal is essential to create a profitable and successful music career. Benefits of being an independent musician With an increasing number of well-known artists choosing the independent route over the last few years, the indie career path has become a lot more desirable to up-and-coming musicians. Artists like Big Zuu and Jaz Karis have helped highlight the many benefits of remaining independent in the digital era, achieving and surpassing goals of many signed label acts. Although it might seem daunting, managing your own music career is highly achievable in 2024. Let's dive into some of the key benefits you can expect to experience as an independent artist. â Itâs easier than ever We're not saying everything is 100% straightforward, but many barriers have been removed, or at least lessened, over the last couple of decades. Musicians have easy and immediate access to music distribution services, artist marketing resources, streaming advice, and many other services at their disposal that can help propel their careers to the next level. The internet has made it much simpler for independent musicians to reach new audiences and grow their fanbase without the requirement of a record deal. They can now deliver their music to digital music stores and streaming services by themselves - giving them back control of their own music. â Creative control over your music Staying independent gives you complete control over your sound and style, allowing for total creative and artistic freedom. If you want to experiment with something new, switch up your sound completely or change your brand image - you can! As an independent artist, you have full creative go-ahead to make decisions about your own musicâs direction - a hugely important factor for most musicians and creators. Youâll be in charge of your own marketing, distribution, artwork, deadlines, and everything else in between - so it might be worth considering bringing a music manager on board. â You own your music Signing a record deal means signing away some of (sometimes all of) the rights to your music. Record labels determine who profits what percentage from your musicâs earnings and with an increased number of stakeholders involved, the less money you're set to earn from your own music. Staying independent and owning your own rights allows you to receive more royalties anytime your music is streamed, sold, or performed live. Although it may not be a ton of money, it is a satisfying reward regardless. Owning your rights also gives you the upper hand and negotiation leverage anytime a publishing, sync, licensing, or record deal is offered to you. Keeping things independent isn't all smooth sailing however. There are still sometimes disadvantages that a lot of independent artists face, but with this also comes many benefits as well. Itâs hard work Itâll come as no surprise that success as an independent artist requires a lot of hard work and doesn't just happen overnight. Youâll often be working as part of a small, tight-knit team covering all aspects of your music, putting in late nights and long shifts. You more than likely wonât have the financial backing that a major label can offer, nor the major industry connections or business knowledge, meaning a lot of dedicated hard work taking place behind-the-scenes. Without this financial support, independent artists are literally in charge of their own success and must be highly organised and efficient. You'll be managing your own marketing, studio bookings, calendar and admin tasks so it's vital to have a good structure in place to ensure you aren't missing anything that can help you maximise your careers. Signing to a record label As with anything, there are pros and cons that need to be weighed up when deciding to stay independent or sign to a record label. Over the years, signing to a label has been marketed as the be-all and end-all of ensuring commercial musical success. The music industry has led people to believe that artists with major record deals are more favourable and end up having more successful careers than those without. Gaining attention from a big industry name is also exciting - as are the dreams and promises that label execs can sell to you. Artists often become blinded by the excitement of a major label and big financial offering that theyâll sign whatever is put on the table in the heat of the moment. â â If you're set to receive an advance lump sum of cash as part of your deal, then remember that the money being offered up-front has to eventually be paid back to the label. Most record deals are set up so the label will receive all of the artistâs royalties until an advance has been repaid. In some other cases, the label will also take a cut of recording, touring, production, and promotional profits. Because of this, artists don't see royalty checks until their advance is paid off - which in some cases can take an entire lifetime. The other side of this is weighing up whether to start your own record label. The choice is yours. Access to more connections Perhaps the greatest benefit of signing to a record deal is gaining access to the labelâs connections, resources, and funding pot. Established labels are able to provide their artists with just about anything they need to further their music careers. Labels are typically responsible for handling the mastering, distribution, marketing, merchandise, and full touring costs incurred by your music, as well as setting up and organising music videos, recording costs, collaborations, and any other expenses. Reach larger audiences Thereâs no denying that established and major record labels have appealing resources and hefty budgets on offer to their artists. Because of this, theyâre able to promote and market their roster to a much larger audience than can typically be achieved by independents. Most labels have established relationships with other major - and global - organisations, making it easier to secure publishing deals, bigger shows and venues, higher profile festivals, radio airtime, and other media slots. Don't be blinded by the financial appeal though. There are many other considerations you need to carefully review when looking at record label deals. â Lack of artistic freedom When signing to a record label, artists often lose creative control over their music. If your label isnât satisfied with the music youâre creating, you also run the risk of being dropped - or even worse - shelved. The same also applies to you. If you arenât happy with your label and the direction they are taking you in, youâll be stuck in a contract until youâve met the terms that you originally signed. With labels constantly signing new artists, it's very difficult to not fall aside and get overlooked for attention and money. Music moves incredibly quickly and if you're not at the top of the food chain, you run the risk of getting lost in amongst the crowd and being caught in limbo between releases. One of the most high profile cases of this over recent years is Rayeâs struggle to break free from her record deal with Polydor. She publicly shared her struggles on social media, highlighting the difficulties signed artists sometimes face when signing long record label contracts. â Since leaving her record deal and going independent, Raye has secured a UK Number One record and taken her career back into her own hands. â âIâm an independent artist â this is proof you should back yourself, no matter what!â - Raye â If youâre set on signing to a major label, make sure youâre absolutely happy with every detail of the contract. Donât lock yourself into a bad deal with no way of getting out. Stay independent with help from Ditto â At Ditto Music, we work with independent artists to help them keep 100% of their earnt royalties - as well as all of the rights to their music. We believe artists should stay independent and keep complete control of their own careers. Ditto helps you sell your music to more global platforms than anywhere else, getting your music on major streaming platforms including Spotify, Apple Music, Amazon, Deezer and more with our music distribution services. We also provide guidance on going viral on the biggest social channels like TikTok, Instagram and Facebook, building up a global fanbase for your music. Signing up to Ditto gives you access to valuable artist tools to track your musicâs performance across platforms, delving into streaming insights, download numbers and listener demographic data from your personal Ditto dashboard to help you plan the best next steps for your career. â The big question. Should you stay independent or chase a record deal? The answer ultimately comes down to who you are as an artist and what your career ambitions are. If you want to keep hold of all your rights and profits, then the independent route is for you. You'll have full creative freedom over your music and will be able to drive things in whichever direction you want. If you feel that you can gain more global exposure through signing a record deal, then focus more of your time on attracting the attention of these big names. Remember though, there's absolutely no guarantee that a record deal will bring you success and you may well be better off keeping your career in your own hands. â â
6803	dbpedia	3	32	https://www.goldradiouk.com/news/music/who-roger-daltrey-singing-career-end/	en	The Who's Roger Daltrey admits his "singing career" is coming to an end	https://imgs.goldradiouk.com/images/626413?width=1200&crop=16_9&signature=R8eebIXEt_ZuofMheUZZZeC5Bv4=	https://imgs.goldradiouk.com/images/626413?width=1200&crop=16_9&signature=R8eebIXEt_ZuofMheUZZZeC5Bv4=	[ "https://mediaweb.musicradio.com/player/image.aspx?i=///mediaweb.musicradio.com/artwork/ses/6a131e47-acb4-444e-8fc9-f07c67833d9a&h=144", "https://images.musicrad.io/resizer/?image=aHR0cHM6Ly9pczMtc3NsLm16c3RhdGljLmNvbS9pbWFnZS90aHVtYi9NdXNpYzEyNS92NC9mMS83Zi85Ny9mMTdmOTdkMy1mNDI0LWJhMTItNzNmOC1hODZiZjBjZjk2M2Mvc291cmNlLzYwMHg2MDBiYi5qcGc%3D&width=225&signature=mZl1A_7M787LPotZiMembLmuIuU=", "https://imgs.goldradiouk.com/images/626413?crop=16_9&width=660&relax=1&format=webp&signature=JRCpoPMf3czwrf3tWFVrCBhza6Y=", "https://www.goldradiouk.com/assets_v4r/gusto/img/facebook-share.png", "https://imgs.goldradiouk.com/images/626412?crop=16_9&width=660&relax=1&format=webp&signature=8I5MNKG7jo2zR3cl2HBzFtiCR5I=", "https://i.ytimg.com/vi/TPzLv9xBmg0/hqdefault.jpg", "https://imgs.goldradiouk.com/images/669391?width=105&crop=1_1&format=webp&signature=fxzVQHsl0A5MeSPidbn0rY3LFWM=", "https://imgs.goldradiouk.com/images/669286?width=105&crop=1_1&format=webp&signature=XIcMPYiWloAeJUvCTm-wmM7JEk0=", "https://imgs.goldradiouk.com/images/669158?width=105&crop=1_1&format=webp&signature=LDIB5Xq_SgFAlUr4DT5ifvnjM-k=", "https://imgs.goldradiouk.com/images/668635?width=105&crop=1_1&format=webp&signature=BE1huM3Ng8UuGk5wbP3jxC8yvbI=", "https://imgs.goldradiouk.com/images/668046?width=105&crop=1_1&format=webp&signature=cmdA2DyPsTNBfQxyd19eAHKVR0I=", "https://imgs.goldradiouk.com/images/668006?width=105&crop=1_1&format=webp&signature=qLxHxef8rSj1X6bu45Rout6VfkQ=", "https://imgs.goldradiouk.com/images/667849?width=105&crop=1_1&format=webp&signature=fxfHP7hUqFgsDS_sJTl7BKMEZbg=", "https://imgs.goldradiouk.com/images/667617?width=105&crop=1_1&format=webp&signature=qD78NqAdUnkgA43zXGCjPZgDX5o=", "https://imgs.goldradiouk.com/images/667351?width=105&crop=1_1&format=webp&signature=fhZtZEN1ymlkbyj2XjEriwrqfR8=", "https://imgs.goldradiouk.com/images/666890?width=105&crop=1_1&format=webp&signature=8f_Ar4mR6gX7PlsdWS1mckGtL5Y=", "https://imgs.goldradiouk.com/images/667026?width=105&crop=1_1&format=webp&signature=au_DLKxeXjYhxAzMxGHQr7T6zrE=", "https://www.goldradiouk.com/assets_v4r/dist/gusto/img/app-store-badge.svg", "https://www.goldradiouk.com/assets_v4r/dist/gusto/img/google-play-badge.svg" ]	[]	[]	[ "" ]	null	[ "Thomas Edward", "Thomas Curtis-Horsfall" ]	2024-01-17T10:32:16+00:00	The Who's Roger Daltrey has suggested his "singing career" is coming to an end in a recent interview.	en	/assets_v4r/gold/img/favicon-16x16.png	Gold	https://www.goldradiouk.com/news/music/who-roger-daltrey-singing-career-end/	"I hope I die before I get old". It's a lyric that has stuck to Roger Daltrey since the release of The Who's 1965 youth anthem 'My Generation', and in many ways has become an albatross around his neck. As the band's career continued well into both his and fellow bandmate Pete Townshend's latter years, they went against their initial mod-inspired mantra and both 'got old'. But as Daltrey nears his 80th birthday, he might not be swinging his famous microphone around on stage for much longer. As the Teenage Cancer Trust lineup was announced recently for the 2024 series, it was also revealed that Roger will be stepping down from his position as curator. Pete Townshend to discuss future of The Who with Roger Daltrey as they reach "end of an era" Keith Richards dismisses Led Zeppelin and The Who legends, calls them "an absolute disaster" The Who's 15 greatest songs, ranked The Who’s Pete Townshend reveals Roger Daltrey ‘hated’ his songs for new album Founding the benefit concert shows in 2000 alongside Dr Adrian Whiteson OBE and Myrna Whiteson MBE, the annual event takes place at London's historic venue the Royal Albert Hall. Over the years, he's convinced the likes of Sir Paul McCartney, Eric Clapton, Pink Floyd's David Gilmour, Lulu, Van Morrison, composer Hans Zimmer, Sir Tom Jones, and more music icons to perform for the charity event. After dedicating a quarter of a century to the great cause, he's passing on the baton to new guest curators who will curate the lineup each year. Talking to the Metro, Daltrey has also admitted that he's nearly at the end of his illustrious "singing career". Reflecting on the incredible £32 million he has helped raise for people suffering from cancer since 2000, Roger told the Metro about the experience of helping people in need and even getting to meet them. "I’ve met so many over the years. There’s quite a few who will stay with me forever - I could never forget them and the letters and cards really mean a lot – I’ve kept them all." "I'm some old fart of a rock singer and this has given me a purpose. I'm not very good at doing nothing and I'm looking towards the end of a singing career." "So this has been something I'm proud of," he added. "Pete and I also founded Teen Cancer America twelve years ago, and we're getting the chance to get together a lot of data that will really help the science one day." The Who legend also nodded to the difficulties he's faced over the years trying to convince superstars to join his cause. "Gosh, it was tough at the start, because I was determined bands should want to do this for free, and it's not easy getting big names to actually block out their time. My knees are now so sore from 24 years of begging," he joked. 2024's edition of the Teenage Cancer Trust will mark Daltrey's last as curator, and will see special performances from The Who on two separate nights. As well as a night of comedy, Noel Gallagher's High Flying Birds, Young Fathers, and The Chemical Brothers will headline their own shows.
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Now, artists rarely know what to expect. The major labels are losing their foothold.	en	https://indepreneur.io/w…1-32x32.png.webp	Indepreneur	https://staging.indepreneur.io/blog/5-independent-musicians-refuse-sign-major-record-label/	Back in the day, getting signed to a major label meant you made it! Now, artists rarely know what to expect. The major labels are losing their foothold to independent musicians. To make matters worse for the music business model, reports of major labels bullying, extorting, and corrupting creative people have been mounting for decades. But if you don’t sign to a major record label, how are you supposed to make music your career? The answer to that question is what we at Indepreneur are dedicated to providing for independent musicians. But, having recognizable role models defines your ability to achieve your dreams. So, it’s important to recognize just how many wildly successful people are out there redefining just what a “music career” entails. Here’s 5 independent musicians who refuse to mold themselves to the Major Label Model. 1. Chance The Rapper “I’ve met with every A&R, VP of A&R, president of the labels, CEOs. I know all these people,” Chance the Rapper told The Fader in this 2015 article. He turned them all down, and he’s loving his freedom. “I can do whatever I want,” he said in an interview with Billboard. “I can do whatever videos I want, I can play whatever shows I want, I can release when I want, talk how I want, freely about any subject. I have a certain responsibility and I feel like conforming to the mixtape to mixtape to album rule would just defeat the whole purpose of not signing [with a major label].” Sounds like freedom doesn’t it? Because that’s exactly what you pay in exchange for a record deal. Former XXL freshman Chance The Rapper has earned himself a whopping seven Grammy Award nominations (and 3 wins!) for his latest project Coloring Book, and he’s done so without the help of a major label. 2. White Mystery “We’ve definitely received a lot of offers from a lot of different labels, but we are committed to independence,” Alex of White Mystery told Cusp Magazine. “What I’ve told others and what I tell myself, is continue to follow your instincts … you might be the right type of person for a label or maybe not.” “The cost of making music differs for each artist, but the best way to make a profit is to work hard, look decent, be polite and live frugal,” the band said. White Mystery is playing all over the world, has shot a feature film, and will soon appear in a coveted spot on a late night show. 3. Jane Weaver “My first experience of being a musician was the major-label system.” Jane Weaver told The Gaurdian in 2015. My band Kill Laura was signed to a Polydor imprint in the early 90s and then six months later our A&R was sacked. ‘Sorry, the album you’ve been working on for months isn’t happening. We’re shelving you and you can’t release it anywhere else unless they pay out a load of money for the recording.’” “It was brutal but I quickly saw the harsh reality of the music industry.” At Indepreneur, we often talk about “being shelved” and Jane is a prime example of this horrible experience. Can you imagine months and months of dedicated hard work and tireless hours of writing,only to be denied something that is so personal to you as your own music? What if during your child’s birth your doctor approached you and said “Would you like to cut the umbilical cord? His oxygen levels are normal and you should be able to take him home shortly. It also looks like your wife will be making a quick recovery…” Only to come back in 30 minutes and say “Looks like you’re leaving here without your wife or baby until you pay all the hospital fee’s.” Jane went on to tell The Guardian “We can arm ourselves with knowledge about the way things work. We can put something on YouTube and it becomes popular. We can access a huge mixture of diverse music.” “There is a price, of course. It took me a while to finish The Silver Globe because of financial restrictions, but being independent allowed me to make that album, to experiment and to make it work.” 4. Nipsey Hussle “I’m more or less focused on fully serving the [fans] that have connected already.” Nipsey told Radio.com in 2013 after releasing his $100 Crenshaw mixtape (which Jay-Z bought 100/1000 copies!) “If I’m goin’ to offer a product made with no compromise or concession to the platforms (radio, A&R, opinion, label bias), then the way we sell has to change.” If Nipsey told me he took some Direct Response Marketing courses, I’d believe him! He’s talking about directly engaging with your audience, and any offer being made to your fans is made by and from you, the artist! “A solution built by an artist serves the artist more than the solution the capitalist comes up with.” 5. Frank Ocean In late 2016, Odd Future alumni Frank Ocean split from his record label, Def Jam, in favor of a completely independent push. Forbes reported earlier this year that the move may have more than doubled Ocean’s profit for his latest release, Blonde. And Ocean is no dummy, he knows his numbers: “I need to know how many records I’ve sold, how many album equivalents from streaming, which territories are playing my music more than others, because it helps me in conversations about where we’re gonna be playing shows, or where I might open a retail location, like a pop-up store or something.” Sounds like another Indie we know, Nino Bless. Ocean is leading the charge for Indies and giving a prime example of the type of business-savvy entrepreneurial spirit that the musicians of tomorrow must foster. Conclusion Think about it. Are your efforts a solution for yourself and your art? Is signing to a Major Label the solution you’re looking for? Have you considered what your “solution” may be? Indepreneur strives to help indies build a model that’s feasible with a “no strings attached” mentality towards Major Labels and shady industry exec’s after realizing how many artists are shelved and extorted. We’ve also recently launched a new podcast where our founder Circa touches on a few of the aforementioned subjects and talks with music industry professionals you can trust! Check it out here: Creative Juice Podcast Get in touch with us, we’d love to hear your solution now that you’re thinking about your music career in a new light!
6803	dbpedia	0	88	https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/lou-reed	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about Lou Reed", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about Lou Reed", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	Lou Reed [1] Singer, songwriter Velvet Tones [2] Challenging His Audience [3] Loss, Recovery, Reunion [4] Hall of Fame and Reeling [5] Selected discography [6] Sources [7] A 1995 story in Interviewdeclared, “Since the 1960s, Lou Reed [8] has arguably been one of the most influential figures in r	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/literature-and-arts/music-popular-and-jazz-biographies/lou-reed	Lou Reed Singer, songwriter Velvet Tones Challenging His Audience Loss, Recovery, Reunion Hall of Fame and Reeling Selected discography Sources A 1995 story in Interviewdeclared, “Since the 1960s, Lou Reed has arguably been one of the most influential figures in rock’n’ roll.” The mercurial Reed—whose group The Velvet Underground may have been the first art-rock band and was certainly crucial to the development of today’s “alternative” rock—has pursued a very personal path in his solo career. Experimenting with everything from glam rock to pop to all-out noise, he has disregarded commercial considerations in the name of his own truths. “Sometimes the definition of what rock and roll is caused me to be thought of in ways that are too confining,” he commented in a 1992 Sire Records press biography, “so sometimes it becomes easier to just think of it as’Lou Reed Music.’” Reed was born in 1942 and raised on Long Island, New York. He became infatuated with rock and roll and rhythm and blues during his teens. He wrote his own songs and performed with bands like the Shades during the 1950s; he also frightened his parents with his behavior. According to Victor Bockris’s 1995 biography Transformer: The Lou Reed Story— excerpted in Interview—the teenager turned his family’s world upside down: “Tyrannically presiding over their middle-class home, he slashed screeching chords on his electric guitar, practiced an effeminate way of walking, drew his sister aside in conspiratorial conferences, and threatened to throw the mother of all moodies if everyone didn’t pay complete attention to him. “The Reeds sent Lou to amental institution, believing that treatment there would cure their son of his attitude problems and apparent homosexuality. At Creedmore State Psychiatric Hospital, the troubled teen underwent electroshock therapy; the trauma of this “cure” would never entirely leave him. Velvet Tones Reed attended Syracuse University and later worked as a songwriter for Pickwick Records, gulping amphetamines and trumping up and recording tracks like the alleged dance sensation “The Ostrich.” Yet even as he penned these no-brainers, he was absorbing the most lurid works of literature—including the writings of the notorious Marquis de Sade and Leopold von Sacher-Masoch, the namesakes of sadism and masochism, respectively. Reed’s dark romanticism was profoundly influenced by a unique combination of highbrow underground writings such as these and the yearning teen-aged plaint of early rock and roll—not to mention his own painful experiences. This feverish sensibility drove The Velvet Underground, the band Reed helped form in the early 1960s with multi-instrumentalist and musical avant-gardist John Cale, guitarist Sterling Morrison, and drummer Moe Tucker. For the Record… Born March 2, 1942, in Brooklyn, NY (some sources say Freeport, Long Island, NY); son of Sidney Joseph (an accountant) and Toby (Futterman) Reed; married Betty (a waitress), 1973 (divorced); married Sylvia Morales, 1980 (divorced). Education: B.A., Syracuse University, 1964. Songwriter, Pickwick Records, New York City, 1965; singer, guitarist, and songwriter for The Velvet Underground, 1965-70; solo recording artist, 1971—; acted in film One Trick Pony, 1980; participated in Amnesty International and Farm Aid benefit concerts, 1985; appeared on television commercials, 1980s; published Between Thought and Expression, Simon & Schuster, 1991; reunited with Velvet Underground for concerts and album, 1993; appeared in film Blue in the Face, 1995. Selected Awards: Received Best New Poet award, Council of Small Literary Magazines, 1977; Velvet Underground inducted into Rock and Roll Hall of Fame, 1996. Addresses: Home —New York, NY. Record company—Warner Bros., 75 Rockefeller Plaza, New York, NY 10019-6908. Thanks to artist-impresario Andy Warhol, the Velvets were able to hone their vision in shows around New York City before recording their debut album with the frosty German chanteuse Nico. Reed songs such as “Venus in Furs” (a fetishistic odyssey that took its title from a Sacher-Masoch novel), “Femme Fatale,” “Heroin,”C“I’m Waiting for My Man,” “White Light/White Heat,” “Sweet Jane,” and many others limned experiences other rock bands wouldn’t touch. The Velvet Underground’s music, meanwhile, incorporated brutal, primitive rock, aching melodies, experimental noise, spoken-word pieces, and even country-western. Yet the Velvets saw little real success; a cliché of rock has it that only a thousand people listened to the group during its career, but every one of the thousand formed a band. Though exaggerated, this anecdote reflects the influence the band had on the subsequent movements of glam-rock, punk, and alternative rock. The Velvet Underground disbanded in 1970, and Reed went home to his parents’ house in Long Island. He spent some time recuperating from his tumultuous years with the Velvets—which were marked by drug addiction and sexual anarchy—and worked in an office; eventually, though, he decided to accept a solo recording contract. He released his solo debut in 1972; the following year he married for the first time and released a more successful sophomore effort, Transformer. Produced by Reed devotee and emerging glam-rock phenom David Bowie, the album included the smash hit “Walk on the Wild Side, “a deceptively mellow, jazzy pop song narrating a variety of sexual transformations. “Walk” is undoubtedly Reed’s most commercially successful offering; it became something of an anthem for the decade. The album Sally Can’t Dance, meanwhile, was his most successful in terms of chart action, reaching the Top Ten in the U.S. Reed released a number of other glam-rocking albums in the 1970s, but he outraged his critics, fans, and especially his record company with Metal Machine Music, a double disc filled with shrill sounds and no songs. Often viewed as an elaborate attempt to get out of his contract with RCA—for which company he released the melodious Coney Island Baby the following year—the 1975 opus stands as one of the more perverse recordings of the modern era, at least by a mainstream artist. In any event, Reed left RCA and signed with Arista; though his albums didn’t sell terribly well, most managed to chart at least briefly. Challenging His Audience Having divorced his first wife, Reed married Sylvia Morales in 1980 (they would later divorce as well). After several years of output that thrilled neither critics nor many fans, he assembled a new band—which included guitarist Robert Quine, late of the innovative punk-era band Television, and the virtuosic Fernando Saunders on bass—and released The Blue Mask. According to Natoncritic Gene Santoro, the album “chronicles Reed’s genuinely harrowing descent into the hells of sex-and drug-driven terror, rage and violence, a place nobody else can plumb with his scarred power.” Yet, Santoro lamented, Reed squandered the force of his group and blunted the edge of his writing. “By the time of New Sensations in 1984, Reed had become a self-parodic name-dropper,” the critic averred. In addition to his solo work, Reed appeared on a multi-artist tribute to German songwriter Kurt Weill, whose dark, often carnivalesque melodies strongly influenced his own work. He also lent his voice to another all-star vehicle, a benefit for the struggle against the racist Apartheid system of South Africa called Sun City. A duet with R&B legend Sam Moore on a remake of the 1960s hit “Soul Man” for the 1987 movie of the same name and an appearance on bassist-producer Rob Wasserman’s anthology recording, Duets, followed. Yet even as Reed lost some of his credibility among the hipsters who’d been emulating him for years by filming television commercials for motor scooters and credit cards, he created a strong impression with his 1989 album New York, a meditative collection that showed a renewed vitality. He also reunited with Cale for a series of concerts in New York. The death of Warhol, an inspiration and friend to both Reed and Cale, spurred the two to write a suite of songs; this culminated in the 1990 recording Songs for Drella. Reed’s contributions emphasized, among other issues, Warhol’s intense work ethic—and proposed the artist’s need to escape his small-town origins as a partial explanation for his ambition. Loss, Recovery, Reunion The deaths of two other friends, Reed’s Syracuse roommate Lincoln Swados and songwriter extraordinaire Doc Pomus, motivated another album, 1992’s Magic and Loss. (Reed would be dealt another blow in 1995 when his Velvet Underground mate Sterling Morrison succumbed to cancer.) Although its meditations on illness and mortality might seem depressing on the surface, Reed insisted in his press bio, “I think Magic and Loss is a very’up’ album. It makes you feel better because what I gained from what happened to my friends is really very inspirational.” Rolling Stone noted of the disc, “[It] couples Reed’s bravest and most self-revelatory writing with his sparest and least-developed music. Highly charged prose writing, not songwriting, is now his focus.” No doubt some fuel for this hypothesis was provided by the 1991 publication of Between Thought and Expression, an anthology of Reed’s writings. Esteemed music journalist Kurt Loder, catching up with the singer-songwriter for a 1991 Esquire piece, noted that Reed’s “still-astonishing cult band, The Velvet Underground, has been nominated for the Rock & Roll Hall of Fame (’Can we campaign?’ he asks), but there’ll be no big reunion.” It may have been further reflection on life’s brevity that proved this statement untrue, but whatever the reason, Reed reunited with Cale, Morrison, and Tucker for a series of European concerts in 1993. Sire Records released an undoctored recording of a Paris show titled Live MCMXCIII before the year’s end; David Browne of Entertainment Weekly lauded it as “that rare, and wonderful, beast: a nostalgia-free return to old glories that both recaptures and expands on the tension and beauty that made the Velvet Underground so monumental so long ago.” The album includes “Coyote,” a new Reed-Cale collaboration that Rolling Stone’s Don McLeese felt “could have fit just fine on that third Velvets album while sounding reflective of the maturity these writers have gained over the years.” Nonetheless, McLeese asserted, “MC/WXC///sidesteps the question of where the Velvets go from here, of what a band that embodied so much experimentation might mean in the middle age of both its members and rock & roll.” The answer came shortly thereafter: true to form, the Velvets broke up again immediately after re-establishing their immense potential. Just as personality conflicts motivated the first breakup, the “maturity” bestowed by the intervening years couldn’t prevent old conflicts from resurfacing. “It was a volatile brew,” eed noted in Musician.” I was happy it made it through Europe in the first place.” Reed contributed a track to Sweet Relief, a benefit-tribute anthology for Victoria Williams, a singer-songwriter afflicted with multiple sclerosis, and also appeared onstage with her during several of her subsequent performances. “Vic is easily one of the most talented people I’ve ever come in contact with in my life,” he gushed in Musician. He also lent his rendition of the classic Doc Pomus song “This Magic Moment” to the 1995 tribute album Till the Night Is Gone. The following year saw the publication of Bockris’s Transformerbiography; Spin’s Mark Schone noted that the book “tries to answer the question: What makes the father of punk, führer of rock’s most important Underground, such an unmitigated asshole?” According to Schone, Bockris portrays Reed—who cooperated with him—as a manipulative dissembler. Hall of Fame and Reeling In 1996 the Rock and Roll Hall of Fame at last inducted The Velvet Underground, an event considered long overdue by many in the rock intelligentsia. In February of 1996 Reed released Set the Twilight Reeling, which was notable in part for having been written entirely on a computer. Reed said of the record in Billboard,” I just wanted to rock after’Magic and Loss.’ I didn’t want to put the burden of it having to be thematic on myself, so I told myself,’Just write whatever.’ And if it was connected in any way, that’s OK.” Reed went on to remark of Reeling’s content, much of which continues his exploration of the idea of transformation, “We’re all growing. When we stop growing, that’s the end of it. I’m happy I’m even walking on two legs. Making rock records is kind of too good.” Lest one despair that Reed had lost some of his trademark malcontent ire, the album featured a track called “Sex with Your Parents (Motherf—er) Part II, “which Billboard’s Melinda Newman described as “a diatribe against right-wing Republicans that postulates that the reason many of them are so uptight is that they had improper liaisons with their parents.” Said Reed of the song, “I hope’Sex with Your Parents’ works its way into the [1996 presidential] election somehow, if nothing else, to mock and ridicule the right-wing Republican fundamentalists who are so abhorrent to every principle of freedom of expression. Nothing could disgust me more.” Lou Reed’s eccentric career has embraced numerous styles, but his distinctive writing voice has been a constant. Whether pushing the envelope of noise-rock or musing over hushed guitar chords, he has followed only his own inclinations. “I write the albums for myself and I try to make it something I would listen to,” he insisted in his press biography. “I operate under the idea that I’m not unusual. And if I try to do it really well for myself, other people can relate to it, too. But I don’t really know how to write for other people so I can’t do that.” Selected discography With the Velvet Underground; on MGM/Verve, except where noted The Velvet Underground & Nico (includes “Femme Fatale,” “I’m Waiting for My Man,” “Venus in Furs,” and “Heroin”), 1966. White Light/White Heat (includes “White Light/White Heat”), 1967. The Velvet Underground, 1969. Loaded (includes “Sweet Jane”), Cotillion, 1970. The Velvet Underground Live at Max’s Kansas City, Atlantic, 1972. 1969: The Velvet Underground Live, Mercury, 1974. VU, Polydor, 1985. Another View, Polydor, 1986. Live MCMXCIII (includes “Coyote”), Sire, 1993. Peel Slowly and See, Polydor Chronicles, 1995. Solo releases; on RCA, except where noted Lou Reed, 1972. Transformer (includes “Walk on the Wild Side”), 1973. Berlin, 1973. Rock ’N’ Roll Animal, 1974. Sally Can’t Dance, 1974. Lou Reed Live, 1975. Metal Machine Music, 1975. Coney Island Baby, 1976. Walk on the Wild Side: The Best of Lou Reed, 1977. Rock and Roll Heart, Arista, 1976. Street Hassle, Arista, 1978. Take No Prisoners, Arista, 1979. The Bells, Arista, 1979. Growing Up in Public, Arista, 1980. Rock and Roll Diary, 1967-80, Arista, 1980. The Blue Mask, 1982. Legendary Hearts, 1983. New Sensations, 1984. Mistrial, 1986. New York, Sire, 1989. Magic and Loss, Sire, 1992. Set the Twilight Reeling (includes “Sex with Your Parents (Motherf—er) Part II”), Warner Bros., 1996. Other ” September Song, “Lost in the Stars: The Music of Kurt Weill, A&M, 1985. Artists United Against Apartheid, “Sun City, “Manhattan, 1985. Rob Wasserman, Duets, 1988. (With John Cale) Songs for Drella, Sire, 1990. “Tarbelly and Featherfoot, “Sweet Relief: A Benefit for Victoria Williams, Chaos/Sony, 1993. “This Magic Moment, “Till the Night Is Gone: A Tribute to Doc Pomus, Rhino, 1995. Sources Books Rees, Dafydd, and Luke Crampton, Rock Movers & Shakers, Billboard, 1991. Periodicals Billboard, January 27, 1996. Entertainment Weekly, October 29, 1993. Esquire, November 1991. Interview, August 1995. Musician, August 1993; January 1994. Nation, February 27, 1989. Rolling Stone, December 10, 1992; April 1, 1993; August 5, 1993; November 25, 1993; January 26, 1995; April 20, 1995. Spin, September 1995. Additional information for this profile was obtained from Sire Records publicity materials, 1992. —Simon Glickman Lou Reed Singer, songwriter, guitarist For the Record… Selected discography Sources Lou Reed gained limited notoriety in the late 1960’s as the songwriter and guitarist of the Velvet Underground. Unfortunately the group lasted only four years, breaking up in 1970 with the release of their fourth album. Their impact, however, continues as artists like David Bowie and Iggy Pop, virtually the entire punk movement, and many heavy metal bands reflect the Velvet Underground’s influence. After attending Syracuse University in New York, Reed began writing songs for the Long Island-based Pickwick Records, where he met fellow musician (bass and viola) John Cale; together they formed the Warlocks in 1965. With the addition of guitarist-bassist Sterling Morrison and drummer Maureen Tucker, the group changed their name to the Primitives and later the Falling Spikes. In 1966 they settled on the Velvet Underground a name taken from the title of a pornographic novel. The Group was signed by Verve records and artist Andy Warhol was assigned to produce their first album. Warhol brought in German-born singer Nico to round out the vocals. After recording the album the group toured with Warhol’s multi-media project, The Exploding Plastic Inevitable. Their music was stark in contrast to the hippie-style love songs of the west coast. With subject matter like sadomasochism, drugs and street life played at deafening volumes, the Velvet Underground shocked its audiences. Warhol and Nico left in 1967 before the group’s second album, White Light/White Heat, which featured the heavy metal sound almost two years before the so-called fathers of the genre, Led Zeppelin, had even formed. The album became a favorite among avant-garde music fans, but was ignored by the general public. Meanwhile, Cale left before the third LP, The Velvet Underground, and was replaced by Doug Yule. Even though their sound mellowed slightly, they were still trapped under the “cult-favorites” category. Ironically, their final studio effort, Loaded, which produced classics like “Sweet Jane” and “Rock and Roll”, sold reasonably well, but Reed had decided to quit the band even before the album was released. Two subsequent live albums were issued after the Velvet Underground’s breakup; of these, 7969 captured an excellent performance in a small Texas club. After leaving the Velvet Underground, Reed worked for a time with his father’s accounting firm in Long Island, but in 1971 RCA signed him to a solo contract and Reed was off to London to record his self-titled debut LP. Backed by British session musicians, Reed’s work was again ignored by radio stations, but it featured some outstanding writing and depictions of inner-city life. Reed stayed in England and eventually met Bowie, who openly expressed his admiration for Reed’s talents For the Record… Real name, Louis Firbank; born March 2, 1942, in Brooklyn, N.Y.; son of Sidney Joseph (an accountant) and Toby (Futterman) Firbank; married Sylvia Morales (second wife), February 14, 1980. Education: Syracuse University, B.A., 1964. Songwriter, Pickwick Records, New York City, 1965; recording artist, band member, founder of the Velvet Underground, 1966-70; solo recording artist, 1970—; performer, Farm Aid benefit concert, 1985, Amnesty International Tour, 1986; published poet; appeared in motion pictures; member: Musician’s Union Local 802; Screen Actor’s Guild. Awards: Received Best New Poet award from Council on Small Literary Magazines, 1977. Addresses: Home —New York, N.Y. Office –c/o Warner Bros. Records, 3300 Warner Blvd., Burbank, Calif. 91510. and even offered to produce his next record, Transformer, which featured Reed’s well-known song, “Walk on the Wild Side”. Transformer helped to re-establish Reed in the music world and placed him in the public eye, where the dark side of his personality began to emerge. According to The Illustrated Encyclopedia of Rock, “after Transformer he hooked himself firmly into his role as Elder Statesman of Ersatz Decadence and deteriorated at a rapid pace. This was a sobering sight for aficionados: Reed in eye-liner and phantom drag, aping Bowie the disciple of Reed.” A collage of sex, drugs and death, Reed’s third album, Berlin, sold poorly despite a tour and heavy promotion. Oddly enough, this record, which did so much to harm Reed commercially, also contributed to his ensuing comeback. The 1973 tour to promote Berlin included one of the finest bands ever assembled. With the dual guitars of Steve Hunter and Dick Wagner weaving in and around Reed’s poetry, the tour produced one of the most powerful live albums ever, Rock ’n’ Roll Animal. Another album from the same tour, Lou Reed Live, concentrated on ballads and was released a year later in 1975. Sandwiched between the two live LPs was Sally Can’t Dance, which stereotyped Reed as the “street-poet of rock.” The song “Kill Your Sons” chronicled Reed’s experience during high school when his parents submitted him to electroshock therapy. Although the album climbed to number ten on the charts, it is not regarded by Reed or his fans as one of his better efforts. In the spring of 1975 Reed unleashed Metal Machine Music on the world. This album was Reed’s powerful commentary on the music industry—four album sides (16:01 each) of what he described in Rolling Stone as “the all-time feedback guitar solo unrestricted by key or tempo.” Needless to say, reviews of the album were extremely positive, but once again Reed seemed to be his own worse enemy, lashing out at anyone who doubted the enormous chip on his shoulder. His verbal battles with the press (who tended to believe Reed’s songs were mostly autobiographical) were by now legendary. In 1976 he told Rolling Stone’s Tim Ferris, “If only they (critics) knew that not only am I such a worthless churl as to write songs about these things, but on top of that, I stole it all. Stole it from people.” In 1976 Reed ended a short-lived marriage, changed managers and released a new album, Coney Island Baby. With Reed on guitar and piano, it was a mixture of bitter ballads, twisted love songs and restrained rockers. After a switch from the RCA label to Arista, Reed released his seventh studio LP, the directionless and enigmatic Rock and Roll Heart. Playing against a background of television sets, Reed called the Rock and Roll Heart tour a “full-fledged attack, a seething assault. I call it germ warfare. I think of it as the Clearasil on the face of the nation. Jim Morrison would have said that if he was smart, but he’s dead.” In 1978 Reed released his most honest album up to that point, Street Hassle. Rolling Stone’s Tom Carson wrote, “the recognition of his own self-destruction has been made integral to Street Hassle’s concept, and the effect is double edged; as we respond to the album’s excellence, we are never allowed to forget just how much it cost.” The public was finally starting to see the true Lou Reed. Things would get even better on his 1979 album, The Bells, which contained three songs co-written by guitarist Nils Lofgren. The late critic Lester Bangs compared The Bells to Van Morrison’s Astral Weeks and the Rolling Stones’Exile on Main Street, calling it “great art.” In the next four years Reed released three more fine albums, Growing Up In Public, The Blue Mask, and Legendary Hearts. He summed this trio up as “… the absolute end of everything from the Velvet Underground up.” He began to take a brighter outlook on life and his next two albums, New Sensations and Mistrial, contained up-tempo songs and a happier Lou Reed. Reed played all six dates on the 1986 Amnesty International tour and was also a contributor to the Artists Against Apartheid Sun City record. It seems as if Reed has finally come clean (he even did ads for Honda scooters) but with such a complex personality, it’s hard to tell where he’ll be next. As Rolling Stone’s Billy Altman wrote, “One’s opinion of Reed’s solo work changes constantly, because his constant shifts of stance and style continually confound any sense of perspective.” Selected discography Lou Reed, RCA, 1972. Transformer, RCA, 1972. Berlin, RCA, 1973. Rock ‘N’ Roll Animal, RCA, 1974. Sally Can’t Dance, RCA, 1974. Lou Reed Live, RCA, 1975. Metal Machine Music, RCA, 1975. Coney Island Baby, RCA, 1976. Rock and Roll Heart, Arista, 1976. Take No Prisoners—Lou Reed Live, Arista, 1978. Street Hassle, Arista, 1978. The Bells, Arista, 1979. Growing Up In Public, Arista, 1980. The Blue Mask, Arista, 1982. Legendary Hearts, Arista, 1983. New Sensations, RCA, 1984. Mistrial, RCA, 1984. New York, Warner Bros., 1988. Also appeared on several recordings with the Velvet Underground, including: The Velvet Underground and Nico, Verve, 1967. The Velvet Underground, MGM, 1969. Loaded, Cotillion, 1970. Sources Books Christgau, Robert, Christgau’s Record Guide, Ticknor & Fields, 1981. Dalton, David and Kaye, Lenny, Rock 100, Grosset & Dunlap, 1977. The Illustrated Encyclopedia of Rock, Harmony, 1977. The Rolling Stone Record Guide, edited by Dave Marsh and John Swenson, Random House/Rolling Stone Press, 1979. Periodicals Rolling Stone, March 25, 1976; April 8, 1976; September 23, 1976; December 2, 1976; April 6, 1978; February 6, 1979; March 22, 1979; June 14, 1979; August 23, 1979; September 25, 1986. —Calen D. Stone LOU REED Born: Lewis Alan Reed; Brooklyn, New York, 2 March 1942 Genre: Rock, Pop Best-selling album since 1990: Magic and Loss (1992) Lou Reed is a pivotal figure in the creation of the New York rock sound. As a founding member of the Velvet Underground in the 1960s, he chronicled that decade with songs that journeyed into the worlds of drugs and sexual hedonism. His bleak urban street tales countered the sunny optimism associated with the psychedelic scene blossoming on the West Coast with bands like Jefferson Airplane and the Grateful Dead. Reed's primitive song structures, groove talking vocals, and experiments with white noise cemented his image as the original art rock hipster. Even though the Velvet Underground was never commercially successful, it proved greatly influential. Reed's solo career was marked by sharp turns in image and musical style. He entered the 1990s on the heels of New York (1989), a critically praised comeback. Reed grew up in Long Island, New York, and moved to Manhattan after college to pursue a career as a songwriter and a poet. In 1964 he met John Cale, a classically trained violinist. After recruiting drummer Moe Tucker and bassist Sterling Morrison, a year later the group met Andy Warhol, a founder and major figure in the pop art movement. Warhol became their manager. He added singer/actress Nico to the band and pushed them to explore more primitive themes. The band's best work utilized minimal chords and tempos. It spoke of alienation and the discord of modern urban life. The Velvet Underground's albums sold poorly but are now considered ahead of their time, foretelling the abrasion and stripped-down ethos that would define punk rock. Reed's solo career began in 1971. His debut, Transformer (1972), produced "Walk on the Wild Side," his only Top 20 single. Over the years, he would prove to be rock's most reliable chameleon, changing his public image as much as he did the music he made. Reed's subsequent albums included heavy-metal, commercial pop, glam rock, singer/songwriter folk, and grating electronic noise. By the time the 1980s rolled around he was touted as an innovator by bands including Sonic Youth and R.E.M. Reed kicked off the third chapter in his career with New York (1989), a gritty but accessible collection of songs that assessed the problems plaguing his hometown in recent years: the AIDS crisis, racism, and homelessness. New York signaled Reed's renewed viability and it was his first Top 40 album in fifteen years. Reed entered the 1990s an established icon. He and Cale reunited to release Songs for Drella (1990), which they dedicated to Warhol who died in 1987. He organized a reunion of the Velvet Underground, which toured Europe and recorded a live album. Back in the United States, the band dissolved a second time after a dispute over who would produce their upcoming MTV Unplugged special, which was promptly cancelled. Upon their induction into the Rock and Roll Hall of Fame in 1996, they reunited a second time to play the ceremony. By this time, Reed assumed the role of an art rock intellectual who demonstrated that dark and complex sentiments can be expressed clearly using the basic framework of two guitars, bass, and drums. He published two books of his lyrics over the years and went on spoken word tours. He also made some of his most harrowing music. Magic and Loss (1992) contemplated mortality and the many dimensions of loss. Tapping into both pain and humor, the album is considered one of Reed's best. Although Set the Twilight Reeling (1996) moved in a nostalgic pop direction, he returned to making raw rock music with Ecstasy (2000). Horns, electric violin, and a massive amount of guitar distortion complement the despair, rage, and overt sexuality in the lyrics. The Raven (2003), released both as a single and double album, was originally conceived as companion music to POE-try, a theater project with stage director Robert Wilson. It married Reed's bleak vision with the writings of Edgar Allan Poe, an American writer who greatly influenced the French symbolist poets. The album features Reed originals and Poe's fiction and poetry read by actors and set to music. The sparse production, backdrop of distorted guitar and electronics, and mixture of overlapping voices are all ratcheted high with the dramatic tension of a surreal radio play. The album was considered a fascinating, if peculiar, musical journey. Reed elevated hedonism to high art. As the founder and lead singer of the Velvet Underground, he used rock music to find the poetry in modern-day misery and urban decay. Throughout his unpredictable career, he relentlessly explored new styles in a multitude of genres. SELECTIVE DISCOGRAPHY: Transformer (MCA, 1972); Berlin (RCA, 1973); Sally Can't Dance (RCA, 1974); Metal Machine Music (RCA, 1975); Street Hassle (Arista, 1978); The Blue Mask (RCA, 1982); New York (Sire, 1989); Magic and Loss (Sire, 1992); Set the Twilight Reeling (Reprise, 1996); Perfect Night Live in London (Reprise, 1998); Ecstasy (Reprise, 2000); The Raven (Reprise, 2003). WEBSITE: www.loureed.com. mark guarino
6803	dbpedia	3	65	https://www.masslive.com/entertainment/2024/04/frontman-of-legendary-rock-band-says-im-on-my-way-out-after-turning-80.html	en	Frontman of legendary rock band says ‘I’m on my way out,’ after turning 80	https://www.masslive.com…=1280&quality=90	https://www.masslive.com…=1280&quality=90	[ "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_main.svg?d=1375", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_main_sm.svg?d=1375", "https://www.masslive.com/resizer/v2/5YLQIEZAT5AA7NW6ITF5IFWDUA.jpg?auth=bd34ca892f1c37c1af64744d1cb25a37454739cc89f097492a93d11e93877f8d&width=500&quality=90", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_footer.png?d=1375", "https://www.masslive.com/pf/resources/images/common/icons/privacyoptions29x14.png?d=1375", "https://www.masslive.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1375", "https://www.masslive.com/pf/resources/images/common/logos/AdvanceLocal_horizontal.svg?d=1375", "https://www.masslive.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1375" ]	[]	[]	[ "" ]	null	[ "David Cifarelli \| dcifarelli@masslive.com", "David Cifarelli", "dcifarelli@masslive.com", "david-cifarelli" ]	2024-04-04T13:38:01.024000+00:00	Roger Daltrey, lead singer and co-founder of the English rock band the Who, is getting ready to leave the music business after reaching a milestone age.	en	/pf/resources/images/masslive/favicon.ico?d=1375	masslive	https://www.masslive.com/entertainment/2024/04/frontman-of-legendary-rock-band-says-im-on-my-way-out-after-turning-80.html	Roger Daltrey, lead singer and co-founder of the English rock band the Who, is getting ready to leave the music business after reaching a milestone age. Daltrey reflected on his generation after turning 80 on March 1, saying, “I’m on my way out,” the Independent reported citing an exclusive interview with The Times. “I have to be realistic,” Daltrey reportedly told The Times. “The average life expectancy is 83 and with a bit of luck I’ll make that, but we need someone else to drive things.” The musician said this after stepping down as the curator of the annual Teenage Cancer Trust (TCT) gigs after 24 years, the Independent reported. Daltrey said his main concern about performing was “about how many words” he had to remember for recent shows he performed, according to the outlet. More music content All the fall 2024 music acts and performances coming to The Big E Aaron Lewis Tour: Where to buy tickets to Springfield show Major pop star under investigation linked to new music video Where to buy tickets for Justin Timberlake world tour stops August 2024 Christian music artist Phil Wickham to play opening night of 2024 Big E Daltrey co-founded the Who in London in 1964. The Who’s classic lineup (1964–1978) consisted of Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. Daltrey and Townshend are the only two original members who are still part of the band. Moon and Entwistle respectively died in 1978 and 2002. Daltrey’s hit songs with the Who include “My Generation,” “Pinball Wizard,” “Won’t Get Fooled Again,” “Baba O’Riley” and “You Better You Bet.” He began a solo career in 1973 while still a member of the Who, and has released ten solo studio albums, five compilation albums and one live album. Daltrey’s solo hits include “Giving It All Away”, “Walking the Dog,” “Written on the Wind,” “Free Me,” “Without Your Love” and “Under a Raging Moon.” As a member of the band, Daltrey received a Lifetime achievement award from the British Phonographic Industry in 1988 and from the Grammy Foundation in 2001. He was inducted into the Rock and Roll Hall of Fame as part of the Who in 1990, and the UK Music Hall of Fame in 2005. This summer Daltrey will embark on his 2024 U.S. Summer Tour, with a stop at the Leader Bank Pavilion in Boston on June 20.
6803	dbpedia	3	6	https://www.rollingstone.com/music/music-news/roger-daltrey-tour-deep-cuts-q-and-a-1234990307/	en	Roger Daltrey’s New Tour Will Feature Deep Cuts and an Audience Q&A	https://www.rollingstone…600&h=900&crop=1	https://www.rollingstone…600&h=900&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif" ]	[ "https://www.youtube.com/embed/hxBk397G-QM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/BLQV8MxL_Zk?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "Andy Greene" ]	2024-03-19T14:48:37+00:00	Roger Daltrey is coming to America in June for a rare solo tour that'll spotlight Who hits and rarities and selections from his solo career.	en	https://www.rollingstone…Favicon.png?w=32	Rolling Stone	https://www.rollingstone.com/music/music-news/roger-daltrey-tour-deep-cuts-q-and-a-1234990307/	Roger Daltrey is coming to America in June for a rare solo tour that will feature an onstage Q&A with audience members, Who hits and deep cuts, and selections from his solo career. It opens on June 12 in Vienna, Virginia, and closes June 29 in Highland Park, Illinois. Midway through, Daltrey will return to the site of the original Woodstock festival in Bethel, New York. KT Tunstall is opening up seven shows, and Dan Bern is on the bill at two. Daltrey’s backing band for the tour will feature guitarist Simon Townshend, mandolin player/background singer Billy Nicholls, percussionist Jody Linscott, guitarist Doug Boyle, bassist John Hogg, violinist Katie Jacoby, harmonica player Steve Weston, keyboardist/accordion player Geraint Watkins, and drummer Scott Devours. “Daltrey will answer questions from the audience during the shows, sharing anecdotes and offering up uniquely tailored renditions of songs seldom performed live either by the Who or Daltrey,” reads a press release announcing the tour. “In crafting this completely new show, Daltrey looks forward to unveiling one of his more intimate and unique stage shows, an up close and personal gift to his fans that highlights Who rarities, solo hits, and other songs from his incredible near 60-year career.” On Daltrey’s 2022 solo tour, he played Pete Townshend’s “Let My Love Open The Door,” lesser-known Who songs like “Another Tricky Day,” “Break the News,” and “Tattoo,” and solo cuts like “After the Fire” and “Days of Light.” He also sprinkled in a few Who hits, including “Squeeze Box,” “Baby O’Riley,” and “Who Are You.” The Who played their first concert of 2024 Monday night at London’s Royal Albert Hall as a fundraiser for the Teenage Cancer Trust. They were joined by an orchestra, and the set was virtually identical to the one they played on their most recent American and European tours. They are playing again Wednesday night. And on Sunday, Daltrey is wrapping up his 24-year stint as the curator of the Teenage Cancer Trust with a blowout concert featuring Pete Townshend, Eddie Vedder, Robert Plant, Paul Weller, and Kelly Jones of the Stereophonics. Editor’s picks The future of the Who beyond these Teenage Cancer Trust gigs is unclear. “I think it’s time for Roger and I to go to lunch and have a chat about what happens next,” Pete Townshend told Record Collector last year, shortly before the conclusion of their world tour. “Because [the final summer tour stop] shouldn’t feel like the end of anything, but it feels like the end of an era… It’s a question of, really, what is feasible, what would be lucrative, what would be fun? So, I wrote to Roger and said, ‘Come on, let’s have a chat and see what’s there.’” In the meantime, Daltrey is keeping his voice in shape with his solo tour. Trending Roger Daltrey U.S. Tour Dates
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(acutal pic) VINYL - VG+, great copy, should be NM. Buy 9 LPs and the get the 10th for just one penny. Free Shipping on orders of $50 or more...
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Shop exclusive Polydor vinyl, CDs, cassettes, merchandise and more.	en	//store.polydor.co.uk/cdn/shop/files/Polydor-Logo.png?crop=center&height=180&v=1688482136&width=180	Polydor Store UK	https://store.polydor.co.uk/	Emails will be sent by or on behalf of Universal Music Operations Ltd, 4 Pancras Square, London. N1C 4AG, UK. +44 (0)20 3932 8400. You may withdraw your consent at any time. See Privacy Policy at https://www.umusic.co.uk/privacy.html. Emails will be sent by or on behalf of Universal Music Operations Ltd, 4 Pancras Square, London. N1C 4AG, UK. +44 (0)20 3932 8400. You may withdraw your consent at any time. See Privacy Policy here.
6803	dbpedia	2	68	https://www.briffa.com/blog/raye-record-deals-release-clauses/	en	Raye, Record Deals & Release Clauses	https://www.briffa.com/w…s-unsplash-1.jpg	https://www.briffa.com/w…s-unsplash-1.jpg	[ "https://www.briffa.com/wp-content/themes/briffa/assets/images/briffa-logo.svg", "https://www.briffa.com/wp-content/uploads/2022/10/Cassine-600x619.jpg", "https://www.briffa.com/wp-content/uploads/2024/04/daniel-fazio-DzqeB43HfnE-unsplash-600x480.jpg", "https://www.briffa.com/wp-content/uploads/2019/10/Dept-of-Contracts-1.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/ig.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/in.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/yt.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/tw.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/fb.svg", "https://www.briffa.com/wp-content/themes/briffa/assets/images/b-logo.svg", "https://www.briffa.com/wp-content/uploads/2022/07/the-law-society-logo.png", "https://www.briffa.com/wp-content/uploads/2022/07/thumbnail_lsoi_mems.jpg" ]	[]	[]	[ "" ]	null	[ "Cassine Bering" ]	2023-01-30T16:42:43+00:00	A release clause is essentially an ultimatum for the label - either it puts your music out or it releases you from the contract.	en	https://www.briffa.com/w…avicon-32x32.png	Briffa Legal	https://www.briffa.com/blog/raye-record-deals-release-clauses/	This month Raye earned her first UK number one, independently and without the help of a record label. An incredible feat for an independent artist. However, Raye was not always independent. She signed to Polydor in 2014, a deal which lasted seven years, but in that time the label didn’t release any of her music. This is despite Raye submitting numerous albums and recordings for consideration. Raye was able to part ways with Polydor a year or so ago and has overcome the odds to top the charts. Nonetheless, her journey serves as an important reminder to artists about the risks of record deals, the benefit of release clauses and the importance of instructing legal counsel. What is a Release Clause? We haven’t had sight of Raye’s Polydor deal, but it is highly likely there was either no release clause or an extremely weak one. A release clause is essentially an ultimatum for the label – either it puts your music out or it releases you from the contract. It is an essential clause for any artist but is rarely included in the first draft. Release clauses come in all shapes and sizes and must be read in context of the overall agreement. They aren’t always what they seem and require a trained eye to dissect. Good Release Clauses Good release clauses release you from your obligations under the deal, freeing you to release music elsewhere, whether that be independently or with other labels. The best release clauses also revert your rights in the recordings subject to the deal back to you, meaning you regain ownership. Good release clauses will also set a clear deadline for the label to have released your recordings and a clear path for you to exit the deal if it doesn’t. Other Release Clauses Most release clauses are not that straight forward and many only release you from a selection of your obligations under the deal. They might not revert your rights back to you, which can be disappointing if you spent considerable time on the recordings only to be told the label won’t release them and neither can anyone else. The vast majority of release clauses have convoluted drafting which dilute their effect. For example, ‘the label must release the recordings within 6 months of Delivery.’ However, if ‘Delivery’ is defined as ‘when the label accepts the recordings’ the label can indefinitely reject your recordings and the release clause won’t be triggered until the label accepts them. Record deals are littered with this style of drafting, intentionally complex to trick untrained eyes. Be aware that release clauses can be drafted to split the release obligation by territory, meaning if the label releases your music in some territories but not others, it will only release you from your obligations with regards to the territories it failed to release in. This means you would still be in contract with the label with regards to the territories it successfully released in. Although, this is less of a contentious issue now that music can be released worldwide at the click of a button. Take It From Raye and Take it From Me! Raye’s story should be a lesson for artists everywhere. Seek independent legal advice, ask for a release clause and negotiate a release obligation from the label which gives you a clear and fair exit route if all else fails. Get in touch if you have been presented with a record deal. We can review, amend, and negotiate the deal on your behalf to better secure your position. Written by Cassine Bering – Solicitor
6803	dbpedia	2	13	https://www.submithub.com/label/polydor-island	en		https://www.submithub.com/logo.png	https://www.submithub.com/logo.png	[]	[]	[]	[ "" ]	null	[]	null	SubmitHub is the most transparent way to send your songs to music blogs, Spotify playlisters, TikTok and Instagram influencers, and more. Submit your music. Be heard.				https://www.submithub.com/label/polydor-island
6803	dbpedia	1	11	https://musicbrainz.org/release-group/cca1b898-45a9-3286-9862-91c1f027dcf2	en	Release group “Daltrey” by Roger Daltrey	https://musicbrainz.org/…avicon-32x32.png	https://musicbrainz.org/…avicon-32x32.png	[ "https://static.metabrainz.org/MB/header-logo-1f7dc2a.svg", "https://static.metabrainz.org/MB/search-52f8034.svg", "https://archive.org/download/mbid-6044994e-63e2-4aca-9dbd-fe1a80d52c86/mbid-6044994e-63e2-4aca-9dbd-fe1a80d52c86-38076545521_thumb250.jpg", "https://static.metabrainz.org/MB/listenbrainz-02d5163.png" ]	[]	[]	[ "" ]	null	[]	null		en	/static/images/favicons/apple-touch-icon-57x57.png		null
6803	dbpedia	2	44	https://www.imdb.com/list/ls059445864/	en	The Greatest Musicians of All-Time	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-6931891-5603909:8SBARK1CVBADFNR7YMSN$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D8SBARK1CVBADFNR7YMSN:0", "https://m.media-amazon.com/images/M/MV5BMjA2ODY1MDA5MV5BMl5BanBnXkFtZTcwNjU1MzIyOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMzA1NzM5NjE2OV5BMl5BanBnXkFtZTcwMDI2NjA4OA@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTg3MTY3NDQxOF5BMl5BanBnXkFtZTcwNjAwMDU4Mg@@._V1_QL75_UY60_CR5,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BZmMwNThmODAtY2UwMy00MTk0LTkwNGQtNGU2NjM5YTRkYWJjXkEyXkFqcGdeQXVyNDUzOTQ5MjY@._V1_QL75_UY60_CR3,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM1NjExNjg1OV5BMl5BanBnXkFtZTcwMTQ0NzIwMw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTg5NTA3Mjc4Nl5BMl5BanBnXkFtZTcwMzU3ODM1Mw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM5NDcwODYxMV5BMl5BanBnXkFtZTcwNDk5MTAwOQ@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BYjQwNzMzOGUtYmVkMS00ZmUxLWEwMDAtMWRmYTczZjQ3NWU3XkEyXkFqcGdeQXVyMjk3NTUyOTc@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BOTY2MWI3YTItMmU1Yi00Mjg4LWEwOTMtOGRlMjc2YzY4ZGMyXkEyXkFqcGdeQXVyMDM2NDM2MQ@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMzgyMjk2MzE1MF5BMl5BanBnXkFtZTcwOTA3MTUxNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNzQyNzYyMjMwNV5BMl5BanBnXkFtZTcwNTUwODgwMw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTY4OTA5MDYzOF5BMl5BanBnXkFtZTcwMDU4MDAxMw@@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BOTk5NzQwOTU4OF5BMl5BanBnXkFtZTYwMTk3MTk0._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTQ4NTE3MTYzOF5BMl5BanBnXkFtZTcwNDM4OTcyMg@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM0MzM3MTg3MF5BMl5BanBnXkFtZTcwNDcwODE0Nw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BNmU1ZmVmZjQtODdhNy00NjE4LWE3NjYtMjE2NGQ4MzM1YWYxXkEyXkFqcGdeQXVyMjk3NTUyOTc@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTk2NzA3NjM1OF5BMl5BanBnXkFtZTYwNTUzNTUz._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTg3ODY0Mzc0OF5BMl5BanBnXkFtZTgwODYxNzE0OTE@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BOTMxMjEwNDk2NF5BMl5BanBnXkFtZTcwMDY1MjE2Mw@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMzgyZmEyYjktZjA3OC00MTA3LWI5NmYtMDE4MjRmODYwYmU4XkEyXkFqcGdeQXVyNDUzOTQ5MjY@._V1_QL75_UY60_CR24,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM4NzgyNzIwMV5BMl5BanBnXkFtZTcwMzgzMTUzOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BYTliOTYwYTMtZTYxZS00MjZkLWFjZGQtOGNlYTRjZjAyOTdmXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR15,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BZTNmNThlNzUtMTFkMS00ZTk3LWEyNjQtNGUyZWM1OGJhNjQzXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR16,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMTU4NzM5NTQ4NV5BMl5BanBnXkFtZTcwMDA1MTUyMg@@._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/images/M/MV5BMmMwZWQ5MGItYmY5My00NzU3LWIzZjMtNWU2ZDZkZjY3ZGJhXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_QL75_UY60_CR20,0,60,60_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-6931891-5603909:8SBARK1CVBADFNR7YMSN$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D8SBARK1CVBADFNR7YMSN:0" ]	[]	[]	[ "" ]	null	[]	null	I know it's non-film related, but some of these people have contributed to soundtracks.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls059445864/	The Beatles were an English rock band that became arguably the most successful act of the 20th century. They contributed to music, film, literature, art, and fashion, made a continuous impact on popular culture and the lifestyle of several generations. Their songs and images carrying powerful ideas of love, peace, help, and imagination evoked creativity and liberation that outperformed the rusty Soviet propaganda and contributed to breaking walls in the minds of millions, thus making impact on human history. In July of 1957, in Liverpool, Paul McCartney met John Lennon. Both were teenagers. Paul impressed John with his mastery of acoustic guitar, and was invited to join Lennon's group, The Quarrymen. George Harrison joined them in February of 1958. In 1959 they played regular gigs at a club called The Casbah. They were joined by vocalist Stuart Sutcliffe, and by drummer Peter Best, whose mother owned The Casbah club. Early incarnations of the band included The Quarrymen, Johnny & the Moon Dogs, and The Silver Beetles. John Lennon dreamed up the band's final name, The Beatles, a mix of beat with beetle. In 1960 The Beatles toured in Hamburg, Germany. There they were joined by Ringo Starr, who previously played with Rory Storm and the Hurricanes. In Hamburg, The Beatles made their first studio work as a backing band for singer Tony Sheridan's recordings for the German Polydor label, however, in the credits the band's name was changed to The Beat Brothers. From February 1961 to August 1963, The Beatles played a regular gig at the Cavern. They were paid five pounds for their first show, rising to three hundred pounds per show in 1963. In two and a half years The Beatles gave 262 shows at the Cavern in Liverpool. Brian Epstein was invited to be the manager of the Beatles in November 1961. His diplomatic way of dealing with the Beatles and with their previous manager resulted in a December 10, 1961, meeting, where it was decided that Epstein would manage the band. A 5-year management contract was signed by four members at then-drummer Pete Best's home on January 24, 1962. Epstein did not put his signature on it, giving the musicians the freedom of choice. At that time McCartney and Harrison were under 21, so the paper wasn't technically legal. None of them realized this and it did not matter to them. What mattered was their genuine trust in Epstein. He changed their early image for the good. Brian Epstein made them wear suits and ties, classic shoes, and newer haircuts. They were advised to update their manners on stage and quit eating and drinking in public. Brian Epstein worked hard on both the Beatles' image and public relations. He improved their image enough to make them accepted by the conservative media. Most if not all of their communication off-stage was managed by Brian Epstein. On January 1, 1962, The Beatles came to London and recorded fifteen songs at the Decca Records. They were not hired, but the material helped them later. During the year 1962, they made several trips to London and auditioned for various labels. In May of 1962 Epstein canceled the group's contract with Tony Sheridan and the German label. Brian Epstein was persistent in trying to sign a record deal for the Beatles, even after being rejected by every major record label in UK, like Columbia, Philips, Oriole, Decca, and Pye. Epstein transferred a demo tape to disc with HMV technician Jim Foy, who liked their song and referred it to Parlophone's George Martin. On June 6, 1962, at the Abbey Road studios, they passed Martin's audition with the exception of Pete Best. George Martin liked them, but recommended the change of a drummer. Being asked by John Lennon, Paul McCartney, and George Harrison; Epstein fired Pete Best. After a mutual decision the band was completed with Ringo Starr, who duly became the fourth Beatle. In September of 1962 The Beatles recorded their first hit Love Me Do, which charted in UK, and reached the top of the US singles chart. London became their new home since 1963. On February 11, 1963, The Beatles recorded the entire album 'Please, Please me' in one day, working non-stop during ten-hour studio session. In May and June, 1963, the band made a tour with Roy Orbison. In August of 1963, their single She Loves You became a super hit. Their October 1963 performance at the London Palladium made them famous in Great Britain and initiated the Beatlemania in the UK. The show at the London Palladium was broadcast live and seen by twelve million viewers. Then, in November 1962, The Beatles gave a charity concert at the Prince of Wales Theatre in London. There, performing for the rich and famous, John Lennon made his famous announcement: Would the people in the cheaper seats clap your hands? And the rest of you, if you'll just rattle your jewelry. In early performances the Beatles included popular songs from the 40s and 50s. They played rock-n-roll and R&B-based pop songs while they gradually worked on developing a style of their own. Their mixture of rock-n-roll, skiffle, blues, country, soul, and a simplified version of 1930s jazz resulted in several multi-genre and cross-style sounding songs. They admitted their interest in the music of Buddy Holly, Elvis Presley, Little Richard and other entertainers of the 40s, 50s and early 60s. Beatles' distinctive vocals were sometimes reminiscent of the Everly Brothers' tight harmonies. By 1965 their style absorbed ethnic music influences from India and other Oriental cultures, and later expanded into psychedelic experiments and classical-sounding compositions. Their creative search covered a range of styles from jazz and rock to a cosmopolitan cross-cultural and cross-genre compositions. Initially the Beatles were a guitars and drums band. In the course of their career every member became a multi-instrumentalist. George Harrison played the lead guitar and also introduced such exotic instruments as ukulele, Indian sitars, flutes, tabla, darbouka, and tampur drums. John Lennon played a variety of guitars, keyboards, harmonicas and horns. Paul McCartney played bass guitar, acoustic and electric guitars, piano and keyboards, as well as over 40 other musical instruments. The Beatles were the first popular band that used a classical touch of strings and keyboard instruments; their producer George Martin scored Baroque orchestrations in several songs, such as Yesterday, Eleanor Rigby, In My Life, and a full orchestra in Sgt. Pepper. John Lennon and Paul McCartney played piano in many of their songs. Their jamming on a piano together led to creation of their best-selling hit I Want to Hold Your Hand in 1963. At first the Beatles were rejected by Dick Clark after testing a recording of their song on his show. Then Brian Epstein approached Ed Sullivan, who discussed them with Walter Cronkite after seeing them on his CBS Evening News in 1963. Brian Epstein also managed to get their music played by influential radio stations in Washington and New York. The US consumer reaction was peaking, a single 'I Want to Hold Your Hand' was released in December 1963 by the Capitol Records. Their sensational tour in the USA began with three TV shows at the Ed Sullivan Theater in New York, in February of 1964. After that The Beatles endured several years of extremely intensive recording, filming, and touring. They stopped public performances after 1966, but continued their recording contracts. By 1985 The Beatles had sold over one billion records. Music became their ticket to ride around the world. Beatlemania never really ended since its initiation. It still lives as a movable feast in many hearts and minds, as a sweet memory of youth, when all you need is love and a little help from a friend to be happy. The Beatles' first two feature films, A Hard Day's Night (1964) and Help (1965), were made in collaboration with an American director, Richard Lester. Their humorous, ironic, and farcical film performances are reminiscent of the Marx Brothers' comedies. Later The Beatles moved into the area of psychedelic innovations with the animated film Yellow Submarine (1966). Their surrealistic TV movie The Magical Mystery Tour (1967) became the cause for the first major criticism of their work in the British press. Their film music was also released as studio albums. Original music by The Beatles as well as re-makes of their songs has been also used, often uncredited, in music scores of feature films and documentaries. Some of The Beatles concert and studio performances were filmed on several occasions and were later edited and released after the band's dissolution. In 1999 the remastered and remixed film The Beatles Yellow Submarine Adventure (2000) delighted a younger audience with incredible animation and songs. All four members were charismatic and individually talented artists, they sparked each other from the beginning. Eventually they made a much better group effort under the thorough management by Brian Epstein. His coaching helped consolidate their talents and mutual stimulation into beautiful teamwork. Paul McCartney had the privilege of a better musical education, having studied classical piano and guitar in his childhood. He progressed as a lead vocalist and multi-instrumentalist, as well as a singer-songwriter. McCartney wrote more songs for the Beatles than other members of the band. His songs Yesterday, Eleanor Rigby, Blackbird, When I'm 64, Let It Be are among the Beatles' best hits. Yesterday is considered the most-covered song in history with over three thousand versions of it recorded by various artists. McCartney accepted the agreement that was offered by John Lennon in 1957, about the 50/50 authorship of every song written by either one of them. Most of The Beatles' songs are formally credited to both names, regardless of the fact that many of the songs were written individually. On June 25, 1967, The Beatles made history becoming the first band globally transmitted on TV to an estimated 400 million people worldwide. The Beatles were a segment in the first-ever worldwide satellite hook-up and their new song "All You Need Is Love" was broadcast live during the show. Two months later The Beatles lost their creative manager Brian Epstein, whose talent for problem-solving was unmatched. "That was it, the beginning of the end", said Lennon. Evolution of each member's creativity and musicianship also led to individual career ambitions. John Lennon was experimenting with psychedelic poetry and art. His creativity was very unique and innovative. Lennon wrote Come Together, Girl, Revolution, Strawberry Fields and many other Beatles' hits. An out-of-context reprinting of Lennon's remarks on the Beatlemania phenomenon caused problems in the media. His comparison of Beatles' popularity to that of Jesus Christ was used to attack them publicly, causing cancellations of their performances and even burning of their records. Lennon had to apologize several times in press and on TV, including at a Chicago press conference. In 1967 John Lennon met Japanese artist Yoko Ono, whom he later married. George Harrison was the lead guitar player and also took sitar lessons from Ravi Shankar. Harrison had his own inner light of creativity and spirituality, he wrote Something, Taxman, I me mine, and other hits. Ringo Starr sang 'Yellow Submarine' and a few other songs. He has made a film career and also toured with his All Stars Band and released several solo albums. His 1973 release "Ringo" was the last album to feature all four living Beatles, although not on the same song. The Beatles created over 240 songs, they recorded many singles and albums, made films and TV shows. Thousands of memorable pictures popularized their image. In their evolution from beginners to the leaders of entertainment, they learned from many world cultures, absorbed from various styles, and created their own. Their cross-style compositions covered a range of influences from English folk ballads to Indian raga; absorbing from Johann Sebastian Bach, Ludwig van Beethoven, Pyotr Ilyich Tchaikovsky, Karlheinz Stockhausen, Elvis Presley, Everly Brothers, Little Richard, and others. The songwriting and performing talents of Paul McCartney, John Lennon, George Harrison, and Ringo Starr, fused in the Beatles' music. Lennon and McCartney initiated changes in music publishing industry by breaking the Tin Pan Alley monopoly of songwriting. Their legacy became possible due to highly professional work by Brian Epstein and George Martin. In 1994 three surviving members reunited and produced Lennon's previously unknown song 'Free as a Bird'. It was preserved by Yoko Ono on a tape recording made by Lennon in 1977. The song was re-arranged and re-mixed with the voices of three surviving members. The Beatles Anthology TV documentary was watched by 420 million people in 1995. The Beatles represent the collective consciousness of several generations. Millions of viewers and listeners across the universe became conditioned to the sounds and images of The Beatles. Their influence on the modern world never stopped. Numbers may only show the tip of the iceberg (record sales, shows admissions, top hits, etc.). As image-makers and role models they pushed boundaries in lifestyle and business, affecting customers behavior and consumption beyond the entertainment industry by turning all life into entertainment. A brilliant blend of music and lyrics in their songs made influence on many minds by carrying messages like: give peace a chance and people working it out. A message more powerful than political control, it broke through second and third world censorship and regulations and set many millions free. Steve Jobs, being a big fan of Paul McCartney and The Beatles, referred to them on many occasions and also was interviewed on a showing of a Paul McCartney concert. When asked about his business model, Steve Jobs replied: My model for business is The Beatles: They were four guys that kept each other's negative tendencies in check; they balanced each other. And the total was greater than the sum of the parts. Great things in business are never done by one person, they are done by a team of people. The Beatles made impact on human history, because their influence has been liberating for generations of nowhere men living in misery beyond the Iron Curtain. Something in their songs and images appealed to everybody who wanted to become free as a bird. Their songs carrying powerful ideas of real love, peace, help, and imagination evoked creativity that outperformed the rusty Soviet propaganda and contributed to breaking chains and walls in the minds of millions. The Beatles expressed themselves in beautiful and liberating words of love, happiness, freedom, and revolution, and carried those messages to people across the universe. Their songs and images helped many freedom-loving people to come together for revolutions in Prague and Warsaw, Beijing and Bucharest, Berlin and Moscow. The Beatles has been an inspiration for those who take the long and winding road to freedom. Even after The Beatles had gone, the individual members continued to spread their message; from the concert for Bangladesh by George Harrison and Ringo Starr in 1971, to 2003 "Back in USSR" concert by Paul McCartney on the Red Square in Moscow, and his 2004 show near the Tsar's Winter Palace in St. Petersburg where the Communist Revolution took place, just imagine. In 2005 the Entertainment magazine poll named The Beatles the most iconic entertainers of the 20th Century. In July of 2006, the guitar on which Paul McCartney played his first chords and impressed John Lennon, was sold at an auction for over $600,000. In July 2012, Paul McCartney rocked the opening ceremony of the 2012 Summer Olympics in London. He delivered a live performance of The Beatles's timeless hit "Hey Jude" and engaged the crowd of people from all over the world to join his band in a sing along finale. The show was seen by a live audience of 80000 people at the Olympic Park Stadium in addition to an estimated TV audience of two billion people worldwide. Led Zeppelin are a popular British band best known for their iconic "Stairway to Heaven" as well as for co-creating the music genre of heavy metal. Since their nine albums were recorded between 1968 and 1979, Led Zeppelin has been one of the most popular bands of all time, having sold more than 300 million records and millions of concert tickets worldwide. The quartet was conceived at the end of the Hippie love era, in a group marriage of blues, rock and roll, soul, rockabilly, folk ballad, jazz, classical and Eastern music, and something else scattered over some woozy sounds of their songs. It was their mutual artistic stimulation, their group interplay and imagination that incorporated mythology and mysticism, and concocted their inimitable style, and established the concept of album-oriented rock career. Jimmy Page was already an experienced lead guitarist who worked with multi-instrumentalist John Paul Jones in 1967, and they agreed to work on the next project. In August 1968 Page invited Robert Plant and John Bonham to join his band, the New Yardbirds, for a September tour in Scandinavia. In October 1968 they took the name Led Zeppelin, which stemmed from a humorous conversation among several musicians about their chances of going down like a lead balloon. However, British bands were highly anticipated in the USA, and the Atlantic Records founder Ahmet Ertegun signed the new band without even seeing them. Their debut album, 'Led Zeppelin', recorded and mixed in just about 36 hours in October 1968, at Olympic Studios in London, kicked open the door for all extremes and experiments. The phallic image of the blown up Hindenburg airship on the cover, designed by George Hardie, announced the hardening of rock and coming of the new super-group. While ascending to musical success as a powerhouse band, Led Zeppelin explored a variety of styles, from English folk ballads to blues and rock, and created their own inimitable style. Prior to the release of their first album, Led Zeppelin made live appearances at the University of Surrey and in London in October 1968, then went on their first American tour in December 1968. In their first year, Led Zeppelin made four concert tours in the USA, and another four tours in the UK. Their second album was recorded entirely on the road at several American recording studios, and was an even greater success than the first one. "Whole Lotta Love", "Heartbreaker", "Living, Loving Maid", and "Ramble On" became big international hits. Each member of the quartet contributed to their compositions, thus setting a fine example of group creativity. Their songs and albums rambled on with the highly versatile voice-guitar interplay. Plant's incredible vocal range and Page's enchanting guitar solos were as responsible for the band's singularity as its musical wanderlust. Plant's and Page's musicianship was supported by the tight playing by John Paul Jones on bass, and John Bonham on drums. The intense interaction of all four players on stage gave their live performances a visual counterpoint to well intertwined harmonic and rhythmic structures of their compositions. Their third album, Led Zeppelin III, influenced by folk and Celtic music, offered more inventiveness with acoustic/electric sound-work, and revealed more of the band's versatility with such compositions as the "Immigrant Song" and "Since I've Been Loving You". With the release of their fourth, and most popular album, Led Zeppelin achieved a reputation of the biggest band in the world. 'Stairway to Heaven' became the most played radio hit, several other songs became rock classics, and nobody knows how many more times their lines would help other musicians (like the opening riff from "How Many More Times" was later used by Pink Floyd in their hit "Money"). Capitalizing on the success of their first four albums, the band toured extensively in the 1970s. At that time they chartered a private jet, nicknamed the Starship, that carried the band's name and later added the famous 'Swan Song' winged Apollo image on the tail. Going to California turned into a ritual of wildness and excess, most notably at the Hyatt House hotel on the Sunset strip in Los Angeles, known colloquially as the "Riot House" for a series of some most exciting off-stage events, such as riding a motorcycle inside the hotel and throwing TV set out of the window. One of their concerts under a heavy thunderstorm in Florida ended with police using tear gas, and led to a temporary pause in their concert tours. During the 70s their career was interrupted several times by accidents, deaths and other unfortunate events. In September 198O on the eve of an American tour, John Bonham accidentally died from pulmonary edema after a day of drinking. In December 1980, Led Zeppelin disbanded, albeit the public could still feel their presence. In 1982 a collection of out-takes from various sessions from the 70s was released as their last album, Coda. During the 80s the remaining three members experienced a serious communication breakdown, until they briefly united for a short set in 1985, and once again, in 1988, with Bonham's son, Jason, for the Atlantic Records 40th Anniversary show. In 1994 Page and Plant showed their softer side when they performed live together on 'MTV Unplugged', which was released the same year as album titled 'No quarter'. Then they made an international tour with an orchestra. In 1995 Page and Plant were joined by Jones when the band was inducted into the Rock and Roll Hall of Fame, albeit the three former band-mates did not perform together. By that time Jimmy Page as well as Robert Plant had pursued individual careers touring and recording with their own bands. Another ten years gone. Page's and Plant's call-and-response interplay took them through good times and bad times. Their sonic originality had sparked imagination and creativity in millions of open minds. Singers, songwriters, armies of music fans and a rainbow of dedicated 'led heads', as well as guitarists and guitar collectors worldwide remained united through the acquired experience and conditioning to the Led Zep sounds. Hats off to Led Zeppelin, who opened the new extremes of musical expression, and are now back in the light confirming their presence. Their long anticipated reunion in December 2007 was a true celebration day. Their live performance was as tight as a rock band can be, and their living, loving song remains the same since we've been loving them. That's the way! Thank you, Friends. The Rolling Stones are the legendary British rock band known for many popular hits, such as Paint it Black, Lady Jane, Ruby Tuesday, and (I Can't Get No) Satisfaction. Almost everyone who attended their shows is quick to comment on their ability to start you up and shake your hips. Their song "Satisfaction" (1965) was composed by Keith Richards in his sleep, and with the addition of provocative lyrics by Mick Jagger it became the greatest hit and their calling card on each and every show. In 1966, after The Beatles stopped giving live performances, The Rolling Stones took over as the unofficial "biggest touring band in the world" for the next few years. During 1966-1969 they toured the world, and constantly updated their song-list with many great hits like "Lets Spend the night together" (1967), "Sympathy for the Devil" (1968) and "Honky tonk woman" (1969). The incredible international success of the Stones came with a sad side, caused by Brian's drug and alcohol abuse that impaired his speech and appearance, so the band-mates had to replace him. In July 1969, Brian Jones died of drowning in his swimming pool while having signs of drug overdose. Upon Richards's and Jagger's approval, guitarist Mick Taylor took Brian's place. Brian's death at age 27 made him one of the first members of the infamous "27 Club" of rock stars who died at that age. Although Brian's estrangement from his band-mates, and his numerous arrests were caused by his personal problems with drugs, both Richards and Jagger were blamed at the time for Brian's death. The loss of one of their founding members was a painful moment for the Stones. However, at the end of the 1960s their creativity reached the new highs. Their albums "Beggars Banquet" (1968) and "Sticky Fingers" (1971) were among the most popular albums they ever made, having such hits as "Wild Horses" and "Brown Sugar." During the 1970s The Rolling Stones remained the biggest band in the world, albeit they were rivaled by the Led Zeppelin. The Stones made thousands of live performances and multi-million record sales with hits like "Angie" (1973), "It's Only Rock and Roll" (1974), "Hot Stuff" (1976) and "Respectable" (1978). At that time both Keith Richards and Mick Jagger had individual ambitions, and applied their untamed creativity in various projects outside the Stones. Keith released his own single. In 1974 Ron Wood had replaced Mick Taylor on guitar and Keith and Ron both played lead guitars. During the decade Keith Richards had a family crisis on his hands, and suffered through emotional pain and drug abuse, albeit it didn't stop him from being himself. In 1980 the group released "Emotional Rescue" which Keith Richards didn't care for, and the group didn't even tour to promote the album. In 1981 with the release of 'Tattoo You', the group went on a major world tour filling stadiums in the US and in Europe. In 1983 the Stones recorded the album "Undercover" at the Compass Point in Nassau and during this time Mick and Keith were having arguments over rights of the group. After having created tens of albums and over a hundred popular songs together, their legendary song-writing partnership was undergoing the most painful test: the bitter rivalry between two enormously talented and equally ambitious superstars. Mick Jagger is the heart of "The Stones" and Keith Richards - the soul. The two had carried on their early image of unkempt youth, had survived ups and downs in their careers and personal lives, and remained the core of the band since they shared a flat with the late Brian Jones in London in 1962. Two other remaining members are drummer Charlie Watts and guitarist Ron Wood. "The Stones" were part of the "British Invasion" in international culture during the 1960s, and has been extremely popular and famous for their 60s craze, hot stuff and sex drive. Since the 1970s they remained one of the biggest entertainment acts touring the world with a retinue of jet-set hangers-on. Their inimitable shows, no matter the best, or the worst, has been played with fire and emotion, giving their audiences the kind of music they do best - it's only rock'n roll. Mick Jagger dropped out of college and his every move on-stage and off-stage seemed to signal a challenge to "respectable" standards. He never received a formal musical education, and even could not read music. However, he worked hard and emerged as the lead singer and songwriter in partnership with Richards, following the example of John Lennon and Paul McCartney's songwriting for The Beatles. Outside of the Rolling Stones, Jagger released solo albums with his original songs, as well as his versions of such hits as 'Use Me' by songwriter Bill Withers. Jagger also starred in several films, such as Freejack - Geisel der Zukunft (1992), Bent (1997), and Ein Mann für geheime Stunden (2001). Mick Jagger fathered seven children from four women, donated to numerous school and charities, and was knighted by Queen Elizabeth II at the Buckingham Palace in 2003. Keith Richards, was a schoolmate of Mick Jagger since the primary school. In 1960 they contemplated starting up a band together. Since the formation of the Rolling Stones in 1962, Richards has been the principal songwriting partner with Jagger, and most of the songs on all Rolling Stones albums are credited to Jagger/Richards. Outside of the Rolling Stones, Richards toured with The New Barbarians, and also was the front-man of the X-pensive Winos in the 1980s. Besides his music career, Richards made a cameo appearance as the father of Jack Sparrow in Pirates of the Caribbean - Am Ende der Welt (2007) filmed by his friend, director Gore Verbinski. Other members of The Rolling Stones has been also enjoying their individual careers outside of the band. Multi-instrumentalist Ronnie Wood collaborated with such performers as Prince, Bob Dylan, David Bowie, Eric Clapton, and Aretha Franklin, among others. His collaboration with Rod Stewart resulted in a hit album. Wood is also an accomplished artist who sold about $10 million worth of his artworks. Drummer Charlie Watts, who has been ever faithful to his one and only wife, Shirley, is known for his consistency in refusing sexual favors from groupies. He is also a jazz band-leader, and commercial artist, who had solo shows and successfully auctioned his artworks. The Rolling Stones have released 55 albums of original work and compilations, and sold over 200 million records word-wide during their career spanning over 45 years. "The Stones" played in all kinds of spaces from small clubs to big stadium arenas. In 2007 they even rocked the Tsar's Winter Palace with fifty thousand fans in St. Petersburg, Russia, where the communist revolution took place. They gave more large-scale shows internationally than any other existing band in the world, culminating in their 2005-2007 "A Bigger Band" tour with 147 concerts, the highest grossing tour of all time with $559 million earned. Come on, Stones, give us more of your respectable shows, get us rocking, we can make it if we try. Widely regarded as the greatest and most influential guitarist in rock history, Jimi Hendrix was born on November 27, 1942 in Seattle, Washington, to African-American parents Lucille (Jeter) and James Allen Hendrix. His mother named him John Allen Hendrix and raised him alone while his father, Al Hendrix, was off fighting in World War II. When his mother became sick from alcoholism, Hendrix was sent to live with relatives in Berkeley, California. When his father returned from Europe in 1945 he took back Hendrix, divorced his wife, and renamed him James Marshall Hendrix. When Jimi was 13 his father taught him to play an acoustic guitar. In 1959 Jimi dropped out of high school and enlisted in the U.S. Army, but soon became disenchanted with military service. After he broke his ankle during a training parachute jump, he was honorably discharged. He then went to work as a sideman on the rhythm-and-blues circuit, honing his craft but making little or no money. Jimi got restless being a sideman and moved to New York City hoping to get a break in the music business. Through his friend Curtis Knight, Jimi discovered the music scene in Greenwich Village, which left indelible impressions on him. It was here that he began taking drugs, among them marijuana, pep pills and cocaine. In 1966, while Jimi was performing with his own band called James & the Blue Flames at Cafe Wha?, John Hammond Jr. approached Jimi about the Flames playing backup for him at Cafe Au Go Go. Jimi agreed and during the show's finale, Hammond let Jimi cut loose on Bo Diddley's "I'm the Man." Linda Keith, girlfriend of The Rolling Stones guitarist Keith Richards, was one of Jimi's biggest fans and it was she who told friend Chas Chandler, a band manager, about Jimi. When Chandler heard Jimi play, he asked him to come to London to form his own band, and while there Chandler made the simple change in Jimi's name by formally dropping James and replacing it with Jimi. Having settled in England with a new band called the Jimi Hendrix Experience, which consisted of Jimi as guitarist and lead singer, bass player Noel Redding and drummer Mitch Mitchell, Jimi took the country by storm with the release of his first single "Hey, Joe." In the summer of 1967 Jimi performed back in the USA at the Monterey Pop Festival, a mix-up backstage forced Jimi to follow The Who onstage, where after a superb performance Jimi tore up the house by trashing his guitar in a wild frenzy. Afterwards, Jimi's career skyrocketed with the release of the Experience's first two albums, "Are You Experienced?" and "Axis: Bold as Love," which catapulted him to the top of the charts. However, tensions, possibly connected with Jimi's drug use and the constant presence of hangers-on in the studio and elsewhere, began to fracture some of his relationships, including Chas Chandler, who quit as manager in February 1968. In September 1968 the Experience released their most successful album, "Electric Ladyland." However, in early 1969 bassist Redding left the Experience and was replaced by Billy Cox, an old army buddy who Jimi had jammed with. Jimi began experimenting with different musicians. For the Woodstock music festival Jimi put together an outfit called the Gypsies, Sun and Rainbows, with Mitchell and Cox as well as a second guitarist and two percussionists. Their one and only performance in August 1969 at Woodstock took place near Bethel, New York, where Hendrix and his band were to be the closing headline act. Because of the delay getting there and the logistical problems, Jimi performed on the morning of the fourth and final day. Only 25,000 people of the original 400,000 stayed to watch Jimi and his band as the closing music number, where Jimi's searing rendering of "The Star-Spangled Banner" became the anthem for counterculture. After Woodstock, Jimi formed a new band with Cox on bass and Buddy Miles on drums with the May 1970 release of the album "The Band of Gypsys." Jimi's last album, "Cry of Love", featured Cox on bass and former Experience drummer Mitchell on drums. However, Jimi's drug problem finally caught up with him. On the night of September 17, 1970, while living in London, Jimi took some sleeping pills, which were prescribed for his live-in girlfriend Monika Danneman. Sometime after midnight, Jimi threw up from an apparent allergic reaction to the pills and then passed out. Danneman, thinking him to be all right, went out to get cigarettes for them. When she returned, she found him lying where he collapsed, having inhaled his own vomit, and and she couldn't wake him. Danneman called an ambulance, which took him to a nearby hospital, but Jimi Hendrix was pronounced dead a short while later without regaining consciousness. He was 27 years old. Jimi Hendrix's life was short, but his impact on the rock guitar is still being heard and set the course for a new era of rock music. Freddie Mercury was born on the Tanzanian island of Zanzibar. His parents, Bomi and Jer Bulsara, sent him off to a private school in India, from 1955 til 1963. In 1964, he and his family flew to England. In 1966 he started his education at the Ealing College of Art, where he graduated in 1969. He loved art, and because of that, he often went along with his friend Tim Staffell, who played in a band called Smile. Also in this band where Brian May and Roger Taylor. When Staffell left the band in 1970, Mercury became their new singer. He changed the band's name into Queen, and they took on a new bass-player in February 1971, called John Deacon. Their first album, "Queen", came out in 1973. But their real breakthrough was "Killer Queen", on the album "Sheer Heart Attack", which was released in 1974. They became immortal with the single "Bohemian Rhapsody", on the 1975 album "A Night At The Opera". After their biggest hit in the USA in 1980 with "Another One Bites The Dust", they had a bad period. Their album "Flash Gordon" went down the drain, because the movie Flash Gordon (1980) flunked. Their next, the disco-oriented "Hot Space", was hated not only by rock critics but also by many hardcore fans. Only the song "Under Pressure", which they sang together with David Bowie, made a difference. In 1983, they took a year off. But, in 1984 they came back with their new album called "The Works". The singles "Radio Ga Ga" and "I Want to Break Free" did very well in the UK but a controversy over the video of the latter in the USA meant it got little exposure and flopped. Plans to tour the USA were cancelled and the band would not recover their popularity there during Mercury's lifetime. In April 1985, Mercury released his first solo album, the less rock-oriented and more dance-oriented "Mr. Bad Guy". The album is often considered now to have been a flop, but it actually wasn't. It peaked at number six in the UK and stayed on the chart for 23 weeks, making it the most successful Queen solo project. The band got back together again after their barnstorming performance at Live Aid (1985) in July 1985. At the end of the year, they started working on their new album, "A Kind Of Magic". They also held their biggest ever world tour, the "Magic Tour". They played Wembley Stadium twice and held their very last concert in Knebworth, in front of 125.000 people. After 1986, it went silent around Queen. In 1987, he was diagnosed with AIDS but he kept working at a pace. He released a cover of the 1950s song "The Great Pretender", which went into the UK top ten. After that, he flew to Spain, where he made the magnificent album "Barcelona", together with Montserrat Caballé, whom he saw performing in 1983. Because Mercury loved opera, he became a huge fan of her. For him, this album was like a dream becoming reality. The single "Barcelona" went huge, and was also used as a theme song for the 1992 Olympics in Barcelona. After "Barcelona", he started working with the band again. They made "The Miracle", which was released in early 1989. It was another success, with hits such as "Breakthru", "I Want It All", "The Invisible Man" and the title track. At this point, Mercury told the band he had AIDS, meaning that a tour of the album was out of the question. After Mercury told the band, he refused to talk about it anymore. He was afraid that people would buy their records out of pity. He said he wanted to keep making music as long as possible. And he did. After "The Miracle", Mercury's health got worse. They wanted to do one more album, called "Innuendo." They worked on it in 1990 and early 1991. Every time when Mercury would feel well, he came over to the studio and sang. After "Innuendo" was released in January 1991, they made two video clips. The first one was the video clip of "I'm Going Slightly Mad", shot in March 1991. Because Mercury was very thin, and had little wounds all over his body, they used a lot of make-up. He wore a wig, and the clip was shot in black and white. Mercury's final video clip was released in June 1991. The clip, "These Are The Days Of Our Lives", later turned out to be his goodbye song, the last time he appeared on film. You could clearly see he was ill, but he still hadn't told the world about his disease. Rumours went around that he some kind of terrible disease. This rumor was confirmed by Mercury himself, one day before he passed on. His death was seen as a great loss for the world of popular music. Born Stevland Hardaway Judkins in Saginaw, Michigan, United States, to Calvin Judkins and Lula Mae Hardaway. Due to being born six weeks premature, Stevie Wonder was born with a condition called retinopathy of prematurity, which made him blind. Stevie Wonder, even with this disability, made his landmark to be a pioneer and innovator in the music industry. Stevie Wonder's mother, Lula Mae Hardaway left her husband and moved herself and her children to Detroit. Due to her leaving Lula Hardaway Judkins changed her name to Lula Hardaway and changed Stevie's surname to Stevland Morris. Stevland Morris growing up played various instruments such as the piano, harmonica, drums, and bass. Stevland Morris never played a lot of outdoor activities due to his protective mother. Stevland Morris due to his musical talent was also strongly apart of the church choir. Stevland Morris was originally discovered by Gerald White who often persuaded his brother, soul singer Ronnie White to visit the talented Stevland Morris. Ronnie White after seeing Stevland Morris brought Stevland and his mother to MoTown Records to visit Berry Gordy. Berry Gordy stated he was not impressed by Stevland's singing,or drumming,bongo skills and then he played the harmonica, which astounded Berry Gordy and Stevland Morris in 1961 at the age of eleven signed onto MoTown Records with the stage name, Little Stevie Wonder. The reason why Stevie Wonder had gotten that stage name was because many people were astounded by his ability to play numerous instruments and his ability to sing doing both at the same time, and people called Stevie "A Little Wonder". Stevie Wonder released his first album called,The Jazz Soul Of Little Stevie at the age of twelve followed by an additional album, Tribute To Uncle Ray dedicated to Ray Charles. In 1963, Stevie Wonder released a hit-song called, Fingertips Pt(2). The song reached number one on the Billboard Pop Charts. Stevie Wonder became the first singer to have a number one album and single simultaneously. In the song were several percussion instruments played by Stevie Wonder and this song was added to the album,Recorded Live: The Twelve Year Old Genius. Stevie Wonder was then referred to as the child prodigy. Stevie Wonder in 1964 made in film debut in the movie, Muscle Beach Party as well as the sequel Bikini Beach both directed by William Asher. In this movie Stevie Wonder shows off his musical talent singing the songs, Happy Street and Happy Feeling (Dance And Shout). Stevie Wonder also dropped "Little" from this stage name as his voice started to change and he could no longer sing songs which Clarence Paul had written for him, as they were all written in a higher pitched note. Stevie Wonder then started focusing more on songwriting and came out with genuine hits like Uptight (Everything's Alright),With A Child's Heart, Blowing In The Wind, and a song which he wrote for Smokey Robinson and The Miracles, Tears Of A Clown. Several other songs which were smashing hits in the 60's and 70's were I Was Made To Love Her, Signed Sealed And Delivered I'm Yours, which Stevie stated was an idea he had gotten from his mother,and For Once In My Life. In 1970 Stevie Wonder left MoTown and recorded two independent albums by himself. Berry Gordy was shocked to hear this by Stevie Wonder and Berry Gord agreed to Stevie Wonder's demand of more independence and full creative control and rights to all his songs. In 1972 Stevie Wonder returned to MoTown records and signed a thirteen million dollar contract with MoTown Records. This entitled Stevie Wonder to a higher royalty rate and more full creative control and the rights to his own songs, which few artists had gotten at that time period. This contract unleashed Wonder's songs to now talk about controversial issues such as poverty,war,drugs, and politics.Stevie is known for writing and performing political songs such as, You Haven't Done Nothing, which took a political stab at Richard Nixon. The first album he had released with his new agreement with MoTown was, Music Of My Mind in 1972. In late 1972 Stevie Wonder released an album which today is known as a historic piece in music,Talking Book. Which included the number one hit-song, Superstition. This song featured the clavinet which Stevie Wonder was credited pioneer of, he later used the electric amplified keyboard instrument in many of his other albums along with the synthesizer. The song Superstition was seen as a significant contribution to the Funk genre. Talking Book also featured, You Are The Sunshine Of My Life which also peaked at number one. Stevie Wonder also toured with The Rolling Stones in 1972 which contributed to his album's success. Stevie Wonder struck a controversial issue with the album, Innervisions in 1973 with singles such as Living For The City which talked about poverty and was credited to African Americans.The album also included singles such as Golden Lady, and All Love Is Fair. On August,6, 1973 Stevie Wonder was in a car accident. The twenty-three year old Stevie Wonder was in the passenger seat of a 1948 Dodge Flatbed Truck,he was sleeping and had his headphones on, the driver distracted by something, and failed to notice the truck ahead of them and crashed. This sent Stevie Wonder into a coma for several days. In a biography entitled, The Miraculous Journey Of Lula Mae Hardaway she retells the story, "There was a great, grinding screech as metal hit metal and, then, impossibly, as if in some lavishly produced Hollywood action movie, one of the great logs disencumbered itself of the truck and came crashing through the windshield, spearing Stevie square in the forehead." Wonder was sent to a hospital immediately after the accident, and was placed under intensive care, with what they described a "bruise on the head" Wonder then made a successful recovery and in 1974 released Fullfillingness' First Finale and which song topped number one on the Billboard Pop Charts was the political song, You Haven't Done Nothing. By the age of twenty-five he was a multiple Grammy-Award winner, winning Grammies for albums such as Talking Book, Inner Vision, and Fullfillingness' First Finale and at the age of twenty-five with several talent musicians he was on the verge of making what came to be one of this most admirable masterpieces, an album called, Songs In The Key Of Life. The double-album, Songs In The Key Of Life was released in 1976 and the album became the first of an American artist to debut straight at number one where it remained for fourteen consecutive weeks. The album contained two tracks which rose to number one on the Billboard Charts,I Wish and Sir Duke. The album also contained an extraordinary sentimental song about his daughter Aisha Morris called,Isn't She Lovely". It also contained the song which focused strongly on poverty called, Village Ghetto Land. Rolling Stones listed the album as the 56th Greatest Album Of All Time out of 500. In 1979, Wonder released a soundtrack album called Journey Through The Secret Life Of Plants. It was featured in the film The Secret Life Of Plants. Wonder also wrote the song,Let's Get Serious for Jermaine Jackson who left The Jacksons and was starting his own solo career. The song was ranked by Billboard to be the number one rhythm and blues song of 1980. In 1980, Stevie Wonder released the album called Hotter Than July. On this album was a song called Happy Birthday. That song was dedicated to Martin Luther King Jr, and Stevie Wonder was one of the pioneers to getting Martin Luther King Jr a national holiday. Stevie Wonder in 1985 received an Academy Award for his song, I Just Called To Say I Love in the film, The Woman In Red. In 1986, Stevie Wonder made a guest appearance on the hit-show The Cosby Show. It was during this episode in which people were astounded toward what the synthesizer could really do. In 1987 Stevie Wonder made a duet with Michael Jackson on his Bad album with the single, Just Good Friends. In the same year Michael Jackson did a duet on Stevie Wonder's characters album. In 1991, Stevie Wonder recorded a soundtrack album for Spike Lee in his new movie, Jungle Fever. The album was entitled, Jungle Fever and the hit-song on it was entitled Jungle Fever. Other singles that came from this album were Gotta Have You,Feeding Off The Love Of The Land,and These Three Words. Stevie Wonder continued releasing new material throughout the 90's such as Natural Wonder, and Conversation Piece. In 1996 Stevie Wonder's A Song In The Key Of Life album became a documentary subject, and several of the musicians who contributed to the success of the album had a reunion. In 1997 Stevie Wonder collaborated with Babyface on the single, How Come How Long. In 2000 Stevie Wonder contributed to two sound track songs for Spike Lee's film Bamboozled. The two soundtrack songs were Misrepresented People and Some Years Ago. In 2006, Stevie Wonder's inspiration of his life, his mother, Lula Mae Hardaway died on May,31,2006. Stevie Wonder then in 2007 announced his tour, A Wonder's Summer Night 13 concert tour- this was his first in over ten years, and he states, he wants to take all the sadness he feels,turn it around and celebrate. Stevie Wonder in 2008 was very involved in the Presidential Campaign, and why he thinks Obama will be a great president for America. Stevie Wonder talked at several press conferences about Obama and why America should vote for him. Stevie Wonder in 2009 was named the United Nations Messenger Of Peace.On February 23,2009 Stevie Wonder received the Gershwin Prize For Pop Music awarded to Stevie Wonder by Barack Obama. On June,25,2009 one of his best friends,Michael Jackson had died. Stevie Wonder attended the memorial and performed the song, Never Dreamed You'd Leave In Summer at the Staple's Center. Stevie Wonder recently in 2011 can be heard playing harmonica on Drake Graham's album Take Care. Stevie Wonder's songs have been sampled by artists such as Jon Gibson,Red Hot Chilli Peppers,Mary J Blige and several other artists were inspired by Stevie's musical talent. Stevie Wonder will forever be known as a pioneer in music a philanthropist, and a messenger of peace addressing controversies in music which very few artists did at that time. Stevie Wonder has touched the hearts of millions through his music and his philanthropic generosity. David Bowie was one of the most influential and prolific writers and performers of popular music, but he was much more than that; he was also an accomplished actor, a mime and an intellectual, as well as an art lover whose appreciation and knowledge of it had led to him amassing one of the biggest collections of 20th century art. Born David Jones, he changed his name to Bowie in the 1960s, to avoid confusion with the then well-known Davy Jones (lead singer of The Monkees). The 1960s were not a happy period for Bowie, who remained a struggling artist, awaiting his breakthrough. He dabbled in many different styles of music (without commercial success), and other art forms such as acting, mime, painting, and play-writing. He finally achieved his commercial breakthrough in 1969 with the song "Space Oddity", which was released at the time of the moon landing. Despite the fact that the literal meaning of the lyrics relates to an astronaut who is lost in space, this song was used by the BBC in their coverage of the moon landing, and this helped it become such a success. The album, which followed "Space Oddity", and the two, which followed (one of which included the song "The Man Who Sold The World", covered by Lulu and Nirvana) failed to produce another hit single, and Bowie's career appeared to be in decline. However, he made the first of many successful "comebacks" in 1972 with "Ziggy Stardust", a concept album about a space-age rock star. This album was followed by others in a similar vein, rock albums built around a central character and concerned with futuristic themes of Armageddon, gender dysfunction/confusion, as well as more contemporary themes such as the destructiveness of success and fame, and the dangers inherent in star worship. In the mid-1970s, Bowie was a heavy cocaine abuser and sometime heroin user. In 1975, he changed tack. Musically, he released "Young Americans", a soul (or plastic soul as he later referred to it) album. This produced his first number one hit in the US, "Fame". He also appeared in his first major film, Der Mann, der vom Himmel fiel (1976). With a permanently-dilated pupil and skeletal frame, he certainly looked the part of an alien. The following year, he released "Station to Station," containing some of the material he had written for the soundtrack to this film (which was not used). As his drug problem heightened, his behavior became more erratic. Reports of his insanity started to appear, and he continued to waste away physically. He fled back to Europe, finally settling in Berlin, where he changed musical direction again and recorded three of the most influential albums of all time, an electronic trilogy with Brian Eno "Low, Heroes and Lodger". Towards the end of the 1970s, he finally kicked his drug habit, and recorded the album many of his fans consider his best, the Japanese-influenced "Scary Monsters". Around this time, he appeared in the title role of the Broadway drama The Elephant Man, and to considerable acclaim. The next few years saw something of a drop-off in his musical output as his acting career flourished, culminating in his acclaimed performance in Furyo - Merry Christmas, Mr. Lawrence (1983). In 1983, he released "Let's Dance," an album which proved an unexpected massive commercial success, and produced his second #1 hit single in the United States. According to producer Nile Rodgers, the album was made in just 17 days and was "the easiest album" he'd ever made in his life. The tour which followed, "Serious Moonlight", was his most successful ever. Faced with this success on a massive scale, Bowie apparently attempted to "repeat the formula" in the next two albums, with less success (and to critical scorn). Finally, in the late 1980s, he turned his back on commercial success and his solo career, forming the hard rock band, Tin Machine, who had a deliberate limited appeal. By now, his acting career was in decline. After the comparative failure of Die Reise ins Labyrinth (1986), the movie industry appears to have decided that Bowie was not a sufficient name to be a lead actor in a major movie, and since that date, most of his roles have been cameos or glorified cameos. Tin Machine toured extensively and released two albums, with little critical or commercial success. In 1992, Bowie again changed direction and re-launched his solo career with "Black Tie White Noise", a wedding album inspired by his recent marriage to Iman. He released three albums to considerable critical acclaim and reasonable commercial success. In 1995, he renewed his working relationship with Brian Eno to record "Outside." After an initial hostile reaction from the critics, this album has now taken its place with his classic albums. In 2003, Bowie released an album entitled 'Reality.' The Reality Tour began in November 2003 and, after great commercial success, was extended into July 2004. In June 2004, Bowie suffered a heart attack and the tour did not finish its scheduled run. After recovering, Bowie gave what turned out to be his final live performance in a three-song set with Alicia Keys at the Hammerstein Ballroom in New York in November 2006. He also returned to acting. He played Tesla in Prestige - Die Meister der Magie (2006) and had a small cameo in the comedy David Bowie (2006) for fan Ricky Gervais. In 2007, he did a cartoon voice in SpongeBob Schwammkopf (1999) playing Lord Royal Highness. He had a brief cameo in the movie ''Bandslam'' released in 2009; after a ten year hiatus from recording, he released a new album called 'The Next Day', featuring a homage cover to his earlier work ''Heroes''. The music video of ''Stars are Out Tonight'' premiered on 25 February 2013. It consists of other songs like ''Where Are We Now?", "Valentine's Day", "Love is Lost", "The Next Day", etc. In 2014, Bowie won British Male Solo Artist at the 2014 Brit Awards, 30 years since last winning it, and became the oldest ever Brit winner. Bowie wrote and recorded the opening title song to the television miniseries The Last Panthers (2015), which aired in November 2015. The theme used for The Last Panthers (2015) was also the title track for his January 2016 release, ''Blackstar" (released on 8 January 2016, Bowie's 69th birthday) was met with critical acclaim. Following Bowie's death two days later, on 10 January 2016, producer Tony Visconti revealed Bowie had planned the album to be his swan song, and a "parting gift" for his fans before his death. An EP, No Plan, was released on 8 January 2017, which would have been Bowie's 70th birthday. The day following his death, online viewing of Bowie's music skyrocketed, breaking the record for Vevo's most viewed artist in a single day. On 15 January, "Blackstar" debuted at number one on the UK Albums Chart; nineteen of his albums were in the UK Top 100 Albums Chart, and thirteen singles were in the UK Top 100 Singles Chart. The song also debuted at #1 on album charts around the world, including Australia, France, Germany, Italy, New Zealand and the US Billboard 200. At the 59th Annual Grammy Awards, Bowie won all five nominated awards: Best Rock Performance; Best Alternative Music Album; Best Engineered Album, Non-Classical; Best Recording Package; and Best Rock Song. The wins marked Bowie's first ever in musical categories. David Bowie influenced the course of popular music several times and had an effect on several generations of musicians.
6803	dbpedia	2	52	https://soundcloud.com/polydorrecords	en	Listen to songs, albums, playlists for free on SoundCloud	https://i1.sndcdn.com/av…77m-t500x500.jpg	https://i1.sndcdn.com/av…77m-t500x500.jpg	[ "https://i1.sndcdn.com/avatars-000004237767-o9777m-t500x500.jpg" ]	[]	[]	[ "record", "sounds", "share", "sound", "audio", "tracks", "music", "soundcloud" ]	null	[]	null	Play Polydor Records and discover followers on SoundCloud \| Stream tracks, albums, playlists on desktop and mobile.	en	https://a-v2.sndcdn.com/assets/images/sc-icons/favicon-2cadd14bdb.ico	SoundCloud	https://soundcloud.com/polydorrecords	Polydor Records Polydor Records London Polydor Records is home to some of the biggest names in music. From the 60s 'beat boom' onwards, through the eras of progressive rock, disco and punk, the label has been at the front of every big new musical development, while today the likes of the Lady Gaga, Scissor Sisters and The Black Eyed Peas maintain Polydor's cutting-edge reputation. Polydor Recordsâs tracks Rufus Wainwright - Rashida (Clip) by Polydor Records published on 2012-04-20T14:16:57Z Rufus Wainwright - Jericho (Clip) by Polydor Records published on 2012-04-20T14:14:06Z Rufus Wainwright - Out Of The Game (Clip) by Polydor Records published on 2012-04-20T14:13:16Z
6803	dbpedia	1	4	https://kids.kiddle.co/Roger_Daltrey	en	Roger Daltrey facts for kids	https://kids.kiddle.co/i…y_-_May_2016.jpg	https://kids.kiddle.co/i…y_-_May_2016.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/7/76/Roger_Daltrey_-_May_2016.jpg/300px-Roger_Daltrey_-_May_2016.jpg", "https://kids.kiddle.co/images/thumb/9/92/Rog_and_Pete.jpg/230px-Rog_and_Pete.jpg", "https://kids.kiddle.co/images/thumb/7/77/Pete_Townshend_%26_Roger_Daltrey_1.JPG/300px-Pete_Townshend_%26_Roger_Daltrey_1.JPG", "https://kids.kiddle.co/images/thumb/d/d4/Roger_Daltrey_with_The_Who.JPG/300px-Roger_Daltrey_with_The_Who.JPG", "https://kids.kiddle.co/images/thumb/3/39/Roger-Daltrey_in_Hamburg.jpg/300px-Roger-Daltrey_in_Hamburg.jpg", "https://kids.kiddle.co/images/thumb/d/d1/Roger_Daltrey_dancing.jpg/300px-Roger_Daltrey_dancing.jpg", "https://kids.kiddle.co/images/thumb/2/26/Roger_Daltrey_interview2008.jpg/230px-Roger_Daltrey_interview2008.jpg", "https://kids.kiddle.co/images/thumb/0/08/Roger_Daltrey_2.jpg/300px-Roger_Daltrey_2.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Roger Daltrey facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Roger_Daltrey	Roger Harry Daltrey CBE (born 1 March 1944) is an English singer, musician and actor. He is a co-founder and the lead singer of the rock band the Who. Daltrey's hit songs with the Who include "My Generation", "Pinball Wizard", "Won't Get Fooled Again", "Baba O'Riley" and "You Better You Bet". He began his solo career in 1973, while still a member of the Who. Since then he has released ten solo studio albums, five compilation albums, and one live album. His solo hits include "Giving It All Away", "Walking the Dog", "Written on the Wind", "Free Me", "Without Your Love" and "Under a Raging Moon". The Who are considered one of the most influential rock bands of the 20th century and have sold over 100 million records worldwide. As a member of the band, Daltrey received a Lifetime achievement award from the British Phonographic Industry in 1988, and from the Grammy Foundation in 2001. He was inducted into the Rock and Roll Hall of Fame in 1990, and the UK Music Hall of Fame in 2005. He and Pete Townshend received Kennedy Center Honors in 2008 and The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016. Daltrey has also been an actor and film producer, with roles in films, theatre, and television. Planet Rock listeners voted him rock's fifth-greatest voice in 2009, and he was ranked number 61 on Rolling Stone's list of the 100 greatest singers of all time in 2008. Early life Daltrey was born on 1 March 1944, in Hammersmith Hospital, East Acton, London, the eldest of three children of Harry and Irene Daltrey. Harry Daltrey was an insurance clerk who was called up to fight in the Second World War, leaving three-month-old Roger and his mother to be evacuated to a farm in Scotland. Daltrey attended Victoria Primary School and then Acton County Grammar School along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, placed at the top of his class on the eleven-plus examination that led to his enrolment at Acton County Grammar School. Daltrey made his first guitar, from a block of wood, in 1957, a cherry red Stratocaster replica, and joined a skiffle band called the Detours, who were in need of a lead singer. They told him that he had to bring a guitar, and within a few weeks he showed up with it. When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and was soon expelled from school for smoking tobacco. Townshend wrote in his autobiography, "until he was expelled Roger had been a good pupil." Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise discipline, when needed. According to Townshend, Daltrey "ran things the way he wanted. If you argued with him, you usually got a bunch of fives [a hard punch]". Daltrey would explain, later in life, that his harsh approach came from the tough neighbourhood he grew up in, where most arguments and debates were resolved with a fight. In 1964, the band discovered another band performing as the Detours and discussed changing their name. Townshend suggested "the Hair" and Townshend's roommate Richard Barnes suggested "The Who". The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" The Who Overview With the band's first hit single ("I Can't Explain") and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decrease. The other members of the Who fired Daltrey from the band in late 1965 after he beat up their drummer Keith Moon. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised that there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with the Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere", was a collaboration between Daltrey and Townshend. As Townshend developed into one of rock's most accomplished composers, Daltrey gained a reputation as a singer and front-man. The Who's stage act was energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration, and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While other members of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check the Who's financial books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor, and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend hit Daltrey over the head with his guitar, and Daltrey responded by knocking Townshend unconscious with a single blow. With each of the Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, and was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. He afterward worked with Russell again, starring as Franz Liszt in Lisztomania. Daltrey worked with Rick Wakeman on the soundtrack to this film. The Who continued after the death of their drummer Keith Moon in 1978, but tension continued to rise as Daltrey felt that new drummer Kenney Jones was the wrong choice. The Who broke up in 1983 when Townshend felt that he was no longer able to write for the band. The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of their rock opera Tommy. The tour featured a large backing band, and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins, Elton John, and Billy Idol. In spite of an abdominal hemangioma (later removed by surgery), Daltrey managed to complete the tour. In 1996, Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. Daltrey agreed to help produce a one-off performance. The opera was performed with a large backing band. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as the Who. After the success of their Quadrophenia tour, the band returned as the Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as the Who. Bass player Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the much-discussed artistic tension within the Who lay between Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album. In February 2010, Townshend and Daltrey, headlining as the Who, performed the half-time show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather and Tom Meighan of Kasabian sang the part of Aceface. Songwriting Daltrey wrote a handful of songs in the band's catalogue during their early years: "Anyway, Anyhow, Anywhere" (1965) – The Who's second single, co-written with Townshend. "See My Way" (1966) – Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1967) – Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970) – B-side to "The Seeker". Daltrey also wrote a song entitled "Crossroads Now" for the Who. It grew from an onstage jam session in 1999. Another Daltrey song, "Certified Rose", was rehearsed by the Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death. Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and may have featured Entwistle's basslines from 2002), Townshend later stated that no such recording was made. A more recent recording of "Certified Rose" was released on Daltrey's 2018 album, As Long As I Have You. "Early Morning Cold Taxi" is a song recorded during The Who Sell Out recording sessions in 1967. It was released in 1994 on the Thirty Years of Maximum R&B box set. It is credited to Daltrey and Who roadie Dave "Cyrano" Langston. Solo career Overview Daltrey has released eight solo studio albums. The first was Daltrey in 1973, recorded during a hiatus in the Who's touring schedule. The best-selling single from the album, "Giving It All Away", peaked at No. 5 in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography showed a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking", with "There is Love" as the B-side. The British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of the Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second solo album Ride a Rock Horse was released in 1975, and is his second most commercially successful solo album. McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of the Who at the time (Townshend, Entwistle, and Kenney Jones). McVicar included two hit singles, "Free Me", and "Without Your Love", which is Daltrey's best-selling solo recording. On release, Parting Should Be Painless received negative critical reviews, and was Daltrey's poorest-selling studio album up to that point. The album was a concerted effort on Daltrey's part to vent his frustrations in the wake of the Who's break-up by assembling a set of roughly autobiographical songs. These included a track contributed by Bryan Ferry ("Going Strong"), and one contributed by Eurythmics ("Somebody Told Me"). Musically, according to Daltrey the album covered areas that he had wanted the Who to pursue. The title track to Under a Raging Moon is a tribute to late Who drummer Keith Moon, who had died in 1978 at the premature age of 32. On his next album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything a Heart Could Ever Want". This was his first major effort as a songwriter for his own solo career. Daltrey appeared in the Freddie Mercury Tribute Concert in 1992, singing the hard rock Queen song "I Want It All", to pay homage to his friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS. To celebrate his 50th birthday in 1994, Daltrey performed two shows at Carnegie Hall. A recording of the concerts was later issued on CD and video; it was entitled A Celebration: The Music of Pete Townshend and The Who, and is sometimes called Daltrey Sings Townshend. The success of these two shows led to a US tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show, and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped. An avid fan of Premier League football club Arsenal F.C., Daltrey wrote and performed a specially commissioned song, "Highbury Highs", for the 2006 Highbury Farewell ceremony following the final football match at Highbury. Daltrey's performance was part of Arsenal's celebration of the previous 93 years at Highbury as the club prepared for their move to the Emirates Stadium the following season. Daltrey embarked on a solo tour of the US and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new touring band he called "No Plan B" on the Alan Titchmarsh Show. The band included Simon Townshend on rhythm guitar and backing vocals, Frank Simes on lead guitar, Jon Button on bass guitar, Loren Gold on keyboards, and Scott Devours on drums. Eddie Vedder made a guest appearance at the Seattle show on 12 October. In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton, including Summerfest at Milwaukee, Wisconsin. On 15 March 2018, Daltrey announced the forthcoming release, on 1 June, of his new solo studio album As Long as I Have You. He appeared on BBC One's The Graham Norton Show, on 13 April 2018, to promote the single taken from the album. In May 2021, Daltrey announced a return to touring, with the solo Live and Kicking Tour, starting in August 2021. The tour was rescheduled and carried out during the summer of 2022. Discography Main article: Roger Daltrey discography Collaborations In 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention. On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On 5 July 2009, he joined the Jam's lead singer, Paul Weller on stage at Hop Farm Festival in Kent for an encore of "Magic Bus". In 2011, Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love. In November 2014, while staying at the Mar Hall Hotel in Bishopton, Renfrewshire – ahead of the Who's gig at the SSE Hydro – Daltrey joined the band Milestone for an impromptu rendition of "I Can't Explain". The band were playing at a wedding reception in the hotel. Legacy According to Pete Townshend, Daltrey "almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant." His persona has earned him a position as one of the "gods of rock and roll". He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. According to a review of the Who's performance at the Quart Festival in 2007: Suddenly each and everyone stopped caring about the down-pouring rain. When the Who took the stage we couldn't do anything but to reach for the sky and howl. Anyone who has ever thought of calling these gods old men and dinosaurs should be deeply ashamed. The reports we've heard from around the world were true: Live rock doesn't get any better. Equipment See also: The Who's musical equipment Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment. As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solid-body electric guitar, which he later sold to Pete Townshend on an easy payment plan. After he took over vocals for the band in the 1960s, and during the 1970s, Daltrey rarely played guitar on stage, except for a Martin acoustic guitar while promoting his solo album Daltrey. He began playing guitar with the Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on the Who's 1982, 1989 and later tours. During the 1989 tour, Daltrey played a Gibson Chet Atkins SST guitar for the song "Hey Joe". During the Who's 1996–97 Quadrophenia tour, he played a Gibson J-200 acoustic guitar. After 1999, it became more common for Daltrey to play guitar during both the Who and solo shows. He played a Versoul Buxom 6 handmade acoustic guitar on the Who's 2002 tour. Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on the Who and solo tours in the late first decade of the 21st century. On his 2009 tour, he played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele. Daltrey is among those who first brought the harmonica into popular music. Although those he uses have varied over the years, harmonica brands he has used include Hohner and Lee Oskar. Daltrey uses Shure microphones with cords that are taped to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58, but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV. Daltrey also uses a hybrid monitoring system, with one in-ear monitor supplemented by floor wedges. Acting career List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Captain Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Murder: Ultimate Grounds for Divorce 1984 Roger Cunningham film Pop Pirates 1984 Producer film Buddy 1986 Terry Clark TV series The Little Match Girl 1986 Jeb Macklin musical film The Hunting of the Snark 1987 The Barrister concert appearance Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Bad English I: Tales of a Son of a Brit 1995 film Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Tez TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance The Simpsons (episode "A Tale of Two Springfields") 2000 Himself, as The Who TV series Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film The Mighty Boosh 2005 Himself TV series, Series 2 episode 2 'The Priest and the Beast' Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series (episode: "Living Legend", season 7, episode 9) The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Literary work Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood. In 2009, he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent. In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express. In October 2018, Daltrey published his memoir, Thanks a Lot Mr. Kibblewhite: My Story. The title is a reference to the man who threw him out of grammar school, enabling him to go into a successful music career. Awards and achievements In 1976, Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of the Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With the Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music. In 1990, Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of the Who. The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with the Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror!", and "Baba O'Riley". In 2005, Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry. In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities. In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity. As a member of the Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame. In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annual Kennedy Center Honors in Washington, D.C., by then-president of the United States, George W. Bush. On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field. On 12 March 2011, he received the Steiger Award (Germany) for excellence in music. In November 2011, Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse in London. In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music. Daltrey has received numerous awards for his music, including Best Blues Album in the British Blues Awards 2015 alongside Wilko Johnson. In 2019, Daltrey was the recipient of the Golden Plate Award of the American Academy of Achievement. He received his Golden Plate along with Pete Townshend and presented by Awards Council member Peter Gabriel. Charities All of the Who's Encore Series profits go to young people's charities. Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with the Who actually playing in 2000, 2002, 2004, 2007, and 2010, and Daltrey playing solo in 2011, and in 2015 as the Who. The annual concerts have raised over £20 million. He has endorsed the Whodlums, a Who tribute band which raise money for the trust. Daltrey performed at the first ChildLine Rocks concert at London's the O2 on 13 March 2008. In 2009, Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists. In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities. In 2011, Daltrey, Steven Tyler, and Julie Andrews provided funding for Robert S. Langer's research at the Massachusetts Institute of Technology into vocal cord repair for victims of cancer and other disorders. On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by the Who's charity Teen Cancer America. The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant, and Dave Grohl. Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust. Political views In 1970, Daltrey publicly supported The National Campaign for Freedom of Information, saying: "I come from a working-class background and I am proud of it and I intend to fight for the workers' right to know. We all need to know what goes on behind the scenes that is causing this country's economic mess. When we have a Freedom of Information Act in this country we shall have restored our Right to Know the Truth and that will bring sanity to our tax laws." Daltrey was previously a supporter of the British Labour Party, but he withdrew his endorsement citing his opposition to the "mass immigration" policies put in place under the Blair government. In 2018, he criticised Labour leader Jeremy Corbyn, describing him as a "communist". Daltrey supported Britain leaving the European Union. He wrote in The Mirror: "Whatever happens our country should never fear the consequences of leaving. We went into the Common Market in 1973. Do you know what was going on before we went in? It was the 1960s. The most exciting time ever – Britain was Swinging. Films, Theatre, Fashion, Art and Music... Britain was the centre of the world. You got that because Britain was doing its own thing. It was independent. Not sure we'll ever get that again when we're ruled by bureaucrats in the European Union." He again criticised the EU in 2019, saying, "If you want to be signed up to be ruled by a f****** mafia, you do it. Like being governed by FIFA". In 2017, Daltrey opined that a "dead dog" could have defeated Hillary Clinton in the 2016 United States presidential election. In 2021, Daltrey criticised the rise of woke culture in an interview with Zane Lowe's Apple Music 1 podcast, arguing that younger generations are limiting themselves by stifling and undoing creative freedoms that had emerged through the artistic revolutions of the 1960s. He elaborated by stating "it's terrifying, the miserable world they're going to create for themselves. I mean, anyone who's lived a life and you see what they're doing, you just know that it's a route to nowhere." Personal life Daltrey has been married twice. In 1964, he married Jacqueline "Jackie" Rickman, and later that year the couple had their son Simon; they divorced in 1968. In 1967, another son, Mathias, was the result of his affair with Swedish model Elisabeth Aronsson. In 1968 he met Heather Taylor, a model who was born in the UK, living with her grandmother at the time, and the subject of the 1967 Jimi Hendrix song "Foxy Lady". Daltrey and Taylor have been married since 1971, and have three children together: daughters Rosie Lea (born in 1972) and Willow Amber (born in 1975), and son Jamie (born in 1981), who runs Daltrey's trout farm outside Burwash Common. On 1 March 1994 – the day of his 50th birthday – Daltrey received a letter from a woman claiming to be his daughter, from a brief relationship during the interval between his marriages. Within a few years, Daltrey met two more daughters born during this period in the late 1960s. All three girls had been adopted and grown to adulthood before meeting their biological father; Daltrey states that Heather joined him in welcoming the three daughters to their extended family. As well as his eight children, Daltrey has fifteen grandchildren. In 1971, Daltrey bought a farm at Holmshurst Manor, near Burwash, Sussex. Daltrey has announced onstage that he is now "very, very deaf," suffering hearing loss due to exposure to loud volume levels during performances. An article in the Daily Mirror reported that he urged audience members to use ear plugs. In 1978, during the recording of the Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection. During a solo tour in 2009, Daltrey began finding it harder to reach the high notes. In December 2010, he was diagnosed with vocal cord dysplasia, and consulted Steven M. Zeitels, director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth. Both surgeries were considered successful. As dysplasia recurs Daltrey has regular checks to monitor his condition. Daltrey is a supporter of Arsenal F.C. See also
6803	dbpedia	3	49	https://guitar.com/news/music-news/the-whos-roger-daltrey-on-turning-80/	en	“I have to be realistic. I’m on my way out” The Who’s Roger Daltrey on turning 80	https://guitar.com/wp-co…500-1068x801.jpg	https://guitar.com/wp-co…500-1068x801.jpg	[ "https://guitar.com/images/logo-white.svg", "https://guitar.com/wp-content/uploads/2024/04/Roger-Daltrey@2000x1500.jpg", "https://guitar.com/images/logo-acid-yellow.svg" ]	[]	[]	[ "" ]	null	[ "Crystal Koe" ]	2024-04-01T08:34:26+00:00	Age might just be a number for some, but The Who's Roger Daltrey—who recently turned 80—sees the milestone as a sign that he’s ‘on the way out’.	en	/icons/icon-48x48.png?v=55496b63f586d223400b86fe8b800f91	Guitar.com \| All Things Guitar	https://guitar.com/news/music-news/the-whos-roger-daltrey-on-turning-80/	Age might just be a number for some, but The Who frontman Roger Daltrey — who recently turned 80 — sees the milestone as a sign that he’s ‘on the way out’. Last month, Daltrey gave his final performance at the Royal Albert Hall as the curator of the annual Teenage Cancer Trust (TCT) gigs after 24 years at the helm. Reflecting on his decision in a “backstage diary” for The Times, the singer wrote: “I have to be realistic. I’m on my way out.” READ MORE: “Steve created that”: Korn’s Head says Steve Vai inspired them to play seven-string guitars “The average life expectancy is 83 and with a bit of luck I’ll make that, but we need someone else to drive things.” He added: “I’m not leaving TCT – I’ve been a patron since I first met the charity’s founders, Dr Adrian and Myrna Whiteson, more than 30 years ago – and that will continue, but I’ll be working in the back room, talking to the government, rattling cages.” Daltrey also admitted to feeling nervous ahead of his recent shows, stating: “On at 8.40pm and I’ve got to say I really feel it tonight.” “We haven’t done anything for seven months and this winter’s been brutal. I’ve been in hibernation. For the whole of January, I lost my voice completely.” “I live like a monk and if I went on tour for a week I’d be fit as a butcher’s dog again, but tonight, for the first time in my career, I think, ‘Blimey, this is hard.’” In January, Daltrey opened up about the future of The Who, saying he wouldn’t mind bidding goodbye once and for all to that part of his life. “I don’t write the songs – I never did,” he told The Times. “[Pete Townshend and I] need to sit down and have a meeting, but at the moment I’m happy saying that part of my life is over.”
6803	dbpedia	2	72	https://en-academic.com/dic.nsf/enwiki/2065909	en	List of Polydor Records artists	https://en-academic.com/…_social_en.png?3	https://en-academic.com/…_social_en.png?3	[ "https://en-academic.com/images/Logo_en.png", "https://en-academic.com/images/Logo_h_en.png", "https://mc.yandex.ru/watch/70309897", "https://b.scorecardresearch.com/p?c1=2&c2=23600742&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	This is a list of artists that are currently, or once were, signed to Polydor Records. NOTOC 0 9* 2Pac (Polydor UK) * 3 D * 4 Runner (Polydor Nashville) * +44 (Polydor UK) * 50 Cent (Polydor UK)A* a ha * ABBA (worldwide since 1992) * Alizée *…	en	https://en-academic.com/favicon.ico	Academic Dictionaries and Encyclopedias	https://en-academic.com/dic.nsf/enwiki/2065909	This is a list of artists that are currently, or once were, signed to Polydor Records.__NOTOC__ 0-9 * 2Pac (Polydor UK) * 3-D * 4 Runner (Polydor Nashville) * +44 (Polydor UK) * 50 Cent (Polydor UK) A * a-ha * ABBA (worldwide since 1992) * Alizée * Alquin * Allman Brothers Band, The * Thomas Anders * Jon Anderson * Paul Anka * Antony Costa * Appleton * Atlanta Rhythm Section * Audience * Audioslave (Polydor UK in conjunction with Columbia/Epic Records) * The Automatic (With B-Unique) * Roy Ayers B * Michael Ball * Barclay James Harvest * Daniel Bedingfield (Polydor UK) * Bee Gees (Polydor UK) * Beatles (Polydor Germany) * Blossom Toes * Blind Faith * Alicia Bridges * Bright Eyes (Polydor UK) * Sarah Brightman * James Brown * Ian Brown * Miquel Brown * Boyzone * Bucks Fizz * Buckingham Nicks C * Cat Mother & The All Night News Boys * Cat Stevens (a.k.a Yusuf Islam) * The Chakachas * Christina Stürmer * Eric Clapton * Petula Clark * Lloyd Cole and the Commotions * Lloyd Cole * Amie Comeaux (Polydor Nashville) * Cream * Creatures, The * Cure, The * Catch 23 D * D Mob * Davis Daniel (Polydor Nashville) * Bill Deal * Delays * Cathy Dennis * Plácido Domingo * Double * Denny Laine * Dr. Dre (Polydor UK) * Duffy (except US) E * E * Eminem (Polydor UK) * Sophie Ellis-Bextor * Electric Light Orchestra (Polydor UK) F * Fairport Convention * Mylene Farmer (Polydor France) * Fat Boys, The * The Fatback Band * Feist (Polydor France & UK) * Flaws, The * Focus * Frl. Menke G * Game, The (Polydor UK) * Gloria Gaynor * Good Fellaz * Joey Gregorash * Clinton Gregory (Polydor Nashville) * Gwen Guthrie * Girls Aloud (Fascination/Polydor) * Guillemots * Guns N' Roses (Polydor UK) * Freddy Quint (Polydor) H * Haircut 100 * Isaac Hayes * Jimi Hendrix * Hear'Say I * Julio Iglesias * Yosui Inoue (Polydor Japan) J * The Jam (Polydor UK) * Janet Jackson (Polydor UK) * LaToya Jackson * Jean Michel Jarre * Jive Deluxe (Polydor Germany) * Joie (Fascination/Polydor UK) * Tom Jones * Jon and Vangelis * Jack McManus K * Ronan Keating * Toby Keith (Polydor Nashville) * Kitaro * Klaxons * Kristian Leontiou L * Ladae * James Last * Level 42 * Lighthouse Family * Andrew Lloyd Webber M * Magical Power Mako * Magnum * Mandrill * Lutricia McNeal * Minor Detail * Missouri * The Moffatts (Polydor Nashville) * Monaco * James Morrison * Van Morrison * Moxy (Polydor of Canada) * Samantha Mumba * Elliott Murphy * The Moody Blues * Mylène Farmer (Polydor France) * Miley Cyrus (Polydor UK) N * Nelson (Polydor UK, distribution of Geffen era releases) * Nino Bravo * Nirvana (Polydor UK) * No Doubt (Polydor UK) * Nu Colours * N-Dubz O Os Mutantes (Brazil Only) Overtime The O P Peaches & Herb * Cole Porter * Physical Graffiti (Polydor Various) * Powderfinger * Alex Parks * Protocol * Puddle of Mudd (Polydor UK) * Pussycat Dolls (Polydor UK) * P-MODEL Q * Quicksand R * Rainbow * Rocco DeLuca and the Burden * The Rolling Stones * Saraya * Scissor Sisters * S Club 7 * S Club 8 * Shakatak * Shed Seven * Shocking Blue * Siouxsie and the Banshees * The Skates (Polydor Australia) * Slade * Smiley Culture (Polydor UK) * Snow Patrol * Sonic Youth (Polydor UK) * Soulja Boy (Polydor UK) * Soundgarden (Polydor UK) * Spyro Gyra * Shane Sutton (Polydor Nashville) * Ringo Starr (Polydor UK) * Rachel Stevens * Gwen Stefani (Polydor UK) * Paul Steel * Style Council * Susumu Hirasawa T * Take That * Ten Wheel Drive * Teresa Teng * Tesla (Polydor UK, distribution of Geffen era releases) * The Tigers (Polydor Japan) * Tonic * Toots Thielemans * Traffic * Truth Hurts (Polydor UK) U * U2 V * Vangelis * Miklós Vig * Visage W * The Wallflowers (Polydor UK) * Waterfront * Marti Webb * Who, The (Polydor UK and elsewhere outside US) * The Wild Magnolias * Tony Williams * Patrick Wolf * Link Wray * Chely Wright (Polydor Nashville) X X Japan Y Yeah Yeah Yeahs Z
6803	dbpedia	0	84	https://myq105.com/2020/10/05/acdc-how-to-hear-shot-in-the-dark/	en	DC: How to Hear New Song 'Shot In The Dark'	https://myq105.com/wp-co…601905422357.jpg	https://myq105.com/wp-co…601905422357.jpg	[ "https://myq105.com/wp-content/uploads/sites/79/2021/05/Q105-LOGO_plain_no_bg.png?w=154&h=88&anchor=middlecenter", "https://myq105.com/wp-content/uploads/sites/79/2020/11/mj-morning-show-podcast-featured-size.png?w=1556", "https://myq105.com/wp-content/uploads/sites/79/2022/05/podcast.jpg?w=768", "https://myq105.com/wp-content/uploads/sites/79/2022/05/pics.jpg?w=768", "https://myq105.com/wp-content/uploads/sites/79/2022/05/qinsider.jpg?w=828", "https://myq105.com/wp-content/uploads/sites/79/2022/08/BMG_AdvertiseWithUs_FeaturedImage_1556x1176.jpg?w=1556", "https://secure.gravatar.com/avatar/e9a0392c80039781189da73126d4dc06?s=40&d=mm&r=g", "https://myq105.com/wp-content/uploads/sites/79/2021/05/Q105-LOGO_plain_no_bg.png?w=154&h=88&anchor=middlecenter", "https://secure.gravatar.com/avatar/e9a0392c80039781189da73126d4dc06?s=40&d=mm&r=g", "https://myq105.com/wp-content/themes/experience-engine-v2/assets/images/itunes.svg", "https://myq105.com/wp-content/themes/experience-engine-v2/assets/images/googleplay.svg" ]	[]	[]	[ "" ]	null	[ "Erica Banas // Rock Music" ]	2020-10-05T00:00:00	AC/DC is ramping up for a big reveal of their new song "Shot In The Dark." After teasing the track for the past week, it'll be unvieled on October 7.	en	https://myq105.com/wp-co…vicon-1.png?w=32	Q105	https://myq105.com/2020/10/05/acdc-how-to-hear-shot-in-the-dark/	AC/DC: How to Hear New Song ‘Shot In The Dark’ AC/DC is ramping up for a big reveal of their new song “Shot In The Dark.” The band announced today their new single will finally come out on Wednesday, October 7 at midnight ET/5 AM BST (London)/3 PM AEDT (Sydney.) AC/DC has been teasing the track via social media since last week. In addition to the band’s social media teases, “Shot In the Dark” can also be heard in a new ad from Dodge, which throws back to the 2006 comedy Talladega Nights and even featured Gary Cole reprising his role of Ricky Bobby’s father, Reese Bobby. https://youtu.be/Bcsxq4fJnfc AC/DC finally confirmed last week singer Brian Johnson and drummer Phil Rudd are back in the band along with retired bassist Cliff Williams. Rumors surrounding their status in AC/DC have been swirling for literal years now dating back to August 2018 when photos surfaced of band members outside on the patio area of Warehouse Studio in Vancouver, the same studio where the band recorded their past three studio albums. Rock’s Greatest Live Albums: Top 40 Ranked Erica Banas is a news blogger who's been covering the rock/classic rock world since 2014. The coolest event she's ever covered in person was the 2021 Rock & Roll Hall of Fame induction ceremony. (Sir Paul McCartney inducting Foo Fighters? C'mon now!) She's also well-versed in etiquette and extraordinarily nice. #TransRightsAreHumanRights Sign me up for the My Q105 Insider email newsletter! Get the latest local news, contests, presale information, and so much more from your favorite 80's artists. Tell us if you want to receive update from the MJ Morning Show on Q105! First Name * Last Name Email * By clicking "Subscribe" I agree to the website's terms of Service and Privacy Policy. I understand I can unsubscribe at any time.
6803	dbpedia	2	25	https://interscope.com/	en	Interscope Records	https://interscope.com/c…gif?v=1690231826	https://interscope.com/c…gif?v=1690231826	[ "https://interscope.com/cdn/shop/files/900x1000b.jpg?v=1723784860&width=900", "https://interscope.com/cdn/shop/files/RecordDayMobile.png?v=1723168675&width=700", "https://interscope.com/cdn/shop/files/SCOPE-0349-2024-SummerSale-Banners-Desktop-900x1000-R1-NoCopy_1.png?v=1723588551&width=1000", "https://interscope.com/cdn/shop/files/EP_900x1000_Banner.jpg?v=1723813981&width=900", "https://interscope.com/cdn/shop/files/KL_Mask_56fb62e7-3ae3-4ff2-9244-481c15f30350.jpg?v=1715012611&width=992", "https://interscope.com/cdn/shop/files/ELLIOT_SMITH_-_VINLY_MOCK_UP.jpg?v=1720738371&width=4000", "https://interscope.com/cdn/shop/files/AS_interscope_preorder_mobile.jpg?v=1721403849&width=900", "https://interscope.com/cdn/shop/files/MIRADACD.gif?v=1719940661&width=500", 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6803	dbpedia	2	33	https://www.theguardian.com/music/2021/aug/11/i-had-no-confidence-no-money-the-pop-stars-kept-in-limbo-by-major-labels	en	‘I had no confidence, no money’: the pop stars kept in limbo by major labels	https://i.guim.co.uk/img…d0690ef97dde18b1	https://i.guim.co.uk/img…d0690ef97dde18b1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Pop+and+rock%2CMusic%2CMusic+industry%2CBusiness%2CCulture%2CRaye", "https://i.guim.co.uk/img/media/ec08171b02d0e3c60b82d496233938bb8e4e1951/0_0_5000_3000/master/5000.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/media/71e85928ea0065bc85f8808779851dda191c25b1/0_0_2968_4452/master/2968.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/b11417e80eb7e58626525b485954f1b8df21212b/0_200_3000_1800/master/3000.jpg?width=445&dpr=1&s=none", "https://i.guim.co.uk/img/media/a130557e6e073f398f4baea050edc809427076bb/359_303_2896_1738/master/2896.jpg?width=445&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Rhian Jones", "www.theguardian.com", "rhian-jones" ]	2021-08-11T00:00:00	Raye is one of the world’s most listened-to artists, but her label wouldn’t let her make an album. She’s the latest example of stars who say their music is being sidelined	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/music/2021/aug/11/i-had-no-confidence-no-money-the-pop-stars-kept-in-limbo-by-major-labels	At the end of June, Raye smashed through the shiny and carefully controlled veneer that usually surrounds music stars. The British pop singer’s numerous hit singles had made her one of the world’s 200 most popular artists on Spotify, but her label Polydor hadn’t allowed her to make even one album from a four-album record deal she signed back in 2014. “I’ve done everything they asked me, I switched genres, I worked seven days a week, ask anyone in the music game, they know,” she vented on Twitter. “I’m done being a polite pop star.” Polydor responded saying they were “saddened” to read Raye’s tweets and the two have since parted ways. She had released one mini-album, five EPs and over 20 singles both as a lead and featured artist (and had written songs for other artists such as Beyoncé, Little Mix and Anne-Marie). One of her newest singles, Bed, with Joel Corry and David Guetta, is the biggest song so far in 2021 to be released by a British female artist. So why had her label left her in limbo? She is far from alone, and the reasons for artists being stifled by the music business are numerous. Perhaps the artist’s creative vision is at odds with the label’s, or they’re sidelined after the person who signed them leaves the company. A lack of commercial success might make a label reluctant to spend more money on an artist’s career, or if the album they made isn’t deemed to be good enough. These pitfalls mean that the majority of artists never make it – stats from UK music trade body BPI say that only one in 10 signed artists are expected to succeed commercially, although industry insiders suggest this is a generous estimate – and if the relationship does fall apart, any music an artist has made typically remains owned by the label. Kimberly Anne, who goes by the artist name of Lanta, signed to Polydor in 2013 and found herself in a similar situation to Raye. She spent three years with the label, “being a good artist, doing everything they said,” and changing genres so many times that she felt she lost her “creative compass”. She lived off the £25,000 advance she’d been given and then spent a year negotiating her way out of the contract. After leaving, she says her self-confidence and mental health were shattered. “I think I have underlying anxiety issues but the whole experience definitely exacerbated it. I became depressed. I didn’t see how I could make music and represent myself any more, my confidence was at zero.” (In response, Polydor said it was the first they had heard of Lanta’s feelings, “which we were very sorry to read – given the substantial changes in the label’s management and staffing since 2013, we can’t comment on them. We take artists’ mental health very seriously and over recent years we have developed a number of resources to support the wellbeing of both our existing artists and those moving on.”) Pop singer and songwriter Marney, who spent five years stuck in a deal with Sony without releasing any music after the A&R who signed her left the company, says she feels she lost her 20s. “You come out the other end and your friends have mortgages, they’re senior members of staff or just qualified as lawyers or doctors. Whereas you feel like you’ve got nothing to show.” Singer and songwriter Bruno Major was given the A-list treatment when he signed to the since-dissolved Virgin in the US, which included a first-class flight, a stay in a beautiful hotel in Los Angeles and the pick of musicians he wanted to record with. He even had, he says, a private chef who baked him pies with his name on them. The high life ended abruptly when the label head who signed him was dismissed and the higher-ups decided his album was, Major says, “rubbish” and they wouldn’t release it. Major says he was devastated and describes the experience as “the worst thing that’s ever happened to me. I had no confidence, no money. And it’s a long way down – when you become the guy that signs a record deal and goes to LA and then you get dropped, it’s humbling.” He has a pragmatic view on the situation now, saying it gave him the impetus to record new music and release it independently, but it taught him a harsh lesson about the reality of major record labels. “It’s a giant illusion,” he says, comparing it to a TV talent show search. “People think in order to be famous or successful, you go on and the powers-that-be bestow upon you the magic wand of success. But the vast majority of people on the show actually get sunk and legally bound in deals that mean they are never able to release music and they are fucked, basically. The major label system is really not that different, just a little bit more finessed.” Music industry adviser Mike Burgess explains the labels’ thinking: “There are a huge amount of acts that are signed because they might have the thing the label is looking for, or they might not. But it’s safer to hoover them up anyway, sign them and retain them.” The problem, though, is that labels often seem to forget that they’re signing a human being rather than a prospect. Ted Cockle, who spent 15 years as head of record label Virgin EMI, where he worked with Lewis Capaldi, Amy Winehouse and Bastille before joining Hipgnosis Songs, says that the decision to delay a Raye album could make sense from a purely commercial perspective: her mini album Euphoric Sad Songs didn’t chart when it arrived last year. But does it make sense from a human one? “At some point, if the artist is seeing themselves as a recording artist and they’ve signed an album deal, in order to keep them energised, satiated and focused, you have to let them make an album,” he says. “It’s a rite of passage.” The artist-development process usually takes around two to three years before acts are deemed ready to release an album – less than half of the time Raye (who would not comment for this article) was kept waiting. A lack of substantial record sales might also be the fault of a label’s development approach, rather than an artist whose destiny lies elsewhere. Grammy award-winning producer Jim Abbiss, who has worked with Adele and Arctic Monkeys, says that labels sometimes “try every combination of every genre and style” with a pop star – just as Polydor did with Raye and Lanta – who then “loses sight of what they are. Then, it’s very easy for the label or the management to never commit to things.” Raye’s songs have had productions ranging from deep house to Afrobeats, R&B and dance-pop, and she has arguably lost a strong sense of identity because of it. There is anecdotal evidence to suggest this process may disproportionately affect women and people of colour. Songwriter Coco Morier, who has written for Britney Spears and Demi Lovato, says she’s seen plenty of young female artists “lectured and berated” by the male studio teams they are collaborating with, and who are “deemed a creation of the label and the producers behind them, instead of them being signed on their talent and allowed to have their creative vision.” A Black female artist, who wished to remain anonymous, wanted to get out of her deal with Island Records for the vast majority of the time she was signed, and says she was pushed to be “super R&B” and told by her A&R that the chords on her songs “don’t sound Black enough”. She says: “With Black women, sometimes they’ll push you into the more commercially white realm or, in my personal experience, they refuse to see you outside of a stereotype of Blackness and make you feel like if you don’t conform to that, no one will believe you as an artist.” (Island said they would not comment on the allegations of an anonymous artist.) Singer VV Brown has recently written about this, saying she “hated being immediately categorised as R&B” even though she’d written a pop-punk song. Throughout her career, she said she’s seen “countless” Black artists ending up in the same position as Raye. “I experienced it myself. For two years I was unable to release music and was completely neglected.” These issues aren’t unique to major labels. Another artist I speak to was blocked from releasing her self-financed and self-produced album for two years by the independent label she was signed to, after they said it dealt with “women’s issues” that people didn’t want to hear about. It nearly devastated her financially. “In no other industry would this happen where someone says to you, ‘Oh, here’s a job contract but actually, we don’t want you to come into work, we’re not going to pay you and you can’t go and find another job.’” For their part, record labels spend a lot of money on developing and promoting new music talent. In the UK, the BPI says that labels pump £250m a year into artist development (A&R) and another £150m on global marketing, which is over 35% of the total £1.118bn labels made from recorded music in 2020. The costs for one artist project alone can reach millions and when artists leave labels, they don’t have to pay back their advances. And thanks to the growing number of companies such as AWAL and BMG, which offer a more flexible alternative to traditional labels, artists now don’t have to enter into restrictive deals in order to get their music released. Cockle refers to albums as an “artist appeasement tool”, because promoting albums in today’s track-led streaming age can be expensive and thankless. In 2010, Take That’s Progress was the best-selling album of the year with 1.84m sales, but in 2020, Lewis Capaldi’s Divinely Uninspired to a Hellish Extent topped the list with 456,000, so there is an argument to be had over whether artists are too focused on albums when success and revenue span a multitude of areas (including playing live, merchandise sales, writing songs for others, branding deals and licensing music to film and TV). Are album deals outdated, then? Yes, says music lawyer Robert Horsfall, who still sees “many contracts from the pre-streaming era that call for the old-fashioned ‘album’ format to be delivered and released”. This seems to be an issue Raye faced: although she’d released enough tracks to fill multiple albums, contractually, she hadn’t yet delivered one. To their credit, Polydor allowed Raye to leave her deal swiftly and she’s now free to pursue a career as an independent artist. But what about those who end up trapped, unable to release the music they have poured their hearts and souls into? Many of those I spoke to called for better education about the reality of deals in music, as well as some sort of HR department that exists specifically for artists, where they feel supported to air grievances. When putting this idea to the three major labels, one pointed to its artist relations department, who “support artists in a wide range of ways”. The second said that the company works in partnership with artists and managers “to ensure that creative choices are discussed and decisions are made collaboratively”. The third label said it has an informal reporting process but no formal mechanisms in place. The Musicians’ Union also offers support and advice to members for their contracts and relationships with music companies. This sort of system isn’t a perfect solution – as Raye tweeted, artists often don’t speak “out of fear” of repercussions on their career. But if more can find their voices, the more likely it is that they will, finally, be heard.
6803	dbpedia	0	1	https://ultimateclassicrock.com/roger-daltrey-f-ing-sick-set-lists/	en	Here’s What Roger Daltrey Is ‘F—ing Sick’ of Other Artists Doing	https://townsquare.media…5&format=natural	https://townsquare.media…5&format=natural	[ "https://townsquare.media/site/295/files/2021/04/logo256.png", "https://townsquare.media/site/295/files/2024/06/attachment-Daltrey-2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-Jerry-Fuller-featured.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-Jack-Russell-Great-White.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-TaylorMaiden2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2015/08/Jack-Russell-Great-White.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-bruce-2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-September-2024-New-Music-Releases-Image.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-stonetemplepilots.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-The-Cars-Dennis-DeYoung-GettyImages-528764984.jpeg?w=980&q=75", "https://townsquare.media/site/295/files/2021/01/Dave-Navarro-Ethan-Miller.jpg?w=980&q=75" ]	[]	[]	[ "news" ]	null	[ "Corey Irwin" ]	2024-06-09T12:05:00+00:00	Who singer Roger Daltrey said he was 'f---ing sick' of a trend among other artists in June 2024.	en	https://townsquare.media…/04/favicon1.png	Ultimate Classic Rock	https://ultimateclassicrock.com/roger-daltrey-f-ing-sick-set-lists/	The Who’s Roger Daltrey has spotted a trend among most major artists, and he doesn’t like it one bit. During a recent conversation with Billboard, the legendary rocker condemned acts who publicly share their set lists. “Too many people reveal songs,” Daltrey declared. “There’s no surprises left with concerts these days, ’cause everybody wants to see the set list.” Daltrey’s reasoning is simple: If fans go online and lookup an artist’s typical set list, they’ll go into a concert with preconceived expectations on what they’ll hear. READ MORE: All 245 Who Songs Ranked Worst to Best “I’m fucking sick of it,” the Who rocker reaffirmed. “The Internet’s ruined the live shows for me. Who wants to know what’s coming next? People forget about surprises. I can’t stand it.” When it was suggested that fans may want to look up a set list to plan their bathroom breaks in advance, Daltrey offered up some wry wit. “Why not just start to listen to the bloody show in the toilet, then?” the Rock & Roll Hall of Famer remarked. Is Roger Daltrey Touring? Daltrey kicks off a brief U.S. tour on June 10 in Glenside, Pennsylvania. The trek will feature intimate acoustic performances as Daltrey reimagines many Who classics, as well as his solo material. READ MORE: 2024 Summer Tour Preview “I just want to branch out and do something different, where I’ve got different instrumentation and I can stop using tape loops,” the rocker explained. “It just creates a whole new sound and allows me the freedom as a singer to put some other people’s songs in I’ve been fond of over the years. It’s gonna be quite interesting. I’m just determined to enjoy myself and explore the freedom I’ve got to do what I want to do on this tour, and let’s see where it ends up.”
6803	dbpedia	0	92	https://500songs.com/podcast/song-173-all-along-the-watchtower-part-two-the-hour-is-getting-late/	en	Song 173: “All Along the Watchtower” Part Two, The Hour is Getting Late	https://500songs.com/wp-…ence-300x300.jpg	https://500songs.com/wp-…ence-300x300.jpg	[ "https://500songs.com/wp-content/uploads/2021/04/cropped-cropped-Logo-1-1.png", "https://i0.wp.com/500songs.com/wp-content/uploads/2021/04/Logo.png?resize=150%2C150&ssl=1", "https://500songs.com/wp-content/plugins/seriously-simple-podcasting/assets/css/images/player/images/icon-loader.svg", "https://i0.wp.com/500songs.com/wp-content/uploads/2024/04/Hendrix-Experience-300x300.jpg?resize=300%2C300&ssl=1", "https://secure.gravatar.com/avatar/ea298ceb2742035d266139164a713dc7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/aa98826d8af0b266bee708b318fee7a6?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/1664d2723b1a612ff4308c516a162af2?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/ea298ceb2742035d266139164a713dc7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/d6cf275a755ff0b4c90b74aa71b31249?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/1664d2723b1a612ff4308c516a162af2?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/f0d4a3978f19b910761a91254beba744?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/aad178a08d0957ce1bcb0a43b2c32798?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/fcad27c3eddb23e92191f0c644be411b?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/a588e3e4b243fb0a34af72a7400143f0?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/48cdd51ba19e3246107259a8503a6b81?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/c93ebbd0c5766e1317a507677807f3e6?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/8631c7517b1bc6c004c00173712a26b7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/837f94483e49d891fcc06165daa898ac?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/c93ebbd0c5766e1317a507677807f3e6?s=48&d=identicon&r=g" ]	[]	[]	[ "" ]	null	[ "Andrew Hickey" ]	2024-04-14T23:13:25+00:00	For those who haven’t heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “All Along the Watchtower”. Part one was on the original version by Bob Dylan, while this part is on Jimi Hendrix’s…	en	https://i0.wp.com/500son…it=32%2C32&ssl=1	A History of Rock Music in 500 Songs	https://500songs.com/podcast/song-173-all-along-the-watchtower-part-two-the-hour-is-getting-late/	For those who haven’t heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “All Along the Watchtower”. Part one was on the original version by Bob Dylan, while this part is on Jimi Hendrix’s cover version. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Games People Play” by Joe South. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata: I mispronounce Ed Chalpin’s name as Halpin for most of the episode. And towards the end I say “January the 28th 1969” when I meant 1970 Resources Sadly no Mixclouds. There was no way to arrange the songs from these two episodes in such a way that there weren’t too many Dylan or Hendrix tracks without making five separate Mixclouds. Information on Jimi Hendrix’s life came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. It should be noted that Norman’s book contains some factual errors and disputed claims, but it’s also the most recent of these three and contains new information the other two don’t. I also referred to two guides to his music, Jimi Hendrix On Track by Emily Stott, and The Complete Guide to the Music of Jimi Hendrix by Peter Doggett. Information also came from A Film About Jimi Hendrix by Joe Boyd. There are many, many, many compilations of outtakes and live recordings by Hendrix, with and without the Experience, but all most people will really need are the three studio albums Are You Experienced, Axis: Bold as Love and Electric Ladyland. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A few notes before I begin. First a slight erratum for the last episode — I ended the episode saying that the Isle of Wight show was Jimi Hendrix’s penultimate show. It wasn’t, quite — as you’ll hear in this part he actually played a handful of shows after that, all in a one-week period, but the list I referred to was incomplete. Secondly, this episode features discussion of racism, domestic abuse, drug abuse, and suicidal ideation. It also, by necessity, features repeated use of a word for Romani people beginning with a “g” that many of those people consider a slur. My understanding, which may be wrong, is that it is not always considered a slur in British English the same way it is in American English, and that many people of that ethnicity living in the UK have it as their preferred term for themselves, but I normally avoid using the word wherever possible (and I have to avoid it more than you might think, given that in the late sixties and early seventies almost every rock star seemed determined to use it constantly in song lyrics). In this case, I literally can’t avoid the word without going into ridiculous circumlocutions, as it’s a word that Hendrix not only repeatedly used in interviews, and in a song title, but also in an album title and in the names of two different bands. So I apologise in advance to anyone to whom hearing that word causes offence or upset, but there is no way to avoid it, and I’ll be using it in full when it comes up in this episode (though still trying to avoid it in future episodes). When we left the Jimi Hendrix Experience at the end of the episode on “Hey Joe”, they had just released their first single, and that had quickly made the top ten in the UK. As with many debut records at the time, it hit the top forty more because of the efforts of the management team than because of the record itself — Mike Jeffery, who co-managed the group with Chas Chandler and had previously managed the Animals, knew that the way to get a chart hit was to bribe radio stations and to send people round to buy multiple copies from chart return record shops. But that hyped success soon became legitimate success, and Jeffery and Chandler took advantage of it, sending the group all over the country, playing every tiny club they could be booked into, sometimes causing trouble, as when the group played a ballroom in Ilkley in Yorkshire which only had room for two hundred and fifty people. Six hundred attended, and the police tried to shut the show down. And in between these gigs in Hull and Ilkley and Leeds, the group were trying to record a follow-up single and an album to go with it. The intro to that single, “Purple Haze” starts with a dissonant chord — there’s an interval called a tritone, which is the distance of a sharpened fourth or flattened fifth [plays tritone interval] That’s a relatively common interval these days, for example you can hear it as the first two notes in the Simpsons theme: [Excerpt: Simpsons theme] And it turns up in things like diminished chords, which were showing up a lot in pop music at this point — they seemed to be George Harrison’s favourite chords, for example. But it’s still a dissonant interval — one that was for a long time regarded as literally “the Devil’s interval”, it was known as diabolus in musica, the Devil in music. And the start of the single has two tritones back to back, B flat with E on top: [Demonstrates] Followed by the E with the B flat on top: [Demonstrates] Put together that’s: [Demonstrates] Hendrix may have got the idea to use tritones in his intro from Miles Davis’ “Walkin'”, which does something similar: [Excerpt: Miles Davis, “Walkin'”] The intro then contains another dissonant chord that has become known, because of Hendrix’s prominent use of it here and in “Foxy Lady” as the “Hendrix Chord”. That chord is an E7#9: [Demonstrates chord] A dominant seventh sharpened nine chord like that is a chord that gets used a lot in jazz, because the chord has both a minor and a major third in it, spaced out far enough that they don’t butt up against each other too much. When playing the blues, you’ll often play both the minor and major third of a scale, to imply a “bent” or “blue” note somewhere between them, so in the key of E you might play a G note on a lead instrument against an E7 chord in the rhythm instrument, where the E7 chord has a G# in it. A dominant seventh sharpened nine chord just makes that G note part of the chord, so the notes are E, G#, B, D, G. It’s a chord that basically compresses the whole blues scale into one chord, and like the diminished chord it was a favourite of George Harrison’s. He’d used a dominant seventh sharpened nine in his solo on “Til There Was You”: [Excerpt: The Beatles, “Til There Was You”] and there are both G7#9 and D7#9 chords in “Taxman”: [Excerpt: The Beatles, “Taxman”] An E7#9 is also the very opening chord of “I Feel Free” by Cream: [Excerpt: Cream, “I Feel Free”] And both those latter two songs, only released a few months earlier and both by people that Hendrix admired, might have put the chord into his mind. But Hendrix’s use of the chord, coming straight after the tritones, one form of dissonance going into another, was such a powerful introduction that from that point on a dominant seventh sharpened nine chord has been known to guitarists as “the Hendrix chord”: [Excerpt: The Jimi Hendrix Experience, “Purple Haze”] “Purple Haze” was one of Hendrix’s early attempts at songwriting, written after Chas Chandler heard Hendrix playing around with a riff in a dressing room and told him “that’s your next single”. It was also the start of the group’s studio experimentation. “Hey Joe” had been recorded quickly, in a fairly standard way for pop singles of the time, as one might expect for something produced by Chas Chandler, who had of course had a very successful pop career himself, and who when they were making “Hey Joe” was very conscious that they were recording a track without yet having a deal. “Purple Haze” though was a new single by a band who at this point were a known quantity. They had a deal, they had a big hit single. Now they could show what they could really do. After a failed attempt at recording it at De Lane Lea studios, where they’d recorded “Hey Joe”, Chandler decided to move them to the better facilities at Olympic Studios, where they started working with a new engineer, Eddie Kramer, who was almost as enthusiastic about Hendrix’s experimentation as Geoff Emerick was for the Beatles. For the first time on record, Hendrix was using some of his new effects pedals — effects pedals had not really been a thing up to this point, at all. There had been a fuzz pedal introduced a few years earlier, which the Stones had used on “Satisfaction”, but other than that pedals had not really started to be created. But guitarists were starting to experiment more with their tone — live, bands were using a lot of feedback as a way to create sounds people hadn’t heard before, while in the studio people like the Beatles were experimenting with putting guitars through Leslie speakers and other ways to change their tone. And with transistors now becoming much more readily available, it was only a matter of time before people realised they could fit into pedals which a guitarist could operate with their feet, rather than having to be bulky standalone units. The fuzz pedal had been an early example of this, but it was only in 1967 that pedals started to proliferate. One of the first of these was made especially for Hendrix, by Roger Mayer, an electrical engineer Hendrix had met at a nightclub. This pedal allowed Hendrix to play a note and have it doubled at the octave, and he used it on the solo: [Excerpt: The Jimi Hendrix Experience, “Purple Haze”] Eddie Kramer was happy to work with Hendrix to get sounds like this onto tape, and was also very happy to alter Hendrix’s voice, adding reverb and burying it in the mix — Hendrix was never happy with his own voice, and only started singing at all after hearing Bob Dylan, realising one didn’t have to be a technically perfect singer to perform. Olympic studios was also perfect for Hendrix in another way — as Chas Chandler said “A great asset was that it seemed you could play louder than other studios.” — though how much louder was a matter of some dispute between Chandler and Hendrix, as Hendrix was using two Marshall stacks at full volume in the studio, which Chandler thought was a little excessive. Hendrix complained that he wasn’t being allowed to record things his way, and Chandler supposedly handed him his passport and told him to piss off back to America if he didn’t like it. Lyrically, the song was inspired by the science fiction that was Hendrix’s biggest lyrical influence other than Dylan, but it’s also notable that it’s the first time Hendrix brings up magic and putting a spell on someone. In this case, the lyric seems at least partly inspired by “I Put a Spell on You” by Screaming Jay Hawkins: [Excerpt: Screaming Jay Hawkins, “I Put a Spell on You”] The lyric was also, by all accounts, originally much, much longer than the released version, so much so that Hendrix would later complain that the track as released was not really “Purple Haze” — Chandler helped Hendrix shape what was originally an overlong song into something punchy and commercial. It may have been an artistic compromise Hendrix later regretted, but commercially it paid off — “Purple Haze” made number three on the charts, and was the first single to be released on a new label, Track Records, set up by the Who’s managers Kit Lambert and Chris Stamp, who had set the label up specifically for Hendrix — they couldn’t manage him, because Chas Chandler and Mike Jeffery had already signed him, but they wanted to get some of the money they knew was coming to him. “Hey Joe” had originally been meant to be released on the label, but Lambert and Stamp hadn’t finished setting it up at that point, and so instead the record had been put out by Polydor, who distributed Track Records (and also distributed the label the Who were on, Reaction, which was owned by Robert Stigwood rather than by Lambert and Stamp, another reason they wanted to set up their own label). But the recordings weren’t actually owned by Track or Polydor, rather they were owned by a company that Mike Jeffery had set up, which licensed them to Track, which licensed them to Polydor. It’s a complicated chain of rights ownership, made possible by the fact that Jimi Hendrix was in the habit of just signing any contract put in front of him, which given the levels of honesty among the music business in the 1960s was not the most advisable policy. The group were now bona fide stars and so, rather than playing one-off gigs in Ilkley, they were now sent out on one of the package tours with other pop stars — because at this point, in most people’s minds, the distinction between “pop” and “rock” that would only a few months later solidify into an almost impermeable barrier had not yet been made. And so above the Jimi Hendrix Experience on the bill for this prominent national tour were Cat Stevens, who had just had his first top ten hit with “Matthew and Son”: [Excerpt: Cat Stevens, “Matthew and Son”] The Walker Brothers, featuring Scott Walker who would later go on to be possibly the most idiosyncratic artist in the whole of popular music, but who at this point was recording Righteous Brothers soundalikes and Four Seasons covers like “The Sun Ain’t Gonna Shine Any More”: [Excerpt: The Walker Brothers, “The Sun Ain’t Gonna Shine Any More”] And of course the man of the moment, the man who had kept the Beatles’ “Strawberry Fields” and “Penny Lane” off the number one spot, Englebert Humperdinck: [Excerpt: Englebert Humperdinck, “Please Release Me”] As you might imagine, the group didn’t feel particularly comfortable on a bill with these acts, and Hendrix in particular was looking for some way for the group to stand out, and on the opening night the journalist Keith Altham suggested that Hendrix could set his guitar on fire on stage. According to Altham, he only meant it as a joke, but Chas Chandler latched on to the idea, and that night Hendrix poured lighter fluid over his guitar and set it alight, during, of course, “Fire”: [Excerpt: The Jimi Hendrix Experience, “Fire”] While the burning got headlines, Hendrix by all accounts didn’t think it had worked as a piece of stagecraft, and dropped it from his act for the moment. “Fire” was one of several songs that the group were working on for their forthcoming debut album, and it’s one that more than any of them shows the influence of Hendrix’s days playing the Chitlin Circuit. While it has all the psychedelic tricks, like a solo with the octave pedal that Hendrix had used on “Purple Haze”, the basic feel of the song comes from “Land of 1000 Dances”, the hit by Wilson Pickett, who Hendrix had been a backing musician for in at least one show in 1966: [Excerpt: Wilson Pickett, “Land of 1000 Dances”] And while the song’s lyrics are, as far as one can tell, mostly double entendre, they also have a very innocent, domestic, inspiration. The song’s lyric comes from Hendrix visiting the mother of Noel Redding, the Experience’s bass player and at that point the band member Hendrix was closest to. Hendrix was cold and wet and wanted to, literally, stand next to her fire, but couldn’t because the dog was in the way — hence “move over, Rover, let Jimi take over”. Similarly mundane was the inspiration for the far from domestic “Third Stone From The Sun”. While the song is a psychedelic science fiction extravaganza, this musical motif at the beginning of the song: [Excerpt: The Jimi Hendrix Experience, “Third Stone From The Sun”] Was apparently inspired by this one: [Excerpt: Coronation Street theme] According to Kathy Etchingham, Hendrix’s main girlfriend at the time, Hendrix was a major fan of the soap opera Coronation Street, and in particular of the character Ena Sharples (who we’ve actually heard in an earlier episode, as in 1961 her grandson was played by Davy Jones, later of the Monkees), and there is definitely an air of the theme tune about Hendrix’s track. “Fire” and “Third Stone From The Sun” were both included on the group’s debut album, Are You Experienced, which was released a week after the group’s third single, “The Wind Cries Mary”, a gentle ballad inspired by Curtis Mayfield, which like the first two singles wasn’t included on the album: [Excerpt: The Jimi Hendrix Experience, “The Wind Cries Mary”] Mayfield may have been the musical inspiration, and Hendrix had been playing a version of the music even back when he was still performing as Jimmy James, but the lyrical inspiration for the song was once again domestic — though in this case a domestic dispute. Kathy Etchingham is one of the few women to have been in a relationship with Hendrix and adamantly insist that he was never physically violent with her — sadly stories abound of Hendrix behaving in unspeakably violent ways towards women he considered “his” who he thought were interested in other men, while of course he considered himself perfectly free to sleep around with whoever he wanted, and those stories have also been told by others about Etchingham, but she has always denied, and continues to deny, that she was ever abused, and she would know better than anyone. They did, however, still have a fractious relationship, and after one row over Etchingham’s cooking, in which she threw crockery at him, breaking it, before storming out, he wrote the lyric to “The Wind Cries Mary” — Mary is Etchingham’s middle name, and the lines about the broom are, according to her, about Hendrix sweeping up the broken crockery while she was out. [Excerpt: The Jimi Hendrix Experience, “The Wind Cries Mary”] The single made number six on the charts, and the album, released a week later, made number two. The album’s success was all the more impressive because it was made in a rush — there were a total of sixteen sessions spread over five months, but Chas Chandler later calculated that they had only spent seventy-two hours, total, in the studio making the album, and they were desperately trying to get the album done in breaks from their constant touring schedule, rather than spending a prolonged period in the studio at one time. This stop-start slapdash recording process, while the results were impressive, led to tension within the group. In the early part of their time together, while even the band’s name made it clear that Mitch Mitchell and Noel Redding were sidemen rather than equals, Hendrix had done everything he could to make the group seem like an actual group, and had particularly become good friends with Redding, and encouraged the other two to speak up in interviews and stood up for them in arguments with Jeffery about their wages. He’d been less close with Mitchell at first, as Mitchell had been less happy playing the material the group played in their early sets, but he respected both men. But under the time pressure of the studio, that respect started to slip away. This was largely down to Chas Chandler. Chandler’s experience in the Animals had led him to the belief that band democracy simply doesn’t work, that if you let everyone try to have input you end up with watered-down compromises that please nobody. As far as Chandler was concerned, Hendrix was the star, he was the producer, and Redding and Mitchell were there to do as they were told, not because they necessarily had bad ideas but because they were there to realise Hendrix’s vision while also making commercial records, and as Chandler put it “they were starting to come up with suggestions, but … We didn’t need to be arguing with Noel for ten minutes and Mitch for five … We just couldn’t afford the time.” Understandably this attitude rankled with Redding and Mitchell, but nonetheless they remained utterly professional and able to quickly pick up on new songs. Chas Chandler estimated that the total time to record “The Wind Cries Mary”, from Hendrix bringing the song into the studio to the completed track, was twenty minutes. And similarly, when the group were going to play a set at the Saville Theatre, owned by Brian Epstein, and knew it was likely some of the Beatles would attend, three days after the release of the Sgt Pepper album (which kept Are You Experienced off the number one slot on the UK album charts), Hendrix brought a copy of the album into the dressing room half an hour before the show started, and told them the title track was going to be their opening number: [Excerpt: The Jimi Hendrix Experience, “Sgt Pepper’s Lonely Hearts Club Band (live)”] Paul McCartney still talks about seeing that show, and Hendrix having learned his song so quickly after the album came out, as being one of the great thrills of his life — but note that he talks about Hendrix learning his song in three days. Noel Redding and Mitch Mitchell learned it in half an hour. At the time of that show, the Jimi Hendrix Experience were still primarily a UK phenomenon. In May, Reprise Records released “Hey Joe” as a single in the US, largely on the recommendation of Mick Jagger, though it hadn’t been much of a success, and Hendrix was still largely unknown over there. But that was all about to change: [Excerpt: Scott McKenzie, “San Francisco (Be Sure to Wear Some Flowers in Your Hair)”] We’ve obviously talked about the Monterey Pop Festival many times since episode 151, and it’s going to come up more, but there were four acts among all those who played at the festival that weekend who had their careers changed permanently. Two of them — Otis Redding and Janis Joplin — we’ve already done episodes on. We’ll be covering how the Who’s career changed at Monterey in a future episode, but the Jimi Hendrix Experience were the fourth of the major hits of the festival, and the only one for whom it was their first ever US gig. The Who and the Experience were actually there for the same reason — in both cases they were recommended by Paul McCartney, who was on the festival’s board of directors, largely as an emeritus position, but who had been asked who the best live acts on the London scene were and named those two bands. While the two bands had been recommended by the same people, there was not much love lost between them at this point. Keith Moon, on first meeting Hendrix, had called him a “savage”, and while Pete Townshend was always impressed by Hendrix, and later became friendly with him, he had been one of those people who had been intimidated by Hendrix pushing all the top tier of London guitarists off their pinnacle, and resented Hendrix for what he thought of as Hendrix stealing his act by destroying instruments, though Townshend was always careful to distinguish what the two did, saying of Hendrix “We’re talking crass, show business nonsense here. My guitar smashing started as a serious art-school concept with a clear manifesto.” Townshend had very, very, complex feelings about Hendrix, stemming partly from his own awareness of his own whiteness — he will frankly admit that at that point in time he was not comfortable around Black people and had no real feel for Black music, though that has by all accounts changed in the intervening decades — partly from jealousy of Hendrix as the new kid, partly from sexual jealousy — like almost all straight and bi women in the London scene, Townshend’s then-girlfriend, later his first wife, found Hendrix extraordinarily attractive, and partly because he saw Hendrix as someone who was inspiring an identity crisis in the whole London scene, showing them that most of what they were doing was stolen from Black Americans, and that they weren’t Black Americans, thus leading them to question everything about their own art. It’s also the case that while someone like Clapton or Jeff Beck felt threatened by Hendrix’s virtuosity, in a very real sense Hendrix was treading more on Townshend’s toes than theirs. According to Charles Shaar Murray, Hendrix once told Mike Bloomfield that ‘he wanted to burn Clapton to death because he couldn’t play rhythm’. As Murray astutely points out, almost all the guitar heroes on the London scene at that time were strictly lead players, playing licks they’d learned from Albert King or Elmore James records or doing long psychedelic freakouts, but only John Lennon, Keith Richards, and Townshend were really solid rhythm guitar players. Hendrix, like Townshend, was playing both rhythm and lead parts, because he’d come up through the chitlin circuit backing people like Don Covay, Little Richard, and the Isley Brothers, not showing off his lead skills but playing parts closer to what Curtis Mayfield or Steve Cropper would play. Of all the guitarists in London, Townshend was thus maybe the closest stylistically to Hendrix, even though the two sounded very different. As a result of this there was a lot of tension between the two bands backstage at Monterey, and there were other issues that affected that show particularly. Hendrix had brought his own Marshall stacks from the UK, but the Who’s management had insisted they rent some cheap Vox amplifiers, which meant that not only could they not play as loudly as they normally did, they couldn’t smash the amps at the climax of their show. Both bands knew that the other was one of the best live acts around, and that they were impossible to follow, and given the chaotic nature of the festival, with no fixed lineup order, neither of them wanted to follow the other. There was a tense stand-off between the two bands, until finally Hendrix suggested flipping a coin. The Who won, and got to go on first: [Excerpt: The Who, “Substitute (live at Monterey)”] They ended the set with a version of “My Generation”, which ended with Townshend smashing his guitar and Keith Moon kicking over his drums: [Excerpt: The Who, “My Generation (live at Monterey)”] Hendrix was determined to do better, and after the Grateful Dead, who were slotted in between the two bands and who, as so often in their career, flubbed an important gig and went down badly, the Jimi Hendrix Experience came out and played the set of their lives. The set mixed the three singles they’d released up to that point in the UK — and a double A-side of “Purple Haze” and “The Wind Cries Mary” was released in the US a couple of days after Monterey to capitalise on the performance — with the cover versions that were normally in their set, like “Killing Floor”, the Howlin’ Wolf song with which Hendrix had blown Clapton off the stage when they’d first met, and a song by Hendrix’s favourite songwriter of the time, Bob Dylan: [Excerpt: The Jimi Hendrix Experience, “Like a Rolling Stone (live at Monterey)”] Al Kooper, who had played the organ on Dylan’s original of that, was backstage and Hendrix had asked him to replicate his organ part with them, but Kooper, not knowing how good Hendrix was, had refused. The one real problem in the set came seven songs in — Hendrix liked using very light strings so he could bend them a lot, and he also used the tremolo arm on his Strat a lot more than most people. The result was that he always had chronic tuning problems on stage, and he put the guitar badly out of tune at the end of “The Wind Cries Mary”, and had to struggle through “Purple Haze” more or less fighting his instrument. But it was the last song that sealed the legend of Jimi Hendrix forever: [Excerpt: The Jimi Hendrix Experience, “Wild Thing (live at Monterey)”] The performance of “Wild Thing” was not anything particularly special musically, but what impressed the audience wasn’t the band’s playing, but the way Hendrix ended the song. Remembering what he’d done at the beginning of the Englebert Humperdinck tour, he once again poured lighter fluid over his guitar and set light to the instrument, while it was still plugged in, the sound of the flames and the snapping strings being picked up by the pickups and amplified while Redding and Mitchell raved up behind him. [Excerpt: The Jimi Hendrix Experience, “Wild Thing (live at Monterey)”] When he walked off the stage, Andy Warhol and Nico, who had been backstage studiously ignoring everyone they thought was less cool than them — which is to say everyone — came up to him and kissed him on both cheeks. The Jimi Hendrix Experience had conquered America. Not that everyone saw it that way. Robert Christgau, a man who was normally one of the most perceptive music critics of his generation, wrote the single most misjudged review of his career. Apparently seeing Hendrix’s performance as little short of a minstrel show, he used a racialised term about him which I am not going to repeat (but which is easy to find if you google “Christgau” and “Hendrix” together), quoted someone else using an actual racial slur about Hendrix, and in some of the phrases I can repeat said “He was terrible.” “Grunting and groaning on the brink of sham orgasm, he made his way through five or six almost indistinguishable songs” and “I suppose Hendrix’s act can be seen as a consistently vulgar parody of rock theatrics, but I don’t feel I have to like it. Anyhow, he can’t sing.” Christgau’s assessment of Hendrix’s musical merits is of course his own business, but the racial insensitivity on display in his review is breathtaking, though sadly far from exceptional in rock writing of that era. Jann Wenner, who is not a perceptive critic, also gave the show a negative review, saying “Although he handled his guitar with rhythmic agility and minor drama, he is not the great artist we were told.” Pete Townshend bumped into Hendrix at the airport after the show, and in an attempt at bridge building apologised to Hendrix for the pre-show tension and offered to buy part of the destroyed guitar. Hendrix responded by calling Townshend either a “honkie” or a “cracker”, depending on which version of the story you read, though the two would later patch things up and become quite close friends. The group followed their performance at Monterey with a short residency at the Fillmore in San Francisco, where Bill Graham quickly promoted them from support to headliners after they got a tremendous audience response, and some club dates including at the Whisky A-Go-Go, where they didn’t take advantage of the prestigious booking, as Hendrix got drunk and didn’t play well. But they soon had a tour that seemed to some to be as bad a match as the Englebert tour had been, though it was also obviously a fantastic opportunity. The Monkees were at this point arguably the biggest band in the world other than the Beatles, and Micky Dolenz and Peter Tork had both been at Monterey and Dolenz in particular had been hugely impressed by Hendrix’s performance. They decided to offer Hendrix the support slot on their upcoming tour. Hendrix didn’t like the idea — he detested the Monkees’ music, and had said so publicly, though he ended up getting on rather well with the actual band members. But Mike Jeffery, who wanted to start making some real money from his client, thought it was an excellent idea. Micky Dolenz still shows exactly what the problem was with this bill in his solo performances to this day: [Excerpt: Micky Dolenz, “Purple Haze (live)”] The Monkees’ audience simply didn’t want Hendrix, and while the Monkees themselves relished the opportunity to stand at the side of the stage every night and watch Hendrix play, it soon became clear that the combination just wouldn’t work. To save everyone’s face, a story was concocted that Hendrix had been dropped from the tour after a campaign by the Daughters of the American Revolution, who were allegedly complaining that Hendrix’s act was simply too erotic for the children of America. Jeffery quickly put together a string of club dates to fill the gap, and Hendrix found himself back in New York, playing some of the same clubs he had been playing before Chas Chandler had discovered him, though this time as the star. At the same time the Experience were playing New York, the Mothers of Invention had a residency at the Garrick Theatre there. Hendrix and the Mothers would become quite friendly, and Hendrix would pose for the cover of their album We’re Only In It For The Money, where they parodied the cover of Sgt Pepper, and it was around this time that Frank Zappa introduced him to something that would change his style forever. Hendrix had grown up listening to his father’s record collection, and that included a lot of jazz and big band music, and he had always been fascinated by the sound of trumpet players like Cootie Williams, the lead trumpet player with Duke Ellington’s band: [Excerpt: Duke Ellington and his Orchestra featuring Cootie Williams, “New East St. Louis Toodle-Oo”] Williams got that unique tone by moving a plunger mute in and out of the bell of his trumpet, and Hendrix had always wanted to get a tone on his guitar that sounded like that. And at some point in 1967, probably at this meeting, Frank Zappa told Hendrix about the wah-wah pedal, which had come out in February of 1967 and had originally been invented to do just that — and was marketed as an alternative to mutes for horn players originally, using the name of the jazz trumpeter Charles McCoy. But it had almost immediately been taken up by guitarists. Zappa had got his horn players to start using the pedals, but was also using one himself — though he used it rather differently from how most guitarists would — whereas most guitarists will raise their foot up and down on the pedal, creating a “wacka wacka” noise, Zappa would often keep his foot in one position and just use it to shape the tone of the notes he was playing. A more standard use of the pedal had come in May, when Eric Clapton had used it for the first time on Cream’s B-side “Tales of Brave Ulysses”: [Excerpt: Cream. “Tales of Brave Ulysses”] Hendrix immediately took to the wah-wah, which took over from the octave pedal as his new favourite guitar pedal. The time in New York also, though, led to one of the odder sidesteps in Hendrix’s career. Hendrix was returning to Greenwich Village as a star, but not as a star with a lot of money. Hendrix was, for most of his life, chronically short of money. There are various reasons for that — partly, he was just the kind of person who would go out and buy a new car, with cash, even though he didn’t have a driving license or anywhere to park it; partly, many many people who Mike Jeffery managed have suggested, in so many words, that Jeffery was at the very least a fraudster and at worst a gangster; and partly there were lawsuits that locked up his royalties — and one of those lawsuits was indirectly precipitated by his lack of money. While in New York he did manage to repay forty dollars to an old bandmate who had lent him the money to go to London with, but when he met up with another old friend, Curtis Knight, the former lead singer of Curtis Knight and the Squires, with whom he’d played a couple of years previously, he wanted to take Knight out for dinner but was short of cash. Knight suggested that they go round and visit Ed Chalpin, the owner of the record label for which the Squires had recorded, and borrow some money off him. What Hendrix only vaguely remembered, because of the habit I mentioned earlier of signing anything put in front of him, was that as a member of the Squires he’d actually signed a three-year recording contract with Chalpin, less than two years earlier, for the princely advance of one dollar. Chalpin was indeed very happy to meet up with his old acquaintance Jimi and to take him and Knight out for a meal… and why didn’t they come back to his studio for a jam session? They did, and Chalpin made a plan. He was going to take those jammed tracks, and the recordings they’d made earlier and put out a new Jimi Hendrix album.Chalpin started suing everyone involved with Hendrix’s career, pointing out that he did actually have a valid contract with Hendrix that had another fifteen months on it. Four days after Chalpin sued Hendrix’s labels, Hendrix actually went back into the studio with Chalpin and Knight, though he did show a little bit of awareness of the legal situation: [Excerpt: Curtis Knight and the Squires, “You can’t use my name dialogue” into “Gloomy Monday”] Unsurprisingly, Ed Chalpin did not pay attention to any pinkie promises not to use the name of the most marketable new guitarist in the world when selling his new recordings of him, and an album duly came out, licensed by Chalpin to Capitol Records, credited to Jimi Hendrix and Curtis Knight, with a big photo of Hendrix at Monterey on the cover. The legal squabbles between Chalpin and Hendrix’s British associates would last for years. The group’s time in New York also brought home to Hendrix how much his reputation was only with white listeners and not with Black ones, and he started to worry about what that said about him. In truth it said little about him, and a lot about marketing categories. In Britain, to sell Hendrix to the hip British audience, a lot had been made of his influence from people like the Beatles, Dylan, and Muddy Waters — and he was influenced by those three artists, a great deal. But namedropping those performers didn’t help at all among the Black audience in Harlem. Obviously everyone knew the Beatles, but Dylan barely had any recognition among Black listeners, and while Muddy Waters was of course one of the great Black musicians and bandleaders of all time, he was yesterday’s news. By the mid-sixties, the only major blues artists who were still making a living on the chitlin’ circuit were people like B.B. King and Albert King, whose music had always had horn sections and was closer to soul music than to people like Waters or John Lee Hooker, who by this point were mostly playing to white college audiences. Hendrix came up a few years after the last original generation of great bluesmen for whom the blues was a living music, people like Buddy Guy, and a few years before the revivalists like Robert Cray. At this point the young musicians who were citing Muddy Waters and Howlin’ Wolf as influences were all people like the Rolling Stones, Eric Clapton, Canned Heat, and Mike Bloomfield — white people who had learned the music from records. In the late sixties, Black audiences wanted Aretha Franklin, Otis Redding, and James Brown, musicians who were looking to the future, not people imitating Muddy Waters. It didn’t help that Hendrix’s label in the US was Reprise records, which at that point had no idea how to market to Black audiences. The label had started out owned by Frank Sinatra and putting out mostly music by Sinatra and his friends, and while the label was now pivoting towards the hippie counterculture, the musicians it was in the process of signing in the late sixties were people like the Grateful Dead, Van Morrison, Tiny Tim, Neil Young, Joni Mitchell, the Electric Prunes, and Arlo Guthrie — many of them truly great musicians, but none of them ever likely to trouble the R&B charts. And Hendrix’s band didn’t help in that respect. As Hendrix’s friend Robert Wyatt later said “It would have been hard to imagine any of Hendrix’s records with that splashing drum sound and unfunky bass and all that looseness sitting neatly in the tracks of a Motown record”. So Hendrix was being sold as “a Black man playing white people’s music”, and that’s how audiences responded to him, even though if you listen to his music at all it’s clear that the single biggest influence in his music is Curtis Mayfield, and his years of playing in soul bands are audible in every single note he played. And this was actually obvious to other Black musicians. Hendrix is always spoken of as if his major influence was on white musicians and as if he had no impact at all on the Black music scene, but in truth there are whole strains of Black music for decades to come that have Hendrix’s fingerprints all over them. It’s impossible to conceive of the records of Sly and the Family Stone, or Norman Whitfield’s work with the Temptations, or the seventies work of Curtis Mayfield or Bobby Womack, or Parliament/Funkadelic, or Prince, or Miles Davis’ fusion records, without the influence of Hendrix. But all that was to come. At the time, all Hendrix could see was that he was being rejected by his own community, and that started to hurt. It’s notable that the single the group recorded in New York, “Burning of the Midnight Lamp”, featured the great Black backing vocal group the Sweet Inspirations, the same people who sang backing vocals for Aretha, and is about loneliness and depression — though it’s also notable that for all that, Hendrix isn’t trying to make his record sound like a soul record. Indeed, with its combination of wah-wah guitar and harpsichord, the closest resemblance to anything else in music at the time is to some of the material of the Bonzo Dog Doo-Dah Band, a group who Hendrix was a big fan of. [Excerpt: The Jimi Hendrix Experience, “Burning of the Midnight Lamp”] That track, with its depressed mood and odd sound, didn’t chart as highly as the group’s earlier singles, only reaching number eighteen in the UK — still a hit, but not as big a hit as some of the others. But that was made up for by the release in the US of a revised version of the Are You Experienced album, which as was often the case in the US dropped several of the album tracks and replaced them with the three singles that had been released up to that point. Despite the group not yet having had a hit single in America, the album made the top five, and became one of the biggest-selling records Reprise had ever released up to that point. The group had to get a second album recorded and released before the end of the year, but of course that didn’t stop Mike Jeffery from sending them out on the road as much as possible, but at this point at least the packages the group were being put on were more appropriate. They were often on the same bill as other acts Jeffery and Chandler managed, like Hendrix’s friend Eric Burdon or the jazz-prog band Soft Machine, and when they weren’t it was packages like a tour with The Pink Floyd and the Move — the latter of whom were friendly enough with the Experience that on one track on the new album, “You Got Me Floatin'”, Roy Wood and Trevor Burton of the Move joined Graham Nash of the Hollies on backing vocals: [Excerpt: The Jimi Hendrix Experience, “You Got Me Floatin'”] There was a lot of this kind of in-studio collaboration between artists going on — Nash, who for a while shared a flat with Mitch Mitchell, also appeared along with Gary Leeds of the Walker Brothers providing footstep sound effects on another track on the album, “If 6 Was 9”: [Excerpt: The Jimi Hendrix Experience, “If 6 Was 9”] Hendrix, Leeds, and Nash were also among the musicians who played in an uncredited supergroup of sorts who backed Paul McCartney’s brother Mike (who used the stage name Mike McGear so he couldn’t be accused of capitalising on his brother’s fame) and the poet Roger McGough (who was McGear’s collaborator in their group the Scaffold) on their duo album McGough & McGear, which was produced by McCartney and former Yardbird Paul Samwell-Smith. There are no credits for individual tracks, but it’s known that Hendrix, and probably also Noel Redding, appeared on at least the tracks “So Much” and “Ex-Art Student”, the latter of which also featured Dave Mason of Traffic on sitar: [Excerpt: McGough and McGear, “Ex-Art Student”] The sessions for the second album, titled Axis: Bold as Love, stretched out far longer than for the first album, starting even before Are You Experienced was released, and finishing five months later, interspersed with all the group’s touring, and the record ended up costing ten thousand pounds to make, rather than the few hundred Are You Experienced cost. The record might be the definition of “difficult second album” — the relationship between Hendrix and Chandler started to deteriorate, as Hendrix wanted to spend more and more time in the studio doing retake after retake to get the sound in his head, while Chandler thought there was no need to keep going past a certain point. There was also starting to be more desire from the other members for input into the records. For the first time, the band did a Noel Redding original, which Redding also sang lead on, and which showed Redding’s desire to perform more pop-oriented music like the Small Faces or the Move (even as those bands were moving into heavier rock): [Excerpt: The Jimi Hendrix Experience, “She’s So Fine”] And Redding was also increasingly starting to resent the way that Hendrix would tell him exactly what to play, rather than allowing him to come up with his own parts. The strongest friendship in the group was starting to wear down over this. The stress caused by the album can probably be summed up by the fact that a few days before it was meant to come out, Hendrix accidentally left the only copy of the master tape for side one in a taxi, and after all that work getting the album perfect Hendrix, Chandler, and Kramer had to redo the whole mix overnight to get it out on time. Axis: Bold as Love is generally considered the weakest of the three Jimi Hendrix Experience albums, and contains few of the songs that get cited as all-time classics, though it does have its defenders, and “Little Wing” is generally considered among Hendrix’s best songs: [Excerpt: The Jimi Hendrix Experience, “Little Wing”] Hendrix was also starting to feel constrained by the format of the small group — and burned out by the constant pressure to record and tour. He told Melody Maker “I’d like to take a six-month break and go to a school of music. I’m tired of trying to write stuff and finding I can’t. I want to write mythology stories set to music based on a planetary thing and my imagination in general. It wouldn’t be similar to classical music, but I’d use strings and harps with extreme and opposite musical textures… I’d play with Mitch and Noel and hire other cats to supplement us.” Hendrix would also talk in interviews at this point about wanting to do stage shows that incorporated a dramatic element, and maybe touring with Procol Harum and having them join the Experience on stage as actors in a musical play. But while he talked about wanting to change up the show, he didn’t. According to Noel Redding, he refused to rehearse new material — the group barely ever played anything from Axis on stage — and then complained that they weren’t doing anything new. Hendrix seemed to believe — whether correctly or otherwise — that all the audiences wanted from him was “Purple Haze” and “Hey Joe” and so that’s what he gave them, over and over, later often writing in his diaries after shows “S.O.S”, standing for “same old” and then a word I can’t say here but which you can definitely guess. Tensions between the group members, especially between Hendrix and Redding, also grew higher after a Scandinavian tour in early 1968, when according to Redding “We all got rotten drunk. Jimi had been hanging out with this gay Swedish journalist. Perhaps he was putting ideas in Jimi’s head, but Jimi suggested we should have a foursome.” Redding, who was straight, wasn’t interested in having a gay foursome, and Hendrix (who on at least two other occasions we know about propositioned other men to join him in group sex, though on both those occasions — with the drummer Dallas Taylor and with Arthur Lee of Love, a woman was also involved) got very frustrated and started smashing up the hotel room, and ended up breaking a window and cutting his hand, getting fined for it. After the Scandinavian tour, it was back off to America. Mike Jeffery sent both the Jimi Hendrix Experience and Eric Burdon’s New Animals on separate, though sometimes overlapping, tours of the States, promoted with a joint press conference announcing “The British are Coming”. Along with them came two other bands Jeffery and Chandler managed, who would act as support for both bands, swapping places occasionally. The first of these was a band called Eire Apparent, who originally featured guitarist Henry McCullough, who would go on to join Wings, but who had to quit the band shortly after the tour started after being deported for cannabis possession and was replaced. Hendrix actually took Eire Apparent into the studio while they were on tour and produced a single for them: [Excerpt: Eire Apparent, “Yes I Need Someone”] Hendrix also played on that track, and he produced the group’s first album, which also featured Mitchell, Redding, and their friend Robert Wyatt, who added backing vocals with Redding on “The Clown”, which also featured Hendrix playing guitar: [Excerpt: Eire Apparent, “The Clown”] Wyatt was the drummer and lead singer of Soft Machine, the other band who were regularly supporting the Experience in the US, and who also recorded their debut album during that tour, this one not produced by Hendrix but by Chas Chandler and Tom Wilson: [Excerpt: Soft Machine, “Joy of a Toy”] The 1968 tour was one that caused Hendrix to confront a great deal about his past. He came back to Seattle on the tour, visiting his family for the first time in years — the reunion brought him closer to his brother Leon, but brought up a lot of bad memories of his father’s abuse and of his dead mother. There were also daily reminders of the racism which Hendrix could never totally escape — in Britain, for example, he’d had to move out of the flat he was subletting from Ringo Starr after it was discovered there was a prohibition in the lease on Black people renting it — but which was a lot less blatant in the UK, and manifested in different ways. On the US tour things went from, at best, Hendrix having to get white colleagues to hail taxis for him to, at worst, discovering that the driver who had been booked to drive them between shows for part of the tour was a member of the Ku Klux Klan, or a policeman who was part of the security detail for one of his shows pulling a gun on him after seeing him with a white woman, leading to all the police pulling out of working the show that night en masse. These tensions, along with the stress of playing those SOS shows and the need to record yet another album without having the time to properly do it, and the increased drug use, made Hendrix become steadily more aggressive and irritable. His violence against girlfriends became notably worse, and he was starting to fall out with all his collaborators. (Incidentally, I need to say this here again — violence against women was endemic in musicians at this point, and as I said at the beginning of the series, if I talked about it properly every time it came up, this would not be a series about music but a history of misogynistic crimes. However, I have found myself revolted when researching this episode how pretty much every biography of Hendrix will talk about him as a lovely, affable, peaceful man only pages after recounting some horrific act of abuse, which is inevitably excused as him “only” being violent when he was jealous or drunk, as an aberration in his character rather than a central feature of it. So, as I never want to be that kind of person, I want to reiterate here that my not going into detail about these things is not meant to be that kind of minimisation, and Hendrix’s behaviour towards women, like that of so many of his contemporaries (and too many today) was disgusting and inexcusable. Editorial note over, back to the story) And in the middle of all this, he was having to work on his next album, the first sign of which was a single: [Excerpt: The Jimi Hendrix Experience, “All Along the Watchtower”] The group had started work on “All Along the Watchtower” in January 1968, before the stress started to get to Hendrix, and like many of the recordings he was involved in at that point it was a collaboration with many of his favourite musicians. And those favourite musicians did not include Noel Redding. At first it wasn’t even necessarily “All Along the Watchtower” that Hendrix wanted to record after he heard John Wesley Harding for the first time — the song he latched on to at first was “I Dreamed I Saw St. Augustine”, and there was initially talk of him recording that one. He loved the whole album, and would later record “Drifter’s Escape” as well. But much as he’d astonished the Beatles by performing “Sgt Pepper’s Lonely Hearts Club Band” just days after the track came out, now he was going to take a song by his other current idol and make it into his own. The initial recording, in January, was cut in Olympic Studios’ four-track facilities in London, and the basic track they cut there just consisted of two acoustic guitars, a six-string played by Hendrix and a twelve-string played by his friend Dave Mason of Traffic, and Mitchell on drums. Hendrix was going to overdub the bass part himself, and when he informed the group that he wanted to do that, Redding went to the pub rather than stay in the session. Another visitor to the pub was Hendrix’s friend Brian Jones, who turned up after he had got drunk and tried to add piano to a couple of takes, before gently being removed from the instrument. This kind of attitude to friends turning up — sometimes accomplished musicians, more often just scenesters — was starting to infuriate Chas Chandler. Chandler wanted to run tight sessions with minimal nonsense, but Hendrix liked to have his friends around him, and jam, and explore ideas while the clock was running. This is sometimes portrayed as an art vs commerce thing, and there is an element of that — obviously Chandler didn’t want to waste money — but it’s important to remember that Chandler had been a musician himself, in one of the most respected bands of the mid sixties, and had played on a string of classic hit singles that had been made that way. As Eddie Kramer later explained, “without Chas there would have been no huge superstar. To start with, Chas recognised Jimi’s talent, and then he was able to corral that raw talent and develop it and encourage it. He would sit with Jimi every night, helping him to write lyrics and helping him with the song structures, encouraging him to write. However, during that third album the sessions took their own course, and Jimi, with his strong vision, just allowed things to happen in a very casual way.” After getting rid of Jones, Hendrix, Mason, and Mitchell went through several more takes — Mason had difficulty getting the rhythm down the way Hendrix wanted it — and then Hendrix overdubbed his bass and lead guitar, before the group went off on tour again. Brian Jones did make one actual musical contribution to the track though — it’s him playing the vibraslap, the unusual percussion instrument at the start: [Excerpt: The Jimi Hendrix Experience, “All Along the Watchtower”] Work on the track, and on the album, continued at the Record Plant in New York, where the tape was transferred first from four-track to twelve, and then to sixteen — a revelation for Hendrix, who had never previously used more than four tracks, and who had done most of his recording in Britain where even the Beatles had only just switched to eight-track. The Record Plant was a big part of the reason for the increasing looseness of Hendrix’s sessions. The new studio had only been set up in March 1968, by Gary Kellgren, Tom Wilson’s favourite engineer, who had engineered sessions Wilson had produced for the Mothers of Invention, the Velvet Underground, and Chandler’s old bandmate Eric Burdon, as well as engineering the session for “Burning of the Midnight Lamp”. Wilson and Chandler had used the studio as soon as it opened, to produce the first Soft Machine album with Kellgren engineering, and Chandler had booked the studio solid for six weeks to make the next Jimi Hendrix Experience album. The studio had even agreed to hire Eddie Kramer, who wanted to move away from England to a country he saw as less interested in punishing success, and who took over the sessions after he got over there, with Kellgren doing a couple while Kramer was moving over. But the whole reason that the Record Plant had been built was that Kellgren wanted to build a studio that went against all Chandler’s instincts. He didn’t want a studio that was antiseptic and white and full of people watching clocks, he wanted to build somewhere comfortable for people to hang out and relax and get their creative juices flowing. In Hendrix’s case this generally took the form of him going to a nightclub called the Scene that was round the corner from the Record Plant, staying there til five hours after the session started, and then showing up with a couple of dozen new friends, some of them musicians. Chandler soon tired of this, and as he was also becoming increasingly worried about Mike Jeffery’s attitude to financial probity, he decided to get Jeffery to buy him out of his contract. Jeffery paid three hundred thousand pounds to become Hendrix’s sole manager, and Hendrix took over production: [Excerpt: The Jimi Hendrix Experience, “All Along the Watchtower”] In some ways, Chandler got out at the right time. “All Along the Watchtower” would be the Jimi Hendrix Experience’s last major hit single — “Crosstown Traffic”, the follow-up, only scraped the bottom of the UK top forty and didn’t get any higher than fifty-two in the US, while “Watchtower” made the top twenty in the US and number five in the UK. The track, as finally finished in the Record Plant, is an extraordinary-sounding thing, with a sense of doom which is simply not there in Dylan’s original, and which would soon start a whole subgenre that has been labelled apocalypse rock, and which is indelibly associated with the Vietnam war, even though Hendrix himself at this point was still a supporter of the war (a position which he would modify over the next year, as he became more aware of the way opposition to the war was entangled with support for civil rights). Hendrix’s version of the song, in fact, became so highly regarded that Dylan himself, when he returned to touring in 1974, based his arrangement in live performances on Hendrix’s rather than his own original version: [Excerpt: Bob Dylan and the Band, “All Along the Watchtower (live)”] And when future cover versions have tried re-examining and recontextualising the material, or parodying it, or creating cut-ups, like the version by XTC, it’s always been Hendrix’s version they’re riffing off: [Excerpt: XTC, “All Along the Watchtower”] The album for which “All Along the Watchtower” was the advance single, Electric Ladyland, would end up being the last studio album Jimi Hendrix would complete, and the only one where Hendrix was the credited producer, Chandler having left after recording something like a quarter of the album. It was also an album that wasn’t really by the Jimi Hendrix Experience, despite the credits. Of the sixteen tracks on the album, less than half actually featured all three members of the band — seven had someone other than Redding on bass, and two more featured Hendrix’s old friend Buddy Miles, another veteran of the chitlin’ circuit who was by this point the drummer with the Electric Flag, in place of Mitchell. Indeed, the album could even have ended up with fewer tracks featuring the full band than it did — there’s an early take of Redding’s only song for the album, “Little Miss Strange”, that while it was produced by Hendrix had a band consisting of Redding on guitar, Steve Stills on bass, and Miles on drums, with Hendrix and Mitchell not on the track. Part of the reason seems to have been that Hendrix was getting ever more interested in emphasising his own Black roots in his music. The title track, “Have You Ever Been (To Electric Ladyland)”, one of the tracks that only features Hendrix and Mitchell, is his most blatant homage to Curtis Mayfield yet: [Excerpt: The Jimi Hendrix Experience, “Have You Ever Been (To Electric Ladyland)”] While “Voodoo Chile” is the culmination of a long blues tradition. It’s a variant of a song called “Catfish Blues”, the first version of which I know of is by Robert Petway: [Excerpt: Robert Petway, “Catfish Blues”] It’s a blues standard — there’s a version of it by Lightnin’ Hopkins, for example: [Excerpt: Lightnin’ Hopkins, “Catfish Blues”] While Muddy Waters recorded a version of the same melody with different lyrics under the title “Rolling Stone”, a title which inspired a band, a Dylan song, and a magazine: [Excerpt: Muddy Waters, “Rolling Stone”] The Jimi Hendrix Experience had recorded their own version of “Catfish Blues” in a BBC session in 1967, incorporating bits of “Rolling Stone” and two other Muddy Waters tracks with similar melodies, “Rolling and Tumbling” and “Still a Fool” : [Excerpt: The Jimi Hendrix Experience, “Catfish Blues (BBC session)”] And so when Jack Casady of the Jefferson Airplane and Steve Winwood came into the studio, Hendrix and Mitchell jammed with them — and without Redding — as Hendrix sang some new lyrics which combined Waters’ voodoo-related lyrics from songs like “Hoochie Coochie Man” with Hendrix’s own interest in science fiction, becoming the fifteen-minute blues jam “Voodoo Chile”: [Excerpt: The Jimi Hendrix Experience, “Voodoo Chile”] That wasn’t the end of the “Voodoo Child” concept, though. The next day film cameras were in the studio, and Hendrix wrote another song based around the same concept, and taught it to Redding and Mitchell, who recorded it while being filmed. It became “Voodoo Child (Slight Return)”, probably the last of Hendrix’s most well-known songs to be completed during his lifetime: [Excerpt: The Jimi Hendrix Experience, “Voodoo Child (Slight Return)”] As you might imagine, Noel Redding constantly being left out of recordings, and having to play exactly what Hendrix told him to play when he was included, didn’t sit well with him, and he was also eager to get back to playing guitar, his first instrument. Redding formed his own band, Fat Mattress (who Hendrix referred to as “Thin Pillow”), and they were managed by Chas Chandler, with whom Redding agreed about Hendrix’s habit of getting into endless jams with his friends rather than knuckling down in the studio with his bandmates. And they were booked in as the support act for the Jimi Hendrix Experience, so Redding would end up playing both halves of the show. Their music was very different from the Experience’s, showing Redding’s wish to make music that was more like the Move or Small Faces: [Excerpt: Fat Mattress, “Petrol Pump Assistant”] For now, Redding continued in both bands, although by early 1969 nobody was happy in the Jimi Hendrix Experience any more. Hendrix was getting more ambitious for his own music — he was still technically living in London, though the Experience’s constant US touring meant he was spending more time in the US than at home, and had moved into a house next door to one that had previously been the home of Handel, and was inspired by Handel to want to make more complex music. He was also sick of Noel Redding, and wanted to help out his old Army friend Billy Cox, who he’d always liked playing with — and he was increasingly becoming aware of an attitude among the more militant Black activists that he should not be playing with white musicians at all. Hendrix was increasingly just playing badly on stage. He’d turn up and give a perfunctory performance, often on acid, playing the SOS songs, often putting his guitar out of tune and then either getting angry at the audience for their impatience while he tuned it, or just continuing to play out of tune for the rest of the set. And then after playing the Hollywood Bowl or the Albert Hall or somewhere and giving a shoddy performance for huge paying crowds, he’d go off to a small club somewhere and jam with his friends and play better than ever. Rolling Stone called one of his performances like “watching a bullfighter who’s so good that no bull challenges him, and therefore there’s no danger and therefore no suspense.” He also got busted for drug possession crossing the border from the US into Canada — he was later found not guilty — and as part of his bail for a long time in 1969 he couldn’t leave the US even if he wanted to. His ties to the London scene that had made him were growing weaker by the day. Things came to a head at a festival in Detroit, where Noel Redding was greeted with surprise by some of the other acts on the bill — they thought he wasn’t in the band any more. Then Hendrix, who was on acid, announced on stage that that show would be the group’s last ever show together. Taking these as subtle hints that he wasn’t wanted any more, Redding quit the band and flew back to London to work on Fat Mattress’ first album instead. Billy Cox joined Hendrix and Mitchell for some TV appearances, and then Hendrix moved to Woodstock, to a house Mike Jeffery had arranged for him in the hope that he could basically copy Dylan and get a new band together there. Hendrix did get a new band together — Cox on bass and their old friend Larry Lee, who had played with the two of them in the King Kasuals years earlier, on rhythm guitar, plus drummer Juma Sultan and conga-player Gerardo Velez. And then he decided to go off to Morocco and not tell anyone. He flew back nine days later to an understandably angry band, who weren’t getting on particularly well — Cox and Lee were chitlin’ circuit R&B players, while Sultan and Velez were jazzers, and they didn’t mesh at all well. And by this point, Hendrix was also not getting on with Jeffery, who he was starting to realise might not have his best interests at heart. The new group — called Gypsy Sun and Rainbows — were booked to appear at the Woodstock Festival, but they were shambolic and not getting any better, so Hendrix got in touch with Mitch Mitchell and asked him to fly over and join the new group, meaning there would now be three percussionists. Mitchell said of the ten days rehearsing with them that they were “probably the only band I’ve ever been involved with that did not improve over that time. I got the feeling that Jimi simply wanted to get through the gig and start again.” The Woodstock gig was in most respects a massive anticlimax. The group were meant to headline the last night at 11PM, but the event was so shambolic and ran so late that they ended up going on at nine the next morning, after almost everyone had already gone home. But there was one performance that Hendrix gave that morning that became legendary: [Excerpt: Jimi Hendrix, “The Star-Spangled Banner (Woodstock)”] Hendrix had played the American National Anthem a few times before, but this one was somehow different. To everyone who listened to it it seemed to have the same apocalyptic air as his “All Along the Watchtower”, to be his comment on everything that was going wrong in Vietnam. It would be Jimi Hendrix’s last major cultural impact on the world: [Excerpt: Jimi Hendrix, “The Star-Spangled Banner (Woodstock)”] For the last year of his life, Hendrix spent most of the brief amount of time he wasn’t on tour in New York, working on new music and also supervising the planning of a new recording studio, to be called Electric Lady, which was being built mostly so he wouldn’t have to spend so much money on studio time for his future records. But things kept getting in the way. For example, his manager, Mike Jeffery, had Mob connections, and somehow, in a way that has never been conclusively settled, this led to Hendrix getting kidnapped by gangsters and held for ransom — different people have said either that this was done to get money out of Jeffery or at Jeffery’s instigation to show Hendrix who had the real power in their relationship. Whatever the cause, Hendrix was soon freed — it turned out there were some advantages to being on Frank Sinatra’s record label. Gypsy Sun and Rainbows split up very quickly, and for the next year Hendrix would be constantly trying to pull together a supergroup of musicians who were able to meet his musical standards, and never getting very far. In particular, he wanted a singer, because he was never comfortable with his own voice, and at various times there were plans for him to form a band with Arthur Brown of the Crazy World of Arthur Brown, with Steve Winwood, or with Arthur Lee of Love. The latter is the only one that got as far as recording anything, when Hendrix joined Love for a session that produced the track “The Everlasting First”, not a highlight of either’s discography: [Excerpt: Love, “The Everlasting First”] But there’s one collaboration that I can’t imagine anyone wouldn’t have been fascinated to hear, had it worked out. Miles Davis had recently started working with the guitarist John McLaughlin, one of the few guitarists of a similar level of technical skill to Hendrix, and had been getting interested in developments in rock music that McLaughlin told him about. The two had recently collaborated on an album that often gets called the first fusion album (though of course, as we always say, there’s no first anything), Davis’ “Bitches Brew”: [Excerpt: Miles Davis, “Miles Runs the Voodoo Down”] McLaughlin knew Mitch Mitchell from before either had become successful, and he’d introduced Davis to Hendrix, thinking rightly that the two would get on like a house on fire. The two men soon made plans to record an album together, with drummer Tony Williams. And Hendrix knew who the perfect bass player would be. Unfortunately, what Hendrix didn’t know was that the Beatles had split up, though that hadn’t been made public, and Paul McCartney had retreated to his Scottish farm and cut off contact with everyone, so he never received the telegram the three musicians sent him asking him to play on their album… Sadly the album never got made even without McCartney, as Davis and Williams demanded an unreasonably large amount of money, and the main lasting impact of it was that Alan Douglas, the producer lined up for the sessions, later became for decades the man in charge of putting together Hendrix’s posthumous records, with controversial results. Instead, Hendrix did another album altogether, a live album with a new group he called Band of Gypsys. The Band of Gypsys album — and possibly the band itself — only existed to fulfil a contractual obligation. As part of the ongoing lawsuits with Chalpin, he had agreed to give Chalpin one new album, of new material, that he could release in return for dropping his suits against Warners. That album was a live recording by a new trio in the same format as the Experience, consisting of Hendrix and his old friends Billy Cox and Buddy Miles, and with Miles taking as many lead vocals as Hendrix and writing two of the songs: [Excerpt: Band of Gypsys, “Changes”] The album is generally considered weak — Hendrix said of it “I wasn’t too satisfied with the album. If it had been up to me, I never would have put it out. From a musician’s point of view, it was not a good recording and I was out of tune on a few things … not enough preparation went into it and it came out a bit ‘grizzly’. The thing was, we owed the record company an album and they were pushing us, so here it is.” It did, however, contain one track that’s generally regarded as among Hendrix’s best — “Machine Gun”: [Excerpt: Band of Gypsys, “Machine Gun”] A month later though, on January the 28th 1970, the Band of Gypsys played their last gig. By this point fences had been more or less mended between the members of the Experience, and Mitchell and Redding came along to see Band of Gypsys play Madison Square Garden as headliners on a bizarre bill for a “Festival of Peace” that featured the cast of the musical Hair, Dave Brubeck, and Harry Belafonte. They sat backstage and watched as Hendrix came out and only played a song and a half before having to be helped off stage, he was so incapacitated. Both Redding and Buddy Miles say that they saw Mike Jeffery spike Hendrix with acid before he came on stage, and Jeffery used the debacle as an excuse to sack Miles and Cox, and to announce the reformation of the Jimi Hendrix Experience. But it was a new Jimi Hendrix Experience. Very quickly after Hendrix and Mitchell got together and started rehearsing, they decided they’d rather have Billy Cox as the bass player, and Noel Redding was once again sacked, this time without being told to his face. A tour was arranged for the new Experience, with Buddy Miles’ band as the support act to show there were no hard feelings, and they were also in the studio, recording songs that Hendrix thought were some of his best, like one about a dream he’d had as a child about his dead mother: [Excerpt: Jimi Hendrix, “Angel”] But things weren’t going well at all for Hendrix. According to Miles, Hendrix was often suicidal by this point — he was using far harder drugs than he had been previously, and every time he tried to play his new music on stage, with its harder funk edge, audiences just shouted out for the SOS, so he gave it to them. He was starting to look physically ill and be despondent a lot of the time. His mood didn’t improve when the tour took him to Seattle, where he saw some of his family again and had the same conflicted feelings he often did. As a kid he’d not been able to go to his mother’s funeral, and now he decided he needed to visit her grave for the first time, and spent hours searching for it but couldn’t find it. He told people afterwards “the next time I come back to Seattle, it’ll be in a pine box”. From Seattle, the tour went to Hawaii, where Hendrix was dragged into being involved in a semi-improvised underground film called Rainbow Bridge, and then he was finally able to get to New York and spend a few days in his new recording studio, Electric Lady. There was an opening party for it with lots of major stars, and with some younger arty people, one of whom later recalled “There was a party to open the Electric Lady studio, but I was too shy to go in, so I sat on the steps. And out came Hendrix; he asked what I was doing and said, ‘Hey, I’m kind of shy too.’ So we sat on the steps and he talked about what he was going to do when he got back from London; how he was going to create a new language of rock’n’roll; I was so excited. And then he was gone. He never came back.” “So Jimi never got to record in Electric Lady, but I did.” Patti Smith’s first record was indeed made at Electric Lady, and was a version of “Hey Joe”: [Excerpt: Patti Smith, “Hey Joe”] Hendrix had a lot of big plans for late 1970. He was going to do a show with Gil Evans, Miles Davis’ old arranger, who was going to create jazz versions of Hendrix’s compositions and have Hendrix solo over them, and they were going to do an album together. But first Hendrix flew over to play the Isle of Wight festival, the same place that his idol Dylan had played the year before, and gave what might be his last actually good performance: [Excerpt: Jimi Hendrix, “All Along the Watchtower (live at the Isle of Wight)”] There followed an utterly disastrous tour of Europe, which started with a mere bad performance, but was followed by Billy Cox — who didn’t indulge in illegal drugs — getting spiked with acid and having a psychotic break as a result, Hendrix getting an infection that made him feverish, riots by fascists, and gales preventing outdoor shows. A few days in to the tour Cox’s mental health was so obviously not improving that they cancelled the rest of the tour and went back to London, with Cox being sent home to recuperate. Hendrix was in a bad way in London. Not only was his friend ill, but he was having to deal with both a paternity suit and with ongoing legal actions from Chalpin, who was still suing his UK label. He was also entangled with multiple women, at least two of whom have since claimed he was engaged to them. Starting from the tenth of September, at a loose end, he started to go out and reconnect with old friends. He went to a launch party for the first solo album by Michael Nesmith of the Monkees, who was delighted to meet up with his old friend: [Excerpt: Michael Nesmith and the First National Band, “Nine Times Blue”] He went to a club and tried to jam with Eric Burdon and his new band War, but was too out of it, mumbling “I’m almost gone”, and was in such a bad state the roadies wouldn’t let him get on stage. The next night he did get up on stage with them, his last ever performance. Hendrix’s last two days are shrouded in mystery. If you were to take the word of everyone who claims to have seen him over those days, he must have been in at least five places at once most of the time, simultaneously at parties having a great time while alone somewhere else dropping hints about his imminent death. There are lots of claims and counterclaims about how Jimi Hendrix actually died, and the truth will never be known. The woman he was with at the time, Monika Dannemann, has claimed that they were engaged but has been described by others who knew Hendrix as delusional and a stalker. She died by suicide in the nineties, and she told different stories on the day, at the inquest, and in later years, none of which seem to properly match the facts that can otherwise be established. Eric Burdon, who was the first person Dannemann called when she found Hendrix dead, and was one of his closest friends, says he believes that Hendrix killed himself deliberately. Other people point to Mike Jeffery, saying he somehow murdered Hendrix — Jeffery had gangland connections, was strongly rumoured also to be in the Secret Service, and himself died in odd circumstances in 1973 which have led some to claim he faked his own death. There are always stories like that that go around after a death like this, and there are discrepancies in the evidence and the timeline, but the simplest explanation for those is the obvious one that seems to jump out — that there was evidence of illegal drug use in the flat, and that Dannemann, possibly with other people’s help, tried to clear out the evidence before any officials could come round, and couldn’t keep her story straight afterwards. For all the conspiracy theories, for all the myriad stories people tell, the most likely story is simply that Jimi Hendrix asked the woman he was with for some sleeping tablets, mistook the strong ones she had for the weak ones he normally took, took too many of them after drinking too much, and choked to death on his own vomit in his sleep. The time between his first single with the Experience coming out and the release of his last studio album, Electric Ladyland, was twenty-two months. The time between then and his death, time spent doing tours he didn’t want to be doing, being prevented from putting out new music by contractual and managerial problems, and vainly trying to get in snatches of recording time to record tracks he would never be able to finish, was twenty-three months. Literally half of his career was spent doing what he called the SOS. But those snatched recordings would eventually get released, endlessly repackaged, often with overdubs by musicians he never met, for the financial benefit of people who despised him in life. Mitch Mitchell and Noel Redding stopped receiving royalties and later got one-off payments instead of proper royalties, after being told that there were not going to be any more releases so they might as well just take a payoff. Both are now also dead. The recording Hendrix was going to do with Gil Evans eventually happened though, reworked as a tribute to Hendrix, and we’ll close with a small section of that, a section of the music he might have made had he lived, or had he not been forced to stay on the treadmill. [Excerpt: Gil Evans, “Angel”]
6803	dbpedia	3	28	https://www.hollywoodbowl.com/musicdb/artists/1334/roger-daltrey	en	Hollywood Bowl	https://ucarecdn.com/8ae9952d-6848-4d2a-9b5b-69c5578c2e9d/	https://ucarecdn.com/8ae9952d-6848-4d2a-9b5b-69c5578c2e9d/	[ "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/static-avatar.png", "https://ucarecdn.com/5d4496d3-c5e0-4ae0-85a9-a0f7e76f5b58/", "https://ucarecdn.com/98695ff2-beea-4a49-b591-f21a6fbe9a36/", "https://d25ybhfj36l2zs.cloudfront.net/legacy/8.0.13/imgs/logo-mobile-white.svg" ]	[]	[]	[ "" ]	null	[]	null	Roger Daltrey, , Hollywood Bowl	en	https://ucarecdn.com/b5c287b0-fa2b-447c-9822-0b15eb927dc5/-/preview/180x180/	Hollywood Bowl	https://www.hollywoodbowl.com/musicdb/artists/1334/roger-daltrey	ROGER DALTREY has been a world-famous star since the early sixties when as lead singer of The Who he embarked upon a career as a recording and performing artist that ranks him as one of the four or five best known lead singers in the history of rock music. Since then, The Who have sold approximately 100 million albums and toured extensively round the world, but have undoubtedly been most successful in the USA where, even more than in their home territory of the UK, The Who are renowned as the biggest touring rock band in history. The awards and prizes that Roger Daltrey has won in that time are too numerous to list, but apart from a multitude of gold and platinum albums, he has won the two most prestigious British awards - namely The Brit award and Ivor Novello award - both for special achievement in popular music. He has also received the Nordoff Robbins' award for special achievement and The Who have also been inducted into The Rock 'n' Roll Hall Of Fame. The Who achieved world-wide acclaim for touring the first ever rock opera, Tommy, in prestigious theaters and opera houses internationally. They were the first and only band to ever perform at the New York Metropolitan Opera House. Roger Daltrey created the role of Tommy which led to the Tony award-winning Broadway production. His acting career, which started in the early seventies, includes the title role in the Ken Russell film Tommy, for which he received a Golden Globe nomination. Other film credits include Ken Russell's Lisztomania, the title role in McVicar, Lightning Jack with Paul Hogan and Teen Agent. He is currently filming a series for the History Channel. Among his many film and TV credits are: The Dromio Twins in Shakespeare's "Comedy Of Errors" -- (BBC TV and PBS) Macheath in Jonathan Miller's "The Beggar's Opera" -- (BBC TV and PBS) The Narrator in "Threepenny Opera - Mack The Knife" -- US film Lois & Clark (Superman) -- US TV Midnight Caller -- US TV William Tell -- US TV Sliders -- US TV Highlander -- US TV Leprechauns -- Celtic Leprechaun Ltd The Bill -- Pearson As a solo recording and performing artist he enjoyed great success from the seventies to the nineties with many hit singles and in 1994 his solo concert at Carnegie Hall, with The Juilliard Orchestra, was the fastest selling event in the venue's history. He also appeared on stage as The Tin Man in a production of The Wizard of Oz at Lincoln Center in 1995 with Deborah Winger, Jackson Browne, Natalie Cole, and Nathan Lane. In 1996 and 1997 he co-produced, directed and starred with other members of The Who and guest stars in an audio-visual presentation of the rock-opera Quadrophenia in which the opera was performed interacting with a background of documentary and dramatic film footage and toured all over the USA and Europe. In 1998 he starred as Scrooge in A Christmas Carol at Madison Square Garden. The Who reformed in late 1999 for a series of charity concerts in the USA, and in 2000 completed a hugely successful soldout US Tour. This was followed by a concert at The Royal Albert Hall in London with various guest artists including Eddie Vedder and Bryan Adams which, together with the DVD and CD of the concert, has raised over $2 million for The Teenage Cancer Trust, a charity that builds specialised wards for teenagers with cancer in the UK. Roger has become patron of this charity and organised concerts in 2001 and 2002 featuring the cream of British rock musicians, raising a huge amount for the charity and winning him a Humanitarian Award in 2003 from Time magazine. In October 2001, Roger and The Who stole the show at The Concert For New York in aid of victims of the September 11th attacks. In 2002 The Who undertook another US tour, marred by the tragic death on the eve of the tour of Roger's friend and bandmate John Entwistle. The tour carried on to huge acclaim, and Roger and Pete as the surviving members plan to continue touring. A new album, their first in over 20 years, is scheduled for 2004. Donations to The Teenage Cancer Trust can be given through their website www.teencancer.org
6803	dbpedia	2	48	https://www.cvinyl.com/labelguides/polydor.php	en	Label Variations: Polydor Records			[ "https://www.cvinyl.com/images/cvinylcom100.jpg", "https://www.cvinyl.com/labelguides/images/cvinylcom100.jpg", "https://www.cvinyl.com/images/labels/polydor2.jpg", "https://www.cvinyl.com/images/covers/10065.jpg", "https://www.cvinyl.com/images/covers/1344.jpg", "https://www.cvinyl.com/images/covers/75259.jpg", "https://www.cvinyl.com/images/covers/5297.jpg", "https://www.cvinyl.com/images/labels/polydor1.jpg", "https://www.cvinyl.com/images/labels/polydor2.jpg", "https://www.cvinyl.com/images/labels/polydor3.jpg", "https://www.cvinyl.com/images/labels/polydorger1.jpg", "https://www.cvinyl.com/images/labels/polydorcl1.jpg", "https://www.cvinyl.com/images/labels/polydorcl2.jpg", "https://www.cvinyl.com/images/labels/polydor4a.jpg", "https://www.cvinyl.com/images/labels/polydor4.jpg", "https://www.cvinyl.com/images/labels/polydorintger1.jpg", "https://www.cvinyl.com/images/labels/polydorintfra1.jpg", "https://www.cvinyl.com/images/labels/polydoraus1.jpg", "https://www.cvinyl.com/images/cvinylcom100.jpg" ]	[]	[]	[ "vinyl", "records", "schallplatten", "psychedelic", "progressive", "rock", "jazz", "collecting", "record collector", "collect", "music", "albums", "singles", "labels" ]	null	[ "Rames El Desouki", "The Traveller Publishing" ]	null	Label Guide and Label Variations for Polydor Records.		../img/favicon.ico		null	Label Guide: Polydor Polydor was originally an independent branch of the Deutsche Grammophon Gesellschaft, the name was first used as an export label in 1924. Polydor became a popular music label in 1946 while Deutsche Grammophon focused on classical music. In the early 1960s orchestra leader Bert Kaempfert signed unknowns Tony Sheridan and the Beat Brothers - who would later become famous as The Beatles - to Polydor. In 1972, Polydor merged with giant Philips-owned Phonogram Records to create PolyGram in the US. The Polydor label continued to run as a subsidiary label under the new company and became a major rock label in the 1970s. In 1998, PolyGram was purchased by Seagram and absorbed into its Universal Music Group. During the consolidation of these two music giants, Polydor's US operations were dismantled while its overseas branch remained intact. United Kingdom Polydor remains one of the strongest labels in the country today.
6803	dbpedia	0	51	https://www.rocksbackpages.com/Library/Writer/chris-welch	en	Articles, interviews and reviews from Chris Welch: Rock's Backpages.	https://www.rocksbackpag…on-32x32.png?v=2	https://www.rocksbackpag…on-32x32.png?v=2	[ "https://www.rocksbackpages.com/public/img/common/logos/logo.png", "https://www.rocksbackpages.com/public/img/common/logos/library.png", "https://www.rocksbackpages.com/public/img/common/rbp-pick.png", "https://www.rocksbackpages.com/public/img/mobile/search-icon-open.png", "https://www.rocksbackpages.com/public/img/mobile/search-icon-close.png", "https://www.rocksbackpages.com/public/img/mobile/user-icon.png", "https://www.rocksbackpages.com/public/img/common/logos/logo-mobile.png", "https://www.rocksbackpages.com/public/img/writers/1054.jpg?updatedAt=2020-07-24-00-50-12", "https://www.rocksbackpages.com/public/img/icons/facebook.png", "https://www.rocksbackpages.com/public/img/icons/instagram.png", "https://www.rocksbackpages.com/public/img/icons/twitter.png", "https://www.rocksbackpages.com/public/img/icons/spotify.png", "https://www.rocksbackpages.com/public/img/icons/tiktok.png", "https://www.rocksbackpages.com/public/img/icons/youtube.png", "https://www.rocksbackpages.com/public/img/side-bar/40.jpg?updatedAt=2022-02-14-15-58-16", "https://www.rocksbackpages.com/public/img/side-bar/23.jpg?updatedAt=2022-02-15-13-41-22", "https://www.rocksbackpages.com/public/img/side-bar/117.jpg?updatedAt=2024-08-16-07-09-53", "https://www.rocksbackpages.com/public/img/side-bar/120.jpg?updatedAt=2024-08-16-07-09-19", "https://www.rocksbackpages.com/public/img/side-bar/119.jpg?updatedAt=2024-08-16-07-14-09", "https://www.rocksbackpages.com/public/img/side-bar/71.jpg?updatedAt=2022-02-14-15-47-51", "https://www.rocksbackpages.com/public/img/icons/facebook.png", "https://www.rocksbackpages.com/public/img/icons/instagram.png", "https://www.rocksbackpages.com/public/img/icons/twitter.png", "https://www.rocksbackpages.com/public/img/icons/spotify.png", "https://www.rocksbackpages.com/public/img/icons/tiktok.png", "https://www.rocksbackpages.com/public/img/icons/youtube.png", "https://www.rocksbackpages.com/public/img/icons/email.png", "https://www.rocksbackpages.com/public/img/icons/podcast.png" ]	[]	[]	[ "Rock's Backpages Chris Welch The Rolling Stones", "The Animals", "The Shangri-Las", "The Moody Blues", "Cilla Black", "The Byrds", "Sonny & Cher", "Chris Farlowe", "Herman's Hermits", "Band of Angels", "James Brown", "The Yardbirds", "Bonzo Dog Band", "Dusty Springfield", "Spontaneous Music Ensemble", "The Lovin' Spoonful", "Georgie Fame", "Jimmy Witherspoon", "Cream", "Alexis Korner", "Blues Incorporated", "Duffy Power", "John Mayall", "Graham Bond", "Neil Christian", "Wayne Fontana & The Mindbenders", "The Koobas", "The Small Faces", "Crispian St. Peters", "The Walker Brothers", "Scott Walker", "The Artwoods", "Spencer Davis Group", "Steve Winwood", "Eric Burdon", "Geno Washington", "Paul Butterfield Blues Band", "The Move", "Wynder K. Frogg", "Rahsaan Roland Kirk", "The Beach Boys", "Lulu", "Sounds Incorporated", "The Four Tops", "The Who", "Paul Jones", "Peter and Gordon", "Pink Floyd", "Alan Price", "Jackie Trent", "The Creation", "The Attack", "Jimi Hendrix", "Donovan", "The Monkees", "Cat Stevens", "Edwin Starr", "Chuck Berry", "Del Shannon", "Traffic", "Jeff Beck", "Paul and Barry Ryan", "Roy Orbison", "Duane Eddy", "Fats Domino", "Gerry & The Pacemakers", "Engelbert Humperdinck", "The Alan Bown Set", "Bo Diddley", "Ben E. King", "Arthur Brown", "Procol Harum", "Soft Machine", "Desmond Dekker", "Ronnie Scott", "Dead Sea Fruit", "Manfred Mann", "The Rolling Stones", "The Smoke", "The Swinging Blue Jeans", "Marmalade", "The Nice", "P.P. Arnold", "Tomorrow", "Yusef Lateef", "The Beatles", "The Flowerpot Men", "Vanilla Fudge", "Jimmy Cliff", "Freddie King", "Junior Walker & the All Stars", "Ten Years After", "The Herd", "The Tremeloes", "Granny's Intentions", "Jimmy James & The Vagabonds", "Brian Auger", "Julie Driscoll", "Amen Corner", "Eire Apparent", "The Bee Gees", "Eddie Floyd", "Dave Mason", "Love Affair", "Mickie Most", "P.J. Proby", "Jimmy McGriff", "Gene Krupa", "Buddy Rich", "Fleetwood Mac", "Dave Dee", "Dozy", "Beaky", "Mick and Tich", "Simon Dupree and the Big Sound", "The Kinks", "Gene Pitney", "Status Quo", "Tyrannosaurus Rex", "Zoot Money", "Joe Cocker", "Electric Flag", "The Action", "The Pretty Things", "Family", "The Supremes", "Jerry Lee Lewis", "Ginger Baker", "Jefferson Airplane", "Frank Zappa", "The Mothers Of Invention", "Led Zeppelin", "Jimmy Page", "Jess Roden", "Tiny Tim", "Diana Ross", "Aynsley Dunbar", "Billy Cobham", "Horace Silver", "Eric Clapton", "Jethro Tull", "Blind Faith", "Yes", "Sly & the Family Stone", "Melanie", "Chicken Shack", "Buddy Miles", "Steve Miller", "Harmony Grass", "Ron Geesin", "Taj Mahal", "The Tymes", "Free", "Dr. John", "Humble Pie", "Fairport Convention", "Marsha Hunt", "The Edgar Broughton Band", "Richie Havens", "The Third Ear Band", "The Faces", "Thunderclap Newman", "The Equals", "Billy Fury", "John Lennon", "Hank Marvin", "Yoko Ono", "Plastic Ono Band", "Billy Preston", "Jimmy Ruffin", "Tony Tribe", "Tucker Zimmerman", "David Bowie", "King Crimson", "Delaney & Bonnie", "Lionel Hampton", "Harry J All Stars", "The Pioneers", "Max Romeo and the Upsetters", "Mighty Baby", "Crosby Stills Nash & Young", "Jack Bruce", "Syd Barrett", "Atomic Rooster", "Mott The Hoople", "Love", "Screaming Lord Sutch", "It's a Beautiful Day", "Santana", "Liberace", "Captain Beefheart", "Wild Man Fischer", "Matthews' Southern Comfort", "Steppenwolf", "Blodwyn Pig", "Creedence Clearwater Revival", "Hot Tuna", "Mark-Almond", "Chicago", "Leonard Cohen", "Miles Davis", "The Doors", "Emerson Lake & Palmer", "Joni Mitchell", "Pentangle", "John Sebastian", "Taste", "Colosseum", "Deep Purple", "Judee Sill", "Iron Butterfly", "Allman Brothers Band", "Donny Hathaway", "T. Rex", "Keef Hartley", "Keith Moon", "Genesis", "Emerson Lake And Palmer", "Funkadelic", "UFO", "Lou Gare", "Eddie Prévost", "Wishbone Ash", "Stevie Wonder", "Pete Sinfield", "Mahavishnu Orchestra", "Average White Band", "Peter Frampton", "Gryphon", "Electric Light Orchestra", "Rod Stewart", "Marc Bolan", "Bogert and Appice", "Elton John", "Paul McCartney", "Wings", "Kiki Dee", "Ronnie Lane", "Rick Wakeman", "Mud", "Maggie Bell", "Osibisa", "Ducks Deluxe", "Mick Ronson", "Steely Dan", "Cockney Rebel", "Focus", "Ella Fitzgerald", "Sparks", "The Heavy Metal Kids", "Mabel Greer's Toyshop", "The Syn", "Luther Grosvenor aka Ariel Bender", "Queen", "Alvin Lee", "Greenslade", "Baker-Gurvitz Army", "Argent", "Ace", "The Pasadena Roof Orchestra", "Leo Sayer", "Doobie Brothers", "Little Feat", "Chris Spedding", "The Bay City Rollers", "Herbie Mann", "Aerosmith", "Pacific Eardrum", "Big Jim Sullivan", "Rory Gallagher", "The Chieftains", "Cannonball Adderley", "Peter Gabriel", "Jon Anderson", "Rufus", "Geoff Bradford", "Count Basie", "Duke Ellington", "Artie Shaw", "The Osmonds", "Alan White", "Camel", "Nucleus", "Bill Bruford", "Noel Redding", "Canned Heat", "Colosseum II", "Daryl Hall & John Oates", "The Outlaws", "The Sensational Alex Harvey Band", "Back Street Crawler", "Gary Wright", "Brand X", "Phil Collins", "Eddie & The Hot Rods", "Supercharge", "Climax Blues Band", "Bonnie Bramlett", "Grinderswitch", "The Marshall Tucker Band", "The Damned", "Generation X", "Pete Townshend", "Slaughter and the Dogs", "Kansas", "Styx", "Ian Dury", "Shirley Bassey", "Art Blakey", "Ornette Coleman", "John Coltrane", "Wayne Shorter", "Lester Young", "Patrick Moraz", "Keith Richards", "Steve Hillage", "Van Morrison", "Ian Anderson", "Bad Company", "National Health", "Random Hold", "Craig Douglas", "Krokus", "Magnum", "Motorhead", "Saxon", "Def Leppard", "Rock Goddess", "Carl Palmer", "Rush", "Steve Howe", "The Firm", "Steve Marriott", "Roger Daltrey", "Emerson", "Lake & Powell", "The Enid", "Twelth Night", "Megadeth", "Supertramp", "Slade", "Stone The Crows", "Heinz", "Joe Meek", "The Tornados", "Gene Vincent", "George Harrison", "Robert Plant", "The Bexleyheath & Welling Observer Melody Maker Music Maker Rock's Backpages audio Musicians Only History of Rock", "The Record Mirror International Musician & Recording World Kerrang! Creem Metal Hammer Independent", "The unpublished Repertoire Records from 'The Man Who Led Zeppelin'", "Omnibus Books Guardian", "The Uncut Rock's Backpages" ]	null	[]	null	Writer profile of Chris Welch. From Rock's Backpages: The ultimate library of rock music writing and journalism. Thousands of articles, interviews and reviews from the world's best music writers and critics, from the late 1950s to the present day. Read the best writing on rock music here.	en	/public/img/favicon/apple-touch-icon.png?v=2		null	568 articles List of articles in the library By date \| By artist \| Most recently added back to LIBRARY
6803	dbpedia	1	8	https://rockportraits.wordpress.com/2014/10/04/the-who/	en	The Who	https://rockportraits.wo…/10/picwho-1.jpg	https://rockportraits.wo…/10/picwho-1.jpg	[ "https://rockportraits.wordpress.com/wp-content/uploads/2014/10/picwho-1.jpg?w=648", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/c027b2e29721d0ca87c243e630e041226c1856d422607a70e67c40075666b668?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/b198d975df129e83e54c3b17d3ce1f6c1dcb2599ea3bfc464c0c0d527b5d3b62?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/c027b2e29721d0ca87c243e630e041226c1856d422607a70e67c40075666b668?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/b198d975df129e83e54c3b17d3ce1f6c1dcb2599ea3bfc464c0c0d527b5d3b62?s=48&d=identicon&r=G", "https://2.gravatar.com/avatar/e4b65e62a611829889dd09cd41e10f8646fb3c5582a58f9497ad24bead1d85bb?s=48&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-10-04T00:00:00	The Who Pete Townshend – circa 1972 “My fingers kill me as I play my guitar / ‘Cause I’ve been chewing down at my nails” – ’New Song’ (Pete Townshend) He’s broken it. Pete Townshend, guitarist and chief songwriter for British rock band The Who, looks at his damaged instrument. It is September 1964 and…	en	https://s1.wp.com/i/favicon.ico	rockportraits	https://rockportraits.wordpress.com/2014/10/04/the-who/	Pete Townshend – circa 1972 “My fingers kill me as I play my guitar / ‘Cause I’ve been chewing down at my nails” – ’New Song’ (Pete Townshend) He’s broken it. Pete Townshend, guitarist and chief songwriter for British rock band The Who, looks at his damaged instrument. It is September 1964 and The Who is playing a gig at the Railway Hotel. A temporary stage extension has caused Townshend to misjudge the height of the ceiling and the lanky six feet tall musician has accidentally cracked the neck of his guitar against the roof of the venue. A moment of shock turns into anger and frustration. Pete Townshend grabs the damaged guitar and repeatedly smashes it against the stage, reducing the instrument to shattered pieces. Wild man drummer Keith Moon, requiring little invitation to chaos, kicks over his drumkit in an act of auto-destructive sympathy. The crowd goes wild. The legend of The Who grows… Peter Dennis Blandford Townshend is born on 19 May 1945 in Chiswick, London, England, ten days after the surrender of German forces in World War Two. His parents are Cliff Townshend and Betty Townshend (nee Dennis). Cliff and Betty are both working in the music industry. Cliff Townshend plays alto saxophone in the Royal Air Force band, The Squadronnaires. Betty sings with the Sydney Torch and Les Douglas Orchestras. Although Pete is brought up in a ‘typical middle-class home’, all is not well. His parents split up when he is a toddler and the little boy is left with his maternal grandmother who is alleged to be ‘clinically insane.’ Mercifully, after two years, Cliff and Betty Townshend reunite. With musical parents, it is not surprising that Pete Townshend also takes an interest in music. “Chromatic harmonica was actually my first instrument,” he recalls. When Pete is 12, his grandmother gives him his first guitar, an inexpensive Spanish model. Pete gains two younger brothers, Paul (born 1957) and Simon (born 1960), but his home life is still turbulent. Cliff and Betty Townshend ‘both drink heavily and possess fiery tempers.’ Dishes and kitchenware are regularly tossed at each other by the bickering couple. Betty is ‘quite promiscuous’ and insists that Pete address the men she brings home as ‘uncle.’ Pete Townshend attends Acton Grammar School in West London. Two of his fellow students at that school are Roger Daltrey and John Entwistle. Roger Harry Daltrey is born 1 March 1944 in Hammersmith, London, England. “I was two years older than the other guys [who would make up The Who],” Roger points out, “[and] my family was a lot poorer than they were.” His parents are Harry and Irene Daltrey. “[As a kid] I was little with bow legs and rickets,” says Roger. Although he will only ever reach a height of five feet, seven inches, Roger Daltrey does become more physically robust. “You know, I was a school rebel…I was a right b****d, a right hard nut,” he admits. “Rock ‘n’ roll was the only thing I wanted to get into.” Ultimately, Roger Daltrey is expelled from Acton Grammar School. He takes a job as a sheet metal worker while forming a skiffle group (skiffle is a British style of music popular at the time. It is a sort of mix of rock ‘n’ roll and folk.). John Alec Entwistle (9 October 1944 – 27 June 2002) is born in Chiswick, London, England. He is the only child of Herbert Entwistle and his wife, Queenie Entwistle (nee Johns). Like Pete Townshend, John Entwistle comes from a musical parentage. Herbert Entwistle plays trumpet and Queenie Entwistle plays piano. Their marriage fails soon after John is born and he is raised by his grandparents in South Acton. John Entwistle displays an aptitude for music. He learns to play piano, trumpet and French horn as well as being able to read sheet music. In their early teens, Pete Townshend and John Entwistle join the same traditional jazz band, The Confederates. Pete Townshend having – in his words – been “bggerring about on guitar for years getting nowhere,” plays banjo instead in this outfit. John Entwistle plays trumpet in The Confederates. After getting into a fight with the rest of the group, Pete Townshend switches back to guitar. He and John Entwistle abandon The Confederates to start a rock ‘n’ roll band instead. Entwistle takes up bass. “By the time I taught myself the bass guitar at age 14, my hands were already pretty nimble,” Entwistle declares. In 1961 Pete Townshend begins attending Ealing Art College. “I didn’t start to collect records and listen to guitar players properly until I went to art school,” he notes. While Pete Townshend is at art school, Roger Daltrey and John Entwistle work ‘odd jobs’ to support themselves. In 1962 John Entwistle begins dating Alison Wise. Roger Daltrey forms a new band, The Detours, in 1962. He plays lead guitar and trombone with The Detours. John Entwistle joins The Detours as bassist in 1962. Another member of the group is drummer Doug Sandom (born 26 February 1930) who joins in mid-1962. Pete Townshend has ‘several stints in local semi-professional bands.’ Roger Daltrey, with the encouragement of Townshend’s former bandmate John Entwistle, invites Pete to join The Detours in late 1962. “If I hadn’t been bullied into the band, I would have been happier as an art student,” Townshend surprisingly claims. The Detours membership fluctuates. Lead vocalist Colin Dawson gives way to another singer known only as ‘Gabby’. Then, in 1963, Roger Daltrey sets aside his guitar to take up the job of lead singer. The Detours’ line-up solidifies as the quartet of Roger Daltrey (vocals), Pete Townshend (guitar), John Entwistle (bass) and Doug Sandom (drums). Pete Townshend continues to attend Ealing Art College through 1963. In that year, he begins dating Karen Astley, a fellow art student. Finally, in 1964, Pete Townshend drops out of art school to commit himself full-time to music. In February 1964, after seeing another group called The Detours on television, Roger Daltrey, Pete Townshend, John Entwistle and Doug Sandom realise their band needs a new name. They choose The Who. It’s a pun on people’s reactions to hearing about an unfamiliar band: “The Who?” Also, the short and simple name looks good in large letters on posters. On 28 March 1964 Roger Daltrey marries Jacqueline Rickman. Roger and Jackie have a son, Simon (born 1964). In April 1964 Doug Sandom leaves The Who. He is older and married and doesn’t fit in with the rest of the group. The Who struggle along for the next few months with a substitute drummer. The Who come into the orbit of two would-be managers. Helmut Gordon is a doorknob manufacturer and Pete Meaden is ‘a fast-talking, pill-popping freelance publicist enamoured with the world of “mods”.’ In 1964 British youth is divided into two tribes, the rockers and the mods. The rockers favour leather jackets, greasy quiffs, motorcycles and 1950s recording artists. The mods (short for moderns) wear sharp suits and shorter hair; they ride Vespa motor-scooters and their chosen music is American rhythm and blues (R & B). “When The Who first started, we were playing blues,” Pete Townshend recalls, but this older style gives way under Meaden to ‘maximum R & B’. Pete Meaden renames the group The High Numbers, ‘after the t-shirts with numbers favoured by mods.’ In July 1964 The High Numbers release a single, ‘I’m The Face’ backed with ‘Zoot Suit’, on Fontana Records. Pete Meaden acts as record producer as well as composing those songs – even if ‘I’m The Face’ is a bit too derivative of Slim Harpo’s ‘Got Love If You Want It’. The single ‘flops.’ When The High Numbers play a gig at the Royal Oxford Hotel, a young man in the audience boasts he can do a better job than the group’s substitute drummer. Talking his way onstage, this interloper proceeds to ‘demolish the drum set’ and ‘break the drum pedal.’ Impressed, the group adopts Keith Moon as their new drummer. Keith John Moon (22 August 1946 – 7 September 1978) is born in Wembley, London, England. He is the child of ‘working class parents’, Alfred ‘Alf’ Charles Moon and Kathleen ‘Kit’ Winifred Moon. Alf Moon nicknames his offspring ‘Nobby.’ When he is 12, Keith Moon joins the Sea Cadet Corps who provide him with his first music lesson – on the bugle. Keith Moon learns to play drums when he is 14, taking instruction from Carlo Little. Keith does not like school and is not a good student. He leaves school when he is 15. While working as an apprentice electrician, Keith Moon joins his first band, The Beachcombers, in summer 1963. Keith is a fan of surf music and American acts such as The Beach Boys and Jan And Dean. The Beachcombers release one ‘obscure’ single, ‘Mad Goose’ b/w ‘You Can’t Sit Down’, in 1963. From there, Keith Moon goes on to join The High Numbers (The Who) in 1964. “The first night that Keith Moon played with us…he smashed up the drum kit,” says Roger Daltrey. In September 1964 comes the gig at the Railway Hotel where Pete Townshend accidentally damages his guitar and then goes on to utterly destroy it in a fit of fury. Around this time The High Numbers change managers, reclaiming their previous cognomen, The Who, in the process. (Pete Meaden commits suicide on 12 August 1978 with an overdose of barbiturates. He was 35.) The new managers of The Who are Kit Lambert and Chris Stamp, a pair of aspiring film-makers. Pete Townshend says, “Kit Lambert…he became our manager because what he was really interested in doing was making rock films and we were just his subject matter. He just found us in this club…then he became fascinated with us.” In late 1964, the acts of auto-destruction become a regular part of The Who’s stage show…though such expensive antics delay the band turning a profit. With the definitive line-up of Roger Daltrey (vocals), Pete Townshend (guitar, vocals, occasional keyboards), John Entwistle (bass, vocals, occasional horns) and Keith Moon (drums), The Who are set to begin their career in earnest. The Who start out as a pop band then become a rock band. Because these descriptions are so common, the distinction between the two may not be apparent. “I always thought The Who would be very brief,” claims Pete Townshend. The band’s early output supports that theory. They create disposable pop singles – albeit very good disposable pop singles. Putting together a whole album is a bit more challenging. Then, after a few years, the pendulum swings the other way and The Who become an album-oriented act that finds a hit single harder to come by. The change in polarity pretty much coincides with the group changing from a pop act to a rock act. The emphasis switches to a harsher, louder sound that could be called hard rock, if not quite heavy metal. “We were too rough at the edges to be a pop group,” suggest Roger Daltrey. The four personalities within The Who create an indelible image. Roger Daltrey is the handsome rock god, twirling his microphone about. Pete Townshend windmills his arm in a circle, crashing through power chords on his guitar. He leaps, he smashes his guitar, he is outrageously physical…in part to distract from his own self-consciousness about the size of his nose. There is a secondary reason for his showmanship: “I used to try and make up visually for what I couldn’t play as a musician.” If there is any truth in that statement from Townshend, it is only in the earliest days. He quickly becomes a distinctive – if sometimes underrated – guitarist, playing a sort of rough, chord-based rhythm as lead guitar. Keith Moon is an equally notable musician. His style of attacking drums is quite different to most of his peers. Moon doesn’t have much interest in just being the time-keeping bedrock of the band. He flails about as though his drums are the lead instrument. Townshend and Moon develop an almost telepathic rapport, instinctively knowing when to make space for each other. The sound is chaotic and, at times, ugly, but it is always interesting and exhilarating. Bassist John Entwistle stands stock still, looking utterly bored with the prancing antics of the rest of The Who. Pete Townshend is the ‘group’s mastermind and main songwriter.’ John Entwistle provides blackly humorous songs as the band’s alternative composer. Roger Daltrey and Keith Moon pen the odd tune here and there. All songs referred to here are written by Pete Townshend unless otherwise indicated. Although the four members of The Who are colourful individuals, the group’s interaction with their audience creates another voice. In a way, The Who is shaped by the hopes and expectations of their fans as much as the band influences a generation of rock music listeners. “We’re not a four-piece band,” Roger Daltrey testifies, “We’re a four-million piece band.” The first single by The Who (‘I’m The Face’ b/w ‘Zoot Suit’ was credited to The High Numbers) is ‘I Can’t Explain’ (UK no. 8, US no. 93), released in early 1965. It is produced by Shel Talmy, who has been working with The Kinks, another British group. Over a surprisingly funky, choppy rhythm, Roger Daltrey barks, “Got a feeling inside (can’t explain) / A certain kind (can’t explain) / I feel hot and cold (can’t explain) / Yeah, down in my soul, yeah.” On 28 January 1965 The Who make their first appearance on ‘Ready Steady Go’, a British television show. This program plays a role in building The Who’s early popularity. The second single from The Who, ‘Anyway, Anyhow, Anywhere’ (UK no. 10) in May 1965, is a rather different proposition to their first. Co-written by Pete Townshend and Roger Daltrey, this is an ode to freedom: “Nothing gets in my way / Not even locked doors / Don’t follow the lines / That been laid before.” More notable is Townshend’s guitar solo – if such a description can be applied to a discordant mass of echoing electrical feedback. It’s great stuff but very unfamiliar to the wider public. The record company even sends it back to the group, convinced that the strange noises must be a mistake. The Who performs ‘Anyway, Anyhow, Anywhere’ on ‘Ready Steady Go’ on 21 May 1965. In 1965 Keith Moon begins dating Kim Kerrigan (born Maryse Elizabeth Patricia Kerrigan). On 22 September 1965 The Who begins a short tour of Scandinavia in Copenhagen. On this excursion, Roger Daltrey punches out Keith Moon and is, consequently, almost fired from the group. The Who becomes notorious for their internal fights and fisticuffs. Despite their fractious façade, Pete Townshend gruffly insists, “We get along all right.” The Who makes their U.S. television debut on ‘Shindig’ on 2 October 1965. They perform ‘I Can’t Explain’. On 5 November 1965 The Who release their greatest single. ‘My Generation’ (UK no. 2, US no. 74) is born from anger. Pete Townshend uses his first songwriting royalty cheque to buy a second-hand car. It is a pretty ugly old vehicle. He leaves it parked on the side of the road regularly travelled by the Queen Mother of the British Royal Family. She objects to the eyesore and has it removed. The young songwriter can’t afford to pay the cost to have his impounded car retrieved. In a fit of venom, Townshend pens ‘My Generation’. “Why don’t you all f-f-f-fade away?” stammers Roger Daltrey to the old guard in the lyric to ‘My Generation’. Such vocal impediments are a side effect for the ‘pilled-up mods’ The Who represented, though there is no indication that Daltrey (or Townshend) had a drug-induced stutter. Besides, the ‘f-f-f’ tension suggests a certain other four letter word beginning with ‘f’ is about to be uttered…though it isn’t forthcoming. The song also contains the grim claim, “I hope I die before I get old.” This jittery anthem captures the zeitgeist of 1960s youth, the ‘don’t trust anyone over 30’ attitude. Musically, it also represents The Who well, showcasing not only the customary Pete Townshend / Keith Moon fireworks, but a spectacular dive-bombing bass solo from John Entwistle. ‘My Generation’ becomes the title track of The Who’s debut album. ‘My Generation’ (1965) (UK no. 5) is released in December on Brunswick Records. It is produced by Shel Talmy. The album naturally includes the song ‘My Generation’. It also includes cover versions of 1950s rocker Bo Diddley’s ‘’I’m A Man’ from 1955 and a pair of rhythm and blues songs first recorded by James Brown: ‘Please Please Please’ from 1956 and ‘I Don’t Mind’ from 1961. More interesting are The Who’s original compositions. The best of them is ‘The Kids Are Alright’ (UK no. 41, US no. 106), an almost nostalgic attempt at staying in touch with the youthful audience The Who has attracted. It will be released as a single in 1966, backed with the group composition ‘The Ox’. Bassist John Entwistle is nicknamed ‘The Ox’. Although at six feet tall, Entwistle is the same height as Pete Townshend his bearish physique makes him seem bigger than the skinny guitarist. Yet Entwistle is called ‘The Ox’ not for his size, but for the constitution that enables him to withstand heavy-duty partying. Entwistle is also sometimes called ‘The Quiet One’ for his unassuming stage persona. The lightly stepping ‘La-La-Lies’ is paired with the brooding ‘The Good’s Gone’ as another 1966 single and ‘A Legal Matter’ (UK no. 32) is given a similar outing. ‘Substitute’ (UK no. 5), released in March 1966, is the next single for The Who. This song is produced by Pete Townshend as the group seeks to break away from producer Shel Talmy. Townshend contributes a classic guitar riff and the band manages the unlikely feat of turning ‘Substitute’ into a song that is both rumbling and bouncy. “I was born with a plastic spoon in my mouth,” boasts the lyric, mocking the wealthy who are said to be born with a silver spoon in their mouths. “I’m a substitute for another guy / I look pretty tall but my heels are high,” is the self-effacing admission. The flipside is the hypnotic ‘Circles’. On 17 March 1966 drummer Keith Moon marries Kim Kerrigan. They have a daughter, Amanda (born 12 July 1966) – perhaps more commonly referred to as Mandy. The Who’s rowdy reputation is underlined at a gig at the Ricky Tick Club in Windsor, England, on 20 May 1966. John Entwistle and Keith Moon are late, so Roger Daltrey and Pete Townshend begin the show with the rhythm section from the local band that is supporting The Who that night. The tardy bassist and drummer show up part way through the performance and ‘Townshend hits Moon on the head with his guitar.’ Keith Moon quits – for a week, before returning to the fold. Although Pete Townshend has been churning out hit singles for The Who, he has loftier ambitions. In 1966 he begins work on a show, a ‘rock opera’, to be titled ‘Quads’. ‘Set in the future, it concerns parents who want girls, so when one of their four children turns out to be a boy, they insist on raising him as a girl.’ The need for a new single results in Townshend condensing all this into ‘I’m A Boy’ (UK no. 2). A lashing song of sexual confusion, the narrator proclaims, “I’m a boy / But my Ma won’t admit it” and is told, “Put this dress on little boy.” Breaking out of his gender restriction, the boy babbles, “I want to play cricket on the green / Ride my bike across the stream / Cut myself and see my blood / I want to come home all covered in mud.” In November 1966, The Who release an EP, ‘Ready Steady Who’, whose title pays tribute to ‘Ready Steady Go’, the British television program that helped the band find an audience. The contents of the EP are a mixed bag. There are two Pete Townshend originals (‘Circles’, the B side of ‘Substitute’, and the woozy ‘Disguises’) and three cover versions: The Regents’ ‘Barbara Ann’, Ronny And The Daytonas’ ‘Bucket T’ and Neal Hefti’s ‘Batman Theme’ from the 1966 television series starring the caped crusader. The Who’s second album, ‘A Quick One’ (1966) (UK no. 4, US no. 67), is released in December. It is the first of three consecutive Who albums produced by the band’s manager, Kit Lambert. Having left Brunswick, The Who issues this disc through Polydor. Pete Townshend’s ‘Run Run Run’ has an insistent groove and his ‘So Sad About Us’ is one of his most beautiful (and overlooked) ballads. Roger Daltrey authors the surging ‘See My Way’. John Entwistle writes (and sings – as he does most of his own compositions) ‘Boris The Spider’. This is perhaps Entwistle’s best song, a growling and funny account of killing a household pest: “He’s come to a sticky end / Don’t think he will ever mend / Never more will he crawl ‘round / He’s embedded in the ground.” The Who find themselves short of material for the album. Manager/producer Kit Lambert advises Pete Townshend to write one long song to complete the album instead of trying to write two or three standard-length pieces. Somewhat confounded, since he envisions pop songs as three minutes long, Townshend cobbles together bits and pieces into a mosaic, a ‘mini-opera’, that he jokingly calls ‘A Quick One (While He’s Away)’. The song’s female protagonist pines for her absent man, but “Here comes Ivor, the dirty old sooty engine-driver to make you feel all right.” After working through various changes in tone, tempo and musical style, by the conclusion, the original couple are reunited: “I missed you and I must admit / I’ve kissed a few and once did sit / On Ivor the engine driver’s lap / And later with him had a nap.” It’s witty, sexy and an omen of things to come. The Who closes out 1966 with the December single ‘Happy Jack’ (UK no. 3, US no. 24). The tune alternates between a sinister creeping sound and an exuberant release. Lyrically, it’s a tribute to individuality: “They couldn’t prevent Jack from feeling happy.” Moving into 1967, The Who issues ‘Pictures Of Lilly’ (UK no. 4, US no. 51), a ‘seemingly innocent song about masturbation.’ The song’s young narrator has problems sleeping so his father provides him with saucy pictures of a pin-up girl from yesteryear. “Pictures of Lilly / Made my life so wonderful / Pictures of Lilly / Help me sleep at night,” sings Roger Daltrey angelically while The Who demonstrates a punchy power in the music, assisted by some brass colouration from John Entwistle. Although they appeared on U.S. television in 1965, The Who makes their live debut in the U.S. on 25 March 1967. However it is their set at the Monterey Pop Festival, held on 16-18 June 1967, which really introduces The Who to a larger American audience. Roger Daltrey’s marriage to Jacqueline Rickman comes unstuck in 1967, leading to their divorce on 29 January 1968. Roger Daltrey has a son, Mathias (born 1967), as a result of a liaison with Swedish model, Elisabeth Aaronson. Daltrey starts dating Heather Taylor, a model, in 1967. On 23 June 1967 Who bassist John Entwistle marries Alison Wise. The couple have been dating since 1962. John and Alison go on to have a son together, Christopher. On 14 July 1967 The Who begins their first full-scale American tour. Incongruously, they are the support act to Herman’s Hermits, a much lighter British pop group. During The Who’s U.S. tour, Keith Moon celebrates his 21st birthday. He drives a Lincoln Continental into a hotel swimming pool in Flint, Michigan, knocking out one of his teeth in the process. The ruckus he causes is enough to get him banned for life by the Holiday Inn chain of hotels and motels. The reputation of ‘Moon the Loon’ grows ever larger from this point. He becomes famed for smashing television sets. On one occasion, Keith Moon is ejected from a hotel suite after nailing and strapping the furniture to the ceiling. “I love to see people laugh and I love it if I can make them laugh,” he says. Moon describes himself as “quite out of control…amazingly drunk.” On 25 September 1967 The Who performs on U.S. television program ‘The Smothers Brothers Comedy Hour’. The band close with their familiar fit of destruction. However smoke powder planted in Keith Moon’s drum-kit that is supposed to billow out in clouds instead explodes. Pete Townshend gets the worst of it, damaging his hearing, in an injury that will continue to plague him in times to come. ‘The Who Sell Out’ (1967) (UK no. 13, US no. 48, AUS no. 8) is released in December and is the first of the band’s albums on The Who’s own label, Track Records, distributed by Polydor. This is, loosely, a concept album. The project is made to resemble a radio broadcast and the songs are played amidst faux advertisements for such products as Heinz baked beans and Coca-Cola. Some of the songs play into this conceit (e.g. Pete Townshend’s deodorant ‘Odorono’ and John Entwistle’s pimple cream ‘Medac’). The disc’s best known song is ‘I Can See For Miles’ (UK no. 10, US no. 9). “I know you’ve deceived me, now here’s a surprise / I know that you have ‘cos there’s magic in my eyes,” boasts Roger Daltrey in the lyrics to this song. ‘I Can See For Miles’ becomes The Who’s biggest U.S. hit so far but its success in their native England is comparatively modest after their previous hits. Pete Townshend grumbles, “To me it was the ultimate Who record yet it didn’t sell. I spat on the British record buyer.” Among the album’s other highlights is the sordid dance of ‘Mary Anne With The Shaky Hand’, the oddly crooned ‘Tattoo’ and the two-part medieval mini-opera ‘Rael’. From 20 to 27 January 1968 The Who tours Australia in the company of fellow British mod band The Small Faces. Following an incident on the flight between Adelaide and Melbourne, the ‘rowdy rockers’ are hounded back to England by the Australia media. Pete Townshend vows never to return to Australia. Early in 1968 one of Pete Townshend’s old art school friends, Mike McInnerney, turns the guitarist on to Meher Baba. The Indian ‘perfect master’ utilises elements of Vedantic, Sufi and mystic schools in his preachings. By April 1968 Pete Townshend has become a disciple of the spiritual guru. It doesn’t mean he has deserted rock ‘n’ roll though. “I can talk for hours about Meher Baba the God Man who describes creation,” the guitarist later says. “But ultimately, I realise that I see it all through these two little slits labelled R & R.” On 20 May 1968 Pete Townshend marries his long-time girlfriend, Karen Astley. Pete and Karen go on to have three children: Emma (born 1969), a daughter named Aminta (born 1971) whose name is sometimes shortened to ‘Minta’, and Joseph (born 1990). The Who is relatively quiet in 1968, releasing only the singles ‘Call Me Lightning’ (US no. 40), ‘Dogs’ (UK no. 25) and ‘Magic Bus’ (UK no. 26, US no. 25). The most famous of these is ‘Magic Bus’, issued in September. A heavily percussive number with an oddly skeletal guitar part, ‘Magic Bus’ is as psychedelic as ‘I Can See For Miles’. Playing the part of a passenger on the mystical conveyance, Roger Daltrey sings, “I don’t want to cause no fuss / But can I buy your Magic Bus?” The response is, “No-ooo.” Up to this point, The Who’s albums, EPs and singles have been combined into slightly different albums issued by U.S. Decca / MCA for the American market. Those albums are: ‘The Who Sings My Generation’ (1966); ‘Happy Jack’ (1967) (US no. 67); ‘The Who Sell Out’ (1968) (US no. 48); and ‘Magic Bus – The Who On Tour’ (1968) (US no. 39). From here, the content of the albums is the same in the U.K. and U.S. On 12 December 1968 The Who is filmed for ‘The Rolling Stones’ Rock & Roll Circus’. The footage is shelved for years, only being released in full in 1996. Apparently, ‘The Stones feel their performance leaves much to be desired – especially after the show The Who puts on.’ ‘Tommy’ (1969) (UK no. 2, US no. 4, AUS no. 8), released in May, is The Who’s best album. The Who has toyed with the concept of a ‘rock-opera’ from ‘I’m A Boy’ through ‘A Quick One’ and ‘Rael’, but ‘Tommy’ is the full realisation of the idea as a double album. The basic plotline is as follows: When Tommy Walker is a little boy he discovers his mother becoming intimate with another man while Tommy’s father is missing. The lad is afflicted with a hysterical state of being deaf, mute and blind as a consequence. After years of isolation and mistreatment, radical therapies – including playing pinball – restore Tommy to awareness. He becomes a guru with a vast following…until they turn against Tommy and abandon him. ‘Tommy’ is full of contradictions. It is profoundly silly, yet also profoundly moving. It has many lengthy instrumental passages, but it also has many ‘songs’ that are little more than jingles that last only for a few seconds and serve only to achieve a transition in scenes. To novices who know only of The Who’s fearsome reputation for noise and brutishness, it is surprisingly subdued and well-mannered. Such contrasts may turn some away from ‘Tommy’, but if they are accepted as being wholly in keeping with The Who’s own wilful behaviour, they can be embraced as part and parcel of their definitive work. The best track on the album is the dynamic ‘Pinball Wizard’ (UK no. 4, US no. 19). Pete Townshend overlays power chords on a bed of tickling acoustic guitar while Roger Daltrey, playing the part of a ‘local lad’, observes of Tommy, “That deaf, dumb and blind kid / Sure plays a mean pinball.” ‘I’m Free’ (US no. 37) is Tommy’s boast as he gains followers. ‘See Me, Feel Me’ (US no. 12) (“Touch Me, heal me,” adds Tommy) is the new messiah’s request and it carries great emotional weight. (Note: Although ‘See Me, Feel Me’ is the name of the single, there is no track by that name on the ‘Tommy’ album. The refrain is heard in ‘Christmas’, ‘Go To The Mirror’ and, most fully, in the closing song of the ‘opera’, ‘We’re Not Gonna Take It’.) Pete Townshend says of ‘Tommy’, his masterwork, “We worked out the sociological implications, the religious implications, the rock implications…When we’d done that, we went into the studio, got smashed out of our brains and made it.” The Who performs selections from ‘Tommy’ at the Woodstock Festival held at Max Yasgur’s farm in Bethel, New York over 15-17 August 1969. Woodstock is the high point of the 1960s hippie counterculture and The Who’s inclusion is very symbolic of their role in the era. However, according to Roger Daltrey, “It was the worst gig we ever played.” During their set, an angry Pete Townshend kicks Yippie leader Abbie Hoffman offstage while Hoffman is making a speech about imprisoned radical, John Sinclair. On 4 January 1970 Keith Moon accidentally runs over and kills his driver, Neil Boland. The Who’s first post-‘Tommy’ outing is the one-off single ‘The Seeker’ (UK no. 19, US no. 44). Over Pete Townshend’s volleys of strummed guitar, Roger Daltrey assumes the role of “A truly desperate man” on a spiritual quest. He turns to rock idols (Bob Dylan, The Beatles) and drug gurus (Timothy Leary) before informing all that, “I’ve been searching low and high / I don’t get to get what I’m after until the day I die.” ‘Live At Leeds’ (1970) (UK no. 3, US no. 4, AUS no. 6) in May attempts to get past ‘Tommy’ by emphasising The Who’s musical muscularity in a bruising concert recording. One of the highlights of the set is The Who’s rendition of ‘Summertime Blues’ (UK no. 38, US no. 27), originally a hit for rockabilly singer Eddie Cochran in 1958. Finally, Pete Townshend gives in to the idea of crafting another rock opera in the style of ‘Tommy’. The ambitious project is named ‘Lifehouse’. Townshend explains it this way: “It was a portentous science-fiction film with utopian spiritual messages into which were to be grafted uplifting scenes from a real Who concert. I was selling a simple credo: whatever happens in the future rock and roll will save the world.” ‘The “Lifehouse” is the place where the music is played and the young people collect to discover rock music as a powerful, almost religious cult.’ The agonising work on the project results in The Who splitting away from producer / manager Kit Lambert. Finally, the whole mess collapses. Some fine songs (‘Mary’, ‘Join Together’, ‘The Relay’ and ‘Pure And Easy’) are lost in the fallout. Roger Daltrey marries his girlfriend, Heather Taylor, on 19 July 1971. Roger and Heather go on to have three daughters: Rosie (born 1972), Willow (born 1975) and Jamie (born 1981). ‘Who’s Next’ (1971) (UK no. 1, US no. 4, AUS no. 3), in August, is salvaged from the aborted ‘Lifehouse’ project. The album is co-produced by The Who and Glynn Johns. The cover image, showing the band walking away from a ‘monolith’ at a slag heap outside Sheffield after having apparently urinated on the ‘monolith’ is a jibe at Stanley Kubrick’s film ‘2001: A Space Odyssey’ (1968). In the movie a monolith appears to mankind at moments of cosmic significance. The Who’s irreverent act of micturition seems to be intended to deflate Kubrick’s posturings…and perhaps their own similarly overblown ‘Lifehouse’ science-fiction concept. In many ways ‘Who’s Next’ is probably a better album than ‘Lifehouse’ would have been and, in its full-on hard rock, is more representative of the band than ‘Tommy’. ‘Who’s Next’ is also notable for Pete Townshend’s pioneering use of synthesisers and sequencers, some of the first such uses of programmed electronic keyboards in rock music. The opening track, ‘Baba O’Riley’ (UK no. 55), is one of the main beneficiaries of the sequencers. This evocation of a “Teenage wasteland” takes its name from Pete Townshend’s guru, Meher Baba, avant-garde composer Terry Riley, and perhaps the song’s Irish jig conclusion (with Dave Arbus playing violin). Bracketing the album from the other end is ‘Won’t Get Fooled Again’ (UK no. 9, US no. 15) which weds its sequencers to Pete Townshend’s thunderbolt power chords and Roger Daltrey’s throaty yell. The song points out that the youth revolution has not been as successful as hoped (“Meet the new boss, same as the old boss”), what change has been effected is largely cosmetic (“The parting on the left is now a parting on the right”), and there is nothing to be done aside from this: “I get on my knees and I pray / We don’t get fooled again.” Amongst the highlights between those two poles are the pulverising passion of ‘Bargain’, John Entwistle’s humorous ode to the intimidating ‘My Wife’, and the sad/angry acoustic/electric minor masterpiece ‘Behind Blue Eyes’ (US no. 34). Pete Townshend curates the ‘greatest hits’ album ‘Meaty, Beaty, Big And Bouncy’ (1971) (UK no. 9, US no. 11), released in October, whose title neatly represents, respectively, John Entwistle, Keith Moon, Pete Townshend and Roger Daltrey. Some of the ‘lost’ songs from ‘Lifehouse’ surface as one-off singles during 1971-1972. First, there is 1971’s ‘Let’s See Action’ (UK no. 16). ‘Join Together’ (UK no. 4, US no. 17) is released in June 1972 and is an anthem to crowd power. Then comes ‘Relay’ (UK no. 21, US no. 39), whose electronic garble gives way to a song about questing forth. Pete Townshend will later claim, “We’re idealists. We believe that rock ‘n’ roll is not just some music for kids. We believe it’s something greater…To face up to problems, to sort of dance all over them, that’s what rock ‘n’ roll’s about.” John Entwistle is the first member of The Who to release a solo album, ‘Smash Your Head Against The Wall’ (1971). He follows this effort with ‘Whistle Rhymes’ (1972). Pete Townshend also issues a solo album, ‘Who Came First’ (1972) (UK no. 30, US no. 69). This set includes ‘Pure And Easy’ from the failed ‘Lifehouse’ as well as Townshend’s version of ‘Let’s See Action’, the recent Who single. Roger Daltrey joins the move to solo albums with ‘Daltrey’ (1973) (US no. 45). Not being as inclined to songwriting as Entwistle and Townshend, Roger Daltrey makes use of outside compositions. The recording career of Leo Sayer is given a boost when his compositions ‘Giving It All Away’ (UK no. 5) and ‘One Man Band’ are used on this disc. John Entwistle notches up a third solo album, ‘Rigor Mortis Sets In’ (1973). Pete Townshend works on another rock opera to be titled ‘Rock Is Dead…Long Live Rock’ but gives up on it in favour of another concept…which becomes the next album by The Who. ‘Quadrophenia’ (1973) (UK no. 2, US no. 2, AUS no. 35) is released in October. Production duties are shared by The Who, Kit Lambert and Glynn Johns. ‘Quadrophenia’ is a double album, a shot of ‘double schizophrenia’ that documents a day in the life of a mod in 1960s Britain. The project’s nostalgic theme is consistent with Pete Townshend’s view that, “One of the things which has impressed me most in life was the mod movement in England, which was an incredible youthful thing.” The album’s most successful single is ‘5:15’ (UK no. 20) which finds the central character, “Inside, outside…Out of my brain on the train.” Also notable is Keith Moon’s twisted ‘Bell Boy’ and the grandiose Pete Townshend ballad ‘Love Reign O’er Me’ (US no. 76). On 20 November 1973 Keith Moon collapses twice onstage at a Who show in San Francisco. The drummer’s condition is ‘allegedly due to jet lag’ but is later attributed to him having taken ‘a huge amount of horse tranquiliser.’ Keith Moon’s wife, Kim, leaves him in 1973 because he had become ‘a very aggressive man to live around’ and takes up with keyboardist Ian McLagan, best known for his work with The Small Faces (the mod band with whom The Who toured Australia in 1968). The divorce becomes official in 1975. Kim Moon McLagan is killed in a car accident in Texas in August 2006. ‘Odds And Sods’ (1974) (UK no. 10, US no. 15) in September is a compilation of Who rarities assembled by John Entwistle. ‘Glow Girl’ dates back to January 1968 and was partially reworked to become ‘It’s A Boy’ from ‘Tommy’. There is a clutch of songs from ‘Lifehouse’ bundled into this album: ‘Pure And Easy’, ‘Naked Eye’ and ‘Too Much Of Anything’. The pick of the bunch may be ‘Long Live Rock’ which hails from the aborted ‘Rock Is Dead…Long Live Rock’ project. ‘Long Live Rock’ is a rambunctious account of a band (The Who?) blasting out their music in a pub. In September 1974 Keith Moon moves to Los Angeles, California. He leads a rather dissipated life with his famous rock star drinking buddies John Lennon, Harry Nilsson and Ringo Starr. Along the way, Keith Moon records his one and only solo album, ‘Two Sides Of The Moon’ (1975). In 1975 Moon begins a relationship with Swedish model Annette Walter-Lax. The drummer says, “The Keith Moon the public know is a myth, even if I have created him. The real me is the person who sits at home having a cup of tea with his old lady Annette. The hotel smashing is one way I get relief from the public image.” Solo albums are issued by other members of The Who as well. John Entwistle releases ‘Mad Dog’ (1975) while Roger Daltrey puts out ‘Ride A Rock Horse’ (1975) (UK no. 14, US no. 28). The latter includes Daltrey’s rendition of the Russ Ballard composition ‘Come And Get Your Love’ (US no. 68). Roger Daltrey also has a parallel career as an actor. He stars in the title role of ‘Tommy’ (1975), Ken Russell’s adaptation of The Who’s concept album as a movie. It comes with its own soundtrack album, ‘Tommy – Soundtrack’ (1975) (UK no. 21, US no. 2). ‘Lisztomania’ (1975), another Ken Russell film, stars Daltrey as classical composer Franz Liszt. The Who reconvenes for ‘The Who By Numbers’ (1975) (UK no. 7, US no. 8, AUS no. 29) in October. The group left Track Records in 1974 so this and subsequent albums are issued directly by Polydor, Track’s parent company. Bill Curbishly, who becomes The Who’s manager in 1976, co-produces this album with Chris Charlesworth, Glynn Johns and Robert Rosenberg. The album cover is a ‘join-the-dots’ caricature of The Who drawn by John Entwistle. The album’s most famous piece is ‘Squeeze Box’ (UK no. 10, US no. 16), a song about an accordion…or is it? “Momma’s got a squeeze box she wears on her chest / And when Daddy gets home he doesn’t get no rest,” winks Roger Daltrey, adding, “She goes in and out and in and out…” Pete Townshend contributes a banjo solo to the song. On 31 May 1976 a Who concert at Charlton Athletic Grounds (a football field) makes it into the Guinness Book of World Records. Seventy thousand fans are present as the band uses seventy-six thousand watts to generate one hundred and twenty decibels of sound as ‘the loudest rock band ever.’ The Pete Townshend solo album, ‘With Love’ (1976), is a spiritual work devoted to his guru, Meher Baba. Townshend goes on to cut ‘Rough Mix’ (1977) (UK no. 44, US no. 45), an album co-credited to Ronnie Lane, formerly of The Small Faces. Roger Daltrey also issues a solo album, ‘One Of The Boys’ (1977). ‘Who Are You’ (1978) (UK no. 6, US no. 2, AUS no. 9) is released in August. The album is co-produced by The Who, John Astley and Glynn Johns. In the cover shot of the band, Keith Moon sits astride a chair turned backwards. Across the back of the chair are stencilled the words ‘Not to be taken away.’ The chair was turned around to conceal Moon’s bulging belly. Much of the album (‘New Song’, ‘Music Must Change’ and ‘Guitar And Pen’) consists of Pete Townshend songs that grapple with ennui and trying to find a way forward. ‘Sister Disco’ gives a slap to disco music, representing the anti-disco sentiment common in rock music at the time. John Entwistle pens three of the album’s nine songs (‘Had Enough’, ‘905’ and ‘Trick Of The Light’ (US no. 107)), though Entwistle sings only ‘905’, handing the rest to vocalist Roger Daltrey. The disc’s best song is the title track, ‘Who Are You’ (UK no. 18, US no. 14). “I woke up in a Soho doorway / The police man knew my name / He said, ‘You can go sleep at home tonight / If you can get up and walk away,” barks Roger Daltrey. The inebriated character at the centre of the song stumbles along bawling, “Who the f* are you?” The well-orchestrated musical tension in this song is generated by the contrasting musical contributions of vocal harmonies, pulsing synthesisers and Townshend’s bee-in-a-bottle guitarwork. John Entwistle’s marriage to Alison Wise starts to fail in 1978, though they do not divorce until 1981. In 1978 Entwistle becomes romantically involved with Maxine Harlow. Keith Moon dies on 7 September 1978. The Who’s drummer was again living in England. He had been out at a party held by former member of The Beatles, Paul McCartney, to celebrate the screening of the movie ‘The Buddy Holly Story’ about the 1950s rocker who died at a tragically young age. Returning to his apartment in Wembley, London, Keith Moon passed away after taking an overdose of a prescription drug that was supposed to help with the symptoms of withdrawal from alcohol. Keith Moon was 32. The apartment where he expired was also the place where Cass Elliot of the U.S. group The Mamas And The Papas died in 1974. Pete Townshend later says of Keith Moon, “For him, life was a constant party and a constant act…He’s dead because of drugs. He’s dead partly from trying to enjoy himself too much. He probably took the last handful of pills as a joke because he thought someone would find it funny.” Without Keith Moon, the future of The Who seems uncertain. However, in November 1978, they announce the name of their new drummer: Kenny Jones (born 16 September 1948 in Stepney, London, England). Kenny Jones was a member of The Small Faces, The Who’s fellow mod group in 1960s Britain. On 2 May 1979 the movie ‘Quadrophenia’ (1979) premieres in London. This is based on The Who’s 1973 album of the same name. The Who appear on the soundtrack (‘Quadrophenia – Soundtrack’ (1979) (UK no. 23, US no. 46)), but not in the film. Phil Daniels is the actor in the lead role, but Sting (of British new wave band The Police) also plays a pivotal part in the movie. Also on 2 May 1979 (the same date that ‘Quadrophenia’ premieres) The Who plays their first gig with new drummer, Kenny Jones. The venue is London’s Rainbow Theatre. On 23 May 1979 ‘The Kids Are Alright’ (1979), a documentary film by Jeff Stein about The Who, has its debut at a screening in New York. The movie is assembled from film clips, television appearances and some live footage recorded especially for the film in 1977 and 1978. Naturally, there is a double album soundtrack as well, ‘The Kids Are Alright’ (1979) (UK no. 26, US no. 8), released in June. When The Who tour the United States with their new line-up, beginning on 11 September 1979, the experience is marred by tragedy on 3 December 1979. Eleven fans are trampled to death at Cincinnati’s Riverfront Coliseum in a crush to obtain unreserved seats. Roger Daltrey stars in the title role of the film, ‘McVicar’ (1980). The movie premieres in London on 30 April 1980. This is the true story of John McVicar, a British criminal, detailing his bank robberies, prison time and eventual rehabilitation. There is an accompanying Roger Daltrey solo album, ‘McVicar’ (1980). Pete Townhshend’s ‘Empty Glass’ (1980) (US no. 5) is probably the best of the solo projects by members of The Who. It is a well-considered work of passion and depth, the equal of just about any Who album. The singles taken from ‘Empty Glass’ are: ‘Rough Boys’ (US no. 89), ‘Let My Love Open the Door’ (US no. 9) and ‘A Little Is Enough’ (US no 72). ‘Face Dances’ (1980) (UK no. 2, US no. 4, AUS no. 16) in March is the first album by The Who to feature new drummer, Kenny Jones. The album is produced by Bill Szymczyk. The pick of the album is ‘You Better You Bet’ (UK no. 9, US no. 18): “When I say I love you, you say you better / You better, you better, you bet / You better bet your life,” sings Roger Daltrey. It’s a little disorienting to hear The Who in the 1980s, as a group that first had hits in the 1960s, waxing nostalgic in this song about T-Rex, a British pop group of the early 1970s: “The sound of old T-Rex,” to which Daltrey slyly adds, “Oh, and ‘Who’s Next’,” citing their own early 1970s hit album. When ‘You Better You Bet’ is issued as a single, one of the verses is excised, probably to avoid any broadcast problems that might arise from the risqué line, “You work on me with open arms and open legs.” ‘Face Dances’ also includes John Entwistle’s personal anthem ‘The Quiet One’ which, naturally, is a buffeting hard rocker; the tempo-changing ‘Cache Cache’; and ‘Don’t Let Go The Coat’ (UK no. 47, US no. 84). Kit Lambert, the former manager of The Who, dies on 7 April 1981 due to a cerebral haemorrhage after falling downstairs in his mother’s house. John Entwistle releases a solo album, ‘Too Late The Hero’ (1981). Pete Townshend issues ‘All The Best Cowboys Have Chinese Eyes’ (1982) (US no. 26). The guitarist also confesses to drug and alcohol problems, but straightens himself out. However, from this point, Townshend becomes less vocal about his devotion to Meher Baba. Although he still believes the guru’s teachings, Townshend feels his difficulties with booze and drugs make him a poor spokesman for the cause. The Who reassemble for ‘It’s Hard’ (1982) (UK no. 11, US no. 8, AUS no. 55) in September. The disc is produced by Glynn Johns. The barnstorming ‘Athena’ (UK no. 40, US no. 28) is the single from this album. On 12 October 1982 The Who begins a ‘farewell tour’ winding up in Toronto, Canada, on 17 December 1982. Early indications are that, though the band is calling it quits as a touring entity, they will continue to record together as The Who. ‘Scoop’ (1983), released in February, is a fascinating Pete Townshend solo album, a two-disc assemblage of demos for Who songs and discarded material from the breadth of his career with the band and as a solo act. Among the treasures are ‘Mary’ (from ‘Lifehouse’) and ‘Popular’ (a piece rewritten to become ‘It’s Hard’, the title track of the last Who album). By May 1983 Pete Townshend is telling the rest of The Who that he is quitting The Who and the group officially announces they are disbanding on 16 December 1983. Roger Daltrey continues his solo career with ‘Parting Should Be Painless’ (1984) and ‘Under A Raging Moon’ (1985). The Pete Townshend solo album ‘White City: A Novel’ (1985) (US no. 26) includes the pounding dance-oriented single ‘Face The Face’ (US no. 26) which includes backing vocals from Townshend’s 16 year old daughter, Emma. The Who reunites to perform four songs at the all-star charity benefit concert Live-Aid on 13 July 1985. Roger Daltrey issues ‘Can’t Wait To See The Movie’ (1987). His former colleague unveils ‘The Iron Giant: The Musical By Pete Townshend’ (1989), based on the 1968 Ted Hughes children’s story ‘The Iron Giant’. Statements made by Pete Townshend in 1989 seem to acknowledge his rumoured bisexuality, but he goes on to refute that theory, insisting, “I’m heterosexual but I’ve never made a big deal out of it.” Also in 1989 the guitarist publicly admits he is having problems with his ears: “I have terrible hearing trouble.” In summer 1989 The Who reunites. Roger Daltrey and John Entwistle had been keen on the idea for some time but Pete Townshend had remained reluctant. The 1989 tour has an expanded line-up that includes a second guitarist to assist the beleaguered Townshend who continues to struggle with hearing loss. Kenny Jones is absent from the reunion; Simon Phillips plays drums on this tour. After this, The Who does not officially disband again but rather maintain a semi-inactive state, getting together for occasional shows or tours. John Entwistle marries his long-time partner Maxine Harlow on 11 September 1991. Roger Daltrey releases a solo album, ‘Rocks In The Head’ (1992). Pete Townshend’s ‘Psychoderelict’ (1993) reworks some of the elements of the long lost ‘Lifehouse’ project. Pete Townshend separates from his wife, Karen, in 1994. The divorce becomes final in 2009. John Entwistle issues the albums ‘The Rock’ (1996) and ‘Music From Van Pires’ (1997). Entwistle divorces his second wife, Maxine, in 1997. He goes on to a relationship with Lisa Pritchett-Johnston. In 2000 Pete Townshend begins a relationship with musician Rachel Fuller who becomes his long-term companion. John Entwistle is found dead in a Las Vegas hotel room on 27 June 2002. The cause of death is a heart attack induced by cocaine. John Entwistle was 57. Despite the loss of another founding member, Roger Daltrey and Pete Townshend continue to work together sporadically – with various other hired musicians – as The Who. In 2003 Pete Townshend is cautioned by police and placed on a sex offenders register for five years after he admits having accessed child pornography on the internet. ‘Endless Wire’ (2006) (UK no. 9, US no. 7, AUS no. 63) is the first new album of studio recordings by The Who in twenty-four years. It includes a ‘mini-opera’ entitled ‘Wire & Glass’. Pete Townshend’s hearing problems continue in 2011 as he develops tinnitus (a ringing in the ears). Although his hearing is not perfect, he insists it is okay. Roger Daltrey releases a solo album, ‘As Long As I Have You’ (2018) (UK no. 8, US no. 194), on 1 June. In the same year, Daltrey’s autobiography, ‘Thanks a Lot Mr Kibblewhite: My Story’ (2018), is published by Henry Holt and Company on 23 October. The Who issues a new album titled simply ‘Who’ (2019) (UK no. 3, US no. 2, AUS no. 64) on 6 December on the Polydor label. It is the first new Who album in thirteen years. ‘Who’ is co-produced by Pete Townshend and Dave Sardy with Bob Pridden and Dave Erlinga. The album cover is an assemblage by Peter Blake of twenty-five squares, most of which contain individual images from pop culture or that relate to The Who’s history e.g. a union jack, a red double-decker ‘magic bus’, Batman & Robin, Chuck Berry and a detour sign (a nod to the group’s early name: The Detours). By this time, The Who consists only of Roger Daltrey (vocals) and Pete Townshend (guitar, vocals). However the two men record their individual contributions to the album separately. Supporting the pair musically are Pino Palladino (bass) and Zac Starkey (drums) – though there is a host of additional guest musicians. Almost all the tracks on ‘Who’ are Pete Townshend compositions. The songwriter describes them as “dark ballads, heavy rock stuff, experimental electronica, sampled stuff and Who-ish tunes that begin with a guitar that goes yanga-dang.” ‘Ball And Chain’ appears to be about the U.S. prison for terrorists located in Guantanamo Bay, Cuba. “Down in Guantanamo / We still got the ball and chain,” snarls Roger Daltrey in this hard-driven rock song. ‘All This Music Must Fade’ seems to acknowledge that The Who’s new material won’t be to everyone’s tastes. “I don’t care / I know you’re gonna hate this one / And that’s fair / We never really got along,” sings Daltrey, perhaps giving voice to his own reactions as anticipated by Townshend. “Who gives a f*?” is the conclusion. Pete Townshend provides strong backing vocals on ‘All This Music Must Fade’. Musically, the song has big chords and a tickling acoustic guitar – but is really nothing new for this band. ‘I Don’t Wanna Get Wise’ is a bit less rock-oriented and a bit more expansive. It features rippling keyboards and even the beats of the rhythm shift about unexpectedly. ‘I Don’t Wanna Get Wise’ is a brat-like sneer about how The Who has made a long-term profit from their youthful bad behaviour. In the wake of the release of ‘Who’, The Who embarks on the ‘Moving On’ tour amid intimations that it may be their last concert tour given their advancing ages. The Who’s early notoriety was connected with Pete Townshend’s guitar-smashing. Their explosive stage act – and explosive personalities – made them unlikely candidates for a lengthy career. Yet The Who carved out a place for themselves in rock history. In retrospect, it seems it may have been wiser for them to disband for good following the death of Keith Moon. Their subsequent work was patchy. Whatever their mistakes and missteps, The Who recorded a number of albums and singles that are deservedly considered classics. They popularised the concept of the ‘rock opera.’ The Who was ‘a dynamic and undeniably powerful sonic force.’ ‘Their sound was anarchy, chaos, pure noise…’ Sources: lyricsfreak.com as at 12 August 2014 wikipedia.org as at 9 June 2014, 2 January 2019, 5 January 2020 allmusic.com, ‘The Who’ by Stephen Thomas Erlewine as at 14 August 2014 Internet movie database imdb.com as at 14 August 2014 ‘The Illustrated Rock Handbook’ edited by Roxanne Streeter, Ray Bonds (Salamander Books, 1983) p. 55, 77, 149, 226, 227 brainyquote.com as at 14 August 2014 ‘Rock Stars’ by Timothy White (Columbus Books, 1984) p. 150, 151 ‘Who’s Better, Who’s Best’ – Sleeve notes by Richard Barnes (Polydor Limited, UK, 1988) p. 5, 6, 9, 10 ‘Before I Get Old: The Story of The Who’ (2003) by Dave Marsh (amazon.co.uk as at 14 August 2014) via 4 above whosdatedwho.com as at 14 August 2014 Notable names database – nndb.com – as at 14 August 2014 ‘Friday On My Mind’ by Ed Nimmervoll (Five Mile Press, 2004) p. 65, 74, 79, 146 ‘Moon the Loon’ – MTV Cable Network – video interview with Roger Daltrey, Pete Townshend and John Entwistle (1989?) ‘Good Morning America’ (U.S. television program, ABC Network) – interview with Pete Townshend and Keith Moon (1978) ‘Rolling Stone Rock Almanac’ by the Editors of ‘Rolling Stone’ magazine (Papermac, 1984) p. 98, 102, 106, 107, 108, 116, 121, 128, 131, 132, 151, 161, 206, 213, 220, 256, 287, 288, 298, 302, 305, 311, 345, 347, 361 ‘The Illustrated New Musical Express Encyclopedia of Rock’ by Nick Logan, Bob Woffinden (Salamander Books, 1978) p. 241, 243 ‘The Rolling Stone Illustrated History Of Rock ‘N’ Roll’, ‘The Who’ by Dave Marsh (Plexus Publishing, 1992), p. 400, 401, 403, 404, 405 smothersbrothers.com/episodes/htm as at 14 August 2014 ‘The Who Sell Out’ (1967) – Sleeve notes by Dave Marsh (Polydor Ltd. (UK) (1995 re-issue)) p. 16 milesago.com as at 3 April 2014 ‘Stones History & Discography’ – MTV Networks – angelfire.com/pa/Redlands/hist.html as at 19 October 2001 ‘Tommy’ – Anonymous sleeve notes (Polydor Ltd., London, 1969) p. 5 ‘The 500 Greatest Albums Of All Time’ – ‘Rolling Stone’ magazine (February 2004) p. 40, 48, 55 ‘Dear Boy: The Life of Keith Moon’ (2005) by Tony Fletcher (amazon.co.uk as at 14 August 2014) via 4 above ‘The Who – BBC Sessions’ – Sleeve notes by Andy Neill (Polydor Ltd. (UK), 1995) p. 5, 6 ‘Who’s Next’ (1971) – Sleeve notes by Pete Townshend (Polydor Ltd. (UK), 1995 reissue) p. 5, 6 ‘Who’s Next’ (1971) – Sleeve notes by John Atkins (Polydor Ltd. (UK), 1995 reissue) p. 14, 17, 18, 20 ‘Rolling Stone’ magazine – Pete Townshend interview (1968) via 16 above p. 20 ‘Odds And Sods’ – Sleeve notes by Pete Townshend (Polydor Ltd. (UK), 1974) via 19 above p. 20 brandy-and.tripod.com as at July 2002 amazon.com as at 2 January 2019 [‘Thanks a Lot Mr Kibblewhite: My Story’ book] ‘The Guardian’ (U.K. newspaper) ‘The Who confirm first new album in 13 years’ by Laura Snapes (14 January 2019) via 2 (above) [‘Who’ LP] google lyrics as at 11 January 2020 Song lyrics copyright Fabulous Music Ltd. / Essex Music with the exception of ‘Boris The Spider’ (New Ikon Music Ltd.) Last revised 25 January 2020
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IN THE PERFORMER’S HALL OF FAME CAREER Special Guests on Selected Dates Grammy Nominated KT TUNSTALL and Singer/Songwriter DAN BERN Tickets On Sale […]		https://www.thewho.com/w…hoLogo-32x32.png	The Who	https://www.thewho.com/roger-daltrey-announces-special-semi-acoustic-u-s-tour-in-june/	Roger Daltrey announces special semi-acoustic U.S. tour in June LEGENDARY WHO FRONTMAN ROGER DALTREY ANNOUNCES SPECIAL SEMI-ACOUSTIC U.S. TOUR IN JUNE NINE CITY RUN, ANOTHER CAPSTONE IN THE PERFORMER’S HALL OF FAME CAREER Special Guests on Selected Dates Grammy Nominated KT TUNSTALL and Singer/Songwriter DAN BERN Tickets On Sale Starting Friday, March 22 at 10 am Local Time Check local Venues for Pre-Sale info Roger Daltrey – legendary rock icon and co-founder of one of music’s most inspirational and influential forces, The Who, will be returning to the States on a special solo tour this June, presenting a mostly acoustic set of Who gems, rarities, solo nuggets and other surprises with an intimate rock-based band and setting as well as answering questions from the audience, kicking off this very exclusive set of shows on 12 June at Virginia’s renowned Wolf Trap at Filene Center. The nine-city run will continue throughout the month of June (see dates below), wrapping on 29 June at The Pavilion at Ravinia in Highland Park, Illinois. Special guests for the much-anticipated performances include Grammy-nominated Scottish singer/songwriter KT Tunstall and acclaimed, offbeat singer/songwriter Dan Bern. The unique venues and amphitheaters Daltrey has chosen for his summer run will showcase Roger’s acoustic interpretations of his extraordinary canon of Who songs and solo work, supported by a hand-picked ensemble of musicians. Simon Townshend: Guitar and backing vocals; Billy Nicholls: Mandolin and backing vocals; Jody Linscott: Percussion; Doug Boyle: Guitar; John Hogg : Bass and backing vocals; Katie Jacoby: Violin and backing vocals; Steve Weston: Harmonica; Geraint Watkins: Keyboards/accordion; Scott Devours: Drums. Daltrey’s return to the States follows The Who’s incredibly successful The Who Hits Back! US tour of 2022, with the band’s incomparable frontman drawing praise from all media platforms, including the Dallas Morning News, which said, ‘Daltrey took flight…roaring and howling and ripping his mic cord through the air like he was lassoing cattle…’ The charismatic singer also brought a highly successful solo tour to the States in 2018 via a 10-city run that showcased The Who’s legendary rock opera Tommy, supported by full orchestral backing. Never content to rest on his laurels, the adventurous artist will continue to peel back the layers on his upcoming June tour, excited about expressing more musical shades of his solo palette, which he has generously shared with audiences in the US and beyond throughout his career. Also known to be one of rock’s more candid, straight-shooters, the working-class Daltrey (originally from London’s Shepherd’s Bush) will answer questions from the audience during the shows, sharing anecdotes and offering up uniquely tailored renditions of songs seldom performed live either by The Who or Daltrey. In crafting this completely new show set to kick off in June 2024, Daltrey looks forward to unveiling one of his more intimate and unique stage shows, an up close and personal gift to his fans that highlights Who rarities, solo hits, and other songs from his incredible near 60-year career. Roger Daltrey, CBE, Teenage Cancer Trust’s Honorary Patron and co-founder of Teen Cancer America (with Pete Townshend) recently added harmonica to a historic recording. On March 15, Dire Straits’ Mark Knopfler released a new, special recording of his anthemic composition, ‘Going Home (Theme From Local Hero)’ featuring over 60 of the finest rock performers ever assembled on one iconic track, including members of The Beatles, The Rolling Stones, Dire Straits, The Who, Pink Floyd, Queen, Black Sabbath, The Shadows, Rush, Guns N’ Roses, and many more. The milestone release, currently available to order here, will raise funds for Teenage Cancer Trust in the UK and Teen Cancer America in the US. ROGER DALTREY AND HIS BAND US TOUR DATES SPECIAL GUESTS KT TUNSTALL https://www.kttunstall.com *DAN BERN https://danbern.com
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They started during the early sixties beat boom when singer Roger Daltrey, guitarist–songwriter Pete Townshend, and bassist John Entwistle evolved from West London hopefuls The Detours. In 1964, drummer Keith Moon joined […]	en	https://jazzrocksoul.com…cksoul-32x32.png		https://jazzrocksoul.com/artists/the-who/	The Who are an English rock band that released ten studio albums between 1965 and 1982, including the rock operas Tommy and Quadrophenia. They started during the early sixties beat boom when singer Roger Daltrey, guitarist–songwriter Pete Townshend, and bassist John Entwistle evolved from West London hopefuls The Detours. In 1964, drummer Keith Moon joined and they settled as The Who (after a brief spell as The High Numbers). They issued three 1965 singles — “I Can’t Explain,” “Anyway, Anyhow, Anywhere,” and “My Generation” — all UK hits and anthems of the mod movement. Their debut album, My Generation, placed them at the forefront of hard rock and spawned further hits with “The Kids Are Alright,” and “A Legal Matter.” In 1966, The Who charted with the lyrically ironic “Substitute” and the slapstick-themed “Happy Jack.” Their second album, A Quick One, contains a six-part title-suite billed as the first “rock opera.” They psyched up for their 1967 singles “Pictures of Lily” and “I Can See for Miles,” their breakthrough hit in the US, where they floored audiences at the Monterey Pop Festival and made an explosive appearance on the Smothers Brothers Comedy Hour. The Who took a conceptual turn on The Who Sell Out, which contains songs about products and eccentric people, intermixed with radio jingles. Their 1968 hit “Magic Bus” signaled an embrace of belted vocals, semi-acoustic textures, and looser, percussive passages — key features of their seventies style. In 1969, The Who released Tommy, a four-sided rock opera about a deaf, dumb, and blind boy whose enhanced vibration senses make him the world’s greatest pinball player. It spawned the radio evergreens “Pinball Wizard” and “We’re Not Going to Take It.” The ensuing nineteen-month tour, marked by shows at the Woodstock and Isle of Wight festivals, established the band as global superstars and Townshend as one of rock’s leading spokesmen. Townshend’s next project, Lifehouse, concerned a future society where people connect to a global Grid and consume music, news, and sensations through lifesuits. While the concept was unfathomable to pre-internet seventies audiences, key songs from the project comprise Who’s Next, including the radio evergreens “Baba O’Riley,” “Bargain,” “Behind Blue Eyes,” and “Won’t Get Fooled Again.” The Lifehouse concept spawned further songs, including their 1972 singles “Join Together” and “Relay.” In 1973, The Who released Quadrophenia, a four-sided rock opera about Jimmy, a pill-popping mod whose tribulations through work, love, family, and society drive him to double-schizophrenia. Its collection of rock anthems includes “The Real Me,” “The Punk and the God Father,” “The Dirty Jobs,” “Helpless Dancer” (Roger’s theme), “I’ve Had Enough,” “5:15,” “Bell Boy” (Keith’s theme), “Doctor Jimmy,” and “Love, Reign o’er Me” (Pete’s theme). The story spawned a coming-of-age drama film co-starring Police frontman Sting as the Ace Face, Jimmy’s role model. The Who reached the height of their global stardom with the 1975 release The Who by Numbers. On the accompanying twelve-month tour, they played before more than 75,000 fans at the Pontiac Silverdome in Michigan. By now, each member had released solo albums. Daltrey starred as Tommy in filmmaker Ken Russell’s musical adaptation of the 1969 rock opera. In 1978, the band returned with Who Are You, comprised of complex songs about musical innovation (“Guitar and Pen”) and defiance (“Sister Disco,” “Music Must Change”). The title track, with its self-referential chorus, became another evergreen and Who signature. This would be their last album with Moon, who died shortly after at age 32. Moon’s legacy with the band is chronicled in the docu-film The Kids Are Alright, assembled from thirteen years of live performances and television clips. The Who hired ex-Small Faces and Faces drummer Kenney Jones and resumed touring. Townshend broke through as a solo artist with his 1980 release Empty Glass and the hits “Let My Love Open the Door” and “Rough Boys.” Meanwhile, The Who entered the video age with Face Dances and the MTV clips “You Better You Bet,” “Don’t Let Go the Coat,” and “Another Tricky Day.” Daltrey’s acting took a serious turn in the biographical crime drama McVicar. The Who played on the soundtrack, which contains Roger’s solo hits “Without Your Love” and “Free Me.” In 1982, Townshend released All the Best Cowboys Have Chinese Eyes, a personal artistic statement with an accompanying video. Soon after, The Who released It’s Hard, a mix of uptempo rockers (“Athena”) and poignant lyrical numbers (“I’ve Known No War”). The hi-tech “Eminence Front” became another Who signature. That fall, they launched what was billed as their final tour. The Who regrouped in 1985 for an appearance at Live Aid. In 1989, the surviving founders (Townshend, Daltrey, Entwistle) toured Tommy with an enlarged band of auxiliary players. They did the same in 1996–97 for Quadrophenia, enhanced with film projections and guest-star vocalists. In the 21st century, The Who resumed touring on a semi-regular basis. After Entwistle’s death, the remaining band released Endless Wire (2006) and Who (2019). Members: Roger Daltrey (vocals, tambourine, harmonica, guitar), John Entwistle (bass, French horn, piano, vocals, 1961-2002), Pete Townshend (guitar, organ, synthesizer, piano, vocals, 1962-present), Keith Moon (drums, percussion, vocals, 1964-78), Kenney Jones (drums, 1979-88) Background The Who evolved from Acton-area combo The Detours, formed in 1959 by 15-year-old ruffian Roger Daltrey, who initially played guitar. In 1961, he recruited bassist John Entwistle into the band, which purveyed the era’s instrumental rock (The Shadows, The Tornados). The following year, 30-year-old Doug Sandom assumed the drum seat. The Detours stabilized in late 1962 when Daltrey became the singer and they hired Entwistle’s friend, guitarist Pete Townshend, to round out the lineup. They opened for some of England’s leading pre-Beatles rock acts, including Shane Fenton & the Fentones and Johnny Kidd & the Pirates. After learning that the name Detours was already in use, the band changed its name to The Who. By early 1964, The Who was drawing crowds on the London club circuit. They secured an audition with Fontana Records, but complaints arose over Sandom’s drumming. He was promptly cut from the band, which used a stand-in drummer for several weeks. In April, they were approached by 17-year-old drummer Keith Moon, who broke a drum skin during his audition. His arrival completed the classic Who four-piece that would last fourteen years. That spring, The Who hired publicist Pete Meaden as their manager. He suggested they change their name to The High Numbers and adopt the mod image. Under this guise, they issued the June 1964 Fontana single “Zoot Suit,” a song about dress-up, named after the 1940s Harlem V-line suit with a tune lifted from “Misery” by the American R&B group the Dynamics. The b-side, “I’m the Face,” transforms the R&B standard “Got Love If You Want It” by bluesman Slim Harpo into a tune about being ‘The Face’ (the most stylish mod on the scene). Meaden penned both sets of lyrics. When the single failed to chart, the band reverted to The Who and fired Meaden. The Who were then taken under the managerial wing of filmmakers Kit Lambert and Chris Stamp, who filmed the band during a gig at the Railway Inn on King’s Road for use in a promo film. On a subsequent date, Townshend (a six-footer) accidentally broke the neck of his guitar against the low ceiling of the Railway and, in a rage, smashed the instrument against the stage. At the close of the following week’s set, Moon kicked his bass drum afield. These antics, along with Townshend’s windmill strum and Daltrey’s mic-cable whipping motions, became features of The Who’s live act. In November 1964, The Who cut their first proper single at Pye Studios in London with American producer Shel Talmy, a soundman on recent singles by The Fortunes, The Hearts, and The Kinks‘ riff-fest “All Day and All of the Night,” which influenced Townshend’s new writing. 1965: First Three Singles, Album “I Can’t Explain” On January 15, 1965, The Who released “I Can’t Explain,” a three-chord rocker about the perplexing emotions of first-time love (“Dizzy in the head and I’m feeling blue”). The verses are driven by a closed-cadence, three-chord riff (E→DD→A→EE), followed by an open-cadence, four-chord sequence on the chorus (E…E…C#…C#…A…A…B…B…). Vocal group The Ivy League performs backing vocals and hand claps on the song. “I Can’t Explain” appeared on Brunswick, backed with the Talmy-penned “Bald Headed Woman,” a song recorded by The Kinks on their debut album and subsequently cut by Swedish popsters The Hep Stars. It’s a blues lurch with a fluid, crashing outro; sung by Daltrey in an unrecognizable low register. Jimmy Page, a prominent London session guitarist, plays the fuzz solo. In the United States, the single appeared on Decca on December 19, 1964; four weeks ahead of its UK release. “I Can’t Explain” reached No. 8 on the UK Singles Chart and No. 14 in France. The Who played more than ninety shows between January and May 1965. They mostly played the London area but also appeared in Manchester (4/23/65: Oasis Club), Newcastle (5/3: Majestic), Bristol (5/19: Corn Exchange), and Sheffield (5/30: King Mojo Club). On May 6, they played the Two Red Shoes Ballroom in Elgin, Scotland; their first of three consecutive shows north of the border. “Anyway Anyhow Anywhere” On May 21, 1965, The Who released “Anyway, Anyhow, Anywhere,” a four-chord rocker about unrestrained freedom and fearless defiance (“Nothing gets in my way, not even locked doors; Don’t follow the lines that been laid before”). It opens with a thundering, reverb-laden bar-chord strum (D… C… A), followed by flowing, harmonized verses (D… G→A). Townshend employs feedback on the middle eight, where they jam in A major. Session pianist Nicky Hopkins guests on the track. “Anyway, Anyhow, Anywhere” was their second of three consecutive singles on Brunswick and the only Who original joint-credited to Townshend and Daltrey. It reached No. 10 on the UK Singles Chart. The UK b-side, “Daddy Rolling Stone,” was written by American pianist Otis Blackwell, who wrote early rock ‘n’ roll hits for Elvis Presley (“Don’t Be Cruel,” “All Shook Up”) and Jerry Lee Lewis (“Great Balls of Fire”). In the US, “Anyway, Anyhow, Anywhere” appeared on June 5 on Decca, backed with the Garnet Mimms cover “Anytime You Want Me.” The Who performed “Anyway, Anyhow, Anywhere” on the July 1, 1965, episode of the ITV music program Ready Steady Go! The Who played their first cross-channel show on June 1 at L’Olympia in Paris, France. On July 15, they played the Ritz in Llanelli, Wales. On Saturday the 19th, The Who played the Uxbridge Blues & Folk Festival, which also had sets by Marianne Faithfull, Solomon Burke, the Spencer Davis Group, Zoot Money, and The Birds, a Decca shortplayer act with bassist Kim Gardner and guitarist Ron Wood. That fall, The Who played shows in the Netherlands (9/21: De Marathon, The Hague), Denmark (9/25: K.B. Hallen, Copenhagen), and Sweden (10/10: Johanneshovs Isstadion, Stockholm). “My Generation” On October 29, 1965, The Who released “My Generation,” an anthem of youthful defiance (“I hope I die before I get old”) and new-breed exclusivity (“Why don’t you all f-fade away… Don’t try to dig what we all s-s-s-say”). The song’s riff — four down strokes of G, followed by four of F — modulates one whole step for the second verse (A–G) and another whole step for the third (B–A), then crests on C for the explosive, pile-driving finale. Between the first and second verse, Townshend and Moon do tradeoffs with Entwistle, who plays four virtuoso runs (two bars each) across a sixteen-bar instrumental sequence. Daltrey’s stuttering vocals were influenced by the John Lee Hooker number “Stuttering Blues.” “My Generation” reached No. 2 in the UK and Australia and No. 3 in Canada. It also went Top 10 in the Netherlands, Ireland, Austria, and West Germany. The b-side, “Shout and Shimmy,” is an energetic take on the 1962 hit by James Brown. In the US, “My Generation” appeared on November 20 on Decca and reached No. 74 on the Billboard Hot 100. The Decca b-side, “Out In the Street,” is a Townshend original that starts with a variation of the “Anyway, Anyhow, Anywhere” riff (an F#–E–B reverb-laden strum), followed with F# verses where Moon applies hurricane fills to the Bo Diddley beat. The Who greeted the single’s UK release with an October 31 show at The Beatles‘ old stomping ground: the Cavern club in Liverpool. My Generation The Who released their debut studio album, My Generation, in December 1965 on Brunswick (UK, Europe) and Festival Records (Oceania). Side one features both sides of the title-sake Decca single, opening with “Out In the Street.” Townshend wrote six new songs, including the Beatle-esque harmony rockers “La-La-La Lies,” “Much Too Much,” and “The Kids Are Alright” — all about the innocence and confusion of young courtship. On “It’s Not True,” Daltrey rebuts a slew of rumors (mixed ancestry, foreign origins, patricide, imprisonment, serial paternity) with high-minded assurance (“Cause I’m up here and you’re nowhere”). Townshend sings “A Legal Matter,” a rejection of matrimony and garden rails with a four-note staccato guitar figure. “The Good’s Gone” has a picked slide over a droning B, inspired by The Kinks’ recent “See My Friends,” a pioneering blend of rock and Indo pop. My Generation also includes covers of two James Brown soul ballads (“I Don’t Mind,” “Please, Please, Please”) and a bluesy take on the Bo Diddley standard “I’m a Man,” recently cultivated as a fuzz-rocker by the Yardbirds. The album closes with “The Ox,” a “Wipe Out”-style instrumental by Townshend, Entwistle, Moon, and Hopkins, who guests on the track. The group dubbed John “the Ox” because of his higher threshold for alcohol and food. Decca photographer David Wedgbury took the My Generation cover: an aerial shot where The Who gaze skyward in mod attire. The Union Jack jacket draped around Entwistle’s shoulders is an emblem of mod style. Talmy produced the album at IBC Studios in London, where The Who recorded the R&B covers in April 1965. That fall, the band recorded Townshend’s new originals after twice-charting with his a-sides. My Generation reached No. 5 on the UK Albums Chart and No. 4 on the Finnish Albums chart. 1966: Singles, Second Album On January 12, 1966, The Who recorded “Circles,” a mid-tempo harmony rocker (in A) with trebly bass and Entwistle on French horn. Townshend, seeking to expand the group’s sound, informed Lambert of John’s abilities as a trumpeter. They intended to make this a single, backed with “Instant Party Mixture,” a tambourine pop singalong with a “Runaround Sue” progression and vocable. However, The Who broke from Talmy and signed to Reaction, a new label started by Robert Stigwood, an emerging mogul who recently managed Tyneside mods the Junco Partners. The Who entered Olympic Studios on February 12 to cut a new single. “Substitute”, “Circles” On March 4, 1966, The Who released “Substitute,” a strum-along rife with lyrical paradoxes. Townshend wrote the song after hearing the line “Although she may be cute, she’s just a substitute” in “The Tracks of My Tears,” a recent single by Smokey Robinson & the Miracles. He lifted the cadence (but not the chord sequence) from “Where Is My Girl,” a single Pete reviewed for Melody Maker by Robb Storme & The Whispers (a precursor to Orange Bicycle). “Substitute” has a three-chord intro–chorus progression (DD→A…GG→DD) and resides in D major (verses), E minor (bridge), and A (middle eight). The lyrics mix negation (“I look pretty tall but my heels are high”), deprecation (“I was born with a plastic spoon in my mouth”), and convoluted lines (“The north side of my town faced east, and the east was facing south”). Townshend produced “Substitute,” which initially featured an identical remake of “Circles” (retitled “Instant Party,” but not the same song as “Instant Party Mixture”) on the b-side, but Talmy had this pressing of the single withdrawn via court order. To get the single back in stores, Stigwood licensed “Waltz for a Pig,” an unused instrumental by the Graham Bond Organization, which appears as the b-side on most Reaction copies of “Substitute.” Talmy countered “Substitute” with a Bruswick 7″ release of “A Legal Matter,” backed with the original “Instant Party” (aka the original “Circles”). Dutch copies of this single incorrectly list the b-side as “Instant Party Mixture” (a song that remained vaulted until the 2002 reissue of My Generation). Concurrently, The Fleur de Lys issued a Jimmy Page-produced cover of “Circles” on Andrew Loog Oldham’s Immediate label. Meanwhile, “Substitute” reached No. 5 in the UK, No. 2 in the Netherlands, and also went Top 20 in Belgium and West Germany. On April 24, 1966, Decca issued the band’s first album in North American as The Who Sings My Generation. This version replaces “I’m a Man” with “Instant Party” (aka “Circles”). The cover is a medium upshot of The Who with Big Ben in the background. The Who embarked on a package tour with the Spencer Davis Group, the New Merseys, and Jimmy Cliff & The Sound System. This consisted of two nightly shows in eight cities, starting April 14 at the Gaumont in Southampton and ending on the 25th at the Pavilion in Bath. On May 7, the Who made their Irish debut at the National Boxing Stadium in Dublin. On May 30, The Who appeared at the Sincil Bank Football Ground in Lincoln for the Whit Monday Pop Gala Festival, which also featured sets by Yardbirds; Small Faces; The Kinks; Georgie Fame and the Blue Flames; Screaming Lord Sutch; Crispian St Peters; Dave Dee, Dozy, Beaky, Mick and Tich; Alan Price Set; She Trinity; and the Koobas. This marked the debut performance by The Creation, a mod band that evolved from The Mark Four. “I’m a Boy” On August 26, 1966, The Who released “I’m a Boy,” a pop dramedy in which Daltrey sings as Bill: a last-born boy with three older sisters (Jean Marie, Felicity, Sally Joy) whose mother wanted only girls and raises him as one. The song starts with a soft vocable over two chords (A… E…), followed by faint, nervous verses where Bill introduces his sisters. He intensifies on the bridge, where he reveals his predicament (“I feel lucky if I get trousers to wear, spend evenings taking hairpins from my hair”). The chorus is a flowing, harmonized iteration of the title (over a I-IV-V progression in A), suffixed with Bill’s allegations of his mother’s denial and how she’d likely scold him if he states out loud that he’s a boy. Townshend conceived “I’m a Boy” as a section of Quads, an unfinished song suite about a future society in which gender engineering is commonplace. Lambert produced the song at IBC and encouraged Pete to explore other possible multi-song themes: a concept dubbed the “rock opera.” “I’m a Boy” reached No. 2 on the UK Singles Chart. The b-side, “In The City,” is the only Who song co-credited to Entwistle and Moon. It’s a mid-tempo singalong (in E) with beach-culture lyrics inspired by Keith’s love for American surf rock. John plays trumpet on the track. Just ahead of “I’m a Boy,” Brunswick issued “The Kids Are Alright” as a single, backed with “The Ox.” The a-side — with its three-chord strum (D…G→A), Beatle-esque harmonies, and carefree lyrics about a guy who “must get out in the light” as his girl stays behind with his guy friends — became a Who signature. Ready Steady Who On November 11, 1966, The Who released Ready Steady Who, a five-song EP that contains the second version of “Circles” and a new Townshend original, “Disguises,” a psychedelic rocker with backward symbols over woodblocks and a fuzzy, jangly guitar figure (in E and F#). The flipside features three covers: “Batman,” “Bucket ‘T’,” and “Barbara Anne.” The EP is named after Ready Steady Go!, the 1963–66 ITV music program hosted by Cathy McGowan. “Batman” — the theme to the American action comedy series starring Adam West — is a 90-second, three-note chromatic melody; instrumental apart from iterations of the title. The American surf-rock duo Jan & Dean recently covered “Batman” on a Liberty single, backed with the jumpy “Bucket ‘T’,” which Moon sings on the Who version, interjected by Entwistle on French horn. “Barbara Anne” was a 1961 doo-wop hit for The Regents and a recent hit for The Beach Boys, whose rocked-up version is emulated here. Meanwhile, Brunswick pulled one last single from My Generation: “La-La-La-Lies” (b/w “The Good’s Gone”). It went head-to-head with The Who’s upcoming Reaction single. “Happy Jack” On December 3, 1966, The Who released “Happy Jack,” a quirky number with fairy tale lyrics about a sand-dwelling character that Townshend recalled from his childhood. The song begins with a nine-note melodic run that lands on a matted, closed-cadence D. Roger sings of the little man on the Isle of Man who was always happy; covered in sand as kids rode on his head. Pete and John overlay the flowing, swelling chorus; bellowing: The kids couldn’t hurt Jack They tried and tried and tried They dropped things on his back And lied and lied and lied and lied and lied “Happy Jack” reached No. 3 in the UK and No. 1 in Canada. It was accompanied by an early music video: a b&w clip where The Who plays a gang of spivs who gain entry to a room with a safe, where a pin-striped, cigar-toting Roger mans the door while Pete and Keith monkey with the lock. Scarface John discovers a pie, which soon distracts the two would-be picklocks. A pie fight ensues; the building guard gets pied the moment he marches in on the shenanigans. Entwistle wrote the b-side, “I’ve Been Away,” a simple waltz comprised of bass (in G), piano (accented fifths), and cymbals. The lyrics concern a newly freed innocent man who did time for a crime committed by his brother Bill. A Quick One The Who released their second album, A Quick One, on December 9, 1966, on Reaction. Lambert encouraged each member to write two songs for the album. Entwistle, initiating his role as the band’s secondary writer, contributed the creeping dark-comedy ditties “Boris the Spider” and “Whiskey Man.” Moon also wrote two numbers, including “Cobwebs and Strange,” a Dixieland circus instrumental run amok. Daltrey, in his first of only two solo writing credits for the band, contributed “See My Way,” a galloping two-chord pop song all of 113 seconds. Townshend composed the album’s four remaining originals, including the opener “Run Run Run,” a harmonized R&B–beat rocker with a dirgy guitar groove in G minor. On side two, his contributions include “So Sad About Us,” a Beatle-esque harmony-pop tune; and “Don’t Look Away,” a jangly upbeat number with a cataclysmic pre-chorus (“There’s a stone in my shoe, so I can’t catch you up; My head’s in a lion’s mouth, wants to eat me up”). “Boris the Spider” is a comedy–horror tune about a small, hairy tarantula that John spots crawling up a wall (first verse). The spider escapes from his view (second verse), but John soon finds it motionless (third verse). To make sure it’s dead, he smashes the spider with a book, leaving Boris “embedded in the ground.” The song’s theme is a rumbling, chromatic bassline (D–D♭–C–B–B♭–F–G…) where John sings the title in a deep, haunting voice, interjected with a frightened “creepy, crawly” refrain. “Whiskey Man” is a character that emerges when the narrator either hallucinates or self-intoxicates. It’s unclear whether the whiskey man is an imaginary friend or a Mr. Hyde-like drunken alter ego. By the third verse, the narrator is confined to a gloomy padded cell. Musically, the song is a tight, deep, bass-driven number with a descending pattern rooted in G. The album concludes with Townshend’s first completed rock opera: a nine-minute suite titled “A Quick One, While He’s Away.” It chronicles the story of a woman who has an extramarital affair while her engine driver husband (later identified as Jerrald) is out on the road for an extended period. The suite consists of six parts: 1. An a cappella that twice states “Her Man’s been gone for nigh on year; He was due home yesterday, But he ain’t here.” 2. A jangly folk-rock verse (in D) where word seems to travel to the missing husband about his lonely wife “Whose crying can be heard all around the world.” 3. A harmonized pop section with “Fa-la-la-la-la” vocables (in B♭). Someone presents a present to the wife: “We have a remedy… we’ll give him eagle’s wings.” 4. A drum-rolled, creeping two-note guitar figure. She meets her seducer: “My name is Ivan, I’m an engine driver.” He knows her husband and relays his messages. 5. A three-note boogie (in C) where the speaker ensures the wife that hubby will “soon be home.” 6. A flowing, harmonized rocker (in D) where Pete (Jerald) returns in disbelief as she repeats his name in glee. She confesses her infidelity, but he chimes “you are forgiven.” A Quick One also includes a cover of the Holland–Dozier–Holland Motown classic “Heat Wave,” a 1963 hit for Martha & the Vandellas. Sessions took place between late August and November at IBC, Pye, and Regent Sound Studios. Lambert produced A Quick One and its surrounding singles in succession with three Fontana singles by the pop-vocal duo The Merseys, a spinoff of The Merseybeats that charted with “Sorrow.” A Quick One has cover art by illustrator Alan Aldridge, who supplied a Pop Art illustration of The Who with a song title from each member emitted with onomatopoeic letters. The back cover shows their four disembodied heads against a black background. Aldridge notched further visual credits on albums by Cream (Farewell) and Family (Family Entertainment). In North America, the album appeared on Decca in February 1967 as Happy Jack. The song was added to US copies (in place of “Heat Wave”) to capitalize on its popularity in Canada and the US, where “Happy Jack” became their first Top 30 hit on the Billboard Hot 100 (at No. 24). A Quick One reached No. 4 on the UK Albums Chart. On December 31, The Who appeared at London’s Roundhouse as part of Psychedelicamania, billed as a New Year’s Eve All Night Rave with performances by rising stars The Move and Pink Floyd. On March 25, 1967, The Who made their US live debut as part of a 5th Dimension package tour at the RKO 58th Street Theater in New York City, where they did a nine-day engagement of three nightly shows through April 2. 1967: Singles, US Tour and Third Album “Pictures of Lily” On April 22, 1967, The Who released “Pictures of Lily,” a harmony-pop number concerning a teenage boy’s lustful obsession with an old-time pinup. The boy falls in love with the subject, only to learn that she’s been dead since 1929. The pinup in question is purportedly based on Edwardian actress–socialite Lillie Langtry (1853–1929). This was their first single on Track Record, a new label established by Lambert and Stamp. “Pictures of Lily” consists of polychord descents that start in C and land in G. On each pivotal third line where the father speaks, the progression shifts to A minor and lands in E minor. After revealing that his “nights ain’t quite so lonely,” Roger sings call-and-response with the band, who double-emphasize the line “I don’t feel bad at all.” The chorus follows the same progression as the verses; dropping to A major for the “solved my childhood problem” line. The post-chorus features stop–start power chords (E-E-E→D→E) that became commonplace in future Who rockers. Entwistle’s French horn solo, played in emulation of the WWI klaxon alert, pivots the song to a new verse. Entwistle wrote the b-side, “Doctor, Doctor,” a fast, banging proto-punk song with frantic vocals, buzzing guitar, and hyperactive percussion. The lyrics concern a hypochondriac with a litany of suspected ailments. The song is mostly in A but drops to a dominant chord and zigzags between sevenths, sixes, and fourths — a further example of their increased complexity. On April 5, 1967, The Who embarked on a two-week tour of Germany, where they played thirteen shows. While there, they performed “Pictures of Lily” for the May 1 broadcast of the Radio Bremen music program Beat-Club. By now, their mod look had given way to longer hair and looser cuffs. In the clip, Moon sports a white ruffled shirt that frills out from his black velvet jacket. After that taping, The Who played their first shows in Finland (4/30: Ice Hall, Helsinki), Norway (5/2: Njårdhallen, Oslo), and Belgium, where they performed at the May 20 Woluwe Festival in Brussels. “Pictures of Lily” reached No. 4 in the UK, No. 5 in Germany and the Netherlands, No. 6 in Belgium, and No. 9 in Austria. First US Tour On June 14, 1967, The Who embarked on their first proper US tour in Ann Arbor, Michigan, where they opened for Herman’s Hermits at the Fifth Dimension Club. The following night, The Who played the Cellar, a teen club in Arlington Heights, Illinois, where the power failed after fifteen minutes. They performed “Substitute,” “Happy Jack,” and roused the crowd with “My Generation” as the lights flickered. The Who flew out to California for a June 16–17 engagement at the Fillmore Auditorium in San Francisco with Oakland soul-rockers the Loading Zone. The Who consolidated their stateside breakthrough at the Monterey International Pop Festival, a three-day event at the Monterey County Fairgrounds with sets by Al Kooper, The Electric Flag, Eric Burdon & the Animals, Hugh Masekela, Janis Joplin, Lou Rawls, Laura Nyro, Otis Redding, and the Steve Miller Band. The Who played their six-song set on the evening of day three (June 18) ahead of the festival’s other breakout act, the Jimi Hendrix Experience. Burdon introduced The Who’s set, which featured the last-four singles (barring “I’m a Boy”) plus “A Quick One” and the Eddie Cochran standard “Summertime Blues.” At the climax of “My Generation,” Townshend smashed his guitar into an amp stack that Moon rigged with smoke bombs. As concert staff rushed the stage before a stunned audience, Keith kicked over his drum kit and the band walked off. After a three-song set by the Grateful Dead, Hendrix played a nine-song set of material from his recent debut, Are You Experienced?, along with several covers, including The Troggs‘ recent “Wild Thing,” which he ended by setting his guitar on fire. On June 28, The Who rush-recorded cover versions of The Rolling Stones hits “The Last Time” and “Under My Thumb.” Though done as a fund-raiser for Mick Jagger and Keith Richards — both recently jailed on drug charges — the pair were freed and acquitted by June 30 when the single hit shelves. Townshend played bass on this recording in lieu of Entwistle, who was away on his honeymoon. The Who commenced a two-month North American tour on July 7, 1967, at the Shore Club in Lido Beach, NY. They covered forty-seven cities, including Portland, Ore. (7/14: Memorial Coliseum), Seattle (7/15: Center Coliseum), Houston (7/22: Sam Houston Coliseum), Baton Rouge, Louisiana (7/26: Redemptorist High School Football Stadium), Chicago (8/5: International Amphitheater), Boston (8/8: Boston Gardens), and Philadelphia (8/24: Civic Center). On August 12, they played the Asbury Park Convention Center with the Blues Magoos. The tour wrapped on September 9 at the International Center Arena in Honolulu, Hawaii. On September 17, The Who performed “My Generation” on The Smothers Brothers Comedy Hour, a CBS sketch–variety show hosted by the team of Tom and Dick Smothers. During the song’s closeout jam in C major, as smoke billowed behind a pair of amps, Townshend hammered his Gibson into the left amp and sparked a blast. As Pete continued thrashing his guitar, Moon kicked over his left bass drum and then the right one, which (unbeknownst to him) was spiked with three (not one) cherry bombs. This set off a huge explosion that knocked Keith to the ground with shrapnel in his arm. Pete, who suffered tinnitus from the second blast, unstrapped the acoustic guitar from Tom Smother’s arm and smashed it to the ground. “I Can See for Miles” The Who’s eighth proper single, the psychedelic anthem “I Can See for Miles,” appeared in the US first on September 19, 1967, on Decca. It’s about a man who claims to have “magic in my eyes,” which allows him to see the Eiffel Tower and the Taj Mahal from anywhere on clear days. Consequently, he saw the little tricks his girl played when he was far away. Now, she’s “gonna lose that smile.” “I Can See for Miles” opens on a sizzling low E chord with unrestrained drum fills. On each verse, Roger reveals what he knows amid Townshend’s overdubs (acoustic strum and searing, sitar-like leads) on a three-chord progression (E… G→A) overlaid with cymbal mist. The two-line verse is followed by a slow, harmonized pre-chorus: “I can see for (G) miles and (A) miles and (C) miles and (D) miles and (E) miles….” A second verse (modulated to A) is followed by a terse, chilling bridge, where Roger tells the lying subject “here’s a poke at you, you’re gonna choke on it too; you’re gonna lose that smile, because all the while,” which opens the proper chorus: a windy two-chord floodgate: “I can see for (D) miles and miles (A), I can see for…” (repeat). After Townshend’s one-note guitar solo (a briskly strummed, low open E string) and a repeat of the main parts, the group crests in G for a harmonized repetition of the words “miles and miles and miles and….” The song fades on a runout of the proper chorus. The backing track to “I Can See for Miles” was recorded in May 1967 at CBS Studios in London. The vocals and overdubs were added in August at Talentmasters Studios in New York during a stop on their US tour. The Decca b-side was “Mary Anne with the Shaky Hand,” a three-chord acoustic folk-pop harmony song about a pretty girl who, despite here tremors, fascinates the singer more than his prior dance partners (Linda who cooks, Jean who reads, Cindy who sews). “I Can See for Miles” reached No. 4 in Canada and No. 9 in the US, where it became their highest-charting single on the Billboard Hot 100. On October 13, “I Can See for Miles” appeared in the UK (Track) and Europe (Polydor) with a different b-side: Entwistle’s “Someone’s Coming,” a brassy mid-tempo number with tense two-note bass and unrestrained drumming. It concerns forbidden love; the title refers to the subject’s disproving father. Townshend wrote “I Can See for Miles” a year earlier but saved it for their transatlantic breakout juncture. With its phasing and modulated, elongated chorus, the song remains a radio evergreen and a Who signature. On October 22, 1967, The Who played London’s Saville Theatre with American psychsters Vanilla Fudge. They embarked on an eleven-date UK package tour with Traffic, The Herd, Marmalade, and The Tremeloes, playing two nightly shows between October 28 (City Hall, Sheffield) and November 10 (Adelphi, Slough). The Who Sell Out The Who released their third album, The Who Sell Out, on December 15, 1967, on Track (UK) and Decca (US). It features eleven proper songs, including both sides of their preceding Decca single (“I Can See for Miles,” “Mary-Anne with the Shaky Hand”), plus multiple interludes that mimic advertisements and public service announcements. The tracks are sequenced to resemble a pirate radio broadcast. The Who Sell Out opens with a brassy mock radio indent (“Monday… Tuesday…”) followed by “Armenia City in the Sky,” a phased, droning psychedelic rocker with buzzing layered sustain — written and sung by band-friend Speedy King, the vocalist of Track signees Thunderclap Newman. Side one also contains three Townshend originals: “Tattoo,” “Our Love Was” and the product-themed “Odorono,” a comedic romp about a pretty young hopeful who fails an audition due to body odor. Pete sings “Odorono” and “Tattoo,” an echoey ballad with descending finger-picked chords (mostly in B♭, Fmajor7, and D) and lyrics about two young brothers expressing themselves with tattoos. “Our Love Was” uses similar chords with stormy drumming, vocable bridges, and buzzing guitar breaks. Side two opens with a mock advert for a Charles Atlas exercise course, which purports to turn each customer into “A BEAST OF A MAN” (spoken by a deep-voiced Entwistle). Townshend sings lead on two further contributions: “I Can’t Reach You,” a mid-tempo piano ballad with a descending chromatic melody (in C major); and “Sunrise,” a sparse, plucked acoustic ballad with virtuoso cadenzas. He harmonizes with Roger on “Relax,” a flowing organ-psych tune. Entwistle contributed two mock advert shorts (“Heinz Baked Beans,” “Medac”) and “Silas Stingy,” a creeping harmony-psych number with icy cathedral organ and lyrics about an old miser who starves for pennies, wears tattered unwashed clothes and carries bags of money in a heavy black box with a big padlock. The Who Sell Out climaxes with “Rael (1 and 2),” the band’s second mini-opera. It begins as a stately organ march in C major that laments the downfall of Rael, the narrator’s spiritual home. Weary of encroachment and the loss of his heritage, the protagonist sets sail. He instructs the captain to return to the same spot on Christmas and check the color of the waving flag: yellow means flee; red means stay. The second movement has a staccato guitar figure (in D) with the chant “He’s crazy if he thinks we’re coming back again,” spoken by the Captain on behalf of his crew. This cuts to an instrumental passage of stormy drums and descending power chords. Original vinyl copies of the album end on a locked runout groove of a crackling vintage gramophone sound: an intended advert for Track Record. Sessions for The Who Sell Out took place in September–October 1967 at multiple London studios (IBC, Pye, De Lane Lea, CBS). Stamp co-produced the album with Lambert, who co-engineered Sell Out with Damon Lyon-Shaw, an emerging soundman who worked on the upcoming albums by Eclection and Pentangle. American musician–producer Al Kooper (then of Blood Sweat & Tears) plays organ on the first half of “Rael.” The jingles were produced by PAMS Productions in Dallas, Texas. The Who Sell Out is housed in a single sleeve that depicts each member in a mock advertisement for a giant-sized food or hygiene product. The front cover shows Roger in a tub of Heinz Baked Beans and Pete applying a giant container of Odorono. On the back cover, Keith applies a giant tube of Medac to an enlarged pimple and John, clad in a leopard-print toga, caresses a beach blond in one arm and a teddy bear in the other, in emulation of an Atlas ad. Photographer David Montgomery and designers David King and Roger Law also did cover visuals for Track labelmate Jimi Hendrix on his 1967/68 albums Axis: Bold as Love and Electric Ladyland. Law later co-conceived the satirical puppet show Spitting Image. The Who Sell Out reached No. 13 on the UK Albums Chart and No. 48 on the Billboard 200. Early Track copies came with a six-fold poster of an upside down conehead character with butterfly wings on brown panels over a checkered background. “I Can See for Miles” was the album’s only single outside Japan, where “Armenia City in the Sky” appeared on a Polydor 7″ (b/w “Mary-Anne with the Shaky Hand”). 1968: Singles “Call Me Lightning” On March 16, 1968, The Who released “Call Me Lightning,” an uptempo surf-rocker with searing psych guitar and a damp bass solo. Its lyrics concern a sly guy with the confidence to approach any girl he fancies. To show his friends “why they call [him] lightning,” he chats up a girl on the dance floor and wows her with talk of his shiny XK-E (the Jaguar E-Type, a sixties British sports car). The song consists of two chords (E→A, later modulated to G→C) with four downbeats per bar. Each line of lyrics is followed by a harmonized “dum dum dum doo day” vocable. “Call Me Lightning” has a video in which Pete, John, and Roger have sips of tea, then unbox a life-size wind-up toy figure (Keith) who escapes their bounds. A Benny Hill-style chase ensues through an abandoned factory. Entwistle wrote the b-side, “Dr. Jekyll and Mr. Hyde,” a comedic horror-psych number inspired by the 1886 gothic novella by Scottish author Robert Louis Stevenson. It opens with a stark, semi-tone chordal shift where John twice cries out “Hyde,” extending the vowels as the song lands on a thundering C major. Roger, in the character of Dr. Jekyll, wonders about the disappearance of his money (first verse) but acknowledges the effects of his potion (second verse) and warns in the third verse “Whenever you’re with me make sure it’s still me; I’ve got to the stage I can’t tell which I’ll be.” Musically, the song persists in nervous 3/4 time with a pensive three-chord progression (EEE–CCC–BBB–E…) amid echoing tremors and irregular downbeats. “Call Me Lightning” appeared as an a-side in North America, Oceania, Japan, and multiple European territories, but not the UK. It reached the Top 30 in the US, Canada, Australia, and the Netherlands. Lambert produced both sides of the single in January 1968 at IBC. Between the single’s completion and release, The Who embarked on a package tour of Australia with Small Faces (performing material from There Are But Four Small Faces) and ex-Manfred Mann singer Paul Jones. The Who performed two shows nightly in Brisbane (1/20/68: Festival Hall), Sydney (1/22–23: Sydney Stadium), Melbourne (1/25–26: Festival Hall), and Adelaide (1/27: Centennial Hall). Amid hostile press and hotel vandalism, The Who were arrested after a midair disturbance and banned from the country by Prime Minister John Gorton. They flew to New Zealand for two nightly shows in Auckland (1/29: Town Hall) and Wellington (1/31: Town Hall) — the last of their efforts in this region. In late February, The Who embarked on a six-week tour of North America, where they played three-straight Bay Area shows with jazzman Cannonball Adderly (2/22: Fillmore Auditorium; 2/23–24: Winterland) and two NYC dates with Buddy Guy and jazz-rock pioneers Free Spirits (4/5–6: Fillmore East). “Dogs” On June 14, 1968, The Who released “Dogs,” their ninth proper UK a-side. It’s a medium–uptempo pop song about a couple who meet at the dog track and become happy greyhound parents. Daltrey sings in a Cockney accent on this song, which has a three-chord verse (A→B→A→G) with a vocable melody and a harmonized chorus where the man reveals “There was nothing in my life bigger than beer” before becoming a dog person. Moon plays woodblock throughout the piece, which ends on a spoken-word coda with harmonica played by photographer Chris Morphet, a friend of Townshend’s. “Dogs” appeared as a single on Track (b/w “Call Me Lightning”) and European Polydor (b/w “Circles”). Lambert produced the song on May 22 at Advision Studios. Entwistle later remarked that “Dogs” would have been better suited for the Small Faces, whose Cockney-accented “Lazy Sunday” (from their 1968 concept album Ogdens’ Nut Gone Flake) bears similar English traits. The Who embarked on a summer ’68 North American tour, starting with a June 28–29 engagement at the Shrine Auditorium in Los Angeles with Fleetwood Mac and Track labelmates the Crazy World of Arthur Brown. In Detroit, they played the Grande Ballroom (7/13) with the Frost and the Psychedelic Stooges, who eventually shortened their name to The Stooges. The Who also played the Pop Music Festival, a July 18 event at the Rhode Island Auditorium in Providence with Blood Sweat & Tears (then performing Child Is Father to the Man, their only Kooper-led album). On July 24. The Who played the Philadelphia Music Festival at JFK Stadium with Pink Floyd, The Troggs, and Canadian soul-rockers Mandala. Townshend and Lambert co-produced the June 1968 Track release The Crazy World of Arthur Brown, which spawned the theatrical transatlantic hit “Fire.” “Magic Bus” On July 27, 1968, The Who released “Magic Bus,” an acoustic rocker (in A) with crisp open chords over the Bo Diddley beat. Roger sings about the daily ride he takes to see his baby, interjected with the harmonized backing line “Too much, magic bus.” His strong desire to buy the bus (“I want it, I want it, I want it, I want it…”) is rebuffed by the driver (Pete), who snaps back “You caaaan’t have it!” Entwistle sticks to the root note on this song, which features heavy use of maracas and claves. In live performances, the song’s loose mid-section allowed for lengthy jam sequences. Townshend wrote “Magic Bus” in 1965 during recording sessions for My Generation. His 1966 demo was circulated by The Who’s music publicher, Fabulous Music. This led to a 1967 recording of the song by the Decca pop trio Pudding. Lambert produced the Who version on May 29, 1968, at Advision. “Magic Bus” appeared on UK Track (b/w “Dr Jekyll & Mr. Hyde”), European Polydor (b/w “Bucket T”), and North American Decca (b/w “Someone’s Coming”). The Decca single reached No. 6 in Canada and No. 10 on the US Cash Box Top 100. “Magic Bus” has since become a Who signature and radio evergreen. In September 1968, US Decca issued Magic Bus: The Who on Tour, a compilation with the recent hit and stereo versions of two cuts from The Who Sell Out (“I Can’t Reach You,” “Our Love Was, Is”), one from A Quick One (“Run Run Run”), and mono versions of assorted non-album tracks, including two from Read Steady Who (“Disguises,” “Bucket T”) and the standalone sides “Pictures of Lily,” “Doctor, Doctor,” “Someone’s Coming,” “Call Me Lightning,” and “Dr. Jekyll and Mr. Hyde.” Despite the title, Magic Bus: The Who on Tour contains no live material. The compilation is housed in a single sleeve that shows John, Roger, and Pete hanging from the outside of a double-deck tour bus with hippie floral art. Keith is seen through the window of the open door from which John straddles outward. The Who toured the UK during the final three months of 1968. On October 5, they played the Roundhouse with Blossom Toes and The Fox, a shortplayer psych act with original Yardbirds guitarist Top Topham. On the 18th, The Who played an all-nighter at London’s Lyceum with CWoAB, the Alan Bown Set, Elmer Gantry’s Velvet Opera, Skip Bifferty, and folk newcomers Strawbs. In November, The Who headlined multi-act bills with CWoAB, Small Faces, Joe Cocker, and the Mindbenders. Select dates featured newcomers Yes and Tea and Symphony (11/16: Middle Earth, London) and Free (11/17: Birmingham Theatre). On December 11, 1968, The Who performed at Intertel Television Studios, Wembley, as part of the Rolling Stones Rock ‘n’ Roll Circus, a multi-act event filmed on a makeshift circus stage for an intended BBC broadcast. The show — which also featured sets by Marianne Faithful, American bluesman Taj Mahal, and newcomers Jethro Tull — went unaired due to the Stones’ dissatisfaction with their performance. The Who also performed at ORTF Studios in Paris for the December 31 French TV broadcast “Surprise Partie,” which also featured sets by Small Faces, Booker T and the MGs, Pink Floyd, The Troggs, The Equals, Joe Cocker, Fleetwood Mac, and local beatsters Les Variations. Meanwhile, Townshend took to the teachings of Indian spiritual master Meher Baba, whose message of love and introspection inspired the concept for the upcoming Who album. This would be a four-sided rock opera: a format that — since The Who’s recent mini-operas — had spawned 1967/68 full-album works by Nirvana (The Story of Simon Simopath), The Pretty Things (S.F. Sorrow), and The Twilights (Once Upon a Twilight). 1969: Rock Opera, Tour, Woodstock Tommy The Who released their fourth album, Tommy, on May 17, 1969, on Track and Decca. It chronicles the journey of Tommy, a psychosomatically disabled boy who excels at pinball and achieves guru status. According to a plot synopsis that followed the album’s release, British Army Captain Walker went missing during WWI. Back home, Mrs. Walker gives birth to their son. Captain Walker unexpectedly returns only to catch his wife with another lover, who the irate Captain shoots in front of his young son. Mrs. Walker convinces the boy that he didn’t see or hear what happened. Tommy goes deaf, dumb, and blind and relies on his inner-psyche for senses. Tommy’s parents — weary of his handicaps and inability to comprehend religion — leave him in the hands of abusive relatives (Cousin Kevin, Uncle Ernie) and the Hawker, a fraudulent doctor whose wife, the Acid Queen, introduces Tommy to LSD. As a teenager, Tommy’s heightened sense of vibration allows him to master pinball. His parents suspect his disabilities are psychosomatic rather than physical and place him in front of a mirror, where he stares endlessly at his reflection. When Mrs. Walker smashes the mirror, Tommy regains his senses and starts a spiritual movement. Tommy leads his followers to a religious camp, but they soon abandon his teachings. Dejected, Tommy takes solace in self-reflection. At 74:44, Tommy consists of twenty-four numbers — three instrumentals, fourteen proper songs, and seven interlude tracks — across four sides. “Overture” — Instrumental. Entrance chords, followed by two main themes: “See Me, Feel Me” and “We’re Not Going to Take It.” Vocable variation of “See Me” theme, followed by “Listening to You.” Horn variation of “We’re Not Going to Take It,” followed by “Pinball Wizard” strum, which leads to… “It’s a Boy” — Finger-picking acoustic number (in D) with outline of Mrs. Walker’s predicament, followed by a folksy guitar solo and the gender reveal. “1921” — “Overture”-like entrance. Townshend vocals. Jangly verses that anticipate 1921. An argument ensues over which two adults will enjoy ’21 (the fatal struggle is lyrically ambiguous). The harmonized bridge (“You didn’t hear it, You didn’t see it, You won’t say nothing to no-one”) is the part where Tommy goes deaf, dumb, and blind. “Amazing Journey” — Drop chords (C→G.. A→E.. D→A..) with backward claves. Lyrics detail Tommy’s imagination and enhanced inner-senses. Picks up with windy acoustic strum, crisp bass and hyperactive drum fills. “Sparks” — E major strum with winding sound. Backward effects. Shift to B heralds the theme to “Rael (Pt. 2)” from The Who Sell Out, which starts in its original key (D), then modulates to B before the song crests in G. “The Hawker” — Jangly chordal sustain (in E), then plucked, staccato figure (in G minor) with pounding timpani. The hookline (“You talk about your woman, I wish you could see mine”), references the quack doctor’s drug-peddling wife, the Acid Queen, who he claims can give eyesight to the blind. “Christmas” — Harmonized two-chord verse (“ooos” followed by laughter behind Roger’s vocals). Talks of the boy’s inability to understand the Christmas ceremony (“Tommy doesn’t know what day it is”) and its religious meaning (“How can he be saved?”). Townshend’s terse, repeated utterance of “Tommy can you hear me?” (in G minor) is followed by the first vocal appearance of the “See me, feel me, touch me, heal me” theme. “Cousin Kevin” — Staccato, two-note figure (I-II-I-II..) over shifting root note (G…F#…). Soft harmonized verses that slowly reveal the true nature of Kevin, a self-proclaimed school bully, who wants to tie Tommy to a chair and duck his head underwater. Backward cymbals over pensive open-cadence bridge. “The Acid Queen” — Townshend vocals over staccato guitar descent and deep bass. The Hawker’s wife claims she can mend Tommy’s aching heart and make him a man, but also break his heart and tear his soul apart. She wants him for one night, then another. “Underture” (10:04) — Opens on a variation of “Rael (pt. 2)” theme (in C) with acoustic guitar and cymbal spray. Swells with drums and rattling tambourine on the eight-note bridge. A full exploration of the theme’s nuances with modulations and alternating loud–soft passages. “Do You Think It’s Alright?” — Interlude where the parents debate whether they should leave Tommy with his iffy uncle Ernie. “Fiddle About” — Music hall number with French horn. Tommy is now in the care of Ernie, who brags “You won’t shout as I fiddle about.” “Pinball Wizard” — Uptempo rocker (in B, hammered thirds) with brisk acoustic strumming and raunchy electric power chords. Witnesses marvel at how “that deaf, dumb, and blind kid.. sure plays a mean pinball.” The reigning wizard hands his pinball crown to Tommy. Modulates to C# on final verse. Electric picking fadeout. “There’s a Doctor” — Piano-thumping music hall interlude about a nearby doctor. “Go to the Mirror!” — Three-chord riff (FFFFF…C→B♭) with the doctor’s diagnosis: Tommy is unreceptive but his pupils dilate under light. Townshend sings the second vocal occurrence of the “See me, feel me, touch me, heal me” theme. Second verse→theme repeat→third verse. The doctor orders Tommy to “Go to the mirror, boy!” Expressing wonder over what is happening in Tommy’s head, the band sings the first vocal occurrence of “Listening to You.” “Tommy Can You Hear Me?” — Acoustic harmony interlude, descending from G major (hammered thirds), landing on D for repetitions of the boy’s name. “Smash the Mirror” — Blues rock interlude with pile-driving drums and belted vocals. After “rise… rise… rise…” bridge, Mrs. Walker smashes the mirror in front of Tommy. “Sensation” — Flowing track (in D) with crisp acoustic guitar, Townshend vocals, and French horn refrain (in descending C). Tommy recovers his senses and feels overwhelmed by the newfound sensations. He uses his pre-established fame and his miracle cure to marshal followers. “Miracle Cure” — News alert about Tommy’s restored ability to see, hear, and speak. “Sally Simpson” — Finger-picking folk tune with barroom piano about Tommy’s groupie. Despite her and Tommy being “worlds apart,” she runs away from home to meet him at a worship event. She rushes the stage during his sermon but a guard throws her off and she lands on her face, requiring sixteen stitches. Tommy, surrounded by stage lights, only knows that the “crowd went crazy.” Years onward, the scar on her cheek reminds her of Tommy’s smile. “I’m Free” — Syncopated uptempo guitar–piano number with ascending pattern (EE→GG→AAA) that modulates a step (to F#). Soft airy vocals start on the chorus, intercut by windy, harmonized refrains (“And I’m waiting for you to follow me”). Only one verse (“no one had the guts to leave the temple”). Crests in D for acoustic fingerpicked middle-eight. Coda: “How can we follow” over reprised “Pinball Wizard” strum. “Welcome” — Acoustic ballad in 3/4 (in G). “Come to this house” is an invitation for new commune members. Brisk 6/4 pattern (in E). Tense passage (“There’s more at the door”) indicates the Walker home is getting overcrowded with Tommy’s devotees. “Tommy’s Holiday Camp” — Vaudeville interlude with circus organ theme. “We’re Not Gonna Take It” — Flowing intro (in G) opens with “Welcome to the camp.” Tommy lays the commune ground rules (“You’ve got to play pinball”). Followers start whispering “We’re not going to take it.” They open up about their opposition (“Going to break it, going to shake it..”). Tommy continues to preach the gospel (“Here comes uncle Ernie to guide you to your very own machine”). Followers restate “We’re not gonna take it,” then add “We forsake you, going to rape you, let’s forget you better still.” Abandoned by his followers, Tommy sings “See me, feel me, touch me, heal me” four times over a slow, soft piano–vocable backdrop. The full band harmonizes the “Listening to you” lyrics over a flowing, ascending open cadence with splashing cymbals and swelling organ. The Who started work on Tommy on September 19, 1968, at IBC. The album initially had no central plot or finalized name. After several working titles (Amazing Journey, Journey into Space, The Brain Opera) Townshend settled on Tommy because it was a common British name. The album’s plot grew out of “Amazing Journey,” a summary number. Lambert wrote a script, Tommy (1914–1984), which brought focus to the project, which evolved into a double-album with an overture and narrative numbers. Sessions wrapped on March 7, 1969. Tommy features Townshend on the Gibson J-200 acoustic and the Gibson SG solid-body electric. He also plays organ and piano: two instruments he recently learned that broadened his compositional syntax. Lambert produced Tommy, which Lyon-Shaw engineered in succession with titles by Pentangle and The Factory. Tommy is housed in a tri-fold cover that depicts a spherical mesh of blue sky and seagulls, inter-cut with black space. The sphere fades into the dark, where seagulls swarm the edges and a fist punches out through the dark void. The inner triptych depicts a hand reaching up at vintage wall lights (left) on a wall that turns dark (center). The hand reappears in the dark before a seagull-flanked set of stain-glass windows (right). Original copies contain a twelve-page booklet with lyrics and a visual libretto of the blind boy’s impressions, which include images of obscured reflections, cracked silhouettes and magicians in the dark. The artwork, by illustrator Mike McInnerney, is a visual representation of Tommy’s sense of the world. McInnerney, a fellow follower of Meher Baba, noticed the guru’s influence on the Tommy concept. At Polydor’s insistence, images of the four Who members were added to the black holes on the front cover. Later CD issues omit this detail. McInnerney also did the artwork to Breathe Awhile, the 1969 singular album by Arcadium. Tommy reached No. 2 on the UK Albums Chart and No. 4 on the Billboard 200. The album spawned three singles: (b/w “Dogs (Part Two)”), Tommy Tour The Who made sporadic appearances on the UK club circuit in the winter–spring of 1969 as sessions wrapped on Tommy. On April 2, they headlined the Rag Ball at the Pavilion Ballrooms in Bournemouth, supported by the Third Ear Band. Meanwhile, Townshend helped Speedy King assemble Thunderclap Newman, which signed with Track and cut their first single, “Something In the Air.” Townshend, under the pseudonym Bijou Drains, produced and played bass on the single and their ensuing album, Hollywood Dream. After a round of warm-up shows in Scotland, The Who played a private showcase of Tommy before invited press at Ronnie Scott’s Jazz Club on May 1 and 2, 1969. The Who performed Tommy a total of 187 times over the next nineteen months across North America and Europe. Daltrey now sported long, curly hair and open fringe jackets. The Who launched the first leg of the Tommy tour with a three-night engagement (May 9–11) at Detroit’s Grande Ballroom. They performed three-fourths of the album, omitting “Overture,” “Cousin Kevin,” “Underture,” “Sensation,” “Sally Simpson,” and “Welcome.” Their setlist also included “Happy Jack,” “A Quick One, While He’s Away,” “My Generation,” “Magic Bus,” plus “Summertime Blues,” and the Mose Allison standard “Young Man Blues.” Performances of “My Generation” often broke into lengthy jam sections where they interpolated themes from Tommy. The first North American leg covered Toronto and eleven US cities with multi-night engagements in Boston, Chicago, New York, and San Francisco. They played twenty-four dates total with two nightly shows in NYC and SF. Opening acts included Led Zeppelin (5/25/69: Merriweather Post Pavilion, Columbia, Md.), Buddy Rich & His Orchestra (5/29–31: Kinetic Playground, Chicago), Bonzo Dog Band (6/13: Palladium, Hollywood), and Woody Herman (6/17–19: Fillmore West). The Who commenced the second leg of Tommy at London’s Royal Albert Hall, where they played two shows on July 5 as part of a running event dubbed Pop Proms 2. They covered nine UK cities through August 9, culminating with an appearance at Plumpton Racecourse as part of the 9th National Jazz and Blues Festival, which also featured sets by Aynsley Dunbar, Blodwyn Pig, Chicken Shack, Circus, East of Eden, Fat Mattress, Groundhogs, Hard Meat, The Idle Race, Jigsaw, Keef Hartley Band, Keith Tippett, Magna Carta, The Nice, Pentangle, Roy Harper, Soft Machine, Steamhammer, and Wallace Collection. A breakout act that weekend was King Crimson, whose debut album (In the Court of the Crimson King) Townshend declared “an uncanny masterpiece” in his advance review. The Who paused the tour and flew to New York state, where they appeared at Max Yasgur’s Farm in Bethel: the site of the Woodstock Festival, a four-day event with thirty-two acts, including Crosby, Stills & Nash, Incredible String Band, Mountain, Quill, Santana, and Ten Years After. The Who took the stage at 5:00 am on August 17, between sets by Sly & the Family Stone and the Jefferson Airplane. They were briefly interrupted by Yippie activist Abby Hoffman, who ranted about imprisoned poet and MC5 manager John Sinclair before Townshend booted him off stage. The Who resumed their UK tour with seven further dates, including an August 30 appearance at the second annual Isle of Wight Festival, which also featured sets by the Battered Ornaments, Blonde on Blonde, Edgar Broughton Band, Eclection, Family, Gary Farr, Free, Gypsy, Heaven, Marsha Hunt, Marsupilami, Mighty Baby, The Moody Blues, and numerous acts from the Plumpton event. The Who wrapped leg two of Tommy on September 29 at the Concertgebouw in Amsterdam. On October 5, The Who launched the third leg of the Tommy tour with thirty North American stops, including shows in Boston with The Flock (10/10: Commonwealth Armory) and Tony Williams Lifetime (11/11–12: The Boston Tea Party). On October 31, The Who played Chicago’s Kinetic Playground with The Kinks, who performed material from their newly released rock opera Arthur (Or the Decline and Fall of the British Empire). The Kinks had just overcome a musician’s union ban that prevented them from touring the states. The Who commenced the fourth leg of Tommy on December 4 at the Hippodrome in Bristol. They played five shows that month, breaking for the holidays after a Dec. 9 set at City Hall in Newcastle. 1970: New Material, Live Album, Tommy Shows “The Seeker” On March 21, 1970, The Who released “The Seeker,” a mid-tempo hard rocker (in A) with ironic lyrics about a ruthless, insatiable character. As he copes with misanthropy (“People tend to hate me ’cause I never smile; as I ransack their homes, they want to shake my hand”) and disillusionment (“I asked Bobby Dylan, I asked The Beatles, I asked Timothy Leary, but he couldn’t help me either”), he concludes that satisfaction equals death: a sentiment stated in a two-chord crescendo (“I won’t get to get what I’m after, till the day I die”). The Who recorded and self-produced “The Seeker” in January 1970 at IBC. It features piano by Nicky Hopkins, who played on the Rolling Stones’ recent album Let It Bleed. Daltrey wrote the b-side, “Here for More,” a rustic-rock song about freewheeling that opens with strummed acoustic power chords and precedes with finger-picked, countryfied verses (in B). “The Seeker” went Top 20 in the UK, Netherlands, Austria, and Germany. The Who performed it sporadically during 1970. Between the single’s completion and release, they resumed Tommy performances on the Continent with January shows in Paris, Copenhagen, Cologne, Hamburg, Berlin, and Amsterdam. Townshend included a demo version of “The Seeker” on Happy Birthday, a tribute album to his recently deceased guru Meher Baba (1894–1969). The album features raw acoustic demos of the Baba-inspired numbers “Content,” “Mary Jane,” “The Love Man,” “Begin the Beguine,” and “Evolution,” a bluegrass duet with Small Faces co-leader Ronnie Lane. Happy Birthday appeared in a limited quantity (roughly 2.5k copies) in February 1970 on Pete’s Universal Spiritual League imprint. Live at Leeds The Who continued their fourth leg of Tommy with mid-February shows in Leeds (2/14/70: Leeds University Refectory) and Kingston upon Hull (2/15: City Hall). Their setlist now included “Overture,” “Sally Simpson,” and a new Entwistle number, “Heaven and Hell.” They also performed covers of Allen Toussaint (“Fortune Teller,” covered earlier by The Rolling Stones) and early UK rockers Johnny Kidd & the Pirates (“Shaking All Over,” a 1965 North American hit for Canadian rockers The Guess Who). The tour resumed on April 18 in Leicester. May stops included dates with Jan Dukes de Grey (5/9: Manchester University) and Quintessence (5/15: Lancaster University). The Who wrapped leg four of Tommy on May 16 at Derwent College in York. On May 23, 1970, The Who released Live at Leeds, a 37:43 document of their February 14 show at Leeds Uni. Side one (15:06) contains “Substitute” and three covers (“Summertime Blues,” “Young Man Blues,” “Shakin’ All Over”). Side two (22:37) features elongated renditions of “My Generation” (14:47) and “Magic Bus” (7:50). The performance is characterized by thundering volume; achieved by the band’s Hiwatt CP-103 amplification system. Live at Leeds appeared on Track (UK), Polydor (Europe, Oceania), and Decca (North America). Original copies appear in a stamped manila fold-out cover designed to resemble a bootleg. The inner-spread contains two folders: one with the record and one with assorted mementos, including a 1965 promo photo and hand-written lyric sheets for select songs. In 1980, MCA reissued the album in a conventional sleeve. Later CD versions restore the entire Leeds show with “Heaven and Hell,” all of Tommy, and select earlier staples (“A Quick One,” “Happy Jack,” “Tattoo,” “I Can’t Explain”). Live at Leeds reached No. 3 on the UK Albums Chart and No. 4 on the Billboard 200. “Summertime Blues” was lifted as a single, backed with the otherwise unavailable “Heaven and Hell.” The Who embarked on their fifth leg of Tommy with a third round of US dates, starting with an afternoon and evening show on June 7 at Manhattan’s Metropolitan Opera House. On June 9, they played Denver’s Mammoth Gardens with Sugarloaf, then in the chart with “Green Eyed Lady.” After a round of dates in California and Texas, they played the Philly Spectrum with the James Gang, an Ohio powertrio that befriended The Who. The two acts did further double-bills that summer, including a July 5 show at Detriot’s Cobo Hall where the James Gang played material from their just-released second album Rides Again. The fifth leg wrapped on June 7 at the Tanglewood in Lenox, Mass., where The Who appeared with It’s a Beautiful Day and Jethro Tull, who performed songs from their recent third album Benefit. The sixth and final leg of Tommy commenced on July 25 at Dunstable Civic Hall. The Who did seven Continental dates and twenty-five shows across the UK, including the 1970 Isle of Wight Festival, which also featured sets by Black Widow, Cactus, Chicago, Donovan, Fairfield Parlour, Gracious!, Hawkwind, Lighthouse, Miles Davis, Pink Fairies, Procol Harum, Spirit, Supertramp, T2, Taste, Terry Reid, and The Voices of East Harlem. The Who appeared on day four (Saturday the 29th) along with The Doors, Joni Mitchell, Shawn Phillips, and Emerson Lake & Palmer, who did their second-ever performance that day. The Who’s set — later released on the Columbia–Legacy CD Live at the Isle of Wight Festival 1970 — included three new songs: “I Don’t Even Know Myself,” “Water,” and “Naked Eye,” a song that evolved from the improvised jams during “My Generation.” That summer, The Who recorded all three songs for an intended EP with two additional numbers: “Postcard” and “Now I’m a Farmer.” The live rendition of “Water” is an extended version (10:53) of the six-minute studio track: a loose, riff-laden jam (in F#) with pauses, solos, climactic velocity, and vocal caterwauling by Daltrey, whose style had shifted from his mannered sixties croon to the raspier tone of subsequent work. The Who did their final performance of the Tommy tour on December 20, 1970, at the Roundhouse. After nearly 200 performances, they intended to retire Tommy from the road and pass it onto other mediums, including a proposed film adaptation. However, Townshend rejected Lambert’s Tommy script. As that project went on hold, Pete started work on a new concept inspired by the euphoria he witnessed among Tommy concert attendees. Meanwhile, Moon appeared in Frank Zappa‘s surreal musical film 200 Motels and John Entwistle recorded his debut solo album, Smash Your Head Against the Wall, released in May 1971 on Track. John plays keyboards, flugelhorn, trumpet, and trombone in addition to bass on the album, which features his version of “Heaven and Hell” and eight further numbers, including “Pick Me Up (Big Chicken),” “You’re Mine,” and “What Are We Doing Here?” The guitarist, Dave “Cyrano” Langston, was a Who roadie who later worked as a soundman for Three Man Army and the Sensational Alex Harvey Band. Moon plays Latin percussion on “No. 29 (External Youth)” along with members of the Bonzo Dog Band. 1971: Lifehouse, Who’s Next Lifehouse Townshend’s new work involved an interactive concert where synthesizers would read the biographical data of audience members. This data would translate to musical vibrations, which would form a universal cord (the One Note) that would send each attendee into an eternal state of out-of-body euphoria. The story takes place in the distant future where rock music has been memory holed and pollution has confined most of the world’s population indoors, where people dawn lifesuits that connect to a central Grid (controlled by Jumbo). Lifesuits simulate all forms of human experience with a combination of body sensors and feeding tubes. Bobby, a character who rediscovers 20th century rock music, hacks into the Grid and announces his rediscovery to the world. (Bobby was the concept’s initial working title.) He creates the Lifehouse, a concert hall where attendees can shed their lifesuits and feed their vibrations into the music, which will then create the One Note that will transport everyone to a metaphysical higher existence. The Lifehouse story is told through the eyes of Ray, a patriarch who cultivates food for the lifesuited masses from a farm in Northern Scotland, outside the pollution’s range. His daughter, Mary, runs away to attend the concert. Ray sets out in search of his missing daughter but encounters his younger self, Rayboy. The concert takes place at the Lifehouse, where thousands attend and millions more tune in via lifesuits. Attendees enter their vital signs into the concert machines, which turn the vibrations into musical notes that create songs. Just as everyone’s vitals are read, Jumbo’s forces descend on the Lifehouse to stop the concert and kill Bobby. However, everyone has already disappeared — presumably having vanished to an eternal life of One Note euphoria. Townshend wrote about twenty songs for the Lifehouse project between late 1970 and early 1971, starting with “Pure and Easy,” which lays out the One Note principle. Unlike Tommy, which presented a song-by-song narrative, Lifehouse would have individual pieces that would each invoke fragments of the story, which would then be elucidated by an accompanying movie. Overall, Lifehouse was planned as a double-album rock opera, a movie, and an interactive concert. The movie would have plot-driven content of the Ray, Mary, and Bobby characters interspersed with actual Who concert footage from a series of Lifehouse concerts. Townshend’s ideas were inspired by Meher Baba, who claimed to be an avatar of Brahman; and Sufi musician Inayat Khan (1882–1927), who spoke of correlations between human souls, physical vibrations, and musical sounds. On January 4, 1971, The Who held a concert at the Young Vic Theatre in London, where they intended to create music with the audience, whose vitals — when entered into Townshend’s new VCS3 and ARP synthesizers — would generate tones that would add to the songs in progress. They booked Vic for an ongoing series of Lifehouse interactive concerts on February 14–15, 22, and March 1 before exclusive audiences of press and fan club members. Lifehouse proved untenable on multiple fronts. The Who couldn’t make ongoing use of the Vic, which had other pre-booked events. Attendees, desiring the band’s standard live routine, were unresponsive to the interactive feature. Daltrey and Entwistle couldn’t quite fathom the Lifehouse concept; John believed the plan was for the Who and their audience to live as a commune at the Vic. Plot features like the Grid (a precursor to the internet), lifesuits (a precursor to virtual reality), and people living their lives entirely indoors (a foreshadow of COVID lockdowns) were unimaginable in 1971. Lambert — who typically explained Pete’s concepts and mediated confusion between the other parties involved — was away in New York as the project got underway. Townshend’s inability to communicate the concept to those around him led him to the brink of a nervous breakdown. The Who decided to scrap Lifehouse as a multi-media project and focus on the proposed double-album, which had a side devoted to each main character. Side 1 (Ray’s story) — “Teenage Wasteland” (a ballad inspired by the littered grounds of Woodstock), “Going Mobile” (about freewheeling, off-the-Grid mobile life), “Baba O’Riley” (a rocker that grew from the chorus line of “Teenage Wasteland”), “Love Ain’t for Keeping” (a country-rock ballad about living for the moment), and “Time Is Passing.” Side 2 (Mary/Jumbo’s story) — “Bargain” (an epic rocker about spiritual devotion with the Baba quote “I’d gladly lose me to find you”), “Behind Blue Eyes” (Jumbo’s theme, a two-part song about his public scorn and high self-image), “Too Much of Anything,” “Greyhound Girl,” and “Mary” (both Townshend demos). Side 3 (Bobby’s story) — “Getting in Tune” (about the difficulties of balancing rock stardom with spirituality), “I Don’t Even Know Myself,” “Pure and Easy,” and “Let’s See Action (Nothing is Everything).” Side 4 (The Lifehouse Concert) — “Won’t Get Fooled Again” (a rock anthem that rebukes the power of revolution with the line “Meet the new boss; same as the old boss”) and “The Song Is Over” (a piano-laden power ballad with the triumphant line “I sing my song to the free”). Lambert summoned The Who to New York’s Record Plant Studios, where they recorded songs for their proposed album with added musicianship by organist Al Kooper, Mountain guitarist Leslie West, and jazz pianist Ken Ascher. James Gang frontman Joe Walsh gifted Townshend with a 1959 Gretsch Chet Atkins guitar, Pete’s instrument of choice on the ensuing album. The Record Plant sessions proved troublesome as relations soured between Townshend and Lambert. The Who returned to England for two further Vic showcases on April 26 and May 5. They entered Olympic Studios in Barns with producer–engineer Glyn Johns to rerecord their upcoming album. At Johns’ encouragement, they trimmed the project to a single album, omitting “Teenage Wasteland,” “Time Is Passing,” “Too Much of Anything,” “Greyhound Girl,” “Mary,” “I Don’t Even Know Myself,” “Pure and Easy,” and “Let’s See Action (Nothing is Everything).” After the Olympic sessions wrapped in June, The Who played seven July UK shows and flew stateside for a twelve-city tour, starting with shows on the 29th and 31st at the Forest Hills Tennis Stadium in New York City. Who’s Next The Who released their fifth studio album, Who’s Next, on August 14, 1971, on Track and Decca. It features eight songs from the aborted Lifehouse project: “Baba O’Riley,” “Bargain,” “Love Ain’t for Keeping,” “The Song Is Over,” “Getting in Tune,” “Going Mobile,” “Behind Blue Eyes,” and “Won’t Get Fooled Again.” Entwistle’s “My Wife,” an unrelated number intended for his next solo album, was added to the tracklist late in the sessions. “Baba O’Riley” opens with an arpeggiated ostinato created with a looped marimba effect on the Lowrey Berkshire Deluxe TBO-1 organ — a modal movement inspired by A Rainbow In Curved Air, a pioneering electronic work by American minimalist composer Terry Riley. The song’s title combines the surnames of Meher Baba and Riley. At Moon’s suggestion, The Who invited East of Eden violinist Dave Arbus to play the climactic solo. Entwistle handles piano and brass in addition to bass and vocals on “My Wife,” an exaggerated account of a recent domestic argument. Townshend sings lead on “Going Mobile.” Both songs were recorded by Pete, John, and Keith as a powertrio, minus Daltrey. Hopkins plays guest piano on “The Song Is Over” and “Getting in Tune.” Johns co-produced and engineered Who’s Next in succession with albums by Ben Sidran, Boz Scaggs, Faces, Humble Pie, and McGuinness Flint. Rock photographer Ethan Russell photographed the album’s cover, which shows the Who spread about beside a urine-marked monolith on a spoil heap in Easington Colliery. The back cover shows the disheveled group slumped at a table in a ransacked backstage room inside De Montfort Hall in Leicester. Russell’s photography also appears on albums by Spooky Tooth (Spooky Two), Mary Hopkin, Jonathan Kelly, and the Beatles swan song Let It Be. Who’s Next reached No. 1 on the UK Albums Chart, No. 2 on the French and Dutch charts, No. 3 in Denmark, No. 6 in Norway, and No. 9 in Finland. In North America, it reached No. 5 in Canada and No. 4 on the Billboard 200 in the US, where the album has been certified triple-Platinum by the RIAA. “Let’s See Action” The release of Who’s Next coincided with an August 1971 US tour that covered eleven cities in the Northeast and Midwest, including two-nighters in Boston (8/4–7/71: Music Hall) and Chicago (8/17–19: Auditorium Theater). On September 18, The Who appeared at the Oval cricket ground in South London as part of “Goodbye to Summer: a rock concert in aid of famine relief of Bangla Desh.” The event — which also featured sets by Faces, Mott the Hoople, America, Lindisfarne, and Quintessence — was an English response to the prior month’s Concert for Bangladesh, a charitable event at Madison Square Garden arranged by George Harrison. Moon attended the Madison event’s after-party, where he demolished a drum kit that belonged to Mike Gibbins of Badfinger. On October 15, 1971, The Who released “Let’s See Action,” a barroom piano-pop song (in C#) with shouted chorus lines (by Roger) and a reflective, acoustic middle (sung by Pete) with soul-searching lyrics. Johns co-produced this recording during the Who’s Next sessions. Townshend’s lengthier Lifeshouse demo of the song, titled “Nothing Is Everything (Let’s See Action),” would appear on his first solo album. The single’s Entwistle b-side, “When I Was a Boy,” opens with a descending, horn-laden piano motif (in C) and bursts into a gruff mid-tempo rock arrangement with unrestrained drumming. The lyrics deal with adult reflection on lost youth and inaction regret. “Let’s See Action” reached No. 16 on the UK Singles Chart. The Who embarked on a fifteen-city tour of the UK, starting on September 28 at the Free Trade Hall in Manchester and climaxing with a three-nighter at London’s Rainbow (November 4–6), followed by a Nov. 9 show at Green’s Playhouse in Glasgow. In late October, Track–Polydor issued Meaty Beaty Big and Bouncy, a compilation of The Who’s popular 1965–70 single a-sides, plus the Entwistle signature “Boris the Spider.” The comp is titled after the four members: Meaty (Roger, who was fit), Beaty (Keith, the wild drummer), Big (John, because of his stature), and Bouncy (Pete, the acrobatic performer). The cover, by photographer Graham Hughes (Daltrey’s cousin), shows the modern-day Who (in color) peaking out the window of a brick tenement to a vintage monochrome shot of four young boys (child equivalents of the band) posed Our Gang style on the entrance stairway. Meaty Beaty reached No. 9 in the UK and No. 11 on the Billboard 200. The Who promoted both Who’s Next and Meaty Beaty with a fifteen-city US tour that included two-night stands in Miami (11/25–26: Convention Hall), New Orleans (11/29–30: Warehouse), Denver (12/4–5: Denver Coliseum), and San Francisco (12/12–13: Civic Auditorium). The tour wrapped on December 15, 1971, at the Seattle Center Coliseum. 1972: Singles, Lost Album, Tommy Orchestra “Join Together” On June 6, 1972, The Who released “Join Together,” a belted mid-tempo rocker (in F) with a distinct jawharp drone and unity-themed lyrics (“We want you to joiiiiin together with the band”) tied to the Lifehouse concept (specifically, the story’s interactive concert scene). It reached No. 9 on the UK Singles Chart and No. 16 on the Billboard Hot 100. In the promo video, the band mime on a soundstage before a TOTP-like audience, which Roger joins for the final verse. Moon and Entwistle take turns miming the jawharp (performed on record by Townshend). The single’s b-side is a December 1971 live cover of “Baby Don’t You Do It,” a 1964 Marvin Gaye hit written by Holland–Dozier–Holland. Townshend wrote “Join Together” and two additional new Lifehouse-inspired songs, “Relay” and “Put the Money Down,” at Daltrey’s suggestion. They recorded the first two songs in one day (May 22) at Olympic Studios. A backing track was laid for the third, which remained unfinished until 1974. Meanwhile, John Entwistle recorded his second solo album, Whistle Rymes, another collection of black-humored rock with titles like “Apron Strings,” “I Wonder,” “The Window Shopper,” “I Found Out,” and the horror epic “Nightmare (Please Wake Me Up).” He plays an assortment of instruments (including bass synthesizer) with eight backing players, including Peter Frampton, violinist John Weider (Family, Stud), drummer Rod Coombes (Stealers Wheel), and guitarist Alan Ross. Rock Is Dead—Long Live Rock! In May–June 1972, The Who recorded “Long Live Rock,” an uptempo Berry-esque rocker (in A) about showtime hi-jinks, purportedly based on events at London’s Rainbow Theatre. Each chorus counters “Rock is dead, they say” with the titular line. Midway, they slip to despair (“Rock is dead… rock is dead…”) but renew their vigor for a final go-round. “Long Live Rock” was the intended theme song to Rock Is Dead—Long Live Rock!, a proposed Who album with a biographical arc. Nine songs were earmarked for the album, including the three new Lifehouse numbers and three songs (“Get Inside,” “Riot In the Female Jail,” “Can’t You See I’m Easy”) that Townshend presented as demos. The proposed album was set to accompany a TV documentary on the band’s history. However, they deemed its collective contents too similar to Who’s Next to act as a worthy followup. “Long Live Rock” went unreleased for the time being but the song is sung by Stormy Tempest, a fictional pre-Beatles rocker played by actual fifties singer Billy Fury in That’ll Be the Day, a 1973 coming-of-age drama starring David Essex and Ringo Starr. Moon appears as JD Clover, Tempest’s drummer. On August 11, 1972, The Who embarked on a sixteen-city Continental tour in Frankfurt. They played five shows in Germany, including one at the Deutsches Museum in Munich on September 4 — one day before the hostage crisis at the 1972 Summer Olympics in Munich that ended with the deaths of twelve Israeli athletes. The Who also played two shows each in Denmark, France, and Sweden and a show apiece in Austria, Belgium, Netherlands, and Switzerland. The tour finished on September 14 at the Palasport in Rome, Italy. Tommy (London Symphony Orchestra album) In October 1972, Ode Records released Tommy, an arrangement of the 1969 album by the London Symphony Orchestra and Chambre Choir, conducted by David Measham. It presents the opera in an orchestral-rock setting with a variety of vocalists enacting different characters in the story’s plot. Rod Stewart was initially tapped as the main singer but as the project developed his part was confined to one song, “Pinball Wizard.” Assorted Who members appear on half the tracks, which follow the original album’s sequence. Townshend narrates Tommy, which features Daltrey as Tommy; Maggie Bell (Stone the Crows) as his mother; Graham Bell (no relation — Every Which Way, Bell + Arc) as her lover; Steve Winwood as the missing father; Merry Clayton as the Acid Queen; Entwistle as Cousin Kevin; Ringo Starr as Uncle Ernie; Richard Harris as the Doctor; Richie Havens as the Hawker; and Stewart as the local lad who touts Tommy’s pinball skills. Most of the tracks have one featured vocalist with the Chambre Choir. Daltrey sings “I’m Free,” “Sensation,” “Welcome,” “We’re Not Gonna Take It,” “See Me, Feel Me,” and interacts with Winwood on “Christmas.” Tommy was produced by Lou Reizner and engineered by Keith Grant with arrangements by Wil Malone, an Orange Bicycle alumnus who later did arrangements on the sci-fi concept album by the Passport Records all-star project Intergalactic Touring Band. Tommy is housed in an elaborate package designed by Wilkes & Braun Inc. The two-record set comes in a gatefold sleeve, housed inside a box with a 28-page 11″x11″ booklet of color illustrations and photographs, including multiple images with a pinball machine in assorted outdoor settings with a nearby hovering pinball orb. The vertical gatefold depicts a colorful vintage pinball machine for a game named Tommy. The inner-gates show four stainless steel pinballs on a striped surface; two appear as closeups on the box. The booklet’s front and back leaves show two heterochromatic pinball orbs side-by-side — this image is used as the front cover on CD reissues. The artwork won the Grammy for Best Album Package at the 16th Annual Grammy Awards. Tommy reached No. 4 in Australia and No. 5 on the Billboard 200. In November 1972, Pete Townshend released Who Came First, his first proper solo album. It features the Lifehouse demos “Pure and Easy” (edit), “Time Is Passing,” and the extended “Nothing Is Everything (Let’s See Action),” plus two songs from Happy Birthday: “Content” and “Evolution,” a reworked version of “Stone” from the debut Faces album First Step. The album also contains the folksy “Sheritan Gibson” and the epic “Parvardigar,” which appeared months earlier on I Am, a second Baba-tribute album with a contribution from Billy Nicholls, “Forever’s No Time at All,” that also appears here. Townshend plays all the instruments on Who Came First apart from the Lane and Nichols tracks. “Relay” On November 25, 1972, The Who released “Relay” on MCA in the US. It’s a mid-tempo funk-rocker (in F) with play–pause drumming and processed Clavinet–wah-wah sounds: achieved on an ARP-2600 through a voltage-control filter. The lyrics concern a call-to-action over the Grid. “Relay” appeared in late December on Track in the UK, where it reached No. 21. The b-side, “Waspman,” is a Moon-written number with no lyrics apart from garbled titular chants. It’s a three-chord rocker (D#…B–F#) with wailing harmonica and bug noises. Moon conceived the number during a turbulent flight where — after some mile-high shenanigans with the stewardess — he emerged from the bathroom with a bra on his head stating “I’m Wasp Man.” He dedicated the track to fifties instrumental rocker Link Wray. As “Relay” neared release, John Entwistle recorded his third solo album, Rigor Mortis Sets In, a mix of pre-Beatles rock covers and originals, including a solo rendition of “My Wife.” He’s backed on the album by Ross and keyboardist Tony Ashton (of Ashton, Gardner & Dyke). The album appeared in May 1973 on Track. 1973: Daltrey Solo, Quadrophenia, Tour Daltrey In January–February 1973, Roger Daltrey recorded his first solo album at his home studio in Burwash, East Sussex. It features ten songs composed by pianist David Courtney; two with lyrics by fifties teen idol Adam Faith and eight by Leo Sayer, an emerging talent who soon landed his own deal. Daltrey appeared in April 1973 on Track–MCA with backing by bassist Dave Wintour (IF), steel guitarist BJ Cole (Cochise), and two members of Argent: guitarist Russ Ballard and drummer Bob Henrit. Dave Arbus plays violin on “The Way of the World.” The album spawned three singles: “One Man Band,” “Giving It All Away” (both rerecorded by Sayer on his 1974 second album Just a Boy), and “Thinking,” which has a non-album b-side (“There Is Love”) with guitar by Jimmy Page. Daltrey’s cousin, Graham Hughes, photographed and designed the cover. Daltrey reached No. 6 on the UK Albums Chart. “Giving It All Away,” a melodramatic ballad with the poignant chorus “I was just a boy giving it all away…,” reached No. 5 on the UK Singles Chart. Second Rock Opera On March 10, 1973, The Who played Pop Gala ’73, a two-day event at Vliegermolen, Voorburg, Netherlands, with sets by Argent, Billy Preston, Colin Blunstone, Chi Coltrane, Rory Gallagher, Slade, Supersister, and Wishbone Ash. The Who appeared as a last-minute replacement for Roxy Music, who were preparing the release of their second album For Your Pleasure. As progress stalled on the Tommy film or any realization of the Lifehouse concept, Townshend conceived a new rock opera that would stand on its own as a double-album. His new idea stemmed from the biographical aspects of the aborted Long Live Rock album TV documentary. It would relate to The Who’s early history, as seen through the eyes of a young fan with his own personal struggles. Townshend drew inspiration from one Jack Lyons, an early Who follower on the mid-sixties mod scene. Combining Jack’s character with several other fans, Townshend developed a story about double-schizophrenia: “quadrophenia,” a portmanteau of quadraphonic (the world’s then newly advanced four-channel sound systems) and schizophrenia. Each Who member would be assigned one of the central character’s four personalities. Two completed songs from the aborted 1972 sessions for Rock Is Dead—Long Live Rock! — the twangy, laidback harmony rocker “Is It In My Head?” and the rousing orchestral anthem “Love, Reign o’er Me” — were retained for the new album. Quadrophenia The Who released their sixth studio album, Quadrophenia, on October 23, 1973, on Track and MCA. It features seventeen songs that chronicle the exploits of Jimmy, a Brighton teenager with psychological issues who takes refuge in stimulants and mod culture. As he copes with home tensions and menial labor, disillusionment takes hold when he loses his girlfriend and discovers that his role model (the Ace Face) works as a hotel bell boy. Convinced that his feelings are beyond ordinary madness (schizophrenia), he rides his scooter to a seaside rock for an act of glory. His ultimate fate remains ambiguous. Quadrophenia is the second of two studio double-albums by The Who and their second completed character-driven “rock opera” after Tommy and the unfinished Lifehouse. Musically, Quadrophenia advances the hi-tech arrangements of the Lifehouse numbers with tighter themes and a more direct narrative with fully realized compositions. Each member has a musical theme assigned to specific vocals tracks. These themes are first woven into the title instrumental and reprised later in “The Rock.” “I Am the Sea” — Ocean waves rescind to sparkling piano, wind, rain, and thunder. John’s French horn sounds Roger’s “Helpless Dancer” theme. Roger sings John’s “Is It Me?” theme (faintly). Keith’s theme, “Bell Boy,” is harmonized in the distance. Roger shouts Pete’s theme: “Looooove! Reign ‘ol me!” Amid swelling waves, Roger asks “Can you see the real me, can you, can you?” — which leads to.. “The Real Me” — Choppy power riff (in C#) with sliding, roaming bass. A troubled Jimmy turns to his doctor, then his mother, who both give cold, indifferent replies. He cries out the chorus plea (“Can you see the real me?”) amid roaring volume and avalanche drum rolls. He grows disoriented and paranoid (“Strange people who know me, peeping from behind every window pane”). A girl he once loved now pretends not to know him. Even the preacher can’t offer consolation. The song fades on an echo of the word “me..me..me..me..me..me..,” which leads to… “Quadrophenia” (instrumental) — Piano “Bell Boy” theme over strummed acoustic chords and staccato electric guitar, which carries the “Is It Me?” theme over fluttering synth strings and stormy, cymbal-laden drums. Crests in F as French horn heralds the “Helpless Dancer” theme. The one-note piano motif is overlaid with fluttering synth strings and guitar voicings of the melody. From the smoldering key of F, they rise to A with swelling synth strings, which fade to a tender piano intro of the “Love, Reign o’er Me” theme, accented with lyrical guitar and violin-like synth. Ocean sounds carry out the climax. “Cut My Hair” — Lyrical guitar leads (in C#) amid nimble bass, misty cymbal and light piano. Pete sings about Jimmy’s concerns with hair, fashion, wardrobe, and his place in the mod scene. His mother discovers his “box of blues” (uppers). Roger takes the chorus, about “Zoot suit, white jacket with side vents.” The middle-eight concerns his social misgivings at a dance event. The coda (in A minor) deals with his hangover back at home (“My fried egg makes me sick first thing in the morning”). A news report of mods vs. rockers violence is heard over the airwaves. “The Punk and the Godfather” — Intro: strummed electro–acoustic riff (Am… D… G [open D]…G→Am) and trailing bass (bi-octave root notes). Verse: the punk admonishes the god that people created for not being mighty, compassionate, or transcendent. Bridge: the god declares his omnipotence and owns the charade with smug false prophecy (“I’m the new president, But I grew and I bent, Don’t you know? don’t it show? I’m the punk with the stutter”). Chorus: a garbled, high-pitched, stuttering utterance of “My my my my my mmmm my my my. GGGGG-g-g-g-g generation.” Middle-eight (Pete vocal): the godfather shows humility (“I have to be careful not to preach, I can’t pretend that I can teach”), suffixed with further ruthlessness. “I’m One” — Fingerpicked acoustic folk tune with electric twang (West Coast influence). Jimmy struggles with feelings of futility, redeemed by his sense of belonging within the mod subculture. Open-chord chorus (Fmaj7→D). Rocking second verse and chorus with countrified electric guitar and flowing drum fills. “The Dirty Jobs” — Grand intro (in C) with fanfare synth strings. Soaring account of the working man’s plight (“I am a man who looks after the pigs”) and the conflicts of daily life. Despite the constant setbacks, he declares “I’m not gonna sit and weep again.” Could be Jimmy, his father, or any local bloke; the third verse is clearly Jimmy (“Just like a child, I’ve been seeing only dreams”). “Helpless Dancer” (Roger’s theme) — Drizzling piano (in F), overlaid with French horn theme and briskly strummed acoustic guitar. Lands on a terse, one-note piano figure. Cabaret call-and-response (between Roger in right and left channel). Brecht–Weill influenced number about white working class dispair with caustic observations. His mounting hopelessness crescendoes on the line “You stop dancing.” The song cuts to a nearby dance where “The Kids Are Alright” pipes from the speakers. Roger sings out John’s theme: “Is it me, for a moment…for a moment…for a moment…” “Is It in My Head?” — Laidback acoustic strum (in G) with light piano and droning synth. The narrator makes wry observations about contented individuals who get by in meager surroundings (“I see a man without a problem”). Harmonized chorus (in D). Tense middle-eight (B♭→F) hints at confusion (“My head is empty, yet every word I say turns out a sentence”). “I’ve Had Enough” — Hurricane drum fills signal power chords (in D). Verse: the Godfather (?) scolds Jimmy (“You got altered information”), who realizes that things are counterintuitive and that he can’t play it safe. Roger’s soaring verses cut to a Pete-sung bridge that reaffirms Jimmy’s mod devotion (“My jacket’s gonna be cut and slim and checked… I ride a G.S. scooter with my hair cut neat”). Cuts to fluttering synth strings (in A minor) for a double-utterance of Roger’s “Love, Reign o’er Me” theme, which blends into a finger-picking bluegrass section (in D) with a litany of “I’ve had enough of” negations. The four sections repeat, climaxing with a scream (“I’ve had enough of trying to LOOOOOOOVE!!!!”) “5:15” — Piano intro with light guitar (in G, falling thirds) reminiscent of “Cut My Hair” with Pete’s “Why should I care” opener, repeated twice but unanswered. Staccato guitar figure leads into a new song proper: a mid-tempo brass rocker (in G) with blaring Entwistle horns and lyrics about “sexually knowing” teenage girls and seductive seats. Barroom piano bridge (in C) about drugs and escapism (“Uppers and downers, either way blood flows”). Chorus (in F): harmonized, ivory-laden moment of reflection (“Inside outside. Leave me alone”). Roger belts Marriott-like ad-libs as Pete takes over with electrified pick-licks. The song concludes with two further utterances of “Why should I care.” “Sea and Sand” — Sea-sound intro and fingerpicked electric figure (in A). Jimmy, thrown out of home, sits by the ocean and dreams of a girl who he knows but hasn’t secured. He still envisions himself as the perfect mod. Pete repeats the bridge from “I’ve Had Enough” (“My jacket’s gonna be cut slim and checked”). The song turns into a powertrio jam with cascading toms, scaling leads and thick, bottom-heavy bass. “Drowned” — Uptempo piano barroom rocker (in C). Roger belts out poetic metaphors that liken the flow of ocean waves to freedom and peace of mind (“Let me be stormy and let me be calm, Let the tide in, and set me free”). This could be Jimmy settling into his oasis. Cymbal spray and tom-tom fills dominate the finger-picked mid-section, which shifts to a grand brass theme (in A). Plays out as a powertrio rock jam. “Bell Boy” (Keith’s theme) — Massive drum rolls herald power chords (in E). Roger sings amid a synth melody (E…C#→DD) with a brisk, pounding undercurrent. Jimmy emerges from the beach and encounters the Ace Face, the mod he idolized. Bridge (in C#): Jimmy confirms the subject’s identity (“Ain’t you the guy who used to set the paces, riding up in front of a hundred faces” — face: a sharp-dressed person of stature in the mod scene). Second verse: semi-step modulation; riff more pronounced; theme resolves with a seven-chord riff (F…D→E♭…A♭→B♭…C→C#). The Ace Face (Keith) describes his menial job as a bell boy in garbled cockney. Calm mid-section in 6/8. Repeat verse→bridge→chorus. Jimmy informs the indifferent Ace Face “I used to follow you back in ’63.” “Doctor Jimmy” (with “Is It Me?”, John’s theme) — Ocean wind sounds; rain, thunder. Crashing theme with fluttering upward synth strings (in A). Uptempo rock verse with cocky lyrical bravado (“I’ll take on anyone, ain’t scared of a bloody nose”). Fanfare bridge with bold statements. Chorus: four-chord Jeckly and Hyde predicament (“He only comes out when I drink my gin”). Second verse: bold sexual claims (as Mr. Jim). Instrumental break (in E): somber variation of theme with cymbal spray. Tender middle; Roger sings John’s theme (“Is it me…for a moment?”) Third verse: vows revenge on the “baboon” who cut up his eye. Third bridge: couplets repeat twice, each separated by a staccato organ break. Final chorus (epic extension), followed by a recap of John’s theme. Instrumental outro: down-shifted theme, crashing drums, fluttering synth strings, drizzling piano, backward cymbal, drone fadeout (in E) blends into… “The Rock” (instrumental) — Opens on “Bell Boy” theme (in E), gradually builds to full seven-chord rock riff. Drum fill subsides for piano introduction of “Is It Me?” — accented with staccato guitar. Semi-tone shift (to F) for a slow, stormy combination of “Bell Boy” and “Helpless Dancer” elements before Roger’s
6803	dbpedia	3	45	https://wtop.com/entertainment/2024/06/from-woodstock-to-wolf-trap-the-whos-roger-daltrey-joins-wtop-before-rocking-virginia/	en	The Who’s Roger Daltrey looks back, as fans look ahead to Wolf Trap concert	https://wtop.com/wp-cont…718006989251.jpg	https://wtop.com/wp-cont…718006989251.jpg	[ "https://wtop.com/wp-content/themes/wtop-new/images/wtop-news-logo-new.png", "https://wtop.com/wp-content/uploads/2017/03/People_Roger_Daltrey_52841-e1718006989251-480x320.jpg", "https://wtop.com/wp-content/uploads/2017/03/People_Roger_Daltrey_52841-e1718006989251-780x520.jpg", "https://wtop.com/wp-content/uploads/2014/12/fraley-fix-e1719871638696-150x150.png", "https://wtop.com/wp-content/uploads/2024/08/Graceland_Presley_62376-480x320.jpg", "https://wtop.com/wp-content/uploads/2017/08/entertainment-star-2-480x300.jpg", "https://wtop.com/wp-content/uploads/2024/08/daughters-best-480x320.jpg", "https://wtop.com/wp-content/uploads/2023/06/acusan-a-baby-k-180x120.jpg", "https://wtop.com/wp-content/uploads/2020/12/pgpdcsi-180x120.jpg", "https://wtop.com/wp-content/uploads/2024/08/cnn-L19jb21wb25lbnRzL2ltYWdlL2luc3RhbmNlcy9jbHp4N2VxNzUwMDAyM2I2azA2azB6YzV4-L19jb21wb25lbnRzL2FydGljbGUvaW5zdGFuY2VzL2Nseng3YmJvYzAwMG1sZW96ZjVyZzZyb2M-300-180x120.jpg", "https://wtop.com/wp-content/themes/wtop-new/images/fnn-logo.svg", "https://wtop.com/wp-content/themes/wtop-new/assets/img/logo_footer_desktop_WTOPnews_horizontal.png", "https://wtop.com/wp-content/themes/wtop-new/assets/img/loading.gif", "https://b.scorecardresearch.com/p?c1=2&c2=16067480&cv=2.0&cj=1", "https://pixel.quantserve.com/pixel/p-sgZGQjSAzUNrD.gif" ]	[ "https://open.spotify.com/embed/episode/1Itakr7jzB0POaTjjpDtU6?si=FUEAqnhYTbCFcy2wOXZnvQ&utm_source=oembed" ]	[]	[ "" ]	null	[ "Jason Fraley" ]	2024-06-10T08:13:02+00:00	The Who’s Roger Daltrey performs live at Wolf Trap on Wednesday, June 12, with a touring band that includes Pete Townshend’s younger brother Simon Townshend.	en	https://wtop.com/wp-cont…h-icon-57x57.png	WTOP News	https://wtop.com/entertainment/2024/06/from-woodstock-to-wolf-trap-the-whos-roger-daltrey-joins-wtop-before-rocking-virginia/	Northern Virginia is about to be invaded by a true rock legend of the 1960s British Invasion! “It’s just a different instrumentation,” Daltrey told WTOP. “I do some Who songs, a lot of the classics, but I do them differently. Now with the instrumentation I’ve got in this band, it’s just fresher. I suddenly realize that what people want in the moment with so much bad news out there everywhere in the world … people want to go out and have a good night out.” Born in 1944, Daltrey grew up in postwar London, making his own instruments from nearby objects and attending grammar school with future Who guitarist Pete Townshend and future Who bassist John Entwistle. “They were at the same school, but they were a year younger,” Daltrey said. “You couldn’t miss them. Pete was like a nose on a stick and John had a kind of John Wayne gait when he walked. … Pete, because he did look extraordinary when he was younger, I’m sure he was bullied as much as I was. I was very small, so I got bullied. I don’t know if John did, but John had trauma in his life when his mother and father got divorced very young.” Their band, The Detours, later added drummer Keith Moon to form The Who in 1964. “He heard we were looking for a drummer and we gave him a chance to play with us,” Daltrey said. “You have to remember, the lead singer of a band doesn’t see them ever, they’re always behind him, he’s standing out in front in the middle of the stage … but you feel the vibe, you feel the micro-syncopations between musicians. When Keith Moon joined, it was like alchemy. Someone had added something to the mercury and turned it into gold.” Their first album “My Generation” (1965) delivered a hit title track that defined a generation at Woodstock. “We hit a nerve,” Daltrey said. “There’s a certain amount of luck, there’s a certain amount of talent, and there’s a certain amount of being in the right place at the right time — and we just seemed to get lucky.” After a string of catchy hits like “I Can See For Miles” (1967) and “Magic Bus” (1968), The Who delivered an epic fourth project with “Tommy” (1969), a pioneering concept album telling the tale of fictional Tommy Walker becoming a spiritual leader. The tune “Pinball Wizard” echoed in arcades with the line “sure plays a mean pinball.” “It wasn’t really a rock opera — we were kind of tongue-in-cheek having a dig at grand opera, but having played ‘Tommy’ live and with orchestras around the world, it’s my conclusion that I think ‘Tommy’ is the best opera ever written,” Daltrey said. “It’s certainly got the best lyrics because we’ve at least got some lyrics. You needn’t know about grand opera to know about the lack of lyrics.” Their fifth album “Who’s Next?” (1971) may have been their most famous, including the hit opening track “Baba O’Riley,” with its iconic synthesizer, shredding guitar and recurring vocal refrain of “teenage wasteland.” “You never know where [Pete] gets those titles from,” Daltrey said. “He actually wrote the song basically reflecting on the garbage and the rubbish left by the audience at Woodstock!” The album also included “Won’t Get Fooled Again,” which arrived during the Vietnam War and just before Watergate. “We were commenting on politics, it’s never any different, they’re all full of sht,” Daltrey said. “That song will never date. The lyrics of that song will never, ever date. They’re always promising more than they can deliver.” It also included the quotably melancholic “Behind Blue Eyes,” later covered by Limp Bizkit. “You’ll have to really talk to Pete because he wrote those songs. I only know that my inspiration singing it was that it was a very sad time for me because my dog had just been run over,” Daltrey said. In 1973, The Who returned to the concept album with Townshend penning the acclaimed “Quadrophenia.” “I’ve always been a little frustrated that he never shared his vision of what that album was going to be,” Daltrey said. “I’ve always felt that it’s probably three or four songs short of being a really, really good, I don’t know if you’d call it an opera, but something very new and driving. A musical as such. A good work on a bigger stage than just rock. It’s hard to get a dramatic drive on ‘Quadrophenia’ because, in some ways, it keeps shooting itself in the foot.” Sadly, the band’s eighth album “Who Are You?” (1978) would be their final one with Moon, who died that same year. While its title track later became the TV theme for “CSI,” it mostly brings back sad memories for Daltrey. “It was a really difficult album to make because of the state of Keith’s health at the time,” Daltrey said. “It was very difficult, so it’s not a happy memory, that one. That doesn’t make it a bad album, but it was just difficult.” The band continued without Moon on their ninth album “Face Dances” (1981) with the hit “You Better You Bet.” “We’d lost a huge piece of chemistry from the band in the way Keith played, and we were trying desperately to see what was left,” Daltrey said. “There was some good stuff on that album, but it wasn’t The Who. … I think ‘You Better You Bet’ was a great song, but generally a lot of those songs weren’t The Who that the public wanted. Keith had left a bigger hole than just losing a drummer. We were broken at the time we made that album.” In 1990, The Who was inducted into the Rock & Roll Hall of Fame, but Daltrey doesn’t spend time comparing his band’s legacy to The Beatles, Rolling Stones and Led Zeppelin on the Mount Rushmore of the British Invasion. “I don’t give a fck, that’s not important to me at all, who gives a sh*t?” Daltrey said. “I think what we did, more than anyone else, is that we changed it from being ‘rock ‘n’ roll’ to begin just ‘rock.’ The Stones were a rock ‘n’ roll band, ‘rock ‘n’ roll, rock ‘n’ roll,’ but we were just rock: ‘rock, rock, rock, rock.'” Listen to our full conversation on the podcast below: Get breaking news and daily headlines delivered to your email inbox by signing up here. © 2024 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.
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And with that in mind, The Who frontman and solo artist is hitting the road this summer, with several concerts in our neck of the woods.	en	/apple-touch-icon.png	WAMC	https://www.wamc.org/podcast/the-roundtable/2024-06-06/roger-daltrey-brings-tour-to-northeast-celebrating-solo	When it comes to his world-famous voice, Roger Daltrey says it’s use it or lose it. And with that in mind, The Who frontman and solo artist is hitting the road this summer, with several concerts in our neck of the woods. On the semi-acoustic tour, Daltrey will also answer audience questions during concerts June 16th at Bethel Woods, June 18 in the Capitol Theatre in Port Chester, June 22 at Tanglewood in the Berkshires, and June 23 at Mohegan Sun in Connecticut. In March, Daltrey wrapped up 24 years overseeing the annual Teenage Cancer Trust concerts, and The Who recently concluded a years-long world tour featuring the band with live orchestral accompaniment. How are you deciding what you want to play on this tour? With this band, it's a very broad spectrum of instrumentation. I have squeezebox and piano, no synthesizers, guitar, bass drums, percussionist Jody Linscott, and bass. And our wonderful violinist Katie Jacoby. And Simon Townsend as my other guitar partner. And Billy Nicholls as a backing singer and on a mandola. So it's a very different soundscape. But we play the same songs, and we do them in a different way. I'm finding it incredibly interesting, as is the audiences we've played this to. And it just allows us to play the songs differently and the audience to sometimes hear the song for the first time. Because it's presented in a different way. The Who is so famous for being the loudest band. So I was wondering, when you are stripped down a little bit like this, how does your job as the lead singer change with a different approach to the material? It doesn’t. I mean, that’s a hard one to answer. I haven’t been out front listening. I just do what I do. We do the songs we do. It's given me a bigger palette of songs to actually play, you know, it's a much broader palette of colors, musical colors, you know, and that I find really interesting. I saw you at Tanglewood the last time you were here. And that was on the ‘Tommy’ tour. You closed the show with a really beautiful performance from the solo album that you had that year, ‘As Long As I Have You,’ which is a ballad called ‘Always Heading Home.’ And that kind of shows a different side of you as a vocalist. Can you talk about writing that song and recording that song? Well, the lyrics were written by my writing partner and I wrote the melody. And that was a song we demoed way back in the late 80s. And it sat on a shelf that song. But then I got it out again. And it was a song that that The Chieftains heard once and always said, this is a great song, Roger, you gotta do it. But I was very nervous of it because it is so different. It's kind of angelic and almost sounds like a choirboy. But then I dug it out for that that last solo album of mine, because I don't know, the age I am now, it feels perfect. And there's something very spiritual about it. It's a great song. It's a hard song to perform, especially at the end of the show. But it's lovely. If I remember your book correctly, you were a choirboy at one time, right? Yep. That's where I started in the local church at the age of about 6 or 7. I can't remember exactly. But roundabout then. What was it about rock music that really grabbed your interest? The energy of it. I mean, because prior to that, it was all big band stuff. And Vera Lynn coming out of the war. And all of a sudden, there's this enormous energy coming out of the radio, in the music. You know, Elvis, Little Richard, Jerry Lee. You couldn't ignore it. It just grabbed my age group. You know, we were all sort of 12, 13 years old. And it grabbed us by the ears. And that was it for us. That's what we wanted to do. That's all we wanted to listen to. How long did you think rock music and the type of shows that you were playing early on would last? Did it feel like a flash in the pan to you? Or did you see yourself doing it for quite a while? We didn't do it with that frame of mind. We did it because we loved doing it. And all the time it lasted, we were going to be happy to do it. So that's how it appeared to me. You know? And in those days, the early Who, it's absolutely remarkable we lasted till the end of the week. A lot of famous bust-ups between you, that's for sure. So I've heard you and I've heard Pete Townshend talking about the fact that as a singer you feel you really need to get into a song in order to do it justice. Can you explain what's meant by that? I need to believe in it. I need to believe what I'm singing. I mean, I've been offered to do a country album and I keep getting presented the songs. But I don’t identity with ‘Down home in Virginia.’ I’m more down home in Shepherd’s Bush! So it would be a lie for me to sing that. And I would feel like I'm cheating it. I can sing a love song between two people, yeah. And obviously Who songs were so off the wall. They don't they sing to you, they sing at you. And I need songs that sing to you too. But to sing them properly to someone you need to believe in what you're singing. And that's the difficulty. Speaking of which, on recent tours and on the ‘Live at Wembley’ album that has the band with the orchestra that I mentioned, you guys were doing a stripped down more acoustic version of ‘Won't Get Fooled Again.’ And it might surprise people to learn that you are sick of singing that song. How come? I'm sick of it because it does doesn't seem to have worked. We keep getting fooled all the time. Every time there's something comes up that we need to put up cross on a piece of paper we seem to have the wool pulled over our eyes. But seriously though, I am sick of the Who version of it because it's it is so tied to the track and it becomes impossible to move. It's still a brilliant track and I can listen to the record, but performing it I find a little dull. Do you like the acoustic version more? I much prefer that because it allows me to see it like a jazz song, like a blues song and move it all over the place. But once that track starts up and synthesizers, you're stuck on rails. I find it boring. What about ‘Naked Eye,’ any chance that will emerge on this tour? Again, I can play all those songs easily, with this band, very easily. And that's the beauty of this band. The scope of songs that I can play with this band is far greater than anything I can do with the Who. I want to ask about another maybe softer one and that's ‘Tea & Theatre,’ which is a really beautiful song. You've brought it out live a few times over the years. It sounds to me very autobiographical about you and Pete. Is that how you look at it? It certainly is. We've been together now for over 60 years. Actually Pete joined the band in 1962, so work it out, 62 years ago, and so that song is very much biographical. We did it all. But then we lost people on the way, which hurts, you know. But equally that’s what life is. Very rarely all your friends are still alive at our age. You turned 80 this year and you've been talking about your mortality in a lot of recent interviews that I've seen. What's your perspective like today? Is that something you think about a lot? I’m not negative about it. It was all related to retiring from running those Teenage Cancer Trust shows at the Royal Albert Hall, which I've resigned from doing it after 24 years, simply because to carry it on, I would have to put my name on a piece of paper that guarantees for it to go on for another five years. Now, I don't feel that's a responsible thing to do in a charitable position, is to lumber them with a five-year contract that I might not be around to fulfill, you know. I mean, you're in really good shape. Listen, we can't take anything for granted at our age, every day is a bonus. And I'm happy with that. That’s all right. But it's more of my responsibility to the charity. And I've got other things I want to do within the charity, which in today's world, have become more important to the charity. Someone else, young people need to do that, because young people drive the music business forward. I'm an older generation. I've done it all the time. I've done it and happy to do it. If we don't get anyone to pick it up, I will step in at the last minute. Of course I will. I'm not leaving the charity. I’ve got other things to do for it. Like a lot of Who fans, I'm obviously interested in knowing what the future holds. Where do you see the group going in the next year or two? I don't know. I don't know. I really don't know. But at the moment, there are no plans at all. And I really do not know whether there be any more Who. And you said you're kind of at peace with that. I'm at peace with it. And I don't know whether there needs to be any more Who. Is there a time period in the band's history that you think of the most warmly about? Yes, from 1967 through to 1975, 1976. We were red hot. We didn't work enough, but we were red hot. And it was fantastic time. We actually had fun. And what a band it was. I want to wrap up by asking you a hack question, but I'm going to find a way around it. So, you're taking questions from the audience during this tour. And I have to imagine that you are asked about swinging the microphone probably every day. Will you swing the microphone on a semi-acoustic tour? Only if anyone wants to come up and have a lesson in how to do it. Which could be fun, and let them let them see how bloody difficult it is! Do you remember the first time you tried it? I kind of do. It was at the Marquee Club, a blues club in London. And then Pete started swinging his arms and attacking the speakers. It was in late 1964 and I was just bored. And it was such a small stage. You couldn't do much with it. And then come 1965 It just developed, it just got bigger and bigger. As the stages got bigger the swinging got bigger. What I was trying to do was knit something together with between Pete's leaping and bouncing like a jumping bean and his arm swinging, Moon’s lunatic drumming, with John’s static position, the front of the stage, it needed more than just being static. And I couldn't be Elvis. I've never been that. So I just thought it needed something to kind of knit the energy together. And the mic swinging just developed and I hope it worked. Do you do a lot of guitar playing on this particular tour? Not a lot. I can do it. I do enough. You know, too many guitars jingling and jangling away can ruin the sound. I think we're out of time, Roger, but while I have a chance, I just want to say thank you so much for all of the music and I will take the opportunity to say to you: Be lucky. Oh, thank you. You gotta think lucky and be lucky. If you think lucky, you will, in the end, be lucky.
6803	dbpedia	2	2	https://en.wikipedia.org/wiki/Category:Polydor_Records_artists	en	Category:Polydor Records artists	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Category:Polydor_Records_artists
6803	dbpedia	0	11	https://wpdh.com/fogerty-daltrey-bethel-woods-shows/	en	Special All-In Pricing Set For Shows From Woodstock Alumni	https://townsquare.media…5&format=natural	https://townsquare.media…5&format=natural	[ "https://townsquare.media/site/705/files/2018/08/WDPH.png", "https://townsquare.media/site/705/files/2024/06/attachment-Daltrey-Fogerty.jpg?w=980&q=75", "https://townsquare.media/wp-content/uploads/2019/05/WPDHFM.png?w=100", "https://townsquare.media/site/705/files/2024/08/attachment-WPDH-2024-08-12T063537.337.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2023/10/attachment-Conors-Articles-2023-10-31T120400.824.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2024/08/attachment-image011.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2024/08/attachment-Conors-Articles-23.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2022/07/attachment-Waterpark.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2024/01/attachment-Bagel-Fest-Feature-Image.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2024/07/attachment-Gas-Station-Eyesore.jpg?w=980&q=75", "https://townsquare.media/site/705/files/2024/06/attachment-Koker.jpg?w=980&q=75", "https://townsquare.media/site/366/files/2024/05/attachment-Alex-Van-Halen-Tom-Morello-Josh-Homme-Trent-Reznor.jpg?w=980&q=75" ]	[]	[]	[ "around the hudson valley", "articles", "concerts", "hudson valley business", "hudson valley entertainment news", "hudson valley events", "hudson valley news", "music news", "news", "news from wpdh", "videos" ]	null	[ "John Rutigliano" ]	2024-06-10T15:45:20+00:00	Special pricing deal in place for Father's Day weekend rock shows.	en	https://townsquare.media…tachment-w23.png	101.5 WPDH	https://wpdh.com/fogerty-daltrey-bethel-woods-shows/	Bethel Woods Center for the Arts is set to kick off a huge summer of shows starting Father's Day weekend with a couple of Woodstock Festival alumni, and an exclusive ticket deal for WPDH listeners. Also See: Hudson Valley Among Top Places People Are Moving Away From John Fogerty will be kicking off the summer concert season this Friday, June 14 with his celebration tour along with George Thorogood and the Destroyers and The Who's Roger Daltrey performs on Fathers Day (Sunday, June 16). Both Fogerty and Daltrey performed at the Woodstock Music and Arts Festival back in 1969 on the grounds of Bethel Woods. Fogerty is best known for his time as singer and guitarist (1967-1972) for Creedence Clearwater Revival in which he was also the main songwriter. 1968 saw the release of the band’s self-titled debut album and their first single “Suzie Q”. Many other albums and singles followed including the hit “Proud Mary” off the album Bayou Country. Fogerty had a successful solo career following CCR. In 1985, he released the album Centerfield on Warner Bros. Records. The album featured many hit singles including the title track “Centerfield”, “The Old Man Down the Road”, and “Rock and Roll Girls”. Rolling Stone magazine ranked John Fogerty number 40 on their list of 100 Greatest Guitarists and 72 on their list of 100 Greatest Singers. Creedence Clearwater Revival was one of the few bands to appear at Woodstock that had already achieved significant success on the Billboard charts the time. Festival appearances by The Who including Woodstock and their live concert album, Live at Leeds (1970), established their reputation as a respected rock act. Their last studio album was Who in 2019. Roger Daltrey began a solo career in 1973 while still a member of the Who, and has released ten solo studio albums, five compilation albums and one live album. He will be featuring the music of The Who along with solo material at Bethel Woods in a show being billed as "The Voice of The Who Roger Daltrey with an Electric/Acoustic Band Performing The Who Hits & Rarities Along with Solo Music and Stories About His Incredible 60 Year Career" $25 Lawn/$50 Pavilion Seats Offered For Fogerty/Daltey Shows at Bethel Woods What a deal! Get tickets for John Fogerty on Friday or Roger Daltrey on Sunday, or how about both? Get $25 laws seats and $50 pavilion seats (no additional fees) (while they last by going to the Bethel Woods website and clicking on the event you want. When you click But Tickets, it will take you to the ticketmaster page. Hit the button that says Unlock. Enter Promo Code WPDH Choose your tickets! Gonna be a rockin weekend at Bethel Woods! We'll see ya at the shows!
6803	dbpedia	3	13	https://www.independent.co.uk/arts-entertainment/music/news/roger-daltrey-age-the-who-b2522489.html	en	Roger Daltrey says ‘I’m on my way out’ weeks after milestone birthday	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://www.independent.co.uk/img/logo-white-out.svg", "https://static.independent.co.uk/static-assets/images/newsletter/music/music.png", "https://static.independent.co.uk/static-assets/images/mobile-stores/Amazon_Music.png", "https://static.independent.co.uk/static-assets/images/mobile-stores/Amazon_Music.png", "https://static.independent.co.uk/2024/03/31/11/newFile-2.jpg", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "Roger Daltrey", "The Who", "Internal" ]	null	[ "Jacob Stolworthy" ]	2024-04-03T06:43:09+00:00	Frontman of the The Who says ‘I have to be realistic’ as he steps down as curator of the Teenage Cancer Trust concerts	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/arts-entertainment/music/news/roger-daltrey-age-the-who-b2522489.html	The Who musician Roger Daltrey has reflected on his generation after reaching a milestone age, stating: “I’m on my way out.” Daltrey, who has been the frontman of the “Pinball Wizard” rock band since 1964, stepped down as the curator of the annual Teenage Cancer Trust (TCT) gigs, which took place at Royal Albert Hall this month, after turning 80 on on 1 March. Over the last 24 years, as the leader of TCT, Daltrey, a vociferous supporter of Brexit, has helped to raise £32m for specialised NHS units to care for young cancer sufferers. He has now reflected on his decision to end his time as the event’s curator, suggesting it stemmed from a desire to “be realistic” about his future. Writing in a “backstage diary” for The Times, Daltrey said: “I have to be realistic. I’m on my way out. The average life expectancy is 83 and with a bit of luck I’ll make that, but we need someone else to drive things. “I’m not leaving TCT – I’ve been a patron since I first met the charity’s founders, Dr Adrian and Myrna Whiteson, more than 30 years ago – and that will continue, but I’ll be working in the back room, talking to the government, rattling cages.” Daltrey said he had concern “about how many words” he had to remember ahead of recent shows he performed, and admitted to feeling nervous beforehand. “On at 8.40pm and I’ve got to say I really feel it tonight,” he wrote, adding: “We haven’t done anything for seven months and this winter’s been brutal. I’ve been in hibernation. For the whole of January, I lost my voice completely. “I live like a monk and if I went on tour for a week I’d be fit as a butcher’s dog again, but tonight, for the first time in my career, I think, ‘Blimey, this is hard.’” Daltrey paid tribute to the “unsung heroes” who have aided the events over the years during The Who’s swansong performance. The Teenage Cancer Trust has said it plans on working with a series of guest curators next year, after Daltrey steps down. While the rock legend said he isn’t going away from the TCT, and will continue to serve the charity as an honorary patron, he has “completed the job” he “set out to do”.
6803	dbpedia	1	9	https://ultimateclassicrock.com/daltrey-walks-out-on-who/	en	When Roger Daltrey Walked Out, Then Right Back In On the Who	https://townsquare.media…c=1&s=0&a=t&q=89	https://townsquare.media…c=1&s=0&a=t&q=89	[ "https://townsquare.media/site/295/files/2021/04/logo256.png", "https://townsquare.media/site/295/files/2023/10/attachment-who.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-Jerry-Fuller-featured.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-Jack-Russell-Great-White.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-TaylorMaiden2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2015/08/Jack-Russell-Great-White.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-bruce-2.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-September-2024-New-Music-Releases-Image.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-stonetemplepilots.jpg?w=980&q=75", "https://townsquare.media/site/295/files/2024/08/attachment-The-Cars-Dennis-DeYoung-GettyImages-528764984.jpeg?w=980&q=75", "https://townsquare.media/site/295/files/2021/01/Dave-Navarro-Ethan-Miller.jpg?w=980&q=75" ]	[]	[]	[ "anniversaries" ]	null	[ "Bryan Wawzenek" ]	2015-11-19T17:10:32+00:00	Roger Daltrey is said to have quit the Who on Nov. 19, 1965, though the apparent split didn't last for long.	en	https://townsquare.media…/04/favicon1.png	Ultimate Classic Rock	https://ultimateclassicrock.com/daltrey-walks-out-on-who/	The early days of the Who were tumultuous times. Four different personalities were learning to coexist. The band changed its name three times. Pete Townshend and Keith Moon began to revel in the joy of destroying their instruments. And Roger Daltrey often found himself at odds with the rest of the band. For instance, Townshend placed himself, John Entwistle and Moon in the “genius” column, according to an interview for the documentary Amazing Journey: The Story of the Who, but “Roger was a singer; that was it.” The Who were often fueled by that friction, but in 1965 lingering tensions almost killed the band. Roger Daltrey Was Once Replaced as the Who's Singer Following the last two shows of a European tour in September of that year, Daltrey and Moon got into a brawl, which Daltrey later chalked up to his disgust with the Who’s drug use and its effect on their performances. Roger got the boot and the Who announced they would replace him with Boz Burrell. A member of an R&B band that featured future Small Faces keyboardist Ian MacLagan, Burrell never played a gig with the Who. The whole thing was short-lived, as Daltrey was reinstated before the band’s next gig. Burrell went on to become part of King Crimson and co-found Bad Company. READ MORE: All 245 Who Songs Ranked Worst to Best Daltrey was brought back to the Who with the warning that he stop any violent behavior. During his school days, Daltrey had earned a reputation as a bully. He later reflected on leaving his fighting ways behind. “I thought if I lost the band, I was dead," Daltrey said in The Who and the Making of Tommy. "If I didn’t stick with the Who, I would be a sheet metal worker for the rest of my life." Watch the Who Perform at Wembley's Empire Pool Daltrey Storms Off Again That was easier said than done. On Nov. 19, 1965, Daltrey reportedly stormed off the stage after the Who’s performance of "My Generation," their new single, at a concert called the Glad Rag Ball at Wembley’s Empire Pool. The show featured Donovan, Wilson Pickett and others and was being filmed for a TV program to air that December. With 10,000 fans, it was the largest audience the Who had seen in their young career. Although Daltrey blamed his issues on the public address system, nerves might have played a role as well. Footage of the Who playing "My Generation" on that night still exists, as seen above. Daltrey looks angrier than usual, and can be seen listlessly wandering around the stage – although we don’t see him leave. Some reports indicate that Daltrey quit the band after the show and that, again, Burrell was announced as a replacement. However, it’s possible that the dust-up in September and this incident in November got mixed together over time, and it’s not clear if Daltrey walked out on the group. READ MORE: Top 10 Roger Daltrey Who Songs It’s easy to see how the two events could be jumbled. For example, in the Amazing Journey documentary, footage is shown from the Glad Rag Ball in November while Roger is discussing the fight in September. (It's likely that no film exists of the Denmark concerts.) The events have become conflated, in some way. Regardless of exactly what happened backstage, it was quashed almost immediately, because the Who (with Daltrey) played a show the following night – along with another 24 gigs before the year ended. The kids were all right.
6803	dbpedia	2	49	https://whenthehornblows.com/content/2021/8/26/artist-of-the-week-175-becky-hill	en	Becky Hill — When The Horn Blows	http://static1.squarespace.com/static/5b0dd7581aef1d319395b854/5b10e50eb2a84dfc581561ab/612793ebedf2d0780ab2e03b/1630054610996/Becky+Hill_+Photo+credit%3A+Jennifer+McCord.i..jpg?format=1500w	http://static1.squarespace.com/static/5b0dd7581aef1d319395b854/5b10e50eb2a84dfc581561ab/612793ebedf2d0780ab2e03b/1630054610996/Becky+Hill_+Photo+credit%3A+Jennifer+McCord.i..jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5b0dd7581aef1d319395b854/1630054535559-DSLNB4J8NTW7FX1UAJAL/BeckyHill-MyHeartGoes-12.08.21-TiaMaria-JenniferMcCord-Edits-259.jpg" ]	[]	[]	[ "" ]	null	[ "WTHB Online" ]	2021-08-26T00:00:00	This week’s Artist of the Week is hit making songwriter and Queen of modern dance music Becky Hill - who has just released her debut studio album Only Honest On The Weekend via Eko Records / Polydor. Becky has written or co-written every track on the album and enlisted the production skills of a bro	en	https://images.squarespace-cdn.com/content/v1/5b0dd7581aef1d319395b854/1549475552832-Y906561MG11DL89S83LP/favicon.ico	When The Horn Blows	https://whenthehornblows.com/content/2021/8/26/artist-of-the-week-175-becky-hill	Hey there Becky, how are you? So your debut album is finally here! How does it feel to finally have it out there in the world? It feels amazing to have an album coming out and a real big milestone for me as an artist. I’ve been working my whole career to put out an album and I, hopefully there will be plenty more albums coming out as well. I feel like people have waited just as patiently for me to receive a body of work and I feel like I’ve proved myself enough now to show people that I am worthy of releasing an album and that I’ve worked really, really hard on it and I hope other people love it as much as I do. It is titled ‘Only Honest On The Weekend’ - what is the meaning behind that? It’s called ‘Only Honest On The Weekend’ because it’s the first line of a single I released called ‘Space’. ‘Space’ didn’t necessarily do that well in the charts but I thought it was one of my best tunes that I’d written and was the most personal to me and I felt like it hadn’t been done justice by the chart position that it received so I thought I’d name my album after the first line of the song. It kind of encapsulated everything I wanted to in the song itself and kind of gave the party theme but with more of an emotional feel. Where was it recorded? Any behind the scenes stories from the creative process? It has been recorded all over the place really, from LA to London. I have spent 10 years writing it more or less, 9 years writing it, and I’ve worked with so many different people and it was really interesting to go from being 18 and never to have written a song before with anybody else apart from myself in my bedroom in my hometown of Bewdley, to go to writing songs everyday with different people that I’d never met before and I got quite close to a lot of people and made, formed bonds with lots of different songwriters and I feel like I would not have been able to have made this album the way that I have done if it wasn’t for those people. I am really lucky and grateful to have met so many incredible songwriters along the way. I’ve had such a fun time getting to know people and making music with them and have them be completely opened up to my world. I always try to go in to sessions with the most amount of honesty so I can get the most personal music from the sessions. What are the key themes and influences on the album? I’d have said that the main influence is love, falling in it, falling out of it. A lot of, obviously I had written songs before I got into my long-term relationship but I got in to quite a serious relationship when I was 22. I’m still in it so it’s been about 5 and a half years and I kind of think the more emotional stuff has come from that last 5 and a half years of my life. But even before then I used to write a lot about being lonely, about finding the person I was going to spend the rest of my life with. You know, I spent a lot of time writing music about love and that was even when I was a teenager, when I was 13 and started writing music it was all about love and relationships. There are some older songs on the album that date back to before you signed with Polydor Records. How does it feel to combine an older version of yourself with the new on this album? I love the fact that a lot of this music predates Polydor, I don’t really see it as an older version of myself. I see it as the same person. I am the same person that I’ve always been. I’ve just grown through my 20’s and gone through quite a crazy journey but I wouldn’t say that that’s an older version and this is a new version, I would definitely say that it’s the same person, and what I love about the album is that it’s grown up with me and there are songs there that I’d written when I was 18, there are songs written there when I was 26, you know it’s got a really broad range of songs that I’ve written throughout my, a really pivotal part of my life and that’s what I love about it. Do you have a favorite lyric on the album? If so, which one and why? I think my favourite lyric on the album would be ‘one day of silence, I knew what you’d done, you fucked your final chance with me just to fuck someone’. I love this lyric because this is from a song called ‘Lessons’ which I had written about finding out that my boyfriend, we weren’t together at the time, but finding out that he had slept with somebody else. And I think that was a very poignant time and the lyric explains the situation perfectly. I went out raving on the weekend and we’d been speaking everyday and then on the Friday he went completely quiet and didn’t speak to me until Monday and I knew he’d slept with somebody else and I said ‘somethings happened hasn’t it?’ And he went ‘yeah’ (laughs), and therefore ‘Lessons’ was born. During lockdown, you started a podcast called ‘The Art of Rave’, where you spoke to the likes of Pete Tong and Basement Jaxx. What made you decide to do the podcast? Do you feel it got to show a different side to you? Also more importantly - what makes a great rave? ‘The Art of Rave’ wasn’t made during lockdown, it was started I think late 2019 and I remember this because I was actually having physical podcasts with people, I would sit in a little recording booth in Kings Cross talking to my heroes about rave culture. I decided to do the podcast, I think it was an idea from my boyfriend. He gave me the idea of basically teaching my generation and the generations to come about the history of rave culture. I used to sit with my boy and talk to him a lot about how he started up his own label and how he went DJing and stuff like that and a lot of the things we had in common was the taste of music that we had and how different it was for that generation of producers to find and make music. I wanted to show my generation that it wasn’t just a production programme on a laptop, that everything was done analogue, that you needed synths, you needed a dap? tape, you needed you know, to vinyl being pressed, you couldn’t go on Spotify to find the song, you had to listen to pirate radio and then ring the radio station up and ask what song they played 3 songs ago and go to the record store and sing the song that you’d heard on the radio (laughs) to them to see if they recognised it. And I thought there was something quite magical about that, about how much passion it took to make music and find music and that was something that I wanted to explore as opposed to having a passion nowadays of music when everything is kind of handed to you and whether that has changed the dancefloor, whether people filming sets at raves and whether the drugs changing and culture generally in terms of, you know, getting all dressed up and putting you going to a rave on Instagram had changed, you know, the kind of care free, fun side of a rave. It was fascinating for me, I don’t know if it necessarily gave people a different side to me, but it definitely exercised something within me that I am so glad that I did. I got to interview some of my heroes growing up, in fact all of my heroes growing up and I was just completely enthralled by everything that they had to tell me, so I’m very, very grateful that I got to do that. What makes a great rave? I would definitely say the people you’re with, the type of music you go to, has to be something that you like and something that you could even go sober to. Some of my best raves have been when I’ve just been drinking water all night and it’s been the people that I’ve gone with and the music that I’ve been listening to. Like many people in the industry, live music came to a halt when the pandemic hit, however do you feel that gave you the time to finally finish the album? I wouldn’t say that the Pandemic gave me time to finish off the album because I didn’t go to a studio, I didn’t work with an engineer, I didn’t, in fact, if anything the Pandemic made finishing off the album a million times harder. As well as not being able to play live and not being able to pay my team and not being able to raise awareness in Europe about my projects and what I’m doing and the music that I do. It made everything infinitely harder and I think the music industry was hit the hardest, even up until the point where sports had all returned, yet nightclubs and festivals were still not allowed to go ahead with, at the time, no support from the Government. And I’m really glad that the Government have kind of stepped up now and allowed festivals to go ahead. I had nothing to do and I really wanted to write music and I wrote two songs for the album, one called ‘Distance’, funnily enough, and another one called ‘Through the Night’. But it was hard not doing those sessions in person and only doing them on Zoom or on Facetime. It was very, very difficult but I’m glad that I did those sessions while I was back in Bewdley and I’m glad that I had a really good connection with the two writers that I worked with, Adam Argyle and MNEK, so that I could sit with them on the phone and write a song with them. You came into the Spotlight when you auditioned for the Voice at the age of seventeen, you are now twenty-seven. Ten years have passed. What has kept you driven when it comes to your music and what struggles have you encountered? If you could go back and say anything to that seventeen year old version of you. What would you say? What kept me driven? I can’t do anything else. I am rubbish at everything apart from singing and writing music. I’m not interested in doing anything else other than this and I knew I’d been as unhappy as I could be in the downs of the music industry. The ups definitely outweigh the happiness levels and I. knew that even if I tried to find a new job to do, I would never be happy, truly happy doing it. So definitely that, and the fact that I was always writing music, and music has always consistently been coming out for the past 10 years. I don’t think there was really a year when I didn’t put music out. And I suppose seeing the chart success I was having with, you know, as a feature artist, like the songs that I was writing was going to producers and I was the featured vocalist and, you know, whereas I wasn’t getting much recognition for that, the music definitely was. And I could see that there was a successful, you know, a success rate in the music which always made me believe that I would be able to have that success for myself one day. I’ve been through two record deals. I got dropped from my first deal which was incredibly devastating. I set up my own record label. I released my own music, using my own money on my own label, put on my shows, I got my own band around me and I just went for it. And I loved doing it and this is the only thing I want to do and that’s kind of what’s kept me going. If I could say anything to the 17 year old coming off The Voice would be ‘you think your patience is your worst attribute but you will find out that your patience is the best thing that you have, because you’ll have to wait 10 years, a decade, to release your first album and you will have so much work to do to get people to believe in you and your debut album but it will all be worth it and it will only happen when you are properly, truly ready, so have patience and let it happen’.
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"it's", "over", "rights", "up", "us", "serve", "public.", "It'stest" ]	null	[ "Bear Family" ]	null	(Brunswick) 28 tracks incl. bonus tracksThe very first "classic" WHO album (from November 1965) on CD - remastered and with all available Bonus tra…	en	https://www.bear-family.…tile-310x310.png	Bear Family Records	https://www.bear-family.com/who-the-my-generation-cd.html
6803	dbpedia	3	29	https://www.pressandguide.com/2024/06/22/roger-daltrey-moves-outside-of-the-who-with-latest-solo-tour/	en	Roger Daltrey moves outside of the Who with latest solo tour	https://www.pressandguid…jpeg?w=640&h=427	https://www.pressandguid…jpeg?w=640&h=427	[ "https://www.pressandguide.com/wp-content/uploads/2021/06/PressAndGuide-logo.png", "https://www.pressandguide.com/wp-content/uploads/2024/06/RogerDaltrey2024_FDM_3502-.jpeg?w=525", "https://secure.gravatar.com/avatar/8c243c4f8f719024c5708cd065071484?s=85&d=mm&r=g", "https://www.pressandguide.com/wp-content/uploads/2024/08/CTC-L-BAD-MONKEY-01-e1723222140657.jpg?w=620", "https://www.pressandguide.com/wp-content/uploads/2024/08/SJM-L-MOVIEPICKS-0815-XX1.png?w=620", "https://www.pressandguide.com/wp-content/uploads/2024/08/ENTER-TV-EMMYS-HOSTS-GET-1.jpg?w=504", "https://www.pressandguide.com/wp-content/uploads/2024/08/Missy2024.jpg?w=525", "https://www.pressandguide.com/wp-content/uploads/2021/06/PressAndGuide-logo.png" ]	[ "https://www.theoaklandpress.com/2024/06/22/carlos-santana-maintains-a-spiritual-frequency-in-music-and-life/embed/#?secret=awomYOX6cJ" ]	[]	[ "" ]	null	[ "Gary Graff" ]	2024-06-22T00:00:00	Roger Daltrey's goal for his current North American solo tour is fairly straightforward.	en	https://www.pressandguid…iteicon.png?w=16	Press and Guide	https://www.theoaklandpress.com/2024/06/22/roger-daltrey-moves-outside-of-the-who-with-latest-solo-tour/	Roger Daltrey’s goal for his current North American solo tour is fairly straightforward. “I’m just determined to enjoy myself and explore the freedom I’ve got to do what I want to do on this tour, and let’s see where it ends up,” the Who frontman says via Zoom from his home in England. He’s certainly earned that right. Daltrey is a 60-plus years into a career that has, of course, been dominated by the Who — most recently in 2022, when he and guitarist Pete Townshend, the band’s two remaining members, toured with an orchestra. On his own, meanwhile, Daltrey has recorded and acted (“Tommy,” “Lisztomania,” “McVicar,” “CSI: Crime Scene Investigation”). He also wrote a memoir in 2018 and started the Teenage Cancer rust charity in the U.K. as well as Teen Cancer America. He’s constantly asked about future Who endeavors, but right now, having turned 80 in March, Daltrey is more interested in marching to the beat of his literal own drummer. “As far as I’m concerned, do we need another Who tour?” he asks. “We were a great group and two of our members died, and it’s been different since. We did as much as I could ever have wished for, and more. I thought it ended on the ultimate presentation of Pete Townshend’s music, which is out with the orchestra while maintaining the thunder of a rock band. That’s what the music deserved.” But after myriad farewell tours and reunions, Daltrey knows better than to ever write the Who off completely. “There’s chemistry between Pete and I,” he acknowledges. “I love him dearly. There’s something special there, but it needs us both to be on fire and both wanting to be there. So if he really, really wants to do it I’m gonna turn up even with a broken leg, and I’ll deliver for you.” Daltrey and his own band — including Who musicians Simon Townshend (Pete’s younger brother) on guitar, violinist Katie Jacoby and Billy Nicholls on mandolin and vocals — are certainly celebrating the band in their shows, not the same way the Who would. “I just want to branch out and do something different,” Daltrey explains, “where I’ve got different instrumentation and I can stop using tape loops. It just creates a whole new sound and allows me the freedom as a singer.” It’s allowed him to dig deep, too, and play songs like…well, if we told you, he might have to kill us. “I’m not gonna talk about songs,” says Daltrey, who’s also answering questions that fans submit prior to the concerts. “There’s no surprises left with concerts these days, ’cause everybody wants to see the setlist. I’m… sick of it. The Internet’s ruined the live shows for me. Who wants to know what’s coming next? People forget about surprises. I can’t stand it.” He is, however, playing the Who’s epic “Won’t Get Fooled Again,” but taking a different act with that, too. “I’m gonna get the…audience to do the scream,” he says of the song’s signature. “I’ve done that scream for 55 years, and I’ve had enough of it. I don’t even want to try it now; it’s brutal on the vocal chords. They can do the scream, and I’ll do everything else. “I’m more into singing these days. At the age of 80, I think I deserve to be.” The tour also coincides with the upcoming 55th anniversary of the first Woodstock festival, where the Who’s wee-hours set included the whole of its rock opera “Tommy,” and where Townshend famously booted activist Abbie Hoffman off the stage when he invaded to protest the imprisonment of the late John Sinclair back in Michigan. Daltrey recalls the experience as “muddy, smelly, but great to see old friends.” And he knows who deserves the credit for the festival’s enduring legend. Carlos Santana maintains a “spiritual frequency” in music, and life “I always felt that the stars of Woodstock were the audience, never the bands,” says Daltrey, whose future projects include a biopic about the late Who drummer Keith Moon that he’s been working on for years and possibly a second book focusing on overcoming the insecurities he felt during the early days of the Who. He also played harmonica on an all-star version of Mark Knopfler’s “Going Home (Theme From Local Hero)” to benefit the cancer charities. “To me it was the beginning of the end of the Vietnam war,” Daltrey continues, “though casualty-wise it got worse. But it was the audience that created the wave that made the government realize they’re gonna have to get to grips with this, ’cause they’re gonna have a rebellion on their hands. The Woodstock audience did that, not the bands.”
6803	dbpedia	0	0	https://music.fandom.com/wiki/Roger_Daltrey	en	Roger Daltrey	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513	[ "https://static.wikia.nocookie.net/music/images/1/1c/RogerDaltrey.png/revision/latest?cb=20140705200513", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Music Hub" ]	2024-07-29T22:27:06+00:00	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and...	en	/skins-ucp/mw139/common/favicon.ico	Music Hub	https://music.fandom.com/wiki/Roger_Daltrey	Roger Harry Daltrey, CBE (born 1 March 1944) is an English singer, musician, songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in films, theatre and television roles and also producing films. In 2008 he was ranked number 61 on Rolling Stone magazine's list of the 100 greatest singers of all time. Early life[edit source \| editbeta][] Roger Harry Daltrey was born in the Hammersmith area of London, but was brought up in Acton, the same working class suburban district that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Daltrey attended Victoria Primary School and then Acton County Grammar School for Boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrolment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead. He made his first guitar from a block of wood, a cherry red Strat copy, and joined an existing skiffle band called the Detours in need of a lead singer. They told him he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too.[1] When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterwards was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled Roger had been a good pupil."[2] "Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock 'n' roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more."[citation needed] Daltrey became a sheet metal worker during the day, while practising and performing nights with the band at weddings, pubs and working men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, eventually being replaced by Keith Moon. Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m)). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives."[3] He generally selected the music they performed, including songs by the Beatles, various Motown artists, James Brown and other rock standards. In 1964 the group discovered another band working as the Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" During 1964, band manager Peter Meaden renamed the band the High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released one single, "I'm The Face/Zoot Suit", on Fontana Records. The single was unsuccessful. After Kit Lambert and Chris Stamp discovered the High Numbers at the Railway Hotel, the band changed their name back to The Who, since neither Lambert nor Stamp liked the name the "High Numbers". Music career[edit source \| editbeta][] The Who years[edit source \| editbeta][] With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. The other members of the Who expelled Daltrey from the band in late 1965 after he beat up drummer Keith Moon for supplying drugs to Townshend and Entwistle, causing him to re-examine his methods of dealing with people. A week later, Daltrey was admitted back to the band, but was told he'd be on probation. He promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band during these years. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became his signature move. [1][2]Daltrey, with microphone, and Townshend, on stage Daltrey's Townshend-inspired stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. By 1973, Daltrey was experiencing considerable success with his solo projects and acting roles. While others of the band worked on recording the music for Quadrophenia, Daltrey used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow.[4] With each of The Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role, was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" and appeared on the cover of Rolling Stone magazine on 10 April 1975. Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others. [3][4]Daltrey, right, with Pete Townshend The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called McVicar about British bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to a deterioration of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album Under a Raging Moon and Townshend's solo album Iron Man. Daltrey turned to working as an actor, completing such high profile projects as The Beggar's Opera and The Comedy of Errors for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's The Hunting of the Snark (1987), The Little Match Girl (1987), Buddy's Song (1990), which he also produced, and Mack the Knife (1990). In 1991 he received a Grammy Award with the Chieftains for An Irish Evening: Live at the Grand Opera House, Belfast. The Who returned in 1989 with their 25th Anniversary Tour, which was also the 20th anniversary of the rock opera Tommy. The tour featured a large backing band and guest appearances bySteve Winwood, Patti LaBelle, Phil Collins, Elton John and Billy Idol. Although Daltrey experienced severe health problems due to an abdominal hemangioma (later removed by surgery), he managed to complete the tour. He continued to work on stage and screen during these years, completing projects such as The Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Grey, Natalie Cole and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows. In 1994 Daltrey celebrated his 50th birthday by performing a two-night spectacular at Carnegie Hall titled A Celebration: The Music of Pete Townshend and The Who, and popularly calledDaltrey Sings Townshend. The show was produced by Daltrey's manager at the time, Richard Flanzer. The Who's music was arranged for orchestra by Michael Kamen, who conducted TheJuilliard Orchestra for the event. Bob Ezrin, who produced Pink Floyd's The Wall CD, among other famous albums, produced the live CD. Pete Townshend, John Entwistle, Eddie Vedder (who performed a special acoustic tribute), Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, the Chieftains and others performed as special guests. Michael Lindsay-Hogg directed the telecast, which was aired on satellite TV. The concert, at the time, was the fastest sell-out in the famed venue's history. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit due to the expense of providing extraordinary musicians and orchestras in every city to replicate the Carnegie Hall event. Significantly, the tour did attract attention to songs from the Who's rock opera Quadrophenia and gathered support for a staging and major tour of the rock opera in 1996–97. In 1996 Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full-out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section and backing vocalists were added, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996–97 as The Who. After their Quadrophenia tour was successful, the band returned as The Who in a stripped-down, five-piece line-up for tours in 1999–2000. The band continued to work together, making a major impact at the Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. Bassist Pino Palladino was chosen to fill Entwistle's place. The band also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between the two principals Daltrey and Townshend. The band completed a world tour in 2006–07 to support this album. In February 2010, Townshend and Daltrey, headlining as The Who, performed the halftime show at Super Bowl XLIV in front of 105.97 million viewers across the globe. In March 2010, Townshend and Daltrey, along with an extensive backing band, performed Quadrophenia at the Royal Albert Hall in London as a tenth anniversary charity benefit for the Teenage Cancer Trust. Eddie Vedder of Pearl Jam sang the part of the Godfather, and Tom Meighan of Kasabiansang the part of Aceface,[5] and Tom Norris, London Symphony Orchestra Co-Principal Second Violin, played violin for the production. Rock persona[edit source \| editbeta][] [5][6]Daltrey singing with The Who in Hamburg, August 1972 When Colin Dawson left the Detours, Roger Daltrey took over as lead vocalist, giving up his guitar. The band as a whole acknowledged Moon and Entwistle's innovation and talent on their instruments, and Pete Townshend had begun writing hit songs, but Daltrey struggled to find a voice to present their new music. His expression carried Townshend's material well enough in recordings, and at the time his live persona suited the small club scene where The Who made their beginnings. However, this presentation lacked the confidence of later years, and he was arguably still a singer seeking a voice. The Who first toured North America in 1967, appearing at the Monterey Pop Festival, and Daltrey brought back new experiences in dealing with larger venues and stages. 1968 proved a pivotal year with Townshend's movement beyond the quick three-minute single towards his goal of writing a rock opera. Beginning with "A Quick One (While He's Away)", a nine-minute mini-opera, Daltrey's performance in the Rolling Stones Rock and Roll Circus showed him with a new confidence in dealing with Townshend's material. In 1969, The Who's first major rock opera Tommywas released, and Daltrey found a voice for the lead character that carried The Who to world stardom at such music venues as Woodstock and the Isle of Wight Festival, and in opera housesaround the world during the next two years. Townshend later remarked in the film Amazing Journey, that with Tommy, and with Daltrey's adaptation to portraying the character on-stage, the singer evolved from what was essentially a tight, tough guy to one who outstretched his arms, bared his body to the audiences, and began to truly engage them. "With this change, the band was at last complete," he summed up. "It was a marriage," Townshend emphasised, "but it was a good marriage. Those were glorious years". Daltrey confirmed this, saying, he felt at last accepted, displaying a newly energetic role and sound during live performances. Daltrey has long been known as one of the most charismatic of rock's frontmen. According to Pete Townshend, "He almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[6] His persona has earned him a position as one of the "gods of rock and roll"[7] He developed a trademark move of swinging and throwing his microphone through a complex sequence, matching these sequences with the tempo of the song that was being played at the moment, although Daltrey reduced the athleticism of his performances in later years. Musical equipment[] Roger Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.[8] As lead guitarist for the Detours, Daltrey played a 1961 Epiphone Wilshire solidbody electric guitar which he later sold to Pete Townshend on an easy payment plan.[9][10] After he took over vocals for the band in the 1960s and during the 1970s, Daltrey rarely played guitar on stage; however, he played a Martin acoustic guitar for appearances to promote his solo album Daltrey.[11] He began playing guitar with The Who again during the band's tours in the 1980s, and used a Fender Esquire to play a second guitar part for the song "Eminence Front" on The Who's 1982, 1989 and later tours.[12]During the 1989 tour, he played a Gibson Chet Atkins SST guitar for the song "Hey Joe." During The Who's 1996–97 Quadrophenia tour, Daltrey played a Gibson J-200 acoustic guitar.[13] After 1999, it became more common for Daltrey to play guitar during both The Who and solo shows. He ordered a Versoul Buxom 6 handmade acoustic guitar that he played on The Who's 2002 tour.[14] Daltrey owns a Gibson Everly Brothers Flattop acoustic guitar which he played on The Who and solo tours in the late first decade of the 21st century.[15] On his 2009 tour, Daltrey played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[16] Roger Daltrey is known as one of the harmonica players who brought the instrument out of blues and into popular music.[17] Although the mouth harps that Daltrey uses have varied over the years, brands he has used include Hohner and Lee Oskar harmonicas.[18] Daltrey plays using the blues harp (2nd position) or cross harp technique which originated in blues music. Daltrey uses Shure microphones with cords which he tapes to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. He commonly uses a standard Shure SM58,[19] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[20] Daltrey also uses a hybrid monitoring system with one in-ear monitor supplemented by floor wedges.[21] Who songs written by Daltrey[edit source \| editbeta][] Although never a writing force in The Who and overshadowed by the song writing talents of Townshend and Entwistle, Daltrey did contribute a small handful of songs to the band's catalogue during their early career: "Anyway, Anyhow, Anywhere" (1965)-The Who's second single, co-written by Townshend. "See My Way" (1966)-Daltrey's contribution to A Quick One. "Early Morning Cold Taxi" (1968)-Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions), co-written with David "Cyrano" Langston. "Here for More" (1970)-B-side to "The Seeker". Daltrey also wrote a song called "Crossroads Now" for The Who which grew out of an onstage jam in 1999 after the song "My Generation."[22] Another Daltrey song, entitled "Certified Rose," was rehearsed by The Who shortly before the death of John Entwistle. The band had planned on playing it (as well as Townshend's "Real Good Looking Boy") during their 2002 tour, but plans were halted after Entwistle's death.[23] Although it was rumoured that a studio version was recorded during the Endless Wire sessions (and might feature Entwistle's basslines from 2002), Townshend later stated that no such recording was made.[24] "Early Morning Cold Taxi", a song recorded during The Who Sell Out sessions in 1967 and released in 1994 on the Thirty Years of Maximum R&B boxset, is credited to Roger Daltrey and Who roadie Dave "Cy" Langston. Some sources report that the song was solely written by Langston.[25] At the time Daltrey and Langston were planning to form a writing-partnership, where all songs written by either of them would be credited as Daltrey/Langston. The partnership produced only one other song—an unreleased demo titled "Blue Caravan." Langston went on to play guitar on John Entwistle's first solo album, Smash Your Head Against the Wall, in 1970. Solo music career[edit source \| editbeta][] [7][8]Daltrey closing out a Trans-Siberian Orchestra concert, December 2007 Daltrey has released eight solo albums. The first was the self-titled Daltrey in 1973, recorded during a hiatus in The Who's touring schedule. The top single off the album, "Giving It All Away", reached number five in the UK and the album, which introduced Leo Sayer as a songwriter, made the Top 50 in the United States. The inner sleeve photography shows a trompe-l'œil in reference to the Narcissus myth, as Daltrey's reflection in the water differs from his real appearance. He also released a single in 1973, "Thinking" with "There is Love" on the B-side. Bizarrely, the British release, with considerable airplay of "Giving It All Away" (first lines "I paid all my dues so I picked up my shoes, I got up and walked away") coincided with news reports of The Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second album, Ride a Rock Horse, was released in 1975 and is his second most commercially successful solo album. Its cover, photographed by Daltrey's cousin Graham Hughes, is remarkable for depicting the singer as a rampant centaur. When Sayer launched his own career as an artist, Daltrey called on a widening group of friends to write for and perform on his albums. Paul McCartney contributed the new song "Giddy" to One of the Boys, where the band included Hank Marvin, Eric Clapton, Alvin Lee and Mick Ronson. On this cover, another visual trick is played with Daltrey's mirror image, with reference to Magritte's famous painting Reproduction Interdite. McVicar was billed as a soundtrack album for the film of the same name, in which Daltrey starred and also co-produced. It featured all the other members of The Who (Townshend, Entwistle and Kenney Jones). McVicar included two hit singles, "Free Me" and "Without Your Love", and is Daltrey's best-selling solo recording. The title track to Under a Raging Moon was a tribute to Who drummer Keith Moon, who died in 1978. Each of the album's tracks, including "Let Me Down Easy" by Bryan Adams, expresses the frustration of growing older as only a man who sang "Hope I die before I get old" can. On his album Rocks in the Head, Daltrey's voice ranges from a powerful bluesy growl à la Howlin' Wolf to the tender vocals shared with his daughter Willow on the ballad "Everything A Heart Could Ever Want". This was his first major effort as a song-writer for his own solo albums. In 1992, Daltrey appeared in the Freddie Mercury Tribute Concert, singing the hard rock song "I Want It All", to pay homage to his lifelong friend Freddie Mercury, who died the previous year one day after a public announcement that he suffered from AIDS. Daltrey celebrated his fiftieth birthday in 1994 by performing at Carnegie Hall in two shows (23 and 24 February ) later issued on CD and video called A Celebration: The Music of Pete Townshend and The Who, sometimes called Daltrey Sings Townshend, accompanied by the Juilliard Orchestra, Pete Townshend, John Entwistle, Irish dancers and other special guests. The success of these two shows led to a U.S. tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show and John Entwistle playing for the second half. An Australian leg was considered but eventually scrapped. Daltrey took on a number of other solo projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005. Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert. In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock 'n' roll favourites. In 2009, Daltrey formed a new touring band. No Plan B/The Roger Daltrey Band[edit source \| editbeta][] Roger Daltrey embarked on a solo tour of the U.S. and Canada on 10 October 2009, officially called the "Use It or Lose It" tour with a new band that he called "No Plan B" on the Alan Titchmarsh Show.[26] The band included Simon Townshend on rhythm guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.[27] Eddie Vedder made a guest appearance at the Seattle, WA show on 12 October.[28]In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[29] including Summerfest at Milwaukee, Wisconsin.[30] The band also scheduled additional dates in 2010 without Clapton. In 2011 the band performed the rock opera Tommy and other songs at a warm-up show in Bournemouth at the O2 Academy 19 March in preparation for a show scheduled at the Royal Albert Hall to benefit the Teenage Cancer Trust on 24 March.[31] Pete Townshend played and sang as a guest at the TCT show. Later in 2011, the band scheduled the "Tommy Reborn" tour of the UK and Europe, followed by a tour of the US and Canada. Additional dates were booked in Europe and Australia for 2012. Downloads from the tour were made available through the Internet. Non-Who songs written by Daltrey[edit source \| editbeta][] After his first efforts at writing songs with The Who, Daltrey wrote songs almost entirely for his solo recordings or for other projects. Daltrey first co-wrote songs for his solo albums beginning with the 1977 One of the Boys, including "The Prisoner", "Satin and Lace" and "Doing It All Again." On his 1985 album Under a Raging Moon, Daltrey is credited as co-writer on "Don't Talk to Strangers," "The Pride You Hide," "Move Better in the Night" and "It Don't Satisfy Me." On the 1987 album Can't Wait to See the Movie, Daltrey is credited as co-writer on the tracks "Balance on Wires" and "Take Me Home." On the 1992 Rocks in the Head, Daltrey is credited (along with Gerard McMahon) for co-writing seven of the eleven tracks, including: "Times Changed," "You Can't Call It Love," "Love Is," "Blues Man's Road," "Days of Light," "Everything A Heart Could Ever Want" and "Unforgettable Opera." For his 2005 compilation album Moonlighting, Daltrey co-wrote the song "A Second Out" with Steve McEwan of the band UnAmerican. The recording features Daltrey's vocals backed by McEwan on acoustic guitar. Daltrey's song-writing for other projects includes the 1975 soundtrack for Lisztomania, where he is credited with "Love's Dream", "Orpheus Song" and "Peace at Last." Daltrey also wrote "Child O Mine" with Gerard McMahon, featured on the soundtrack for The Banger Sisters and on the TV show Witchblade. In 2006, he wrote and performed a specially commissioned song, "Highbury Highs", for the Highbury Farewell ceremony following the final football match on 7 May at Highbury between Arsenal and Wigan Athletic, in which Arsenal celebrated the previous 93 years at Highbury, preparing for their move to the Emirates Stadium, Ashburton Grove, the following season. Discography[] Daltrey (1973) Ride a Rock Horse (1975) One of the Boys (1977) McVicar (1980) Parting Should Be Painless (1984) Under a Raging Moon (1985) Can't Wait to See the Movie (1987) Rocks in the Head (1992) Collaborations[edit source \| editbeta][] In 1984, Daltrey appeared on "Bad Attitude", the title track of an album by Meat Loaf, sharing the lead vocal. In the same year, Daltrey provided backup vocals on Barry Gibb's song "Fine Line". The following year, he appeared in Barbra Streisand's music video for her single "Emotion", playing Streisand's emotionally uninterested husband. In 1992, he appeared on the Chieftains' Grammy Award-winning album, An Irish Evening: Live at the Grand Opera House. He also released an album with the Boys Choir of Harlem in 1998 with selections from A Christmas Carol. Also in 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[33] He borrowed a guitar to play for the songs, after reassuring the owner that he would not break it. Daltrey taught thirteen-year-old Drake Bell how to play the guitar in 1999. Drake later starred in Drake and Josh and released two albums. In 2001, Daltrey provided backing vocals for the title track of the Joe Strummer and the Mescaleros album Global a Go-Go. In 2003, he provided backing vocals for thrash-metal band Anthrax on the song "Taking the Music Back" from their album We've Come for You All. The collaboration came about through Anthrax guitarist Scott Ian's girlfriend, Pearl Aday, daughter of Meat Loaf, whose mother was a friend of Daltrey and his wife. In 2005, Daltrey collaborated with the British pop band, McFly to sing his hit song "My Generation". On 14 and 15 December 2007, he appeared with the Trans-Siberian Orchestra at Nassau Coliseum in Uniondale, New York and Izod Arena in East Rutherford, New Jersey, performing "Behind Blue Eyes," "Pinball Wizard" and "See Me, Feel Me." On 12 January 2009, Daltrey headlined a one-off concert along with Babyshambles at the O2 Academy Bristol for Teenage Cancer Trust. On Sunday 5 July 2009, he joined Paul Weller onstage at Hop Farm Festival in Kent for an encore of "Magic Bus".[34] In 2011 Daltrey recorded a duet on the song "Ma seule amour" with French singer and composer Laurent Voulzy for his album Lys and Love.[35] Film and stage career[edit source \| editbeta][] Film[edit source \| editbeta][] [9][10]Daltrey in Boston's House of Blues in 2009 After The Who retired from active work in 1982, Daltrey developed his career in film and on the theatre stage. Daltrey's appearances in over 30 feature films include early starring roles inTommy, as "deaf, dumb and blind boy" Tommy Walker in 1975; Lisztomania, as Hungarian composer Franz Liszt in 1975, and McVicar, as British armed-robber-turned-journalist John McVicar in 1980. Through the 1980s and 1990s, he appeared in various musicals and dramas, including The Beggar's Opera, The Comedy of Errors, The Little Match Girl, Mack the Knifeand Buddy's Song. In 1992 Daltrey appeared in The Real Story of Happy Birthday to You, a children's animation. In 2003, he starred as the voice of Argon the Dragon Bus Driver in the award-winning children's DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD featured Daltrey as a costumed children's dragon, who drove a bus for two lost puppets trying to return to their home at the zoo. Daltrey provided vocals for children's classics, such as "The Wheels on the Bus Go Round and Round," in addition to songs written specifically for the home video. He later appeared in two other videos for this series. In addition to his career as an actor, Daltrey has been producer on several films, including: Buddy's Song (1990), McVicar (1980), Quadrophenia (1979) and an untitled Keith Moon film project in development.[36] Television roles[edit source \| editbeta][] Daltrey has played a number of television roles, including BBC Television Shakespeare as both Dromios in The Comedy of Errors, the police drama series The Bill, the science fiction series Sliders as Col. Angus Rickman, the VH1series Strange Frequency 2, Witchblade as the devil, and was a recurring guest star in Highlander: The Series as Immortal Hugh Fitzcairn, one of the closest friends of lead character Duncan MacLeod. In 1983, he played Macheath, the outlaw hero of BBC TV's production of John Gay's 1728 ballad opera, 'The Beggar's Opera'. In 1986 Daltrey appeared in the TV series Buddy. In 1993, he guest-starred (along with Steve Buscemi) in an episode of Tales From The Crypt entitled "Forever Ambergris". Daltrey appeared as a villain in a 1996 episode of Lois & Clark: The New Adventures of Superman. He also played Nobby Clegg, a character named after the band Nobby Clegg and the Civilians, in the Showtime series Rude Awakening. Daltrey took part in an episode of the animated series The Simpsons, "A Tale of Two Springfields", providing the voice for himself, along with John Entwistle (Pete Townshend's voice was supplied by his brother Paul). In this episode, The Who helped Homer break down a wall he had built through the town of Springfield. A self-described history buff, Daltrey often involves himself in history research related media including television documentaries. Pirate Tales from 1997, is a documentary/action show about the age of piracy in the 18th century, in which Daltrey impersonated English buccaneer William Dampier in a main role as the narrator throughout the series. In 2003 he hosted the History Channel's Extreme History with Roger Daltrey talking about historical events and explaining the survival techniques the civilisations treated had available. He also appeared in "That '70s Musical", the 100th episode of That '70s Show as Fez's musical director. Daltrey guest starred in a 23 November 2006 episode of CSI: Crime Scene Investigation ("Living Legend") as Mickey Dunn, a prominent Las Vegas 1970s mob boss who returns to Las Vegas to avenge his attempted murder. The Who's music, and Daltrey's singing, provide the themes for all three of the series in the CSI franchise every week ("Who Are You" for the original show, "Won't Get Fooled Again" for CSI: Miami and "Baba O'Riley" for CSI: NY). In 2005, Daltrey made a cameo appearance as himself in the episode "The Priest and the Beast" in Series 2 of The Mighty Boosh. He is found by the main characters vacuuming a desert, presumably as a "karmic" consequence of leaving Woodstock early and not helping to clean up. Also in 2005, he played the part of loblolly boy in the TV drama Trafalgar Surgeon. Besides acting, Daltrey has performed on the soundtrack of a number of films and television shows, most notably CSI. He also appeared in the music video for "Emotion" by Barbra Streisand, although neither he nor The Who were the featured act. Filmography[edit source \| editbeta][] Roger Daltrey has acted in advertisements, television and films, and maintains an extensive filmography. A sampling of his films and TV roles follows:[36] [11][12]Daltrey in 2008 prior to a screening of "The Who Live at Kilburn 1977" at the ArcLight Sherman Oaks 2008 List of acting performances in film and television Title Year Role Notes Tommy 1975 Tommy Walker film Lisztomania 1975 Franz Liszt film The Legacy 1978 Clive film McVicar 1980 John McVicar also producer The Beggar's Opera 1983 Macheath BBC musical production The Comedy of Errors 1983 The Dromios TV film Bitter Cherry 1983 short Pop Pirates 2007 Producer film Murder: Ultimate Grounds for Divorce 1985 film The Hunting of the Snark 1987 The Barrister concert appearance The Little Match Girl 1987 Jeb Macklin musical film Crossbow 1987 Francois Arconciel/François Arconciel TV series Gentry 1987 Colin TV series How to Be Cool 1988 Himself TV series Mack the Knife 1990 Street singer musical film Forgotten Prisoners: The Amnesty Files 1990 Howard TV film Cold Justice 1989 Keith Gibson film Buddy's Song 1991 Terry Clark film, also music score composer, producer Midnight Caller 1991 Danny Bingham TV series If Looks Could Kill – Teen Agent 1991 Blade film The Freddie Mercury Tribute Concert 1992 Himself concert performance The Real Story of Happy Birthday to You 1992 Barnaby (voice) short Tales from the Crypt 1993 Dalton Scott TV series Highlander 1993–98 Hugh Fitzcairn TV series Lightning Jack 1994 John T. Coles film A Celebration: The Music of Pete Townshend and The Who 1994 Himself concert performance The Wizard of Oz in Concert: Dreams Come True 1995 Tin Man concert performance Vampirella 1996 Vlad film Lois & Clark: The New Adventures of Superman 1996 Taz TV series Sliders 1997 Col. Angus Rickman TV series Pirate Tales 1997 William Dampier TV mini-series Like It Is 1998 Kelvin film The Magical Legend of the Leprechauns 1999 King Boric TV film Rude Awakening 1999–2000 Nobby Clegg TV series The Bill 1999 Larry Moore TV series Dark Prince: The True Story of Dracula 2000 King Janos TV film Best 2000 Rodney Marsh film The Young Messiah – Messiah XXI 2000 Himself concert performance Strange Frequency 2 2001 Host/devil TV series Chasing Destiny 2001 Nehemiah Peoples film Witchblade 2001 Father Del Toro/Madame Sesostris TV series .com for Murder 2002 Ben film That '70s Show 2002 Mr. Wilkinson TV series The Wheels on the Bus 2003 Argon the dragon children's DVD Trafalgar Battle Surgeon 2005 Loblolly Boy TV film Johnny Was 2006 Jimmy Nolan film CSI: Crime Scene Investigation 2006 Mickey Dunn TV series The Last Detective 2007 Mick Keating TV series Once Upon a Time 2012 Blue Caterpillar TV series (uncredited) Pawn Stars 2013 Himself 1 Episode Stage roles[edit source \| editbeta][] Daltrey has appeared in stage in productions including Mike Batt's The Hunting of the Snark in 1987 as the Barrister, and also in Batt's Philharmania with the Royal Philharmonic Orchestra in 1998. He appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 as the Tin Man. Also in 1995 he starred in a three part Bert Coules BBC radio dramatisation of the Mutiny on the Bounty novels of Charles Nordhoff and James Norman Hall, and in 1996 he starred in a BBC Radio 2 production of Jesus Christ Superstar as Judas. In 1998, Daltrey played the part of Scrooge in the Radio City Music Hall production of A Christmas Carol in New York City. In 2003, he starred as Alfred P. Doolittle in a production of My Fair Lady at the Hollywood Bowl alongside John Lithgow and Melissa Errico. Literary work[edit source \| editbeta][] Roger Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[37] In 2009 he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[38] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[39] Honours and awards[edit source \| editbeta][] In 1976 Roger Daltrey was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture" for his starring role in the film version of The Who's rock opera Tommy. He also performed as a guest on the Chieftains' recording of Irish Evening: Live at the Grand Opera House which won a Grammy Award for Best Traditional Folk Album in 1993. With The Who, Daltrey received a Grammy Lifetime Achievement Award in 2001 for outstanding artistic significance in music. In 1990 Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of The Who.[40] The Rock and Roll Hall of Fame also included three songs that Daltrey recorded with The Who on the list of 500 Songs that Shaped Rock and Roll, including: "My Generation", "Go to the Mirror Boy", and "Baba O'Riley".[41] In 2005 Daltrey received a British Academy of Songwriters, Composers and Authors Gold Badge Award for special and lasting contributions to the British entertainment industry.[42][43] In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[44] In the New Year's Honours List published on 31 December 2004, he was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity.[45] As a member of The Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[46] In December 2008, he and Pete Townshend were honoured with America's most prestigious cultural awards as recipients of the 31st annualKennedy Center Honors in Washington, D.C. by then-President of the United States, George W. Bush.[47] On 4 March 2009, three days after his 65th birthday, Daltrey accepted the James Joyce Award from the Literary and Historical Society of University College Dublin for outstanding success in the music field.[48] On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[49] Daltrey and Pete Townshend received the Classic Album Award for Quadrophenia from the Classic Rock Roll of Honour Awards at the Roundhouse, 9 November 2011, in London. In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[50] Charities[edit source \| editbeta][] Roger Daltrey supports many charities both as a solo artist and jointly with other members of The Who. In 1976, he performed at the Celtic Football Ground in Glasgow. An audience of 35,000 attended and a sum of over £100,000 was donated to charity. He sang "Rock and Roll" on a charity single released as McEnroe & Cash with the Full Metal Rackets for Rock Aid Armenia in 1986, and performed with The Who at Concert for Kampuchea in 1979 and Live Aid in 1985. Daltrey appeared in The Wizard of Oz in Concert: Dreams Come True in 1995 for the Children's Defense Fund, and at the Freddie Mercury Tribute Concert to benefit AIDS research in 1992. Roger Daltrey's 1994 Celebration raised funds to support Babies and Children's Hospital in New York City, as well. With The Who, he performed for the Robin Hood Foundation at the Concert for New York City and other benefits in 2001; at Neil Young's Bridge School Benefit in 1999; and in the Quadrophenia Concert for the Prince's Trust in Hyde Park, 1996. In addition, Daltrey performed at benefits in Vail, Colorado, in 1999, and attended a PETA benefit with Sarah McLachlan and Chrissie Hynde in the same year. All The Who's Encore Series profits go to young people's charities. Roger Daltrey was instrumental in starting the Teenage Cancer Trust concert series in 2000, with The Who actually playing in 2000, 2002, 2004, 2007 and 2010 and Daltrey playing solo in 2011. He has endorsed The Whodlums, a Who tribute band which raise money for the Trust.[51] Daltrey played benefits with the RD Crusaders in 2003, 2004, 2006, 2008; performed with The Who at Live 8 in 2005, for the Nordoff-Robbins Silver Clef benefit in 2005, and for the Los Angeles area City of Hope benefit in 2001 and 2004. The Who played with special guest Michael J. Fox at the 2008 "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. Daltrey performed at the first ChildLine Rocks concert at London's IndigO2 on 13 March 2008.[52] In 2009 Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[53][54] In the same year, he appeared again on stage with Michael J. Fox for the "A Funny Thing Happened on the Way to Cure Parkinson's" benefit. In April 2010, he headlined the Imagine A Cure II show honouring the legacy of John Lennon, which raised money for the Puget Sound Affiliate of Susan G. Komen for the Cure breast cancer charity. In 2011, Daltrey became a patron of the Children's Respite Trust for children with disabilities.[55] In 2011, Daltrey, Steven Tyler and Julie Andrews provided funding for Bob Langer's research at the Massachusetts Institute of Technology into vocal chord repair for victims of cancer and other disorders.[56] On 4 November 2011, Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by The Who's charity Who Cares?.[57] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[58] Daltrey also announced that a portion of ticket sales from his solo tours would go to fund the teen cancer centres. In 2012, he offered his support to a project helping unemployed young people in Heathfield, run by Tomorrow's People Trust.[59] Throat surgeries[edit source \| editbeta][] In 1978, during the recording of The Who's album Who Are You, Daltrey had throat surgery to remove nodules after an infection.[60] In December 2010, Daltrey was found to have developed vocal chord dysplasia and consulted Dr. Steven M. Zeitels, Director of the Massachusetts General Hospital Voice Center and professor at Harvard Medical School. Zeitels performed laser surgery to remove the possibly pre-cancerous growth.[61] Both surgeries were considered successful. Personal life[edit source \| editbeta][] Daltrey has been married twice. In 1964, he married the former Jacqueline "Jackie" Rickman, and had one child, born in 1964, Simon. The couple divorced in 1968. In 1967, Daltrey's son Mathias was born, the result of an affair withSwedish model Elisabeth Aronsson.[62] In 1968, he met the American Heather Taylor, his current wife whom he married in 1971. Together, they have three children, Rosie Lea (born in 1972), Willow Amber (born in 1975)[63] and Jamie (born in 1981). He also has five granddaughters, Lily, Lola, Ramona, Scarlet and Winter; and two grandsons, Liam and Jonjo. He also has three other children from relationships during the 1960s.[64] Daltrey owns a farm at Holmshurst Manor, a country estate near Burwash, Sussex, built in 1610, as well as his parents' old home in London. He designed and built Lakedown Trout Fishery near Burwash, documented in the filmUnderwater World of Trout, Vol. 1.[65] He bought a home in Los Angeles in the early 2000s. Daltrey also owns a house in Sturminster Newton, which appeared on the popular television series Grand Designs. Daltrey is a supporter of Arsenal F.C..[66] Daltrey claims to have never tried hard drugs and unlike his band mates, has stayed straight and free from addiction problems.[67] Views and advocacy[edit source \| editbeta][] Daltrey is a supporter of the Countryside Alliance and has played concerts to raise funds for the organisation.[68] Daltrey is a supporter of the Labour Party in Britain, but has been strongly critical of its policy of "mass immigration", arguing that the current immigration policies undermine the British working class. He has also expressed his admiration for Queen Elizabeth II.[69] Quotation[] We were still a bunch of rotten, dirty-boy rock 'n' rollers, but kids began identifying with our short hair and Ivy League clothes, and it just took off from there.
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It did not go well: he came fifth in a local talent show. But he was only ten	en	https://community.pandora.com/html/@BE217CCCF6F5174626B6E454E5ED656C/assets/favicon.ico	Pandora Community	https://community.pandora.com/t5/Community-Chat/This-Day-In-The-History-Of-Music/td-p/37076/page/27	Elvis Presley made his first public appearance as a singer on this day. It did not go well: he came fifth in a local talent show. But he was only ten years old. October 3, 1945; Chopin: The Day the Music Died The brief life of Chopin, one of music’s earliest superstars, ended on this day when the sickly composer fell victim to tuberculosis. Source- \| This Day In Music. For those who may not know. Elvis Presley was known as the King of Rock-n-Roll. P.S I am thinking about posting each day. If anyone in the Pandora community would like to add or suggest this post, then please do. I welcome all who are interested. Thank you. Take care everyone, and please stay safe as well. P.S. I will be using two sources of information for "This Day In The History Of Music". The first source is This Day In Music and the second source is On This Day in Music History. And for the faithful readers of this post, you probably have also noticed I use a third source when the two sources that I do use are not in agreement with the facts, the third source will always be listed. When the third source has to be used I will always list it as a (Side Note:) and it will always be highlighted in bold red just as you see it now. When I have to use a third source it will normally agree with one of the other two sources, that is when I will agree with that information, in the case where the third source also differs from the other two I will just go with the first date and information given. When this happens I will leave it up to the reader to look into the fact and or facts for that blog, and please feel free to leave a reply about any additional information you may have found, and please list the source and or sources that you used for that additional information. I try my very best to add nothing but true facts to this post, and I will always give the source that I took those facts. When I add my own personal opinion I will do so as a side note as well, but that will be highlighted in bold blue. I do hope you enjoy reading this post, history has always been my favorite subject throughout my whole life, from grade school through college, and even to this day. Take care and stay safe. mod edit: format MOHLovesAlaska Good Thursday afternoon, here are a few music facts for This Day In The History Of Music. Have a great Thursday. 1). On this day in 1607, L'Orfeo (Italian pronunciation: [lorˈfɛːo]), sometimes called La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognized as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. 2). On this day in 1956, Piston's Fifth Symphony was commissioned by the Juilliard School of Music on the occasion of its 50th anniversary. It was completed in 1954, but premiered only on February 24, 1956, by the Juilliard Orchestra, conducted by Jean-Paul Morel. The program also included premieres of works by Peter Mennin, Lukas Foss, Milton Babbitt, Irving Fine, Ross Lee Finney, and William Schuman. 3). On this day in 1964, Country music legend Buck Owens's single "My Heart Skips a Beat" was Owens's third number one on the U.S. country singles chart. "My Heart Skips a Beat" spent seven non-consecutive weeks at the top with a total of twenty-six weeks on the chart. The B-side, "Together Again", also hit number one on the country chart both replacing and being replaced by "My Heart Skips a Beat" from the top spot. 4). 1973 - Roberta Flack had her second US No.1 when 'Killing Me Softly With His Song', started a five-week run at the top of the charts. The song was written in collaboration with singer-songwriter Lori Lieberman and was born of a poem she wrote after experiencing a strong reaction to the Don McLean song 'Empty Chairs.' Roberta Flack first heard the song during a flight. She performed it for the first time live when supporting Marvin Gaye who told her she had to record a version before playing it live again. 5). On February 24, 1977, Crystal Gayle won Best Female Vocalist at the 12th Annual Academy of Country Music Awards. In 1978, the singer with floor-length hair became the first female country artist to reach platinum sales, with her 1977 album “We Must Believe in Magic.” The album included her country-pop crossover hit, “Don’t It Make My Brown Eyes Blue.” So far, Gayle has scored 20 No. 1 country songs. As one of the most successful country-pop crossover acts of the 1970s and 1980s, she paved the way for artists such as Faith Hill, Shania Twain, and Carrie Underwood. Gayle was born Brenda Gail Webb on January 9, 1951, in the Appalachian coal-mining town of Paintsville, KY. Gayle was the youngest of eight siblings, including singers Loretta Lynn and Peggy Sue. In 1970, Gayle released her first Top 40 country single, “I’ve Cried The Blues (Right Out of My Eyes),” on her sister Loretta Lynn’s record label, Decca Records. For the next three years, she released three more successful singles. In 1974, determined to step out of the shadow of her famous older sister, she signed United Records and released her first album, “Crystal Gayle.” Her self-titled album included Gayle’s first top-10 country hit, “Wrong Road Again”(1974). Two years later, Gayle scored her first No. 1 country hit with “I’ll Get Over You” (1976). Mickey Gilley takes the Entertainer of the year Award for Country music at the 12th Annual Academy of Country Music Awards. 6). 2000 - Carlos Santana won eight awards at the 2000 Grammy Awards for his Supernatural album. Before Supernatural, the guitarist had not had a Top 10 album since 1981. Sting won two awards, one for the best pop album and another for the best male pop vocalist. Sir Elton John won the legend award and Phil Collins the best soundtrack award for Tarzan. 7). Born on this day in 1950 - George Thorogood, an American musician, singer, and songwriter. His high-energy boogie-blues sound became a staple of 1980s rock radio, with hits like his original songs 'Bad to the Bone' and 'I Drink Alone. 8). Born on this day in 1947 Lonnie Turner, American bassist with the Steve Miller Band who had the 1974 US No.1 & 1990 UK No.1 single 'The Joker', the 1976 hit 'Fly Like an Eagle', and the 1982 US No.1 hit 'Abracadabra'. 9). Born on this day in 1942 Paul Jones English singer, actor, harmonica player, radio personality, and television presenter Paul Jones, from the British group Manfred Mann who had the 1964 UK & US No.1 single 'Do Wah Diddy Diddy. Jones is also a member of The Blues Band. Take care and stay safe. MOHLovesAlaska Good Tuesday afternoon fellow Pandorians, welcome to "This Day In The History Of Music". 1). On this day in 1928 Ol' Man River. Paul Whiteman and His Orchestra had a hit recording of the song in 1928, in a much faster tempo than Kern and Hammerstein intended, and featuring Bing Crosby on vocals and Bix Beiderbecke on cornet. 2). On this day in 1961 Elvis films and records for his fourth motion picture, "King Creole," often recognized as one of the best Elvis movies. 3). From February 28th thru March 2nd in 1967, The Beatles began recording ‘Lucy In The Sky With Diamonds’ during this session. First of all, however, a final overdub was added to ‘A Day In The Life. This was an extra piano part that was never used; the mono and stereo mixes had already been made, and its purpose remains unclear. The brief overdub appeared during the “He blew his mind out in a car” verse. ‘Lucy In The Sky With Diamonds’ was recorded in seven takes. Track one had George Harrison’s acoustic guitar and occasional piano from George Martin; track two had Paul McCartney on a Lowrey organ, including the distinctive introduction; track three had Ringo Starr’s drums, and the final track had John Lennon playing maracas and singing a guide vocal. George Martin’s piano had been abandoned by the time The Beatles came to record take seven, the best attempt. Track four was erased and replaced with a tamboura drone towards the end of the session. A reduction mix – known as taking eight – was made to free up more space for further overdubs. This was done with the tape machine running at 49 cycles per second rather than the usual 50, making it sound slightly faster upon playback. The session finished at 2.15 am on the morning of 2 March 1967. A composite of takes 6, 7, and vocal overdubs recorded during the next session was released in 1996 on the Anthology 2 album. 4). On this day in 1968, Elton John's first single "I've Been Loving You" was released on the Phillips label, with lyrics credited to Bernie Taupin (although John later admitted that he wrote the song by himself, giving Taupin credit as an effort to earn Taupin his first publishing royalties). The song didn't chart. 5). On this day in 1973, Pink Floyd released their eighth studio album The Dark Side Of The Moon in the US. It remained in the US charts for 741 discontinuous weeks from 1973 to 1988, longer than any other album in history. After moving to the Billboard Top Pop Catalog Chart, the album notched up a further 759 weeks and had reached a total of over 1,500 weeks on the combined charts by May 2006. With an estimated 45 million copies sold, it is Pink Floyd's most commercially successful album and one of the best-selling albums worldwide. 6). On this day in 1975, The Eagles went to No.1 on the US singles chart with 'Best Of My Love', the first of five US No.1's for the band. The song was included on their 1974 album On the Border and was released as the third single from the album. According to Don Henley, the lyrics were written while in a booth in Dan Tana's Restaurant close to the Troubadour in West Hollywood. The album Eagles Greatest Hits 71'-75' became the best-selling album of all time surpassing Elvis Presley, it fell to second all-time behind Michael Jackson's album Thriller, which was accomplished twice when Michael Jackson passed away in 2009. 7). On this day in 1994, The 36th Annual Grammy Awards were held. They recognized accomplishments by musicians from the previous year. Whitney Houston was the Big Winner winning 3 awards including Record of the Year and Album of the Year while opening the show with "I Will Always Love You". 8). On This Day in 1995, Bruce Springsteen's 'Streets of Philadelphia' won three Grammys for Song of the Year, Best Male Vocal Performance, and Best Rock Song. The track was featured in the film Philadelphia (1993), an early mainstream film dealing with HIV/AIDS that stars Tom Hanks and Denzel Washington. 9). On this day in 2019, Country Music Hall of Fame member Fred Foster died at age 87. He is credited as the producer behind all of Roy Orbison’s biggest hits including ‘Oh, Pretty Woman’, ‘Only the Lonely’, and ‘Crying’, and also produced major hits for Dolly Parton, Willie Nelson, Ray Stevens, and Kris Kristofferson. 10). Born on this day in 1904, Glenn Miller was an American big-band musician, arranger, composer, and bandleader Glenn Miller. He was the best-selling recording artist from 1939 to 1943, leading one of the best-known big bands. In just four years Glenn Miller scored 23 No.1 hits. Miller's recordings include 'In the Mood', 'Moonlight Serenade', 'Pennsylvania 6-5000', and 'Chattanooga Choo Choo'. On December 15, 1944, while traveling to entertain US troops in France during World War II, Miller's aircraft disappeared in bad weather over the English Channel. 11). Born on this day in 1927, Harry Belafonte, an American singer, had the 1957 UK No.1 & US No.12 single with ‘Mary’s Boy Child’ and a 1957 UK No.2 & US No.5 with ‘Banana Boat Song’. He also scored over 15 US Top 40 albums, including the 1956 Calypso. 12). Born on this day in 1942, Jerry Fisher, from the jazz-rock American music group Blood Sweat & Tears. They scored the 1969 US No.2 single 'Spinning Wheel', and the 1969 US No.12 single 'You've Made Me So Very Happy. They had a US No.1 with their second album Blood, Sweat & Tears in 1968. 13). Born on this day in 1944, Mike D'Abo, a singer, songwriter, with Manfred Mann had the 1968 UK No.1 & US No.10 single 'Mighty Quinn'. He wrote 'Handbags & Gladrags' covered by Rod Stewart and Stereophonics. Also wrote 'Build Me Up A Buttercup' a 1968 hit for The Foundations. 14). Born on this day in 1944, English singer and actor Roger Daltrey and founder of the rock band, The Who. They scored the 1965 UK No.2 single My Generation plus over 20 other the UK hit singles, 16 US Top 40 singles, and the rock opera albums Tommy and Quadrophenia. Daltrey had the 1973 solo UK No.5 single 'Giving It All Away. The Who is considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide. He and Pete Townshend received Kennedy Center Honors in 2008 and The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA in 2016. 15). Born on this day in 1987, Kesha Rose Sebert, (Kesha), 2009 US No.1 single with Flo Rida, ‘Right Round’, solo US No.1 single ‘Tik Tok’. Her third studio album Rainbow went to No.1 on the US chart in 2017. 16). Born on this day in 1994, Justin Bieber, Canadian singer. Bieber is the first artist to have seven songs from a debut album chart on the Billboard Hot 100. His 2009 debut single 'One Time' was a Top 30 hit in over 10 countries and in 2016, Bieber became the first artist to surpass 10 billion total video views on Vevo. Take care and stay safe. MOHLovesAlaska Good Thursday morning, just adding a few facts to This Day In The History Of Music. Enjoy the read. 1). On this day in 1931 "The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover. 2). On this day in 1931 “Minnie the Moocher,” the first of a long-running series of hits, with a debut recording in 1931. At the time of the recording, Calloway and his band had recently replaced the Duke Ellington Orchestra at the Cotton Club in Harlem. Even before he recorded “Minnie the Moocher". It also became the first Jazz piece to sell over one million copies. 3). Symphony No. 2 premiered on March 3, 1944, by the Boston Symphony Orchestra. Serge Koussevitzky conducted the premiere performance at Symphony Hall in Boston, MA. Revisions Samuel Barber withdrew the symphony in 1964 and ordered the destruction of the score and parts. His explanation implied to some that his piece was war propaganda. 4). On this day in 1955, Elvis Presley performed on the radio version of the program 1954 and made his first television appearance on the television version of Louisiana Hayride. 5). John Smith Hurt (March 8, 1893 – November 2, 1966), better known as Mississippi John Hurt, was an American country blues singer and guitarist. Raised in Avalon, Mississippi, Hurt taught himself to play the guitar around the age of nine. On March 3rd, 1963, Tom Hoskins, a blues enthusiast, located Hurt and convinced him to relocate to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the university and coffeehouse concert circuit with other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several albums for Vanguard Records. Over the years John Hurt's songs have been recorded by Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, Guthrie Thomas, and Rory Block. 6). On this day in 1973 Grammy Awards included, Roberta Flack who won Song of the Year and Record of the year with 'The First Time Ever I Saw Your Face' and Harry Nilsson won Best pop vocal performance for 'Without You.' 7). On this day in 1984 Nena started a three-week run at No.1 on the UK singles chart with '99 Red Balloons.' Originally sung in German, '99 Luftballons' was re-recorded in English as '99 Red Balloons'. The song was a No.2 hit in the US and the only UK hit for Nena making her a One Hit Wonder. 8). On this day in 2005, 50 Cent released The Massacre, the follow-up to his 6x platinum debut 'Get Rich or Die Tryin'. The album sold over 1 million copies in its first week, going 4x platinum in two months. The success of the album gave 50 Cent five top-five singles in 2005. 9). The Album Rockferry is the Grammy and Brit Award-winning, debut studio album by Welsh singer Duffy, first released on 3 March 2008 by Mercury Records in collaboration with Universal Records in the US and with Polydor Records in the UK. The album became a worldwide success, becoming the best-selling album in the UK in 2008, with 1.7 million copies sold. The album was the fourth best-selling album of 2008 worldwide. The album won a Grammy Award for Best Pop Vocal Album at the 51st Annual Grammy Awards, which were presented on 8 February 2009. Rockferry was ranked number 30th on Rolling Stone magazine's list of the Best Albums of 2008. The album also won Album Of The Year at the 2009 BRIT Awards. At the end of 2008, Q named the album the 6th best album of 2008 and Mojo named it the 31st best album of 2008. Rockferry also received the award for Mastercard British Album at the 2009 BRIT Awards, in a night that saw Duffy take home three awards. The album was the 4th biggest selling of 2008 in the world, according to the IFPI, as well as being the biggest selling of the UK. The album is considered an amazing commercial success, especially in the UK, where it was at number four 52 weeks after its release, spending most of them in the top ten albums, and a significant amount in the top three. 10). Born on this day in 1923, American bluegrass, folk, country, blues guitarist, songwriter Doc Watson. Blind from a young age he won seven Grammy awards as well as a Grammy Lifetime Achievement Award. Watson's fingerstyle and flat-picking skills, as well as his knowledge of traditional American music, were highly regarded. He died on 29 May 2012 at age 89. 11). Born on this day in 1944, Jance Garfat, bassist, with American rock band Dr. Hook who had the 1970s hits 'The Cover of Rolling Stone', 'A Little Bit More', 'When You're in Love with a Beautiful Woman' and 'Sylvia's Mother'. (Sylvia's Mother is one of my top 10 all-time favorites). 12). Born on this day in 1947, Jennifer Warnes, singer, (1982 US No.1 & UK No.7 single 'Up Where We Belong' with Joe Cocker). 13). Born on this day in 1966, American actor, rapper, voice actor, and producer Tone- Loc, (Antony Smith), who had the 1989 UK No. 13 single, 'Funky Cold Medina' for which he was nominated for a Grammy Award. 14). Born on this day in 1997, Cuban-American singer, songwriter Camila Cabello who was a member of the girl group Fifth Harmony, formed on The X Factor (US) in 2012. Her debut studio album Camila (2018) debuted at No.1 on the Billboard chart, with its lead single 'Havana' featuring Young Thug topping the charts in several countries, including the UK and the US. Have a great Thursday, take care, and stay safe. MOHLovesAlaska Good Friday afternoon, and welcome to This Day In The History Of Music. 1). On this day in 1830, I Capuleti e I Montecchi is an Italian opera in two acts by Vincenzo Bellini. The libretto by Felice Romani was a reworking of the story of Romeo and Juliet for an opera by Nicola Vaccai called Giulietta e Romeo and based on the play of the same name by Luigi Scevola written in 1818, thus an Italian source rather than taken directly from William Shakespeare. (According to Wikipedia this opera made its premiere on March 11th,1830.) 2). On this day in 1963, "Surfin' U.S.A." is a song by the American rock band the Beach Boys credited to Chuck Berry and Brian Wilson. It is a rewritten version of Berry's "Sweet Little Sixteen" set to new lyrics penned by Wilson and an uncredited Mike Love. The song was released as a single on March 4, 1963, backed with "Shut Down". It was then placed as the opening track on their album of the same name. 3). On this day in 1967, The Rolling Stones went to No.1 on the singles chart with “Ruby Tuesday,” the group’s fourth No.1 single. “Let's Spend The Night Together” was the original A-side, but after radio stations banned the song, “Tuesday” became the A-side. 4). On this day in 1974, ABBA released 'Waterloo' the first single from their second album and the first single to be credited to the group performing under the name ABBA. It later became the winning entry for Sweden in the 1974 Eurovision Song Contest and a No.1 hit in several countries. It reached the US Top 10 and went on to sell nearly six million copies, making it one of the best-selling singles in history. 5). On this day in 1979, Randy Jackson of The Jackson Five was seriously injured in a car crash breaking both legs, and almost died in the emergency room when a nurse inadvertently injects him with methadone. 6). On this day in 1993, Whitney Houston and Bobby Brown became parents when Whitney gave birth to a baby girl, Bobbi Kristina Houston Brown. Bobbi went on to become a reality television and media personality, singer, and actress. Brown died in hospice care on July 26, 2015, at the age of 22 after being found face down in a bathtub in her Georgia home. She was later placed into a medically induced coma. 7). On this day in 1997, Raymond Edwards American bassist with The Silhouettes died. The doo wop/R&B group's single 'Get A Job' was a No.1 hit on the Billboard R&B singles chart and pop singles chart in 1958. The doo-wop revival group Sha Na Na derived their name from the song's lyrics. 'Get A Job' is included in the soundtracks of the film American Graffiti, Trading Places, and Stand By Me. The Silhouettes performed in the 1986 movie Joey. 8). On this day in 2001, The Village People singer Glenn Hughes died of lung cancer aged 50 in his Manhattan apartment in New York. He was the original "Biker" character in the disco group who scored the 1978 UK No.1 & US No.2 single Y.M.C.A. 9). On this day in 2009, Britney Spears kicked off a world tour in New Orleans, her first concert tour for five years. The 27-year-old who dressed as a ringmaster in the show, featured jugglers, acrobats, and martial arts dancers. 10). On this day in 2020, American singer, Barbara Martin died at age 76. She is best known as one of the original members of the Motown group The Supremes. Martin left the group in the spring of 1962. 11). Born on this day in 1492, Francesco de Layolle, was an Italian composer and organist of the Renaissance. He was one of the first native Italian composers to write sacred music in the Franco-Flemish polyphonic style, combining it with the indigenous harmonic idioms of the Italian peninsula. He died in 1540 in Lyon France. 12). Born on this day in 1944, Robert Dwayne Womack was an American singer, songwriter, musician, and record producer. Starting in the early 1950s as the lead singer of his family musical group the Valentinos and as Sam Cooke's backing guitarist, Womack's career spanned more than 60 years and multiple styles, including R&B, soul, rock and roll, doo-wop, and gospel. 13). Born on this day in 1950, Emilio Estefan Gómez is a Cuban American musician and producer. Estefan has won 19 Grammy Awards. He first came to prominence as a member of The Miami Sound Machine. He is the husband of singer Gloria Estefan, father of son Nayib Estefan and daughter Emily Estefan, and the uncle of Spanish-language television personality Lili Estefan. 14). Born on this day in 1963, Jason Curtis Newsted is an American musician who was the bassist of American heavy metal band Metallica from 1986 to 2001. Beginning his career with thrash metal bands Flotsam and Jetsam from 1981 to 1986, he successfully auditioned with Metallica following the death of Cliff Burton. Newsted performed on the albums...And Justice for All, Metallica, Load, and Reload, the most album appearances among Metallica's bassists. 15). Born on this day in 1971, Fergal Lawler, who was a member of the former Irish alternative rock band, The Cranberries. During his time with them, the band struggled from nothing to great success. He played drums for the Cranberries all through their days as a band. The Cranberries' top hits were Dreams, Zombie, and Linger. 16). Born on this day in 1994, Ché Wolton Grant, known professionally as AJ Tracey, is a British rapper, singer, songwriter, and record producer. He is from Ladbroke Grove, West London. Tracey rose to popularity in 2016 and was listed by The Guardian in a list of "best new acts to catch at festivals in 2016". His top songs include Pasta, Buster Cannon, and Luke Cage. Have a great weekend, take care and stay safe. MOHLovesAlaska Good Tuesday morning, and afternoon, and welcome to "This Day In The History Of Music". 1). On this day in 1902, 1st performance of Jean Sibelius' 2nd Symphony, his most popular, was by the Helsinki Philharmonic Society. 2). On this day in 1962, The Beatles made their radio debut on the BBC's 'Teenagers Turn', (Here We Go), singing Roy Orbison's 'Dream Baby'. It was reportedly the first time The Beatles wore suits onstage. 3). On this day in 1966, "Golden Boy" closes at Majestic Theater NYC after 569 performances. In late May 1965, Tony Award Nominations were announced. Golden Boy appeared in four categories, Best Musical, Best Producer (Musical) – Hillard Elkins, Best Choreography – Donald McKayle, and Best Performance by a Leading Actor in a Musical – Sammy Davis, Jr. The Awards ceremony was held at The Astor Hotel on 13th June, but Golden Boy lost in all four categories to the respective nominations from Fiddler On The Roof. 4). On this day in 1973, American singer and musician Ron McKernan died aged 27 from liver failure brought on by alcohol poisoning. He was a founding member and keyboard player with the Grateful Dead and played in the group from 1965 to 1972. Unlike the other members of the Grateful Dead, McKernan avoided psychedelic drugs, preferring to drink alcohol (namely whiskey and flavored fortified wine). By 1971, his health had been affected by alcoholism and liver damage and doctors advised him to stop touring. 5). On this day in 1986, Diana Ross was at No.1 on the UK singles chart with the 'Chain Reaction.' Written and produced by The Bee Gees (who also provided the backing vocals for the single). The single became her first No.1 single in the UK since 'I'm Still Waiting' in 1971. 6). On this day in 2003, Singer and actor Adam Faith died. He had the 1959 UK No.1 single 'What Do You Want, plus over 20 other UK Top 40 singles, and acting roles include the TV series 'Love Hurts.' 7). On this day in 2016, AC/DC postponed the rest of their current US tour after singer Brian Johnson was warned he was going deaf. The band posted a statement on their website saying doctors had advised Johnson to stop touring immediately or risk total hearing loss. 8). On this day in 2016, English record producer, arranger, composer, conductor, audio engineer, and musician, Sir George Martin died aged 90. He worked as EMI records in-house record producer and became known as the so-called fifth Beatle. Martin produced all but one of The Beatles albums giving him 30 No.1 hit singles in the UK and 23 No.1 hit in the US. He also produced many other acts including Matt Monro, Cilla Black, Gerry & The Pacemakers, Billy J. Kramer & The Dakotas, The Fourmost, Jeff Beck, Ultravox, Kenny Rogers, UFO, Cheap Trick, Elton John, and Celine Dion. Martin received a Knighthood in 1996. 9). Born on this day in 1560, Carlo Gesualdo da Venosa was Prince of Venosa and Count of Conza. As a composer, he is known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century. He is also known for killing his first wife and her aristocratic lover upon finding them in flagrante delicto. The responses to this and to his music have often gone hand in hand. 10). Born on this day in 1714, Carl Philipp Emanuel Bach, also formerly spelled Karl Philipp Emmanuel Bach, and commonly abbreviated C. P. E. Bach, was a German Classical period musician and composer, the fifth child and second surviving son of Johann Sebastian Bach and Maria Barbara Bach. 11). Born on this day in 1922, Cyd Charisse was an American actress and dancer. After recovering from polio as a child and studying ballet, Charisse entered films in the 1940s. Her roles usually featured her abilities as a dancer, and she was paired with Fred Astaire and Gene Kelly; her films include Singin' in the Rain, The Band Wagon, Brigadoon with Gene Kelly and Van Johnson, and Silk Stockings. She stopped dancing in films in the late 1950s but continued acting in film and television, and in 1991 made her Broadway debut. She died in 2008. 12). Born on this day in 1938, Lewis “Lew” Calvin DeWitt Jr. was an American country music singer, guitarist, and composer. He was a founding member of The Statler Brothers and the group's original tenor. 13). Born on this day in 1945, George Michael Dolenz Jr. was an American actor, musician, TV producer, and businessman. He is best known as the vocalist and drummer for the 1960s pop-rock band the Monkees and a co-star of the TV series The Monkees. Upon the death of Michael Nesmith in 2021, Dolenz became the only surviving member of the band. 14). Born on this day in 1946, Randall Herman Meisner is a retired American musician, singer, songwriter, and founding member of the Eagles. Throughout his professional musical career, Meisner's main role was that of bassist and backing high-harmony vocalist as both a group member and session musician. He co-wrote the Eagles hit song "Take It to the Limit", which he also sang. Have a great day, take care and stay safe. MOHLovesAlaska Good Wednesday morning, welcome to This Day In The History Of Music. Enjoy the read. 1). On this day in 1842, Nabucco (Italian pronunciation: [naˈbukko]; short for Nabucodonosor [naˌbukoˈdɔːnozor]~[naˌbukodonoˈzɔr], English Nebuchadnezzar) is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera, but it did not appear until March 9th, 1842. 2). On this day in 1868, Hamlet is a grand opera in five acts of 1868 by the French composer Ambroise Thomas, with a libretto by Michel Carré and Jules Barbier based on a French adaptation by Alexandre Dumas, père, and Paul Meurice of William Shakespeare's play Hamlet. 3). On this day in1959, "Charlie Brown" is a popular Jerry Leiber and Mike Stoller song that was a top-ten hit for The Coasters in the spring of 1959. It went to No. 2 on the Billboard Hot 100 singles chart, while "Venus" by Frankie Avalon was at No. 1. It was the first of three top-ten hits for the Coasters that year. It is best known for the phrase, "Why's everybody always pickin' on me". 4). On this day in 1961, The Supremes released two singles, "I Want A Guy" and "Never Again". The Supremes were an American female singing group and a premier act of Motown Records during the 1960s. Founded as The Primettes in Detroit, Michigan, in 1959, the Supremes were the most commercially successful of Motown's acts and the most successful American vocal group, with 12 number-one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid-1960s, the Supremes rivaled the Beatles in worldwide popularity, and it is said that their breakthrough made it possible for future African American R&B and soul musicians to find mainstream success. Billboard ranked The Supremes as the 16th greatest Hot 100 artist of all time. 5). On this day in 1966, The Beach Boys started recording the Brian Wilson and Tony Asher penned song 'God Only Knows', which when released in May 1966 was the eighth track on the group's album Pet Sounds. It became a UK No.2 single in 1966 and the B-side of 'Wouldn't It Be Nice' when released in the US. 6). On this day in 1968, Bob Dylan started a ten-week run at No.1 on the UK chart with John Wesley Harding. The album marked Dylan's return to acoustic music after three albums of electric rock music and was exceptionally well received by critics, also reaching No.2 on the US charts. The commercial performance was considered remarkable, considering that Dylan had made Columbia Records release the album without much publicity. 7). On this day in 1971, Led Zeppelin appeared at Leeds University, Leeds, England, during their 'Back To The Clubs' tour. This was the first tour that saw Zeppelin performing 'Stairway To Heaven', 'Black Dog' and 'Going To California.' 8). On this day in 1975, Actor Telly Savalas was at No.1 on the UK singles chart with his version of the David Gates (from Bread) song 'If'. Savalas was currently high in the TV ratings playing the policeman Kojak. He also co-starred in the WWII movie "Kelly's Heros". 9). On this day in 1981, Former Led Zeppelin singer Robert Plant played a secret gig at Keele University, England with his new band The Honey Drippers. 10). On this day in 1985, REO Speedwagon started a three-week run at No.1 on the US singles chart with 'Can't Fight This Feeling', which made No.16 in the UK. 11). On this day in 1987, U2 released their fifth studio album The Joshua Tree which features the singles 'Where The Streets Have No Name', and 'I Still Haven't Found What I'm Looking For'. The album became the fastest-selling in UK history and the first album to sell over a million CDs, spending a total of 201 weeks on the UK chart. It topped the charts in over 20 countries and became U2's first US No.1 album. 12). On this day in 1997, Notorious BIG was gunned down and killed as he left a party at the Petersen Automotive Museum in Los Angeles. Born Christopher Wallace the rapper was pronounced dead on arrival at Cedars Sinai Hospital. He was 24 years old. 13). On this day in 2005, 53-year-old Danny Joe Brown, the original lead singer of Molly Hatchet, died from renal failure due to complications from diabetes. Brown was the frontman for the band's self-titled album in 1978, which went Platinum. 14). On this day in 2007, Brad Delp lead singer of US rock band Boston committed suicide by carbon monoxide poisoning at his home in the New Hampshire town of Atkinson. He died from the smoke of two charcoal grills he’d lit inside his sealed master bathroom. He was found by police lying on a pillow on his bathroom floor with a note paper-clipped to his shirt which read: "Mr. Brad Delp. I am a lonely soul." Boston had the 1977 UK No.22 single 'More Than A Feeling' and the 1986 US No.1 single 'Amanda.' 15). On this day in 2020, American record producer Keith Olsen died at age 74. He worked with many artists including Rick Springfield, Fleetwood Mac, Ozzy Osbourne, the Grateful Dead, Whitesnake, Pat Benatar, Heart, Santana, Foreigner, Scorpions, Magnum, Journey, Emerson, Lake & Palmer, Joe Walsh, and Eric Burdon & the Animals. 16). Born on this day in 1910, Samuel Osmond Barber II was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the 20th century. The music critic Donal Henahan stated, "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim. Samuel Barber's Adagio for Strings is one of the most recognizable pieces of classical music in the world. It's become America's semi-official music for mourning, used at Franklin Delano Roosevelt's funeral and after JFK's assassination. But somewhere along the way, it went from an anthem of sadness to one of joy. It was also the movie soundtrack for Platoon, which is considered to be the best Vietnam War movie ever made. 17). Born on this day in 1930, Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist, trumpeter, and composer known as a principal founder of the free jazz genre, a term derived from his 1960 album Free Jazz: Ornette Coleman won the Pulitzer Prize for music yesterday for his 2006 album, "Sound Grammar," the first jazz work to be bestowed with the honor. The alto saxophonist and visionary who led the free jazz movement in the 1950s and 1960s won the Pulitzer at age 77 for his first live recording in 20 years. 18). Born on this day in 1948, Chris Thompson, singer with Manfred Mann's Earth Band, had the 1976 US No.1 & UK No.6 single 'Blinded By The Light'. 19). Born on this day in 1980, American Rapper Chingy [Howard Bailey, Jr.] Chingy began writing lyrics when he was 9 and was recording raps at 10. He was originally known as H Thugz and was in the St. Louis group Without Warning on 49 Productions with M.G.D. & Mysphit. They recorded "What's Poppin Off" together, which became a local hit. H Thugz and Augustin also recorded a music video for the song. H Thugz later chose the alias Chingy, a slang term for money. 20). Born on this day in 1987, Shad Gregory Moss better known by his stage name Bow Wow (formerly Lil' Bow Wow), is an American rapper and actor. His career began upon being discovered by rapper Snoop Dogg in the late 1990s, eventually being brought to record producer Jermaine Dupri and signed to So So Def Recordings. As Lil' Bow Wow, he released his first album at age 13, Beware of Dog, in 2000, which was followed by Doggy Bag a year later. In 2003, Bow Wow released his third album Unleashed, which was the first album released after dropping the "Lil'" from his stage name, and the first not to be released by So So Def. His next album, Wanted (2005), spawned his two highest-charting singles, "Let Me Hold You" (featuring Omarion) and "Like You" (featuring Ciara). In September 2015, Bow Wow signed a management deal with Puff Daddy's Bad Boy Records. 21). Born on this day in 1993, Suga (Min Yoon-gi), South Korean singer, songwriter, with the boy band BTS. They became the first Korean act to top the US Billboard chart with their studio album Love Yourself: Tear (2018). BTS also became the fastest group since The Beatles to earn four US No.1 albums, doing so in less than two years. They became the first Asian act to chart a No.1 song in the US since Kyu Sakamoto with ‘Sukiyaki’ (1963). Have a great Wednesday, take care, and stay safe. MOHLovesAlaska Good Thursday morning, welcome to another This Day In The History Of Music, enjoy the read. 1). On this day in 1958, Big Records released 'Our Song' by a teenage duo from Queens, New York, Tom, and Jerry. Paul Simon and Art Garfunkel grew up in the 1940s and 1950s in Queens, New York, just three blocks away from one another, and attended the same schools. In the mid/late 50s, they began performing for the first time as a duo at school dances. At age 15, Simon & Garfunkel had a recording contract with the independent label Big Records. Using the name Tom & Jerry (Garfunkel naming himself Tom Graph, a reference to his interest in mathematics, and Simon naming himself Jerry Landis, using the surname of a girl he had dated). In 1957 the single "Hey Schoolgirl" was released, with the B-side "Dancin' Wild". Alan Freed played "Hey Schoolgirl" on his radio show where it became a nightly staple. It also attracted regular rotation nationwide, sold over 100,000 copies, and reached number 49 in Billboard. Their last recording with Big Records was a cover of Jan and Dean's, "Baby Talk", but the company went bankrupt soon after its release. It failed to sell and Tom & Jerry was dissolved. Their debut studio album as Simon and Garfunkel, "Wednesday Morning, 3 A.M." was released in 1964. 2). On this day in 1962, Bruce Channel started a three-week run at No.1 on the US singles chart with 'Hey! Baby'. An irresistible mid-tempo shuffle from the first few bars of homespun harmonica (played by Delbert McClinton), it was a seemingly effortless blend of rock, blues, country, and Cajun beats, featuring Channel's lazy, drawling vocals and an instantly catchy tune. On one of their shows, they were supported by a then-unknown Liverpool group, The Beatles, who had yet to cut their first record. John Lennon was smitten by McClinton's style of playing, and picked up some pointers that he put to use on the Beatles' very first single, "Love Me Do"; in fact, McClinton's influence can be easily detected in Lennon's harmonica playing on many early Beatles tracks from 1962 and 1963. 3). On this day in 1964, Paul Simon and Art Garfunkel recorded 'The Sounds Of Silence' as an acoustic duo. It wasn't until record company producers added electric guitar, bass, and drums, without the knowledge of Paul and Art, that the song would become a hit in late 1965. The album "Wednesday Morning 3 AM which was billed as "exciting new sounds in the folk tradition," sold about 2000 copies. When the album tanked, Paul Simon and Art Garfunkel split up. What they didn't know was that their record company had a plan. Trying to take advantage of the folk-rock movement, Columbia Records had producer Tom Wilson add electric instruments to the acoustic track, and released it as a single. Simon and Garfunkel had no idea their acoustic song had been overdubbed with electric instruments, but it became a huge hit and got them back together. Had Wilson not reworked the song without their knowledge, the duo probably would have gone their separate ways. When the song hit #1 in the States, Simon was in England and Garfunkel was at college. Paul Simon endorsed Disturbed's version after the band delivered a performance of his tune during their March 28, 2016 appearance on Conan. Simon sent David Draiman an email shortly after, saying, "Really powerful performance on Conan the other day. First time I'd seen you do it live. Nice. Thanks." Released as a single, Disturbed's cover became their highest-charting song on the Hot 100, peaking at #42. Draiman told The Wall Street Journal that he "couldn't be more flabbergasted" by the success of their cover. He added: "[It's a song] that my parents can play for their friends with pride without having to warn them not to be frightened ahead of time. I have fans saying, 'Finally, I and my mom can actually agree on music for once!'" 4). On this day in 1965, I've Got a Tiger by the Tail is an album by Buck Owens and His Buckaroos, released in 1965. It reached Number one on the Billboard Country charts and Number 43 on the Pop Albums charts. It was re-released on CD in 1995 by Sundazed Records with two bonus tracks, both live performances recorded in Bakersfield, CA at the Civic Auditorium in October 1963. The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die. 5). ( Aretha Franklin) I Never Loved a Man the Way I Love You is the tenth studio album by American singer Aretha Franklin released on March 10, 1967, by Atlantic Records. It was Franklin's first release under her contract with the label, following her departure from Columbia Records after nine unsuccessful Jazz standard albums, and marked a commercial breakthrough for her, becoming her first top 10 album in the United States, reaching number 2 on the Billboard 200. 6). On this day in 1981 Kim Carnes, "Bette Davis Eyes" is a song written and composed by Donna Weiss and Jackie DeShannon in 1974. It was originally recorded by DeShannon in that year for her album New Arrangement, but it was made popular by American singer Kim Carnes in March of 1981 when it spent nine non-consecutive weeks on top of the U.S. Billboard Hot 100. The song was #1 for five weeks but was interrupted for one week by "Stars on 45" before it returned to the top spot for another four weeks and became Billboard's biggest hit of the year. The song also became #1 in 21 other different countries and #10 in the U.K. 7). It was 34 years ago today (March 10th, 1988) that Andy Gibb died. Andy, who was the younger brother of the Bee Gees — Barry, Robin, and Maurice Gibb — died just five days after his 30th birthday from an inflammatory heart virus exacerbated by years of substance abuse. Andy, who was almost a decade younger than his brothers, had desperately wanted to become part of the group, but because of his age, he missed out on the Bee Gees’ first era of success in the late-’60s. By the time he was 19, he had emigrated from Australia to be with his brothers, who helped him sign with Robert Stigwood, who managed the group and owned their record label, RSO. Success for Andy came fast, with his brother Barry’s songwriting and producing help. He racked up three Number One hit — “I Just Want To Be Your Everything” in 1977, and “(Love Is) Thicker Than Water” and “Shadow Dancing” in 1978 — all before his 21st birthday. (Source: Remembering Andy Gibb - 106.1 The River - Classic Hits (1061theriver.com) 8). On this day in 1996, Alanis Morissette's Jagged Little Pill gained the album of the year award, it is the third studio album by Canadian singer Alanis Morissette, released on June 13, 1995, through Maverick. It was her first album to be released worldwide. Jagged Little Pill was a worldwide commercial success, topping the charts in thirteen countries. With sales of over 33 million copies worldwide, it is one of the best-selling albums of all time and made Morissette the first Canadian to achieve double diamond sales. Jagged Little Pill was nominated for nine Grammy Awards, winning five, including Album of the Year, making the then 21-year-old Morissette the youngest artist to win the top honor up to that point. Rolling Stone Magazine ranked Jagged Little Pill at #69 on its 2020 list of "The 500 Greatest Albums of All Time". 9). On this day in 2017, American singer-songwriter, actress, and producer Joni Sledge died from natural causes at age 60. She was best known as a founding member of Sister Sledge, who was best known for their hits 'We Are Family' and 'He's The Greatest Dancer. 10). On this day in 2019, American guitarist, singer, and songwriter Asa Brebner died at age 65. He was a member of The Modern Lovers led by Jonathan Richman. They are the best known for their 1976 hit ‘Roadrunner’ which Rolling Stone ranked Number 274 on their list of the 500 Greatest Songs of All Time. 11). Born on this day in 1933, Walter Ralph Emery was an American country music disc jockey, radio, and television host from Nashville, Tennessee. Emery promoted numerous stars on his radio and TV shows and was called the ahem Clark of country music He gained national fame hosting the syndicated television music series, Pop! Goes the Country, from 1974 to 1980, and the nightly Nashville Network television program, Nashville Now from 1983 - 1993. From 2007 to 2015, Emery hosted the weekly program, Ralph Emery Live. Ralph Emery died on January 15th, 2022. 12). Born on this day in 1962, Gary Clark, guitarist from Scottish pop group Danny Wilson who had the 1988 UK No.3 single 'Mary's Prayer'. Clark became a successful songwriter for other music artists including Natalie Imbruglia, Liz Phair, k.d. lang, and former Spice Girls Melanie C and Emma Bunton. 13). Born on this day in 1971, Timothy Z. Mosley (Timbaland), R&B producer and rapper. With partner Magoo, he is a member of hip-hop duo Timbaland & Magoo. Produced hits for Nelly Furtado, Missy Elliott, Aaliyah, Jay-Z, Justin Timberlake, Utada Hikaru, Ludacris, and The Pussycat Dolls. 14). Born on this day in 1973, John Charles LeCompt, guitarist, with American rock band Evanescence who had the 2003 UK No.1 & US No.5 single ‘Bring Me To Life’, and the 2003 UK No.1 & US No.3 album Fallen. 15). Born on this day in 1983, Carrie Underwood, American pop country music singer, winner of the fourth season of American Idol. Her debut album 'Some Hearts' is the fastest-selling debut country album in Nielsen SoundScan history. In 2010, when Carrie garnered her second win as ACM Entertainer of the Year, she became the first female artist to win the award twice, and only the 7th female to take the award in the 40-year history of the ACM category, among Loretta Lynn, Dolly Parton, Barbara Mandrell, Reba McEntire, Shania Twain, and the Dixie Chicks. 16). Born on this day in 1992, Emily Jordan Osment is an American actress, singer, and songwriter. Born and raised in Los Angeles, she began her career as a child actress, appearing in numerous television shows and films, before co-starring Gerti Giggles in Spy Kids 2: The Island of Lost Dreams and Spy Kids 3-D: Game Over. She played Lilly Truscott in the Disney Channel television series Hannah Montana and appeared in the theatrical film based on the series, Hannah Montana: The Movie. Have a great Thursday, take care, and stay safe. MOHLovesAlaska Good Monday morning. and welcome to This Day In The History Of Music. Enjoy the read. 1). On this day in 1847, Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865. 2). On this day in 1971, The Rolling Stones chose to abandon their home country of England to avoid the amount of taxes the British government expected the band to pay. The Stones would have to leave by 5 April, or the government would have seized their assets. 3). On this day in 1972, Muddy Waters won his first Grammy Award for his 1971 album They Call Me Muddy Waters. After his 30-year run with Chess Records, he went his separate way in 1975, suing the record company for royalties after his final release with them: Muddy Waters Woodstock Album. 4). On this day in 1972, Soul singer, Linda Jones, died aged 26 in New York after collapsing into a diabetic coma following a performance at Harlem's Apollo Theatre in New York. Jones scored the 1967 US No.21 single 'Hypnotized'. 5). On this day in 1982, Metallica made its live debut when they appeared at Radio City in Anaheim, California. Metallica formed in Los Angeles, California, in late 1981 when Danish-born drummer Lars Ulrich placed an advertisement in a Los Angeles newspaper, The Recycler, which read, "Drummer looking for other metal musicians to jam with Tygers of Pan Tang, Diamond Head, and Iron Maiden." Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement. 6). On this day in 1983, Jon Bon Jovi, Richie Sambora, and Alec John Such formed Bon Jovi. Their fourth album, New Jersey, released in 1988, is notable for producing five Billboard Hot 100 Top 10 singles, the most top-ten hits to date from a hard rock album. 7). The Dave Matthews Band first show took place at Trax in Charlottesville, Virginia on March 14, 1991, as a benefit for Middle East Children’s Alliance. The lineup at the time consisted of guitarist Dave Matthews, drummer Carter Beauford, bassist Stefan Lessard, and saxophonist LeRoi Moore. But as with most bands, DMB’s origins go back further than their first show. 8). On this day in 1991, American songwriter and Blues singer Doc Pomus died from lung cancer aged 65. He is best known as the lyricist of many rock and roll hits written with Mort Shuman including, ‘A Teenager in Love’, ‘Save The Last Dance For Me’, ‘Sweets For My Sweet’, ‘Can't Get Used to Losing You’, ‘Little Sister’, ‘Suspicion’, ‘Surrender’ and ‘Viva Las Vegas.’ 9). On this day in 1991, R.E.M. played the first of two nights at London's Borderline Club under the name of 'Bingo Hand Job.' The group was in the UK promoting their seventh studio album Out of Time and their current single ‘Losing My Religion. 10). On this day in 1992, Farm Aid V was held in Irving, Texas; performers include Willie Nelson, John Mellencamp, Neil Young, Arlo Guthrie, Asleep At The Wheel, Kentucky Headhunters, Texas Tornadoes, Bonnie Raitt, Tracy Chapman, Paul Simon, and Mary Chapin Carpenter. 11). On this day in 2006, U2 topped Rolling Stone magazine's annual list of the year's biggest money earners from 2005 with $154.2m. (£78m), The Rolling Stones were listed second with $92.5m (£47m) and The Eagles third with 63.2m. (£32.m). Paul McCartney was in fourth place with $56m (£28m) and Elton John in fifth with $48.9m. (£24.8m). 12). On this day in 2020, American singer and songwriter Phil Phillips died at age 94. He is best known for his 1959 song, "Sea of Love" which peaked at No.2 on the US Billboard chart and sold over one million copies. The song was featured prominently in the 1989 film Sea of Love starring Al Pacino. It was the only top-40 chart song for Phillips, who never recorded another hit. 13). On this day in 2021, The 63rd Annual Grammy Awards. Beyoncé received the most nominations with nine, followed by Roddy Ricch and Taylor Swift with six each. Beyoncé received the most awards, with four, surpassing Alison Krauss as the most-awarded woman in the show's history, with 28 awards overall. Swift won Album of the Year for Folklore, making her the first woman to win the award three times and the first artist to do so since Paul Simon in 1988. Billie Eilish won Record of the Year for "Everything I Wanted", becoming the second solo artist, after Roberta Flack in 1974, to win two years consecutively, and the third overall since U2 in 2002. H.E.R. won Song of the Year for "I Can't Breathe" and Megan Thee Stallion won Best New Artist, becoming the second female rapper to win since Lauryn Hill in 1999. The ceremony was originally scheduled for January 31, 2021; however, on January 5, 2021, the Recording Academy postponed the ceremony to March 14, 2021, due to a spike in COVID-19 cases in Los Angeles as well as health and safety concerns therein 14). Born on this day 1727, Johann Gottlieb Goldberg, Goldberg was born in Danzig (Gdańsk), Royal Prussia (a part of the Crown of Poland), and was baptized there on March 14, 1727, at St. Mary's Church, Gdańsk. Little is known for certain about his childhood, other than that he was an exceptionally talented performer, attracting the attention of Hermann Karl von Keyserling, the Russian ambassador to Saxony, around 1737. Goldberg was reported to have studied with both J. S. Bach and Wilhelm Friedemann Bach, Bach's eldest son, though the periods of study are not known; Goldberg may have studied with J. S. Bach as early as 1737, shortly after Keyserling recognized his talent in Danzig, and Goldberg may have studied with W. F. Bach at any time before 1745 since W. F. Bach was in Dresden throughout Keyserling's tenure there as ambassador. The most famous part of Goldberg's life is the portion, probably in 1741, recounted by J. S. Bach's biographer Johann Nikolaus Forkel, which involved the composition of a set of variations by Bach to help the insomniac Count Keyserling pass sleepless nights. Keyserling's favorite chamber harpsichordist was the 14-year-old Goldberg, whose technical accomplishments were so spectacular that they made it possible for him to perform a work of such extraordinary difficulty. According to Forkel, writing in 1802, sixty years after the event: 15). Born on this day in 1922, Les Baxter, American musician and composer Les Baxter who had the 1956 US No.1 single 'Poor People Of Paris'. In the 1960s, he formed The Balladeers, a conservative folk group in suits that at one time featured a young David Crosby. He died on 15 January 1996. 16). Born on this day in 1933, Quincy Jones, American record producer, composer, and musician Quincy Jones. He is known for his 1962 tune 'Soul Bossa Nova' and later scored the 1978 US No.1 single 'Stuff Like That'. Jones has a record 79 Grammy Award nominations and was the producer of three albums by Michael Jackson, Off The Wall, Bad, and Thriller which has now sold more than 65 million copies worldwide. 17). Born on this day in 1945, American saxophonist Walter Parazaider with Chicago, who had the 1976 UK & US No.1 single 'If You Leave Me Now. The band was formed in 1967 in Chicago, Illinois as The Chicago Transit Authority before shortening the name in 1970. Chicago has had five consecutive No.1 albums on the Billboard chart and 20 top-ten singles on the Billboard Hot 100. 18). Born on this day in 1989, Colby O'Donis Colón is an American singer. He is perhaps best known as the featured artist in the Lady Gaga single "Just Dance", which spent more than eleven months on the Billboard Hot 100. He is also well known for his lead single on his debut album Colby O titled "What You Got" featuring Akon, which peaked at number 14 on the Hot 100 and being featured on Akon's song "Beautiful", which peaked at number 19 on the Hot 100. (Side note: On This Day & Wikipedia agree with his DOB to be in 1989, This Day has his DOB in 1988). Have a great Monday, take care, and stay safe. MOHLovesAlaska Good Thursday morning, welcome to This Day In The History Of Music. Enjoy the read. 1). On this day in 1900, American modern dancer Isadora Duncan gives her first European performance in London, England. Angela Isadora Duncan was an American dancer who performed to great acclaim throughout Europe and the US. Born and raised in California, she lived and danced in Western Europe, the US, and the Soviet Union from the age of 22 until her death at age 50 when her scarf became entangled in the wheel and axle of the car in which she was traveling in Nice, France. 2). On this day in 1957, Elvis Presley bought the Graceland mansion from Mrs. Ruth Brown-Moore for $102,500. (£60,295). The 23 room, 10,000 square foot home, on 13.8 acres of land, would be expanded to 17,552 square feet of living space before Elvis moved in a few weeks later. The original building had at one time been a place of worship, used by the Graceland Christian Church, and was named after the builder's daughter, Grace Toof. 3). On this day in 1967, The Jimi Hendrix Experience released 'Purple Haze' in the UK, (the US release was June 19). Hendrix had read Night of Light, a 1966 novel by Philip José Farmer. In the story set on a distant planet, sunspots produced a "purplish haze" which had a disorienting effect on the inhabitants. It is thought that Hendrix took this as the idea for the song's lyrics. 4). On this day in 1967, Sheila Bromberg's claim to fame, as she puts it, was that she was the first female musician to be on a recording with The Beatles, which was on “Sgt Peppers Lonely Hearts Club Band”. Sheila played on the track “She’s Leaving Home”. 5). On this day in 1973, "The Cover of 'Rolling Stone'" is a song written by Shel Silverstein and first recorded by American rock group Dr. Hook & the Medicine Show. Produced by Ron Haffkine and released in 1972, it was the band's third single and peaked at No 6 on the U.S. pop chart for two weeks on March 17–24, 1973. 6). On this day, I Will Survive by Gloria Gaynor was a UK number 1 hit on Saturday, March 17, 1979, spending 4 weeks at the top of the UK charts. This won the 1979 Grammy for Best Disco Recording, beating out "Don't Stop 'Til You Get Enough," "Bad Girls," "Boogie Wonderland" and "Da Ya Think I'm Sexy?" 7). On this day in 1979, The Bee Gees went to No.1 on the UK album chart with their fifteenth studio album release Spirits Having Flown, the group's first album after their collaboration on Saturday Night Fever soundtrack. The album's first three tracks were released as singles and all reached No.1 in the US, giving The Bee Gees an unbroken run of six US chart-toppers and tying a record set by The Beatles. . On this day in 1984, Van Halen's 'Jump' peaked at No.1 in the US. Over the years David Lee Roth has given various accounts of the meaning behind the lyrics, but most often says they are about a TV news story he saw where a man was about to kill himself by jumping off a building. It is the only single the group released in their career to reach #1 on the U.S. Billboard Hot 100. 9). On this day in 1997, Elvis Presley Enterprises of Memphis, Tennessee, lost its Court of Appeal battle to stop London trader Sid Shaw using the name of 'The King' on his souvenirs. The legal tussle with Mr. Shaw, who ran a memorabilia shop called 'Elvisly Yours', had been going on for over 17 years. Speaking after the ruling, Mr. Shaw said: 'I'm delighted. I've proved that Elvis belongs to all of us - Elvis is part of our history, part of our culture. 10). Tragically on this day in 2008, Ola Brunkert, the former drummer with the Swedish group ABBA, was found dead with his throat cut at his home in Majorca, Spain. Brunkert died after he hit his head against a glass door in the dining room at his home. He had managed to wrap a towel around his neck and leave the house to seek help, but collapsed and was found dead in his garden. The 62-year old musician had played on every ABBA album the group released and had toured with the group. 11). On this day in 2013, John Lennon and George Harrison were honored with a blue plaque at the site of the former Apple Boutique in a ceremony in London held at 94 Baker Street. The new plaque reads "John Lennon, M.B.E., 1940-1980, and George Harrison, M.B.E., 1943-2001, worked here." 12). On this day in 2014, "Chandelier" is a song by Australian singer and songwriter Sia, from her sixth studio album, 1000 Forms of Fear (2014). Written by Sia and Jesse Shatkin and produced by Shatkin and Greg Kurstin, the song was released on 17 March 2014 as the lead single from the album. 13). Born on this day in 1655, Élisabeth Claude Jacquet de La Guerre was a French musician, harpsichordist, and composer. 14). Born on this day in 1664, Georg Österreich was a German Baroque composer and collector. He is regarded as the founder of the so-called Bokemeyer collection which is now housed in the Staatsbibliothek in Berlin and is considered one of the most important music collections of the late 17th and early 18th centuries. 15). Born on this day in 1892, Sayed Darwish was an Egyptian singer and composer who was considered the father of Egyptian popular music and one of Egypt's greatest musicians and seen by some as its single greatest composer. 16). Born on this day in 1909, Edward Lee Watson{Lovie Lee}was an American electric blues pianist and singer. He is best known for his work accompanying Muddy Waters. He also recorded a solo album, in 1992. He was the "adoptive stepfather" of the bluesman Carey Bell and thus the "grandfather" of Lurrie Bell. 17). Born on this day in 1919, Nathaniel Adams Coles, known professionally as Nat King Cole, was an American singer, jazz pianist, and actor. He recorded over 100 songs that became hits on the pop charts. His trio was the model for small jazz ensembles that followed. Cole also acted in films and on television and performed on Broadway. He was the first African-American man to host an American television series. He was the father of singer-songwriter Natalie Cole. 18). Born on this day in 1937, Patrick Henry Wade, known professionally as Adam Wade, is an American singer, musician, and actor. Wade is perhaps most known for his stint as the host of the CBS game show Musical Chairs, which noted him as the first Black game show host. 19), Born on this day in 1938, Zola Taylor from American vocal group The Platters who had the 1959 UK & US No.1 single 'Smoke Gets In Your Eyes. She was the original female member of The Platters from 1954 to 1962. The Platters were one of the first African-American groups to be accepted as a major chart group and were, for a period of time, the most successful vocal group in the world. She died on 30 April 2007 at age 69. Have a great Thursday, take care, and stay safe. MOHLovesAlaska Good Friday afternoon, I know it has been a while since posting here on This Day In The History Of Music, and for that, I do apologize, so without further ado welcome to This Day In The History Of Music, and enjoy the read. 1). On this day in 1767, Apollo et Hyacinthus, K. 38, is an opera written in 1767 by Wolfgang Amadeus Mozart, who was 11 years old at the time. It is Mozart's first true opera. It is in three acts. As is suggested by the name, the opera is based upon the Greek myth of Hyacinth and Apollo as told by Roman poet Ovid in his Metamorphoses. Interpreting this work, Rufinus Widl wrote the libretto in Latin. 2). On this day in 1848, "Maamme" is the unofficial national anthem of Finland is first performed. The music was composed by the German immigrant Fredrik Pacius, with original Swedish words by Johan Ludvig Runeberg, and this music was performed for the first time on 13 May 1848. Originally, it was written for the 500th anniversary of Porvoo, and for that occasion, it was Runeberg himself who wrote the music. The poem was influenced by the "Szózat" of Mihály Vörösmarty, both in style and content. 3). On this day in 1965, "(I Can't Get No) Satisfaction" is a song recorded by the English rock band the Rolling Stones. A product of Mick Jagger and Keith Richards' songwriting partnership, it features a guitar riff by Richards that opens and drives the song. The riff by Richards is widely considered one of the greatest hooks of all time. The song lyrics refer to sexual frustration and commercialism. The song was first released as a single in the United States in June 1965 and was also featured on the American version of the Rolling Stones' fourth studio album, Out of Our Heads, released that July. "Satisfaction" was a hit, giving the Stones their first number one in the US. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. It later became the Rolling Stones' fourth number one in the United Kingdom. It is one of the world's most popular songs and was No. 31 on Rolling Stone magazine's 500 Greatest Songs of All Time list in 2021. It was inducted into the Grammy Hall of Fame in 1998, and it is the 10th-ranked song on critics' all-time lists according to Acclaimed Music. The song was added to the National Recording Registry of the Library of Congress in 2006. 4). On this day in 1966, "Paint It Black" is a song recorded 1966 by the English rock band the Rolling Stones. A product of Mick Jagger and Keith Richards' songwriting partnership, it is an uptempo song with Indian, Middle Eastern, and Eastern European influences and features lyrics about grief and loss. London Records released the song as a single on 7 May 1966 in the United States; Decca Records released it on 13 May in the United Kingdom. London Records included it as the opening track on the American version of the band's 1966 studio album Aftermath. 5). On this day in 1970, The world premiere of the Beatles film "Let It Be" was in New York City on 13 May 1970. One week later, UK premieres were held at the Liverpool Gaumont Cinema and the London Pavilion. None of the Beatles attended any of the premieres. The Beatles won an Oscar for Let It Be in the category "Original Song Score", which Quincy Jones accepted on their behalf. 6). On this day in 1978, The Musical "Runaways" opens at Plymouth Theater in NYC for 199, performances, was written, composed, choreographed, and directed by Elizabeth Swados. Runaways tell the story of the forgotten children living on the street of New York City in the 1970s. Initially created from interviews with homeless children, Runaways takes a hard look at the lives of children who have had to grow up too fast. This collection of songs, dances, and spoken word pieces gives the audience a deeper look into the personal struggles runaways face as these children try to navigate the scary, grown-up world around them. This large, diverse cast of youth actors makes Runaways a fantastic choice to showcase a talented group of young actors. 7). Born on this day in 1756, Wojciech Żywny (Czech: Vojtěch Živný; May 13, 1756 – February 21, 1842) was a Czech-born Polish pianist, violinist, teacher, and composer. He was Frédéric Chopin's first professional piano teacher. . Born on this day in 1923, William McKinley "Red" Garland Jr. was an American modern jazz pianist. Known for his work as a bandleader and during the 1950s with Miles Davis, Garland helped popularize the block chord style of playing jazz piano. 9). Born on this day in 1935, Alessandro Carmelo "Teddy" Randazzo (May 13, 1935 – November 21, 2003) was an American pop songwriter, singer, arranger, and producer, who composed hit songs such as "Goin' Out of My Head", "It's Gonna Take a Miracle", "Pretty Blue Eyes", and "Hurt So Bad" in the 1960s. 10). Born on this day in 1941, Richard Steven Valenzuela (May 13, 1941 – February 3, 1959), known professionally as Ritchie Valens, was an American guitarist, singer, and songwriter. A rock and roll pioneer and a forefather of the Chicano rock movement, Valens was killed in a plane crash eight months into his music career. Valens had several hits, most notably "La Bamba", which he had adapted from a Mexican folk song. Valens transformed the song into one with a rock rhythm and beat, and it became a hit in 1958, making Valens a pioneer of the Spanish-speaking rock and roll movement. He also had an American number-two hit with "Donna". On February 3, 1959, on what has become known as "The Day the Music Died", Valens died in a plane crash in Iowa, an accident that also claimed the lives of fellow musicians Buddy Holly and J. P. "The Big Bopper" Richardson, as well as pilot Roger Peterson. Valens was 17 at the time of his death. In 2001, Valens was inducted into the Rock and Roll Hall of Fame. 11). Born on this day in 1943, Mary Esther Wells was an American singer, who helped to define the emerging sound of Motown in the early 1960s. Along with The Supremes, The Miracles, The Temptations, Martha Reeves and the Vandellas, and the Four Tops, Wells was said to have been part of the charge in black music onto radio stations and record shelves of mainstream America, "bridging the color lines in music at the time." 12). Born on this day in 1950, Stevland Hardaway Morris, known professionally as Stevie Wonder, is an American singer-songwriter and musician, who is credited as a pioneer and influence by musicians across a range of genres that includes rhythm and blues, pop, soul, gospel, funk, and jazz. A virtual one-man band, his use of synthesizers and other electronic musical instruments during the 1970s reshaped the conventions of R&B. He also helped drive the genre into the album era, crafting his LPs as cohesive, consistent socially conscious statements with complex compositions. 13). Born on this day in 1966, Darius Carlos Rucker is an American singer and songwriter. He first gained fame as the lead vocalist and rhythm guitarist of the rock band Hootie & the Blowfish, which he founded in 1986 at the University of South Carolina along with Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber. The band released five studio albums with Rucker as a member and charted six top 40 hits on the Billboard Hot 100. Rucker co-wrote most of the songs with the other members of the band. Have a great Friday the 13th. Take care and stay safe. MOHLovesAlaska
6803	dbpedia	2	65	https://peggyleediscography.com/p/LeePolydor.php	en	Peggy Lee Discography			[ "https://peggyleediscography.com/p/images/Television/1976oct15-goodmorningamerica-nancydussault-1.jpg", "https://peggyleediscography.com/p/images/Profiles/1977ca-plane-1-cropped.jpg", "https://peggyleediscography.com/p/images/Television/1977mar-london-today-thamestv-alanhargreaves-2a.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_16_Live_In_London.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_14_Live_In_London.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_10_Peggy.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_1_Peggy.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_9_Peggy.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_10a_Peggy.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_8a_Peggy_Japan.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_CD_Spectrum_Karussell_You_Give_Me_Fever_1.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_CD_Spectrum_Karussell_You_Give_Me_Fever_2.jpg", "https://peggyleediscography.com/p/images/Profiles/with-tomculversinger-1977.jpg", "https://peggyleediscography.com/p/images/Profiles/1976-with-michael-russo-1.jpg", "https://peggyleediscography.com/p/images/Profiles/1976-with-michael-russo-2.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_4_Live_In_London.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_15_Live_In_London_Canada_a.jpg", "https://peggyleediscography.com/p/images/Live/1977mar20or13-london-palladium.jpg", "https://peggyleediscography.com/p/images/Live/1977mar20or13-london-palladium.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar11-Dj Pete Murray_1.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar11-Dj Pete Murray_2.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar11-Dj Pete Murray_3.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar14-london-dorchester-interviewedbythomasprentice-3.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar14-london-dorchester-interviewedbythomasprentice-1.jpg", "https://peggyleediscography.com/p/images/Profiles/1977mar14-london-dorchester-interviewedbythomasprentice-2.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_5_Live_In_London_UK_b.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor_3_Live_In_London.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Decca_CD_Silver_Collection_,The.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_New_Collection.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_At_Her_Best_Downsized_Back.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_At_Her_Best_Downsized.jpg", "https://peggyleediscography.com/p/images/AwardsCrafts/1976sep17-chicagomayor-richarddaly.jpg", "https://peggyleediscography.com/p/images/Profiles/1977-dressingroom-venueunknown.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/PolydorUniversal_Live_In_London_Set.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/PolydorUniversal_Live_In_London_Booklet_1.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_Fever_Live_At_The_London_Palladium_2.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_Mack_The_Knife.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_At_Her_Best.jpg", "https://peggyleediscography.com/p/images/AlbumsOriginal2/Polydor-KenBarnes_CD_Fever_Live_At_The_London_Palladium_1_Cs_Sleeve.jpg", "https://peggyleediscography.com/p/images/VariousPubDomain/Various_Ladies_Four_Great_Gals_a.jpg", "https://peggyleediscography.com/p/images/VariousPubDomain/Various_Great_Vocalists.jpg", "https://peggyleediscography.com/p/images/Live/1977mar-petemoore-kenbarnes.jpg", "https://peggyleediscography.com/p/images/Live/1976sep15-drurylane-watertower.jpg", "https://peggyleediscography.com/p/images/Live/1977oct4-drurylane-watertower-a.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			null	The Peggy Lee Bio-Discography: The Polydor Contract (1977) by Iván Santiago PRELIMINARY NOTES The Peggy Lee Look The photography on this page's opening section showcases the way that Peggy Lee looked in 1976 and 1977, the latter being the year of her fourth and most productive trip to the United Kingdom. Indeed, the third of these images was probably taken at the Teddington Studios in London, during an interview for Thames Television, conducted in March 1977. Also a screenshot from a televised interview/performance, the first image takes us back to the United States one year earlier, when the show Good Morning America caught Lee during rehearsals at the Waldorf Astoria Hotel (October 15, 1976). As for the central image above, specifics are not available to me. But there is a fair chance that the plane inside which Lee is seen was taking to or back from London, in 1977. Below we can see two album session pictures, each from one of the albums that Peggy Lee recorded in 1977. The first is an alternate picture from the Polydor Live In London photo shot, the second from the Polydor album Peggy photo shot. Unlike the albums, however, none of these shots truly date from 1977 -- nor did they happen in London. The exact year is probably 1975, with 1974 as a secondary possibility for the Peggy shots, and 1976 a secondary possibility for the Live In London shots. The dog in sight is one of Lee's beloved pets, Sungi La. Peggy Lee's Recording Career, 1977 Joining forces with Ken Barnes, Peggy Lee recorded on the Polydor label while visiting the British producer's native land in 1977. This "British-Polydorian" sojourn became the third of Lee's post-Capitol contracts. It generated two albums, one done in the studio and the other recorded in concert. Additional material from this Lee-Barnes partnership included professionally recorded rehearsals and one more concert, which is listed below. (Such material -- i.e., rehearsals + concert -- does not belong to Polydor. Instead, it is co-owned by Ken Barnes Productions and Peggy Lee's estate. For further details, see the notes under each of the sessions below.) A total of 46 masters are listed herein, plus 6 entries classified as either alternate takes or professionally recorded rehearsal performances. The bulk of the material (34 entries) is comprised of the aforementioned concert performances, including one which is a medley of several songs. Finally, here is a note for viewers in search of recommended issues: your best option is the 2015 Polydor set Peggy Lee Live In London, which includes most of this material, including even some of the rehearsal numbers. Peggy Lee With Ken Barnes At Polydor Records British filmmaker and music producer Ken Barnes was responsible for bringing legendary acts such as Fred Astaire, Bing Crosby, and Johnny Mercer to the United Kingdom, and for having them record albums in their late, senior years. Peggy Lee herself was assiduously courted by Barnes. "I have been to Hollywood 12 or 14 times in the past two years," he told Reginald Brace, of the Yorkshire Post, in 1977. "Each time I phoned Peggy about making an album, but she was always recording with someone else like Paul McCartney or Leiber and Stoller. She always said, Don’t forget to call next time you come over. One day I phoned and she was ready to listen. It was persistence on my part." Barnes made Lee's European traveling very worthwhile. He negotiated concert appearances in various cities (including London and Amsterdam), along with a television special and, as illustrated through this page, a two-record deal with Polydor Records. "We got on famously," Lee told Melody Maker's Max Jones at a party thrown by Polydor in her honor. "Ken and Pete [Moore] and Steve the engineer, well, everyone there has been absolutely marvelous to me. I’m so happy." Added Barnes: "It took [me] long to get her away from Beverly Hills and over to London, but it’s been worth it." Photos Above: Peggy Lee flanked by arranger Pete Moore on her right and producer Ken Barnes on her left, at the CBS Studios in London. They are in the process of singing and dubbing her own background vocals, most likely for the song "Here. Now," on March 18, 1977. Below: Miss Lee caught in the act twice at the Drury Lane, first on September 15 of 1976, then on October 4 of 1977. The Drury Lane in question is not London's Theatre Royal but the theater that was once located in Chicago's Water Tower Place. Lee was among the first acts to play at this original, opulent incarnation of Chicago's Drury Lane, which remained in place for just eight years (1976-1983). "Everything Must Change" and "Make Believe" were among the songs which she performed at the Drury Lane in 1976 and took to the London Palladium in 1977. Sessions Reported: 5 Performances Reported: 59 Unique Songs Reported: 32 Unique Issues Reported: 16
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"https://hips.hearstapps.com/hmg-prod/images/single-mums-3-663cd5612ae40.jpg?crop=0.505xw:1.00xh;0.260xw,0&resize=360:", "https://www.cosmopolitan.com/_assets/design-tokens/cosmopolitan/static/images/logos/logo.3c052be.svg?primary=%2523ffffff", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/x.3361b6d.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/youtube.ce3e1ae.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/en-gb/static/images/logos/network-logo.eae65ae.svg?primary=%2523ffffff", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/images/logos/ipso-regulated.9922b5a.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Furvah Shah" ]	2024-03-04T15:41:25.720773+00:00	Raye made history at the 2024 BRIT Awards for the most awards won by a single artist in a year, and here is why her achievement is so important.	en	/_assets/design-tokens/cosmopolitan/static/images/favicon.f9ef38f.ico	Cosmopolitan	https://www.cosmopolitan.com/uk/entertainment/a60072040/raye-brits-history-independent-artists-win/	At the BRIT Awards on Saturday night, Raye made history for winning the most awards by any artist in a single year, beating records held by the likes of Harry Styles, Adele and Blur. I, like many other viewers, burst with joy as I watched the singer jump up and down on the stage, barefoot and in tears of triumph. For some, Raye is a new artist behind catchy songs like 'Escapism', 'Prada' and 'Flip A Switch', but others are more familiar with the struggles faced by the 26-year-old singer-songwriter from Croydon since entering the music industry. As co-host Clara Amfo put it, "When we first met in 2014... from 10 years [ago], it just shows that you there is no such thing as an overnight success." Raye, whose full name is Rachel Keene, signed her first record deal with Polydor Records when she was just 17, who now have the likes of Billie Eilish, Olivia Rodrigo and Kendrick Lamar on their books. Despite joining for a four-album deal, her debut solo release, My 21st Century Blues, didn't come out until nine years later – when she had parted ways with the label, and was instead standing on her own two feet as an independent artist. As she accepts six out of seven awards she was nominated for at the BRITs, here's why her win is so important for the music industry and independent artists. Raye rose to fame at 19-years-old, when she featured on Jax Jones' catchy dance track, 'You Don't Know Me'. She then lent her dreamy vocals for similar songs by David Guetta and Major Lazer, and began writing music for the likes of Beyoncé, Ellie Goulding, Rita Ora and more. But, behind the scenes, she was struggling, and in 2021, Raye called out her record label, Polydor. In a series of posts on X (formerly known as Twitter) at the time, she wrote, "Imagine this pain. I have been signed to a major label since 2014… and I have had albums on albums of music sat in folders collecting dust, songs I am now giving away to A-list artists because I am still awaiting confirmation that I am good enough to release an album. "I’ve done everything they asked me, I switched genres, I worked seven days a week, ask anyone in the music game, they know. I’m done being a polite pop star. I want to make my album now. Please that is all I want," she concluded. Speaking to Cosmopolitan UK, she expanded, "I just felt awful. I wasn’t proud of my art or the way I was living... I wasn’t proud of the woman I was becoming. There was a lot of substance abuse, I was numbing my feelings. I had started avoiding the people who genuinely wanted the best for me because I didn’t want to have to look at my situation. I was spiralling." After her tweets went viral, Raye was released from her contract with Polydor without the threat of lawyers, and two years later, she released her first album, My 21st Century Blues, as an independent artist with distribution by Human Re Sources. As she makes BRIT Awards history, it highlights the importance of artists owning their choices. The music industry is dominated by record labels like Polydor, Universal and Sony, who often own the master rights to a musician's work. This means that the singers themselves can miss out on the money made from their music, with labels even deciding if and when an artist can release their records. But, with the rise of streaming meaning that a record deal isn't the only way into the industry, musicians are increasingly choosing to go it alone. "From Taylor Swift to Raye, is it any surprise that artists know what's best for their careers?" Independent artist can have full creative control over the creation and direction of their music. While it often means that they have to front the costs, they also have full jurisdiction over distribution, marketing, artwork, deadlines and more. There are cons, yes, but the advantages are increasingly appealing in the age of streaming and social media. Whether it's Taylor Swift re-recording her albums so she can own her masters or Raye, Stormzy, Central Cee, Chance the Rapper and many more releasing their music independently, is it really any surprise that artists often know the best thing for their careers? Hopefully, Raye breaking records and winning Brits is just the tip of the iceberg when it comes to normalising this. "There is something so poetic about Raye breaking records with her debut album as an independent artist after being treated like sh*t by the industry for a decade," a fan wrote on X. "Few are as talented and work as hard as her. My 21st Century Blues is such a personal album and she deserves this." And I agree. "I want to normalise giving songwriters master royalty points," Raye said while accepting the Songwriter Of The Year award. "It doesn’t have to be at your expense, but it just means that if the songs win big, then the writers get to win big too. Please allow that to happen," she continued, addressing music executives. The singer making BRIT Award history is a win for independent musicians and artists everywhere, and given her experiences in the industry, there is no one more deserving than Raye.
6803	dbpedia	2	24	https://www.theguardian.com/music/2021/sep/25/im-angry-im-raging-how-raye-took-on-her-record-label-and-won	en	‘I’m angry, I’m raging’: how Raye took on her record label – and won	https://i.guim.co.uk/img…966dcaa1dcac6558	https://i.guim.co.uk/img…966dcaa1dcac6558	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=R%26B%2CRaye%2CPop+and+rock%2CWomen%2CMusic+industry%2CCulture%2CMusic%2CLife+and+style", "https://i.guim.co.uk/img/media/39707af0b12e1c89d3c1344ecfc4d42602364354/58_486_2779_1667/master/2779.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2024/06/12/Michael_Cragg.png?width=75&dpr=1&s=none", "https://i.guim.co.uk/img/media/c69f264520ae5ab358355fe87f0616cb3dbc5393/0_0_848_848/848.jpg?width=620&quality=85&auto=format&fit=max&s=962a699eda05819a96dae55ea9dedbbd", "https://i.guim.co.uk/img/media/813a924b31942d5af2d8ae8cea4c33bc6fd0cb77/386_0_986_1232/master/986.jpg?width=445&dpr=1&s=none" ]	[ "https://www.youtube-nocookie.com/embed/BsPG5WLCce8?wmode=opaque" ]	[]	[ "" ]	null	[ "Michael Cragg", "www.theguardian.com" ]	2021-09-25T00:00:00	After Polydor refused to release her album, the rising pop star spoke out. Now, newly independent, she's ready for a fresh start	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/music/2021/sep/25/im-angry-im-raging-how-raye-took-on-her-record-label-and-won	Towards the end of June, while waiting to be interviewed on Channel 4’s Sunday Brunch, Raye found herself desperately trying not to cry on live TV. With more than 17 million monthly listeners on Spotify, seven Top 20 hits to her name and songwriting credits for the likes of Beyoncé, John Legend and Little Mix, the south Londoner’s career appeared to be going from strength to strength. But then, on a lumpy turquoise sofa in a Shepherd’s Bush studio, the rictus pop star smile started to wobble. There to promote her dance bop Call on Me, – the latest in a long line of make-or-break singles – she found an innocuous query about the status of her elusive debut album triggering emotions she had suppressed for years. Two days later, sitting alone in her bedroom, she opened Twitter and shattered the illusion for good. “I have been on a 4 ALBUM RECORD DEAL since 2014,” she vented to her 50,000 followers. “And haven’t been allowed to put out one album.” She detailed how her “music sat in folders collecting dust”, and were being gutted, with songs passed on to other artists “because I am still awaiting confirmation that I am good enough to release an album”. Aware there was no turning back with her label, Polydor, she added: “I’m done being a polite pop star.” In mid-July, she announced she had been released from her contract: “Today I am speaking to you as an independent artist.” Weeks later, in a hotel lobby in central London, the 23-year-old, real name Rachel Keen, is still processing what happened. She tries to return to the headspace she was in before she blew up her career in order to save it; one clouded with the streaming stats she’d obsessively pore over daily, knowing they could unlock her future. “It would dictate my mood, my anxiety,” she says. “Even creating a bitterness [towards] some of my closest girls in the industry.” She had been certain that Call on Me was leading towards an album. “Then it was like, ‘I don’t think it’s going to happen.’” She takes a deep breath. “I was ready to just give up and not be an artist any more.” How did she feel after the tweets? “I felt better but I also felt terrified. I’d put my neck on the line.” While Raye’s honesty felt unique, the situation she found herself in is not. Pop is littered with artists, from Chlöe Howl to Sinéad Harnett, who have signed with major labels and then been sidelined, perhaps because of shifting commercial expectations, reluctance to finance an album campaign, or simply because the person who signed them left the company. Some of pop’s biggest household names – Mabel, Anne-Marie, even Dua Lipa – endured EPs, mixtapes, dance music collaborations and tastemaker tracks on their long road to debut albums. Signed by Polydor off the back of the success of her self-released 2014 EP Welcome to the Winter, Raye’s early tracks were a combination of hazy R&B and hip-hop. The excellent Second EP, released in 2016, featured a pre-fame Stormzy. Collaborations with the rappers Stefflon Don and Mr Eazi followed. Early tracks like pulsating kiss-off Shhh and the boisterous banger The Line, which zoomed in on a night out gone awry, showcased pop’s secret weapons; attitude, personality and an ability to switch styles, taking in everything from Afrobeats to disco.It was her collaboration with producer Jax Jones on Top 3 smash You Don’t Know Me that proved a turning point with the label: suddenly Raye seemed to be repositioned not as a long-term recording artist, but as a featured vocalist on other people’s songs. When the label head who signed her left in 2016, Raye says she became less of a priority. Communication with her new bosses slowly disintegrated. One exchange, from Christmas 2019, is seared into her mind: “The head of the label said to me: ‘It’s like you’re 6-0 down at half-time.’” She notices my shock. “I was like: ‘OK, noted, I’m going to figure out how to bring that back.’” She quickly scored a UK Top 10 with the Brit-nominated Secrets, a collaboration with DJ Regard that has been streamed 280m times on Spotify. “I did get to 6-6,” she says with a shrug. Late last year there was a breakthrough of sorts with the release of the mini-album Euphoric Sad Songs. For Raye, it was a body of work her fans could really dig into. For her label, it was seen as a flop because it did not make the Top 40 (six of its nine songs have passed 15m streams). “What actually should matter is having artists who build fanbases and sell out shows and stream music, regardless of what genre it is,” she says. “Having a Top 10 is not defining. What it showed me was that we were aiming for two completely different things and we always have been. What makes them proud isn’t what makes me proud.” She’s keen to reiterate that her tweets were born out of frustration at her specific situation with Polydor (“there are so many incredible people who work there”). She’s aware, too, that her swift exit – a mutual agreement between her and the label – is a rarity. “The fact that they did let me go, I’m so grateful because it could have gone all matters of dark,” she says. This newfound clarity has been hard won, however. She has recently given up drinking and her new music, due next year, will address her issues around alcohol (“It’s a lot deeper and darker than people know and see”)as well as her experiences in the music industry. “The shit I have been through, I wouldn’t wish on my worst enemies,” she says. For the first time today she starts to let her anger show. “I am just beside myself about how the beautiful songwriters that I know, a lot of whom are women, and a lot of whom are women of colour, are just hustling out here. I’m angry, I’m raging.” She catches herself: “I am fighting so many battles, I need to just chill out.” Taking a break is not in Raye’s nature. But she is learning to slow down. “I am not trying to sign anything for a very long time,” she says. “I do not want to see a contract.” Her short-term goals involve therapy, going on holiday – “I’ve been working every single day for a really long time” – and unlearning behaviours. “I don’t want to care about stats,” she smiles. “I just want to build a fanbase and release my album. My time is coming.”
6803	dbpedia	1	26	https://uk.news.yahoo.com/garbage-cancel-concerts-shirley-manson-100000261.html	en	Garbage cancel all concerts this year as Shirley Manson requires surgery for injury	https://media.zenfs.com/en/bang_showbiz_628/f96f5cb7a3bd0d06af6dc7a87072f187	https://media.zenfs.com/en/bang_showbiz_628/f96f5cb7a3bd0d06af6dc7a87072f187	[ "https://uk.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-GB-en-GB-def%2Cseamless&code=pageRender&device=desktop&lang=en-GB&pageName=deeplink&region=GB&rid=0gnao49jc070r&site=news&t=1723866140040", "https://s.yimg.com/rz/p/yahoo_news_en-GB_h_p_newsv2.png", "https://s.yimg.com/rz/p/yahoo_news_en-GB_h_w_newsv2.png", "https://s.yimg.com/ny/api/res/1.2/7tE1aNd2gSR09yNpfPQiEA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTIwMDtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2022-06/32880e60-f7c8-11ec-bdbb-bf997805f5df", "https://s.yimg.com/ny/api/res/1.2/a_OuGPT2VkXvJUFyAUC0dw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD04MDc-/https://media.zenfs.com/en/bang_showbiz_628/16cb5623d2351b18365e1395f6b3350e", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197793442&c7=https%3A%2F%2Fuk.news.yahoo.com%2Fgarbage-cancel-concerts-shirley-manson-100000261.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "BANG Showbiz" ]	2024-08-02T10:00:00+00:00	Shirley Manson has sustained an injury and requires surgery.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://uk.news.yahoo.com/garbage-cancel-concerts-shirley-manson-100000261.html	Garbage have been forced to cancel the rest of their live dates this year - as frontwoman Shirley Manson undergoes surgery for an undisclosed injury. The 'Stupid Girl' singer is "crushed" to have to pull out of a series of major gigs but must undergo surgery and rehabilitation. In a social media statement, the band said: "It is with great regret that we announce the cancellation of all our remaining dates for the rest of the year due to an injury that [frontwoman] Shirley [Manson] sustained on our recent tour in Europe that will require surgery and "No one is more crushed about this than I am. You know I would push through if I could "This is not a decision that we have taken lightly, and we apologise to our amazing fans and supportive promoters. "We look forward to playing for you all again in 2025." In the caption, Shirley wrote: "No one is more crushed about this than I am. You know I would push through if I could." The 57-year-old star previously underwent hip replacement surgery after suffering another nasty injury on tour in 2016. Meanwhile, Garbage have a follow-up to 2021 record 'No Gods No Masters' in the pipeline, and Shirley teased in April to NME: “We are in the studio as we speak, actually. It’s supposed to be done by the end of May, and we’re on target. It’s amazing; we are the little engine that could but nobody ever thought would. “No one ever bet on us. We are the classic underdog in a way. Our public success was a long, long time ago – and since then we’ve operated from an underdog status. It feels like we’re really earned our spot on the team, which brings with it a way to enjoy that I didn’t when I was young.”
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They contributed to music, film, literature, art, and fashion, made a continuous impact on popular culture and the lifestyle of several generations. Their songs and images carrying powerful ideas of love, peace, help, and imagination evoked creativity and liberation that outperformed the rusty Soviet propaganda and contributed to breaking walls in the minds of millions, thus making impact on human history. In July of 1957, in Liverpool, Paul McCartney met John Lennon. Both were teenagers. Paul impressed John with his mastery of acoustic guitar, and was invited to join Lennon's group, The Quarrymen. George Harrison joined them in February of 1958. In 1959 they played regular gigs at a club called The Casbah. They were joined by vocalist Stuart Sutcliffe, and by drummer Peter Best, whose mother owned The Casbah club. Early incarnations of the band included The Quarrymen, Johnny & the Moon Dogs, and The Silver Beetles. John Lennon dreamed up the band's final name, The Beatles, a mix of beat with beetle. In 1960 The Beatles toured in Hamburg, Germany. There they were joined by Ringo Starr, who previously played with Rory Storm and the Hurricanes. In Hamburg, The Beatles made their first studio work as a backing band for singer Tony Sheridan's recordings for the German Polydor label, however, in the credits the band's name was changed to The Beat Brothers. From February 1961 to August 1963, The Beatles played a regular gig at the Cavern. They were paid five pounds for their first show, rising to three hundred pounds per show in 1963. In two and a half years The Beatles gave 262 shows at the Cavern in Liverpool. Brian Epstein was invited to be the manager of the Beatles in November 1961. His diplomatic way of dealing with the Beatles and with their previous manager resulted in a December 10, 1961, meeting, where it was decided that Epstein would manage the band. A 5-year management contract was signed by four members at then-drummer Pete Best's home on January 24, 1962. Epstein did not put his signature on it, giving the musicians the freedom of choice. At that time McCartney and Harrison were under 21, so the paper wasn't technically legal. None of them realized this and it did not matter to them. What mattered was their genuine trust in Epstein. He changed their early image for the good. Brian Epstein made them wear suits and ties, classic shoes, and newer haircuts. They were advised to update their manners on stage and quit eating and drinking in public. Brian Epstein worked hard on both the Beatles' image and public relations. He improved their image enough to make them accepted by the conservative media. Most if not all of their communication off-stage was managed by Brian Epstein. On January 1, 1962, The Beatles came to London and recorded fifteen songs at the Decca Records. They were not hired, but the material helped them later. During the year 1962, they made several trips to London and auditioned for various labels. In May of 1962 Epstein canceled the group's contract with Tony Sheridan and the German label. Brian Epstein was persistent in trying to sign a record deal for the Beatles, even after being rejected by every major record label in UK, like Columbia, Philips, Oriole, Decca, and Pye. Epstein transferred a demo tape to disc with HMV technician Jim Foy, who liked their song and referred it to Parlophone's George Martin. On June 6, 1962, at the Abbey Road studios, they passed Martin's audition with the exception of Pete Best. George Martin liked them, but recommended the change of a drummer. Being asked by John Lennon, Paul McCartney, and George Harrison; Epstein fired Pete Best. After a mutual decision the band was completed with Ringo Starr, who duly became the fourth Beatle. In September of 1962 The Beatles recorded their first hit Love Me Do, which charted in UK, and reached the top of the US singles chart. London became their new home since 1963. On February 11, 1963, The Beatles recorded the entire album 'Please, Please me' in one day, working non-stop during ten-hour studio session. In May and June, 1963, the band made a tour with Roy Orbison. In August of 1963, their single She Loves You became a super hit. Their October 1963 performance at the London Palladium made them famous in Great Britain and initiated the Beatlemania in the UK. The show at the London Palladium was broadcast live and seen by twelve million viewers. Then, in November 1962, The Beatles gave a charity concert at the Prince of Wales Theatre in London. There, performing for the rich and famous, John Lennon made his famous announcement: Would the people in the cheaper seats clap your hands? And the rest of you, if you'll just rattle your jewelry. In early performances the Beatles included popular songs from the 40s and 50s. They played rock-n-roll and R&B-based pop songs while they gradually worked on developing a style of their own. Their mixture of rock-n-roll, skiffle, blues, country, soul, and a simplified version of 1930s jazz resulted in several multi-genre and cross-style sounding songs. They admitted their interest in the music of Buddy Holly, Elvis Presley, Little Richard and other entertainers of the 40s, 50s and early 60s. Beatles' distinctive vocals were sometimes reminiscent of the Everly Brothers' tight harmonies. By 1965 their style absorbed ethnic music influences from India and other Oriental cultures, and later expanded into psychedelic experiments and classical-sounding compositions. Their creative search covered a range of styles from jazz and rock to a cosmopolitan cross-cultural and cross-genre compositions. Initially the Beatles were a guitars and drums band. In the course of their career every member became a multi-instrumentalist. George Harrison played the lead guitar and also introduced such exotic instruments as ukulele, Indian sitars, flutes, tabla, darbouka, and tampur drums. John Lennon played a variety of guitars, keyboards, harmonicas and horns. Paul McCartney played bass guitar, acoustic and electric guitars, piano and keyboards, as well as over 40 other musical instruments. The Beatles were the first popular band that used a classical touch of strings and keyboard instruments; their producer George Martin scored Baroque orchestrations in several songs, such as Yesterday, Eleanor Rigby, In My Life, and a full orchestra in Sgt. Pepper. John Lennon and Paul McCartney played piano in many of their songs. Their jamming on a piano together led to creation of their best-selling hit I Want to Hold Your Hand in 1963. At first the Beatles were rejected by Dick Clark after testing a recording of their song on his show. Then Brian Epstein approached Ed Sullivan, who discussed them with Walter Cronkite after seeing them on his CBS Evening News in 1963. Brian Epstein also managed to get their music played by influential radio stations in Washington and New York. The US consumer reaction was peaking, a single 'I Want to Hold Your Hand' was released in December 1963 by the Capitol Records. Their sensational tour in the USA began with three TV shows at the Ed Sullivan Theater in New York, in February of 1964. After that The Beatles endured several years of extremely intensive recording, filming, and touring. They stopped public performances after 1966, but continued their recording contracts. By 1985 The Beatles had sold over one billion records. Music became their ticket to ride around the world. Beatlemania never really ended since its initiation. It still lives as a movable feast in many hearts and minds, as a sweet memory of youth, when all you need is love and a little help from a friend to be happy. The Beatles' first two feature films, A Hard Day's Night (1964) and Help (1965), were made in collaboration with an American director, Richard Lester. Their humorous, ironic, and farcical film performances are reminiscent of the Marx Brothers' comedies. Later The Beatles moved into the area of psychedelic innovations with the animated film Yellow Submarine (1966). Their surrealistic TV movie The Magical Mystery Tour (1967) became the cause for the first major criticism of their work in the British press. Their film music was also released as studio albums. Original music by The Beatles as well as re-makes of their songs has been also used, often uncredited, in music scores of feature films and documentaries. Some of The Beatles concert and studio performances were filmed on several occasions and were later edited and released after the band's dissolution. In 1999 the remastered and remixed film The Beatles Yellow Submarine Adventure (2000) delighted a younger audience with incredible animation and songs. All four members were charismatic and individually talented artists, they sparked each other from the beginning. Eventually they made a much better group effort under the thorough management by Brian Epstein. His coaching helped consolidate their talents and mutual stimulation into beautiful teamwork. Paul McCartney had the privilege of a better musical education, having studied classical piano and guitar in his childhood. He progressed as a lead vocalist and multi-instrumentalist, as well as a singer-songwriter. McCartney wrote more songs for the Beatles than other members of the band. His songs Yesterday, Eleanor Rigby, Blackbird, When I'm 64, Let It Be are among the Beatles' best hits. Yesterday is considered the most-covered song in history with over three thousand versions of it recorded by various artists. McCartney accepted the agreement that was offered by John Lennon in 1957, about the 50/50 authorship of every song written by either one of them. Most of The Beatles' songs are formally credited to both names, regardless of the fact that many of the songs were written individually. On June 25, 1967, The Beatles made history becoming the first band globally transmitted on TV to an estimated 400 million people worldwide. The Beatles were a segment in the first-ever worldwide satellite hook-up and their new song "All You Need Is Love" was broadcast live during the show. Two months later The Beatles lost their creative manager Brian Epstein, whose talent for problem-solving was unmatched. "That was it, the beginning of the end", said Lennon. Evolution of each member's creativity and musicianship also led to individual career ambitions. John Lennon was experimenting with psychedelic poetry and art. His creativity was very unique and innovative. Lennon wrote Come Together, Girl, Revolution, Strawberry Fields and many other Beatles' hits. An out-of-context reprinting of Lennon's remarks on the Beatlemania phenomenon caused problems in the media. His comparison of Beatles' popularity to that of Jesus Christ was used to attack them publicly, causing cancellations of their performances and even burning of their records. Lennon had to apologize several times in press and on TV, including at a Chicago press conference. In 1967 John Lennon met Japanese artist Yoko Ono, whom he later married. George Harrison was the lead guitar player and also took sitar lessons from Ravi Shankar. Harrison had his own inner light of creativity and spirituality, he wrote Something, Taxman, I me mine, and other hits. Ringo Starr sang 'Yellow Submarine' and a few other songs. He has made a film career and also toured with his All Stars Band and released several solo albums. His 1973 release "Ringo" was the last album to feature all four living Beatles, although not on the same song. The Beatles created over 240 songs, they recorded many singles and albums, made films and TV shows. Thousands of memorable pictures popularized their image. In their evolution from beginners to the leaders of entertainment, they learned from many world cultures, absorbed from various styles, and created their own. Their cross-style compositions covered a range of influences from English folk ballads to Indian raga; absorbing from Johann Sebastian Bach, Ludwig van Beethoven, Pyotr Ilyich Tchaikovsky, Karlheinz Stockhausen, Elvis Presley, Everly Brothers, Little Richard, and others. The songwriting and performing talents of Paul McCartney, John Lennon, George Harrison, and Ringo Starr, fused in the Beatles' music. Lennon and McCartney initiated changes in music publishing industry by breaking the Tin Pan Alley monopoly of songwriting. Their legacy became possible due to highly professional work by Brian Epstein and George Martin. In 1994 three surviving members reunited and produced Lennon's previously unknown song 'Free as a Bird'. It was preserved by Yoko Ono on a tape recording made by Lennon in 1977. The song was re-arranged and re-mixed with the voices of three surviving members. The Beatles Anthology TV documentary was watched by 420 million people in 1995. The Beatles represent the collective consciousness of several generations. Millions of viewers and listeners across the universe became conditioned to the sounds and images of The Beatles. Their influence on the modern world never stopped. Numbers may only show the tip of the iceberg (record sales, shows admissions, top hits, etc.). As image-makers and role models they pushed boundaries in lifestyle and business, affecting customers behavior and consumption beyond the entertainment industry by turning all life into entertainment. A brilliant blend of music and lyrics in their songs made influence on many minds by carrying messages like: give peace a chance and people working it out. A message more powerful than political control, it broke through second and third world censorship and regulations and set many millions free. Steve Jobs, being a big fan of Paul McCartney and The Beatles, referred to them on many occasions and also was interviewed on a showing of a Paul McCartney concert. When asked about his business model, Steve Jobs replied: My model for business is The Beatles: They were four guys that kept each other's negative tendencies in check; they balanced each other. And the total was greater than the sum of the parts. Great things in business are never done by one person, they are done by a team of people. The Beatles made impact on human history, because their influence has been liberating for generations of nowhere men living in misery beyond the Iron Curtain. Something in their songs and images appealed to everybody who wanted to become free as a bird. Their songs carrying powerful ideas of real love, peace, help, and imagination evoked creativity that outperformed the rusty Soviet propaganda and contributed to breaking chains and walls in the minds of millions. The Beatles expressed themselves in beautiful and liberating words of love, happiness, freedom, and revolution, and carried those messages to people across the universe. Their songs and images helped many freedom-loving people to come together for revolutions in Prague and Warsaw, Beijing and Bucharest, Berlin and Moscow. The Beatles has been an inspiration for those who take the long and winding road to freedom. Even after The Beatles had gone, the individual members continued to spread their message; from the concert for Bangladesh by George Harrison and Ringo Starr in 1971, to 2003 "Back in USSR" concert by Paul McCartney on the Red Square in Moscow, and his 2004 show near the Tsar's Winter Palace in St. Petersburg where the Communist Revolution took place, just imagine. In 2005 the Entertainment magazine poll named The Beatles the most iconic entertainers of the 20th Century. In July of 2006, the guitar on which Paul McCartney played his first chords and impressed John Lennon, was sold at an auction for over $600,000. In July 2012, Paul McCartney rocked the opening ceremony of the 2012 Summer Olympics in London. He delivered a live performance of The Beatles's timeless hit "Hey Jude" and engaged the crowd of people from all over the world to join his band in a sing along finale. The show was seen by a live audience of 80000 people at the Olympic Park Stadium in addition to an estimated TV audience of two billion people worldwide. The Rolling Stones are the legendary British rock band known for many popular hits, such as Paint it Black, Lady Jane, Ruby Tuesday, and (I Can't Get No) Satisfaction. Almost everyone who attended their shows is quick to comment on their ability to start you up and shake your hips. Their song "Satisfaction" (1965) was composed by Keith Richards in his sleep, and with the addition of provocative lyrics by Mick Jagger it became the greatest hit and their calling card on each and every show. In 1966, after The Beatles stopped giving live performances, The Rolling Stones took over as the unofficial "biggest touring band in the world" for the next few years. During 1966-1969 they toured the world, and constantly updated their song-list with many great hits like "Lets Spend the night together" (1967), "Sympathy for the Devil" (1968) and "Honky tonk woman" (1969). The incredible international success of the Stones came with a sad side, caused by Brian's drug and alcohol abuse that impaired his speech and appearance, so the band-mates had to replace him. In July 1969, Brian Jones died of drowning in his swimming pool while having signs of drug overdose. Upon Richards's and Jagger's approval, guitarist Mick Taylor took Brian's place. Brian's death at age 27 made him one of the first members of the infamous "27 Club" of rock stars who died at that age. Although Brian's estrangement from his band-mates, and his numerous arrests were caused by his personal problems with drugs, both Richards and Jagger were blamed at the time for Brian's death. The loss of one of their founding members was a painful moment for the Stones. However, at the end of the 1960s their creativity reached the new highs. Their albums "Beggars Banquet" (1968) and "Sticky Fingers" (1971) were among the most popular albums they ever made, having such hits as "Wild Horses" and "Brown Sugar." During the 1970s The Rolling Stones remained the biggest band in the world, albeit they were rivaled by the Led Zeppelin. The Stones made thousands of live performances and multi-million record sales with hits like "Angie" (1973), "It's Only Rock and Roll" (1974), "Hot Stuff" (1976) and "Respectable" (1978). At that time both Keith Richards and Mick Jagger had individual ambitions, and applied their untamed creativity in various projects outside the Stones. Keith released his own single. In 1974 Ron Wood had replaced Mick Taylor on guitar and Keith and Ron both played lead guitars. During the decade Keith Richards had a family crisis on his hands, and suffered through emotional pain and drug abuse, albeit it didn't stop him from being himself. In 1980 the group released "Emotional Rescue" which Keith Richards didn't care for, and the group didn't even tour to promote the album. In 1981 with the release of 'Tattoo You', the group went on a major world tour filling stadiums in the US and in Europe. In 1983 the Stones recorded the album "Undercover" at the Compass Point in Nassau and during this time Mick and Keith were having arguments over rights of the group. After having created tens of albums and over a hundred popular songs together, their legendary song-writing partnership was undergoing the most painful test: the bitter rivalry between two enormously talented and equally ambitious superstars. Mick Jagger is the heart of "The Stones" and Keith Richards - the soul. The two had carried on their early image of unkempt youth, had survived ups and downs in their careers and personal lives, and remained the core of the band since they shared a flat with the late Brian Jones in London in 1962. Two other remaining members are drummer Charlie Watts and guitarist Ron Wood. "The Stones" were part of the "British Invasion" in international culture during the 1960s, and has been extremely popular and famous for their 60s craze, hot stuff and sex drive. Since the 1970s they remained one of the biggest entertainment acts touring the world with a retinue of jet-set hangers-on. Their inimitable shows, no matter the best, or the worst, has been played with fire and emotion, giving their audiences the kind of music they do best - it's only rock'n roll. Mick Jagger dropped out of college and his every move on-stage and off-stage seemed to signal a challenge to "respectable" standards. He never received a formal musical education, and even could not read music. However, he worked hard and emerged as the lead singer and songwriter in partnership with Richards, following the example of John Lennon and Paul McCartney's songwriting for The Beatles. Outside of the Rolling Stones, Jagger released solo albums with his original songs, as well as his versions of such hits as 'Use Me' by songwriter Bill Withers. Jagger also starred in several films, such as Freejack - Geisel der Zukunft (1992), Bent (1997), and Ein Mann für geheime Stunden (2001). Mick Jagger fathered seven children from four women, donated to numerous school and charities, and was knighted by Queen Elizabeth II at the Buckingham Palace in 2003. Keith Richards, was a schoolmate of Mick Jagger since the primary school. In 1960 they contemplated starting up a band together. Since the formation of the Rolling Stones in 1962, Richards has been the principal songwriting partner with Jagger, and most of the songs on all Rolling Stones albums are credited to Jagger/Richards. Outside of the Rolling Stones, Richards toured with The New Barbarians, and also was the front-man of the X-pensive Winos in the 1980s. Besides his music career, Richards made a cameo appearance as the father of Jack Sparrow in Pirates of the Caribbean - Am Ende der Welt (2007) filmed by his friend, director Gore Verbinski. Other members of The Rolling Stones has been also enjoying their individual careers outside of the band. Multi-instrumentalist Ronnie Wood collaborated with such performers as Prince, Bob Dylan, David Bowie, Eric Clapton, and Aretha Franklin, among others. His collaboration with Rod Stewart resulted in a hit album. Wood is also an accomplished artist who sold about $10 million worth of his artworks. Drummer Charlie Watts, who has been ever faithful to his one and only wife, Shirley, is known for his consistency in refusing sexual favors from groupies. He is also a jazz band-leader, and commercial artist, who had solo shows and successfully auctioned his artworks. The Rolling Stones have released 55 albums of original work and compilations, and sold over 200 million records word-wide during their career spanning over 45 years. "The Stones" played in all kinds of spaces from small clubs to big stadium arenas. In 2007 they even rocked the Tsar's Winter Palace with fifty thousand fans in St. Petersburg, Russia, where the communist revolution took place. They gave more large-scale shows internationally than any other existing band in the world, culminating in their 2005-2007 "A Bigger Band" tour with 147 concerts, the highest grossing tour of all time with $559 million earned. Come on, Stones, give us more of your respectable shows, get us rocking, we can make it if we try. Adele Laurie Blue Adkins (born May 5, 1988) is a British singer-songwriter who has sold millions of albums worldwide and won a total of 15 Grammys as well as an Oscar. Adele's first two albums, 19 and 21, earned her critical praise and a level of commercial success unsurpassed among her peers. After becoming a mom in 2012, Adele returned to the charts with the ballad "Hello" in 2015, the lead single from what was dubbed her comeback album 25. In 2017 she won five Grammys for her work on 25, including album, record and song of the year.Early on, Adele developed a passion for music. She gravitated toward the songs of Lauryn Hill, Mary J. Blige and Destiny's Child. But her true, eye-opening moment came when she was 15 and she happened upon a collection of Etta James and Ella Fitzgerald records at a local shop. "There was no musical heritage in our family," Adele told The Telegraph in a 2008 interview. "Chart music was all I ever knew. So when I listened to the Etta James and the Ella Fitzgerald, it sounds so cheesy, but it was like an awakening. I was like, oh, right, some people have proper longevity and are legends. I was so inspired that as a 15-year-old I was listening to music that had been made in the '40s."While clearly bright, Adele wasn't oriented towards traditional classroom settings. Instead, her mother enrolled her in the BRIT School for Performing Arts & Technology, which counts Amy Winehouse as an alum.While at school, Adele cut a three-track demo for a class project that was eventually posted on her MySpace page. When executives at XL Recordings heard the tracks, they contacted the singer and, in November 2006, just four months after Adele had graduated school, signed her to a record deal. Adele has recorded a total of three studio albums since the beginning of her career in 2008: 19, 21 and 25. '19' (2008) Adele's debut album, 19, which is named for the singer's age when she began recording the project, went on sale in early 2008. Led by two popular lead singles, "Adele: Hometown Glory (2009)" and "Adele: Chasing Pavements (2008)" the record rocketed Adele to fame. Released in the United States through Columbia Records, 19 resonated with American audiences, much as it had with British music fans. Adele cemented her commercial success with an appearance in October 2008 on Saturday Night Live (2016). At the taping of the show, the album was ranked No. 40 on iTunes. Less than 24 hours later, it was No. 1. '21' (2011) Adele's much anticipated follow-up album, 21, again named for her age at the time of recording, did not disappoint upon its release in early 2011. Tapping even deeper into Adele's appreciation for classic American R&B and jazz, the record was a monster hit, selling 352,000 copies within its first week. Anchored by hits like "Adele: Rolling in the Deep (2010)" and "Adele: Someone Like You (2011)" 21 placed Adele in rarified air. In February 2011, she found herself with two Top 5 singles and a pair of Top 5 albums in the same week, becoming the only artist besides The Beatles and 50 Cent to achieve that milestone. And with 21 staying at No. 1 for 11 weeks, Adele also broke the solo female artist record previously held by Madonna's Immaculate Collection for consecutive weeks atop the album charts. 21 went on to sell more than 30 million copies worldwide. '25' (2015) On October 22, 2015, Adele announced that she would release her third album, 25, in November. She posted 25's cover on Instagram, and said of her first full-length studio project in several years: "My last record was a break-up record, and if I had to label this one, I would call it a make-up record. Making up for lost time. Making up for everything I ever did and never did. 25 is about getting to know who I've become without realizing. And I'm sorry it took so long but, you know, life happened." 25, released in November 2015, is a collection of emotional, sometimes plaintive songs looking at the ins and outs of relationships, owing much of its sound to traditional pop craft. The album went on to become an international smash hit, reaching No. 1 on iTunes in 110 countries. In the U.S., 25 sold 3.38 million copies in seven days, beating the 'NSync record of 2.42 million album copies sold in a week. Among other feats, 25 is also the only album to reach a million copies sold in the U.K. in 10 days.
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"https://www.tvinsider.com/wp-content/themes/tv/images/icon-watchlist-alert.png?x=10", "https://www.tvinsider.com/wp-content/themes/tv/images/icon-notification.png?x=10", "https://www.tvinsider.com/wp-content/themes/tv/images/icon-offer.png?x=10" ]	[]	[]	[ "" ]	null	[]	null	Roger Harry Daltrey, CBE, is an English singer-songwriter and actor, best known as the founder and lead singer of English rock band The Who. He has maintained	en	https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico	TV Insider	https://www.tvinsider.com/people/roger-daltrey/	Arguably one of the most commanding singers in rock-n-roll history, Roger Daltrey delivered maximum power as frontman for Britain's legendary the Who, from their inception in the early 1960s through their rise to international fame with the albums Tommy (1962), Who's Next (1971) and Who Are You (1978) and subsequent reunions over a period of nearly five decades. His seemingly innocent appearance belied his incredible vocal range, which reached from a blues-driven growl to an ear-shattering scream, as evidenced by his cathartic exclamation at the end of 1971's "Won't Get Fooled Again." His singing talents and undeniably masculine stage presence led to a string of acting roles, most notably as the titular hero in Ken Russell's adaptation of "Tommy" (1975) and as a determined bank robber in "McVicar" (1980). Daltrey began releasing solo records in 1973. He rejoined Townshend and Entwhistle in 1989 to celebrate the band's 25th anniversary, which led to a string of subsequent reunion tours and a well-received album, Endless Wire (2006). Still astonishingly fit and firm of voice into his sixth decade, Roger Daltrey's enduring strength and charisma made him one of rock's most memorable frontmen, with a pair of late-career milestones, an R&B set with guitarist Wilko Johnson . iGoing Back Home (2014) and his first solo album since 1992, Now That I Have You (2018), proved there was still much to offer. Born March 1, 1944 in the Hammersmith neighborhood of London, England, Roger Harry Daltrey was one of three children by Harry and Irene Daltrey, who raised him and his two sisters in the district of Acton, where future bandmates Pete Townshend and John Entwhistle also lived. All three attended Actor County Grammar School for Boys, where Daltrey showed an aptitude for studies. But like so many of his fellow musicians, the discovery of Elvis Presley and rock-n-roll in general turned his attention away from academics. In the late 1950s, he joined a skiffle group, the Detours, which soon became regulars on the pub and working men's club circuits. Daltrey soon recruited Entwhistle and Townshend for the group, which initially included drummer Doug Sandom and singer Colin Dawson. Keith Moon, a manic young drummer for another local act called the Beachcombers, eventually replaced Sandom, while Dawson's departure promoted Daltrey to lead vocals. The Detours briefly changed their moniker to the High Numbers, a decision prompted by their then-manager, Peter Meaden, to appeal to the Mod movement. The High Numbers released one single, "Zoot Suit/I'm the Face," which failed to generate any chart placement, before abandoning both Meaden and their new name in favor of filmmakers-turned-record producers Kit Lambert and Chris Stamp, who prompted their final name change to the Who. The group quickly gained a reputation for their explosive live performances, which were frequently capped by Townshend and Moon destroying their instruments, as well as gritty, R&B-driven songs like their first single, "I Can't Explain," "Anyway, Anyhow, Anywhere" and "Substitute." During this period, the band's leadership shifted away from Daltrey to Townshend, primarily due to the latter's songwriting ability, but also because Daltrey's preferred method of decision-making was to physically abuse his bandmates into siding with his opinion. In 1965, Daltrey was briefly ejected from the Who after assaulting Moon for providing drugs to Townshend and Entwhistle. Upon realizing that his only other means of supporting himself had come as a sheet metal worker during his early days with the Detours, he recanted, and settled comfortably into his role as the voice for Townshend's odes to teenaged anger and anxiety. Initially, Daltrey was uncomfortable in his role as frontman for the Who. He had mastered the R&B and soul covers that made up the Detours and early Who set lists, but Townshend's original compositions, which bristled with kinetic energy on both a lyrical and instrumental level, left little room for smooth harmonies or modest deliveries. The Who's tour of North America in 1967, which included their star-making appearance at the Monterey International Pop Festival, introduced Daltrey to the rigors of playing large venues, where his voice would be drowned out by not only his bandmates' intense volume, but also the cavernous acoustics of music halls and outdoor festival stages. The following year, he debuted a more powerful, aggressive singing voice on "A Quick One While He's Away," the Who's nine-minute mini-opera, which he matched with a stage presence that frequently found him bare-chested, giving grand gestures while wielding his microphone on an extended cord like a bullwhip. In doing so, he helped to mint the "rock god" persona that found purchase in later singing idols like Jim Morrison and Robert Plant, as well as the many frontmen who drew inspiration from them. By the early 1970s, the Who's widespread popularity spurred its individual members to begin exploring their own music as solo acts. Daltrey's first record outside of the Who camp came with 1973's Daltrey, which featured lyrics written largely by the then-unknown Leo Sayer. It generated a Top 5 U.K. single in "Giving it All Away," while the album itself broke into the Top 50 in the United States. Two years later, Daltrey was seemingly ubiquitous, reuniting with the Who for The Who By Numbers (1975) while also releasing his second solo effort, Ride a Rock Horse (1975) and making his debut as Townshend's deaf, dumb and blind hero in Ken Russell's surreal film version of the Who's Tommy (1975). He earned a Golden Globe nomination for his turn as the beatific would-be messiah, and reunited with Russell for the outrageous "Lisztomania" (1975), for which he also penned three songs with Yes keyboardist Rick Wakeman. But the foundation of his career with the Who had begun to erode. Tension between Daltrey and Townshend had arisen after the singer found that Lambert and Stamp had made serious errors in the band's bookkeeping. The discovery led to actual physical violence between the two men, who only grew more distant after the death of drummer Keith Moon in 1978. Daltrey was vocally opposed to his replacement, the more sedate but workmanlike Kenney Jones of Small Faces fame. Daltrey directed his energy into his solo career, releasing One of the Boys in 1977 and producing "McVicar" (1980), a biopic which also featured the singer as British bank robber John McVicar. The film was a success, as was its soundtrack, which featured Townshend, Entwhistle and Jones, though performing separately and not as the Who. By 1982, Townshend announced that he was no longer able to write for the Who, and the group conducted a lengthy farewell tour before disbanding that same year. Daltrey then focused on his acting and solo music careers, enjoying turns as Macheath in "The Beggar's Opera" (1983) and as Shakespeare's twin heroes in "The Comedy of Errors" (1983), both for the BBC. In 1985, he released Under a Raging Moon, which featured a Top 50 single in its title track, a Townshend-penned tribute to Keith Moon. In 1989, Daltrey, Townshend and Entwhistle reunited as the Who for a tour to celebrate its 25th anniversary. The reunion, which also featured a 20th anniversary tribute to "Tommy," re-ignited hopes that the band would continue to record after the tour had run its course, but after the band was inducted into the Rock and Roll Hall of Fame in 1990, only Daltrey continued to support the Who brand through numerous solo concerts devoted to Townshend's music. In 1994, he celebrated his 50th birthday with a two-night stand at Carnegie Hall devoted to his bandmate and former group, which spawned a critically acclaimed but expensive tour that failed to recoup its costs due to hiring an orchestra at each venue. The following year, he took a decidedly different tack by playing the Tin Woodsman in an all-star charity production of "The Wizard of Oz." During this period, Daltrey also maintained his own career as a solo artist, releasing Rocks in the Head (1992), which saw him step out on his own as a songwriter by penning seven of the album's tracks. Response to the album and subsequent releases were tepid, but Daltrey enjoyed frequent success as a guest performer on various projects, including the Chieftains' Grammy-winning An Irish Evening: Live at the Grand Opera House (1992). His acting career continued at a steady clip, though he was seen more frequently on American television shows like "Midnight Caller" (NBC, 1988-1991) and "Highlander: The Series" (syndicated, 1992-98) in a recurring role as a roguish immortal warrior. His affinity for period projects was underscored by his role as pirate William Dampier in "Pirate Tales" (1997), a docudrama series for The Discovery Channel. In 1996, Daltrey reunited again with Townshend and Entwhistle in a 1996 production of Quadrophenia for the Prince's Trust concerts in London. The event featured an array of celebrity guest performers, including Pink Floyd's David Gilmour and Gary Glitter, who accidentally fractured Daltrey's eye socket while swinging a microphone stand. The singer recovered to complete the show, which generated enough attention to warrant a full-blown tour in support of the album from 1996 through 1997. For the next five years, the Who seemed in the midst of a comeback as a cohesive unit, touring in 1999 and 2000 before planning a farewell concert tour in 2002. However, Entwhistle's death in 2002 appeared to bring down the curtain on any future plans for the Who. Daltrey soon returned to acting, surprising many by providing the voice of a friendly dragon for the award-winning children's DVD "The Wheels on the Bus" (2003) and playing Alfred P. Doolittle in a production of "My Fair Lady" at the Hollywood Bowl that same year. The period was also marked by numerous accolades, including the Grammy Lifetime Achievement Award in 2001 and Daltrey's appointment as Commander of the British Empire in 2004. To the surprise of many, Daltrey and Townshend toured as the Who in 2004, which preceded Endless Wire (2006), the band's first new album in over two decades. It debuted at No. 7 on the Billboard albums chart and spawned a successful tour in 2006 and 2007. Following this success, Daltrey and Townshend were recipients of the Kennedy Center Honors in 2008, shortly before the singer again stepped into the solo spotlight for a 2009-2010 tour with his "No Plan B" band, which accompanied Eric Clapton for several large festival shows. The following year, he was back with Townshend to perform several Who songs at Super Bowl XLIV before the pair performed Quadrophenia at London's Royal Albert Hall for a show benefiting the Teenage Cancer Trust, a charity he was instrumental in launching in 2000. In 2011, he and Townshend inaugurated the Daltrey/Townshend Teen and Young Adult Cancer Programme at the Ronald Reagan UCLA Medical Center in Los Angeles, while Daltrey himself provided funding for the Massachusetts Institute of Technology's research into vocal chord repair for cancer victims. The latter subject was an issue close to Daltrey's own heart, having undergone surgery to remove possible pre-cancerous growths on his vocal chords in 2010. During this period, Daltrey was also active in attempting to launch a film based of the life of Keith Moon, which was to star Mike Myers but the production stalled. In 2014, Daltrey restarted his solo career with a collaboration with Dr. Feelgood guitarist Wilko Johnson, Going Back Home. The album, recorded when the guitarist was presumed to be dying of cancer (he later made a full recovery) returned Daltrey to his mod R&B roots. That sound transferred to Daltrey's first solo album since 1992, Now That I've Got You, which included some guitar and songwriting contributions from Pete Townshend.
6803	dbpedia	2	53	https://www.thelineofbestfit.com/news/latest-news/raye-joins-human-re-sources-nearly-a-year-after-parting-ways-with-polydor	en	RAYE signs to Human Re Sources nearly a year after parting ways with Polydor	https://best-fit.transfo…c8b714cfd54164c1	https://best-fit.transfo…c8b714cfd54164c1	[ "https://best-fit.transforms.svdcdn.com/production/images/RAYE-2022-CREDITS__Sebastian_Kapfhammer-Photo-Mikey-Robbins-Creative-Direction.jpg?w=1200&q=5&auto=format&fit=crop&crop=focalpoint&fp-x=0.7464&fp-y=0.5182&dm=1660461509&s=24ddd7281478fcaad51dc7c7ca85d20f", "https://best-fit.transforms.svdcdn.com/production/images/dr_dre_large.jpg?w=320&h=240&q=100&auto=format&fit=crop&dm=1642896033&s=2792b6a24dbd32bd497a5019d526ccf7", "https://best-fit.transforms.svdcdn.com/production/images/taylor-swift-ed-sheeran-britains-got-talent-youtube.jpg?w=320&h=191&q=100&auto=format&fit=crop&dm=1642802981&s=2f4afff7561228a0766f8c313f4adc84", "https://best-fit.transforms.svdcdn.com/production/images/Pale-Waves-Gravity-lead-credit_-Kelsi-Luck.jpeg?w=320&h=209&q=100&auto=format&fit=crop&dm=1723812374&s=e53ccf66dd331b70e7dace2c796394a7", "https://best-fit.transforms.svdcdn.com/production/images/lisa-lalisa-video-teaser-3-youtube.jpg?w=320&h=188&q=100&auto=format&fit=crop&dm=1642800610&s=84417f23df154ec65835581c610a77d7", "https://best-fit.transforms.svdcdn.com/production/albums/FTP-Paradise-State-of-Mind-cover.jpg?w=600&h=600&q=100&auto=format&fit=crop&dm=1722594486&s=9b0cfd9728ca89a00e23474cd0092c49", "https://best-fit.transforms.svdcdn.com/production/albums/Beabadoobee-This-Is-How-Tomorrow-Moves-cover.png?w=600&h=600&q=100&auto=format&fit=crop&dm=1722593997&s=9d0f6cd4f76f30d848ac06a9ec9d1ab6", "https://best-fit.transforms.svdcdn.com/production/albums/Ravyn-Lenae-Birds-Eye-cover.jpg?w=600&h=600&q=100&auto=format&fit=crop&dm=1721896025&s=7b66e7dad1e492e901efe40bfb8b8132", "https://best-fit.transforms.svdcdn.com/production/albums/Skylar-Gudasz-COUNTRY-cover.jpg?w=600&h=600&q=100&auto=format&fit=crop&dm=1721895750&s=8a5d695ef75f4f94826c776351f8a395", "https://best-fit.transforms.svdcdn.com/production/albums/JPEGMAFIA-I-LAY-DOWN-MY-LIFE-FOR-YOU-cover.png?w=600&h=600&q=100&auto=format&fit=crop&dm=1722595012&s=e169ca5dfcb8eaef6cd46b79c0eb1171", "https://www.thelineofbestfit.com/img/close--black.svg" ]	[]	[]	[ "" ]	null	[ "Cerys Kenneally" ]	2022-06-16T10:28:00+01:00	RAYE has signed to LA distribution and artist services company Human Re Sources nearly a year on from parting ways with Polydor Records.	en	/apple-touch-icon.png	The Line of Best Fit	https://www.thelineofbestfit.com/news/latest-news/raye-joins-human-re-sources-nearly-a-year-after-parting-ways-with-polydor	J. Erving's distribution and artist services company Human Re Sources has signed a new deal with RAYE, 11 months after she parted ways with Polydor Records. RAYE had revealed her discontent with Polydor on Twitter last summer, revealing that she has "albums on albums of music sat in folders collecting dust, songs I am now giving away to A list artists because I am still awaiting confirmation that I am good enough to release an album." The UK-based artist had signed a four-album deal with the label in 2014, and on 19 July 2021, she announced that she was "an independent artist", and that her and Polydor had "agreed to part ways." RAYE said of joining Human Re Sources, "I am beyond excited to be working with Human Re Sources – a company that supports me as an independent artist and encourages raw unfiltered artistry. It has been nothing short of a breath of fresh air working with this team, who have allowed me to execute MY vision entirely. A company governed by art, not soullessly chasing the chart. As a young woman in this wild industry I have never before experienced being able to be in control of my career, my releases, my visuals and my narrative. I am both empowered and supported and I can not wait for this journey we will embark on together, in finally getting to release my debut album, seven years in the making." J. Erving added, "We are thrilled to welcome RAYE to the Human Resources family. We are lucky to have landed an artist with such an amazing footprint. We intend to support RAYE’s vision, as an artist, a powerful young woman, and a superstar!" Earlier this week, RAYE announced her forthcoming single "Hard Out Here", which will arrive 30 June via The Orchard.
6803	dbpedia	1	5	https://en.slowradio.com/artists/roger-daltrey	en	Roger Daltrey	https://www.slowradio.co…al/slowradio.jpg	https://www.slowradio.co…al/slowradio.jpg	[ "https://en.slowradio.com/img/tb/tb_ed_sheeran.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/covers/ncas.jpg", "https://en.slowradio.com/img/home/socan2.png" ]	[]	[]	[ "Roger Daltrey", "bio", "artists" ]	null	[ "Slow Radio" ]	2024-08-17T05:42:15+02:00	Roger Harry Daltrey CBE (born 1 March 1944) is an English rock vocalist, songwriter, and actor, best known as the founder and lead singer of Engli		/img/favicons/apple-touch-icon.png	Roger Daltrey - Artists - Slow Radio	https://www.slowradio.com/artists/roger-daltrey	Roger Harry Daltrey CBE (born 1 March 1944) is an English rock vocalist, songwriter, and actor, best known as the founder and lead singer of English rock band The Who. He has maintained a musical career as a solo artist and has also worked in the film industry, acting in a large number of film, theatre and television roles and also producing films. Roger Harry Daltrey was born in the Hammersmith area of London, but was raised in Acton, the same working class suburban neighbourhood that produced fellow Who members Pete Townshend and John Entwistle. He was one of three children born to parents Irene and Harry Daltrey, and grew up with two sisters, Gillian and Carol. Harry Daltrey worked for a water closet manufacturer, and Irene Daltrey was told she would be unable to have children because of losing a kidney in 1937. Nevertheless, she went into labour during a World War II air raid and gave birth to her son at the nearby Hammersmith Hospital, West London. At the age of three, the young Roger swallowed a rusty nail which had to be surgically removed, leaving a visible scar. At the age of five, the rust from the nail caused an ulcer in his stomach which required him to be hospitalised. Daltrey attended Victoria Primary School and then Acton County Grammar School for boys along with Pete Townshend and John Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the eleven plus examination that led to his enrollment at the Acton County Grammar School. His parents hoped he would eventually continue on to study at university, but Daltrey turned out to be a self-described "school rebel" and developed a dedicated interest in the emerging rock and roll music scene instead. He made his first guitar from a block of wood and formed a skiffle band called The Detours. When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band and soon afterward was expelled from school for smoking. Describing the post-war times, Pete Townshend wrote in his autobiography, "Until he was expelled, Roger had been a good pupil. Then he heard Elvis and transmogrified into a Teddy Boy with an electric guitar and a dress-sneer. Was it simply rock ‘n’ roll? It was obvious to a young man as intelligent as Roger that there was no future in conforming any more." Daltrey became a sheet metal worker during the day, while practicing and performing nights with the band at weddings, pubs and men's clubs. He invited schoolmate John Entwistle to play bass in the band, and on the advice of Entwistle, invited Pete Townshend to play guitar. At that time, the band consisted of Daltrey on lead guitar, Pete Townshend on rhythm guitar, John Entwistle on bass, Doug Sandom on Drums and Colin Dawson on lead vocals. After Colin Dawson left the band, Daltrey switched to vocals and played harmonica as well, while Townshend became the lead guitarist. In 1964 drummer Doug Sandom left the band, and Keith Moon became the drummer. Lately, Daltrey has played acoustic guitar on some songs during concerts. Early on, Daltrey was the band's leader, earning a reputation for using his fists to exercise control when needed, despite his small stature (his height is reportedly 5 feet 7 inches (1.70 m). According to Townshend, Roger "ran things the way he wanted. If you argued with him, you usually got a bunch of fives." He generally selected the music they performed, including songs by The Beatles, various Motown artists, James Brown, and other rock standards. In 1964 the group discovered another band working as The Detours and discussed changing their name. Pete Townshend suggested "The Hair" and Townshend's roommate Richard Barnes suggested "The Who." The next morning, Daltrey made the decision for the band, saying "It's The Who, innit?" During 1964, band manager Peter Meaden renamed the band The High Numbers as part of a move to establish the band as Mod favourites. The name was a reference to the T-shirts with "numbers" that the Mods used at the time. Pete Meaden composed Mod songs for them (in fact, the songs were almost copies of Mod hits at the time, with changed lyrics) and they released just one single, "I'm The Face/Zoot Suit", by Fontana Records. After this single was unsuccessful, the band changed their name back to The Who. With the band's first hit single and record deal in early 1965, Townshend began writing original material and Daltrey's dominance of the band began to decline. In the midst of the band's success, Daltrey repeatedly found himself fighting to keep the other members of The Who away from the drug and alcohol dependence that he believed would destroy them. He once flushed drummer Keith Moon's pills down the lavatory and, when Moon protested, knocked him down with one punch. Because of such incidents and also the shifting dynamics of control within the group, the other members of The Who expelled Daltrey from the band in late 1965, causing him to examine his methods of dealing with people. A couple of days later, Daltrey swallowed his pride and promised there would be no more violent outbursts or assaults. Daltrey recalled, "I thought if I lost the band I was dead. If I didn't stick with The Who, I would be a sheet metal worker for the rest of my life." The band's second single, "Anyway, Anyhow, Anywhere" was the only song on which Daltrey and Townshend collaborated, and Daltrey only wrote two other songs for the band. As Townshend developed into one of rock's most accomplished composers, Daltrey's vocals became the vehicle through which Townshend's visions were expressed, and he gained an equally vaunted reputation as a powerful vocalist and riveting frontman. The Who's stage act was highly energetic, and Daltrey's habit of swinging the microphone around by its cord on stage became a signature move. Daltrey's stuttering expression of youthful anger, frustration and arrogance in the band's breakthrough single, "My Generation", captured the revolutionary feeling of the 1960s for many young people around the world and became the band's trademark. Later, his scream near the end of "Won't Get Fooled Again" became a defining moment in rock and roll. In October 1973, Townshend was at a low point after struggling through the Lifehouse and Quadrophenia projects, and Daltrey was experiencing success with his solo projects and acting roles. Daltrey had quite a bit of free time while others of the band worked on recording the music for Quadrophenia, and he used some of this time to check The Who's books. He found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Kit Lambert was also Pete Townshend's artistic mentor and challenging him led to renewed tension within the band. During a filming session (in an incident that Daltrey claimed was overblown) Townshend and Daltrey argued over the schedule. Townshend whacked the singer over the head with his guitar and Daltrey responded by knocking Townshend unconscious, again with a single blow. With each of The Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey was the face and voice of the band as they defined themselves as the ultimate rebels in a generation of change. When Ken Russell's adaptation of Tommy appeared as a feature film in 1975, Daltrey played the lead role and was nominated for a Golden Globe Award for "Best Acting Debut in a Motion Picture". Afterward, Daltrey worked with Russell again, starring as Franz Liszt in Lisztomania. He worked with Rick Wakeman on the soundtrack to this film, writing the lyrics to three songs and also performing these, as well as others. The Who went on after the death of Keith Moon in 1978, but tension continued as Daltrey felt new drummer Kenney Jones was the wrong choice for The Who. In 1980 Daltrey completed a major project for The Who Films, Ltd., a dramatic film called McVicar about U.K. bank robber John McVicar. Daltrey produced and starred in the film, and completed a striking soundtrack with other members of the band. This success, along with other stresses, contributed to decay of relations with Townshend, and The Who retired from active touring in 1982 when Townshend felt he was no longer able to write for the band. The band continued to work together sporadically, reuniting for the Live Aid concert and recording songs for Daltrey's solo album Under a Raging Moon and Townshend's solo album Iron Man. Daltrey turned to working as an actor, completing such high profile projects as The Beggar's Opera and The Comedy of Errors for the BBC. He also appeared in several film, television and stage productions during this period, including Mike Batt's The Hunting of the Snark (1987), The Little Match Girl (1987), Buddy's Song (1990), which he also produced, and Mack the Knife (1990). In 1991 he received a Grammy Award with The Chieftains for An Irish Evening: Live at the Grand Opera House, Belfast. The Who returned in 1989 with their 25th anniversary tour, which was also the 20th anniversary tour of the rock opera Tommy. The tour featured a large backing band and guest appearances by Steve Winwood, Patti LaBelle, Phil Collins and Elton John. Although Daltrey experienced life-threatening health problems, he managed to complete the tour. He continued to work on stage and screen during this period, completing projects such as The Wizard of Oz in Concert: Dreams Come True (1995) appearing as the Tin Woodman alongside Nathan Lane, Joel Gray, Natalie Cole, and Jewel Kilcher as Dorothy. During this time, he also began to appear in U.S. television shows. In 1994 Daltrey celebrated his 50th birthday by producing a two-night show at Carnegie Hall called A Celebration: The Music of Pete Townshend and The Who, and popularly called Daltrey Sings Townshend. The Who's music was arranged for orchestra by Michael Kamen, who directed The Juilliard Orchestra for the event. Pete Townshend, John Entwistle, Eddie Vedder, Sinéad O'Connor, Lou Reed, David Sanborn, Alice Cooper, Linda Perry, The Chieftains and others performed as special guests. The event was followed by a major tour financed by Daltrey and including John Entwistle on bass, Zak Starkey on drums and Simon Townshend on guitar. Although the tour was considered an artistic success, it failed to make a profit and was concluded early. However, it did serve the purpose of attracting attention to songs from The Who's Quadrophenia, and gathered support for a staging and major tour of the rock opera in 1996-1997. In 1996 Pete Townshend was approached to produce Quadrophenia for The Prince's Trust concert at Hyde Park, London. He at first planned to perform the opera as a solo acoustic piece using parts of the film on the screens, but after receiving offers of financing decided on a full out production. When he first contacted Daltrey to request a collaboration, Daltrey refused, but after some discussion, he agreed to help produce a one-off performance. The opera was performed with a large backing band, including John Entwistle on bass, Pete Townshend on acoustic guitar and vocals, Zak Starkey on drums, Rabbit Bundrick and Jon Carin on keyboards, Simon Townshend on guitar and special guests including David Gilmour, Adrian Edmondson, Trevor McDonald and Gary Glitter. A horn section was added, and backing vocalists, along with other actors. On the night before the show, Daltrey was struck in the face by a microphone stand swung by Gary Glitter. The accident fractured his eye-socket and caused considerable concern that he might not be able to perform safely, but Daltrey donned an eye-patch to cover the bruises and completed the show as scheduled. Afterward, Townshend decided to take the production on tour in 1996-1997 as The Who. After their tour to present the rock opus was successful, they returned as The Who in a stripped-down, five-piece lineup for tours in 1999-2000. The band continued to work together, making a major impact at The Concert for New York City. After Entwistle's death in June 2002, both Daltrey and Townshend decided to continue with an already planned tour as The Who. They also completed a brief tour in 2004. In 2006, they released their first studio album of new material in twenty-four years, Endless Wire, leading some fans and critics to say that the highly acclaimed artistic tension within The Who lay between these two principals. They completed a world tour in 2006-2007 to support this album. After The Who retired from active work in 1982, Daltrey developed his career in film and took on a number of other projects, including a tour with the British Rock Symphony in 1998, and the Night of the Proms in 2005. Daltrey also worked with the Rock 'n Roll Fantasy Camp, raising money for charities during the final concert. In 2005, Daltrey had a short weekly series on BBC Radio 2, presenting a personal choice of rock'n'roll favourites. In 2006, Roger Daltrey starred as the voice of "Dragon Bus Driver" in the children's home DVD called The Wheels on the Bus: Mango and Papaya's Animal Adventure from Armstrong Moving Pictures. The DVD features Daltrey as a costumed children's dragon, who drives a bus for two lost puppets trying to return to their home at the zoo. Daltrey sings children's classics, such as "The Wheels on the Bus Go Round and Round" in addition to songs written specifically for the home video. 08.02.2016 11:40:26 PM Roger Daltrey: Music news: Bio: Bio