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https://blog.discmakers.com/2023/06/how-to-submit-your-album-to-umg/
|
en
|
How to Submit Your Album to UMG
|
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[
"Lauren Davish",
"Music Industry News"
] |
2023-06-02T16:22:43+00:00
|
Universal Music Group (UMG) is a front-runner in the music industry that manages various musical talents and labels. Learn how to submit your album to UMG.
|
en
|
Disc Makers Blog
|
https://blog.discmakers.com/2023/06/how-to-submit-your-album-to-umg/
|
Estimated reading time: 6 minutes
Learning how to get signed to a record label and its unique processes can help you get your foot in the door to advancing your music career. The music industry is all about making connections, and submitting to a major record label can be a viable option.
Table of Contents:
• What makes your demo unique?
• What label should I submit to?
• Record labels under UMG and genre
• Guidelines to know before you submit your album to UMG
• What happens after you submit your demo?
• Keep your music in your control
We’re providing tips and guidance for independent artists to submit their music to Universal Music Group (UMG). While there’s no cookie-cutter way to submit and get accepted, this is what the typical process looks like.
What makes your demo unique?
There is so much talent in the world of independent musicians and bands just waiting to be heard. There are millions of songs on streaming platforms that any listener can choose to put on at any moment. So, what makes your music stand out among the rest?
At least in the eyes of record labels, it’s not all about having the perfect demos with precise timing, soaring vocals, and a rollicking guitar solo. It’s not all about talent — it’s about presence. While indie artists need to be both the artist and the business, record labels are all business. They look at numbers and the likelihood of those numbers increasing if they put their time and money into you as a signed artist.
Record labels will look at your streams, followers, social media, and history of bringing large crowds to your live shows. Your fan base needs to be solid. And as far as specific numbers go, think big — not just getting over the 1,000 song plays on Spotify. These numbers need to be consistent, too. You need to be consistent with how you show up online and book bigger gigs, like festivals and opening for signed acts.
Additionally, you have to network. Get yourself on the scene by attending music industry events, connecting with industry professionals and talent scouts, and using platforms like LinkedIn to get to know who’s who at UMG. You will need to have a connection with UMG A&R in order to submit your album to UMG and get your demo in the right hands (and not marked as an unsolicited email).
What label should I submit to?
Universal Music Group is home to about 15 different record labels. I’ve listed the more popular ones below, as well as what genre each is known for, so you can decide where to set your sights.
Record labels under UMG and genre
Capitol Records. This label has been around for decades and focuses on several genres of music, including hip hop, pop, rock, and electronic. Well-known artists with Capitol Records include The Beatles, The Beach Boys, Paul McCartney, Beck, Halsey, and Norah Jones.
Def Jam Recordings. Another label that has been around for decades, Def Jam has launched careers for artists such as Jay-Z, Rick Ross, and DMX, and has current big-name artists including Justin Bieber, Alessia Cara, Benny the Butcher, and 2 Chainz.
Republic Records. Republic Records works with artists of different genres, including pop, alternative, and hip hop. Big names with this label include Taylor Swift, Ariana Grande, Post Malone, and The Weeknd.
Island Records. Another label that has signed some legendary artists, Island Records focuses on pop and alternative genres. Their roster includes Bob Marley, Queen, Nick Drake, Steve Winwood, and current artists such as Demi Lovato, Sabrina Carpenter, and Avicii.
Interscope Geffen A&M. Interscope has a wide range of artists whose genres include pop, rock, hip hop, and electronic. Some well-known artists on this label include Eminem, Lady Gaga, Billie Eilish, Kendrick Lamar, and U2.
Polydor Records. This label tends more toward pop, rock, and alternative genres. Some major legendary names here include Jimi Hendrix, James Brown, Gloria Gaynor, ABBA, 2Pac, and current artists such as The 1975, Lana Del Rey, and Ellie Goulding.
Decca Records. This label is for classical musicians who focus on opera and orchestra. Big names such as Luciano Pavarotti and Bing Crosby have been signed to Decca.
Deutsche Grammophon. Deutsche Grammophon stands as the oldest established record company. It also leans toward classical musicians, including Kian Soltani, Rudolf Buchbinder, and Sergei Rachmaninoff.
Mercury Records. Mercury Records is another label under UMG that leans toward rock, pop, and hip hop genres. Well-known names on this label include Elton John, Amy Winehouse, and David Bowie.
Verve Label Group. Verve Label Group focuses on the jazz genre, having a roster of some of the greats, such as Ella Fitzgerald, The Velvet Underground, Billie Holiday, and Nina Simone. Current artists include Kurt Vile, Diana Krall, and Arooj Aftab.
Guidelines to know before you submit your album to UMG
Now that you know what and who the major record labels of UMG represent, the first step before you submit your demo is to decide which record label would best support your music genre.
Defining your genre can sometimes be a little difficult, as there are likely so many influences on your music, but think in broader terms — think like a UMG A&R rep.
Another thing to keep in mind is that UMG will never, ever ask you for money to submit your music. Unfortunately, scammers are out there trying to take advantage of artists and the hope of having their music heard. If someone messages you and asks for an exchange, run the other way (or just delete the email).
Here are a few guidelines to follow for a demo submission:
Make sure your demo submission is in MP3 format and no larger than 5 MB.
Include your contact information and the short version of your biography. (Alternatively, you can send your electronic press kit).
Your demo should only be about 1-3 minutes long.
Check and double-check that you’ve labeled all files correctly.
Send your demo as an email attachment, rather than a link. This avoids any confusion or link security issues.
What happens after you submit your demo?
Once you get a confirmation email acknowledging your submission… you wait. Well, you go about your life until you hear back from a label representative. If they like what they hear, they will get in touch with you and discuss the next steps. Hooray!
However, you may not hear anything at all if the label isn’t interested. In some cases, they may send a rejection letter and provide feedback. But keep in mind, this doesn’t mean anything about your music or you as an artist. At the end of the day, labels are looking for something specific to fill a hole in their business. So even if you don’t get the answer you were hoping for, don’t let it stop you from continuing with your music career.
Keep your music in your control
I’d be remiss not to talk about the perks of being an indie artist. While getting signed to a label takes some of the business and marketing portion out of your hands, staying independent keeps you in creative control of your music, your brand, and in some cases, true to who you are as an artist. Plus, you retain 100 percent of your rights and royalties when you’re label-free.
If you’re an independent musician looking for music distribution services, check out The Global Music Distribution Bundle through Disc Makers. We can help you get your music on all streaming platforms, including Spotify, iTunes, Amazon Music, and more.
Lauren Davish is a writer, singer/songwriter, yoga instructor, and voice coach. She received her MA in Creative Writing with a focus on creative nonfiction in 2019. Her favorite types of writing include blog posts and song lyrics.
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6803
|
dbpedia
|
1
| 10
|
https://www.rollingstone.com/music/music-lists/readers-poll-the-10-greatest-who-albums-15306/
|
en
|
Readers’ Poll: The 10 Greatest Who Albums
|
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[
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] | null |
[
"Andy Greene"
] |
2013-11-20T20:00:51+00:00
|
Your picks include 'Live at Leeds,' 'Tommy' and 'Meaty Beaty Big and Bouncy'
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/readers-poll-the-10-greatest-who-albums-15306/
|
The Who were in the worst shape of their 15-year career when they began work on Who Are You in late 1977. Pete Townshend and Roger Daltrey had taken nasty swipes at each other in the press in recent years, and Keith Moon was a severe drug addict. He was just 32, but he looked a good decade older. The punk revolution was also sweeping England, threatening to make bands like the Who seem like dinosaurs.
Pete Townshend was determined to see his band survive, though the Who Are You opening track "New Song" acknowledges his tough task: "I write the same old song with a few new lines/ And everybody wants to hear it." The title track reflects on a drunken night with members of the Sex Pistols where he did actually pass out in a Soho doorway, while "Music Must Change" also acknowledges the changing musical landscape. "But is this song so different?" Townshend wonders. "Am I doing it all again?" Despite his doubts, the album was a huge success – but less than two weeks after it hit shelves, Keith Moon was dead. Ironically, he's posed on the cover sitting in a chair that reads "Not To Be Taken Away."
A little over a year after he helped the Kinks become superstars by producing "You Really Got Me," producer Shel Talmy brought the Who into his recording studio. They made the heavily Kinks-inspired "I Can't Explain" and "Anyway, Anyhow, Anywhere" together and those singles were successful enough to get the young band a deal for an entire album.
The Who Sings My Generation was recorded in a pretty short time period and failed to capture the wild energy of their stage show, but even watered-down Who was still stellar. "My Generation" and "The Kids Are Alright" became instant Mod classics, while covers like "Please Please Please" and "I'm a Man" showcased their maximum R&B sound. It gave them a very nice start, and they quickly evolved faster than anyone could have imagined.
The overwhelming success of Tommy and Who's Next brought the Who a huge new army of fans, and many of them weren't around during their initial hit-making period in the 1960s. Also, many of their early classics ("I Can't Explain," "The Seeker," "Substitute") weren't available on any album. It was common practice in the 1960s for bands to churn out regular singles, leaving many of them off their albums. All of this made it perfectly logical to package up their early work on a single album and drop it in stores right in time for the Christmas buying season. The album was a big success. Many, many compilations followed, but this was the first.
Pete Townshend was completely drained by 1975. The last four Who albums were crazily ambitious concept albums (even if Who's Next was merely the brilliant shell of Lifehouse) and it was getting increasingly hard to top himself. He also turned 30 and felt like an old man in a young man's game.
Instead of trying to create something even greater than Quadrophenia, he wisely scaled down and wrote The Who By Numbers, a series of songs about the sad state of his life. "However Much I Booze" was so intense and personal that Roger Daltrey refused to sing it. "How Many Friends" is the single saddest song in the Who's catalog, while "Dreaming from the Waist" deals with the sexual frustration of aging.
Many people have a warped sense of the album because the only hit was "Squeeze Box," a goofy song that compares an accordion to a woman's sexual organ. John Entwistle contributed "Success Story," the story of a band that gets destroyed by the music business. The Who By Numbers didn't earn the same rave reviews of the band's previous discs, but it's aged remarkably well.
A Quick One, the Who's second album, is built around the rather flawed premise that all four members of the band should contribute to the songwriting process. John Entwistle rose to the challenge with "Whiskey Man" and "Boris the Spider." The latter became his signature song; he wore a spider necklace for decades. Keith Moon wrote the madcap instrumental "Cobwebs and Strangers," featuring all four members of the band on different wind instruments. Roger Daltrey's only tune is "See My Way," a rather forgettable ditty that the group never even played live.
Needless to say, Pete Townshend's songs are the best. "So Sad About Us" is an overlooked masterpiece, while the nine-minute mini-opera "A Quick One, While He's Away" paved the way for all the rock operas that followed. It proved that Townshend had bigger things on his mind than short pop singles. It was also explosive onstage and became the highlight of their gigs for years.
The success of the mini-opera "A Quick One, While He's Away" made Pete Townshend think big while he plotted out the Who's third album. Inspired by the pirate radio stations docked near England, he wrote a series of songs linked together by fake commercials for actual products like Heinz Baked Beans and Odorono deodorant. Songs like "Tattoo" and "Mary Anne with the Shaky Hands" are fantastically weird, while "I Can See for Miles" may be the greatest song that Townshend wrote in the 1960s. He was absolutely crushed when it failed to become a big hit in America.
The Who Sell Out wraps up with "Rael," which contains the musical seeds of a story about a blind, deaf and dumb boy that would transform the Who into one of the biggest bands on Earth.
Tommy was a bigger hit than the Who could have possibly imagined. They were suddenly headlining major festivals and playing to sold-out opera houses in major cities. The played the entire album every night, along with earlier songs and covers like "Young Man Blues" and "Summertime Blues." They were on fire every single night, playing some of the greatest concerts in the history of rock.
In late 1969, they began taping shows for a possible live album, though Townshend was unhappy with the results and ordered the tapes burned. (How many shows, if any, were burned remains a matter of hot dispute.) Tapes were rolling again when they played Hull and Leeds, England in February 1970, but Entwistle's bass parts weren't captured during the opening songs at Hull, so they released the Leeds show. The original record of Live at Leeds just had six songs (three of which were covers) to showcase their pre-Tommy live repertoire but, over the years, they've slowly released the complete show. They even released Hull, simply swapping in John's bass from the Leeds recordings on the opening songs.
In the fall of 1968, Pete Townshend sat down with Rolling Stone co-founder Jann Wenner to share his idea for an ambitious rock opera. "The package I hope is going to be called 'Deaf, Dumb and Blind Boy,'" he said. "He's seeing things basically as vibrations which we translate as music. That's really what we want to do: create this feeling that when you listen to the music, you can actually become aware of the boy, and aware of what he is all about, because we are creating him as we play." Pete hadn't even started to record yet, but he already knew exactly what he wanted to accomplish.
The tragic story of Tommy – who is abused by his cousin Kevin, his Uncle Ernie and even raped by a woman hired by his parents – mirrors some of the trauma in Townshend's own childhood. The finished product was an absolute triumph, earning the band a global hit with "Pinball Wizard" and proving that rock & roll could stretch beyond short singles. It seemed like the most ambitious rock album possible, but Townshend was just getting started.
Pete Townshend was still in his twenties when he began plotting out the Who's follow-up to Who's Next, but he already felt like a relic of another era. The Who had been around for a decade, which for a rock band felt like an eternity. His mind turned back towards the band's early days playing wild sets to hordes of mods hopped up on pills. He decided to write another rock opera, this time about a young Who fan named Jimmy battling with girls, his parents, his friends and even his own mind.
Touching on real-life incidents – like the Brighton Beach brawl between mods and rockers – the double album Quadrophenia was a worthy follow-up to Tommy, though this time, kids all around the world related to Jimmy and his intense feelings of isolation. It proved too difficult to play onstage in 1973, but they revived it in 1996 and 2012 to much acclaim.
Most people listen to Who's Next and hear a near-perfect rock album. Songs like "Behind Blue Eyes," "Won't Get Fooled Again" and "Baba O'Riley" are some of the most enduring songs in the Who's entire catalog and have been played millions of times on classic rock radio. The songs have also been at the center of nearly every Who concert over the past 40 years. It was a huge best-seller, bringing the band into the 1970s and guaranteeing they'd never face an empty arena as long as they could continue touring.
But to Pete Townshend, the album is a reminder of his failure. The songs were originally intended for a crazily ambitious rock opera called Lifehouse. The plot is so complicated that only Townshend truly understands it, and he was unable to realize it on record. Who's Next is a bunch of songs intended for Lifehouse mixed in with a few other tracks, like John Entwistle's hysterical "My Wife." Pete Townshend released Lifehouse under his own name in 2000 as The Lifehouse Chronicles. It wasn't nearly as good as Who's Next. Not even close.
|
|||||
6803
|
dbpedia
|
2
| 12
|
https://www.universalmusic.com/label/polydor/
|
en
|
Polydor
|
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[
""
] | null |
[] |
2014-09-11T21:24:04+00:00
|
Few labels can boast as long, prestigious and varied a musical history as Polydor. From the ’60s ‘beat boom’ onwards, through the eras of progressive rock, disco and punk, the label has been at the vanguard of every significant musical development. Today the likes of Lana Del Rey, Ellie Goulding and Sam Fender maintain Polydor’s enviable cutting-edge reputation.
|
en
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UMG
|
https://www.universalmusic.com/label/polydor/
|
Universal Music Group, the world leader in music-based entertainment, leverages proprietary access and insights to develop innovative integrated brand opportunities globally with the potential to reach billions of engaged fans across digital media, events, name and likeness, sync & more.
For more information on how Universal Music Group for Brands can create authentic connections for your brand, please contact us here.
|
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6803
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dbpedia
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2
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https://www.dutchvinyl.com.au/collections/polydor-records-record-label
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en
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Polydor Records (Record Label)
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[
""
] | null |
[] | null |
Polydor Records Ltd. is a German-British record label that operates as part of Universal Music Group. It has a close relationship with Universal's Interscope Geffen A&M Records label, which distributes Polydor's releases in the United States. In turn, Polydor distributes Interscope releases in the United Kingdom. P
|
en
|
//www.dutchvinyl.com.au/cdn/shop/files/DV-favicon_32x32_1_32x32.png?v=1613759436
|
Dutch Vinyl Record Store
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https://www.dutchvinyl.com.au/collections/polydor-records-record-label
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Polydor Records Ltd. is a German-British record label that operates as part of Universal Music Group. It has a close relationship with Universal's Interscope Geffen A&M Records label, which distributes Polydor's releases in the United States. In turn, Polydor distributes Interscope releases in the United Kingdom. Polydor Records Ltd. was established in London in 1954 as a British subsidiary of German company Deutsche Grammophon GmbH. It was renamed Polydor Ltd. in 1972.
Its artists have included ABBA, Cream, The Moody Blues, The Who, Sam Fender, Ringo Starr, Samantha Mumba, Cher Lloyd, Years & Years, Siouxsie and the Banshees, Slade, Bee Gees, Scissor Sisters, The Jam, Cheryl, Girls Aloud, The Saturdays, Gary Barlow, Take That, The Shadows, James Brown, Jesy Nelson, Level 42, Fickle Friends, The Fauves, Ellie Goulding, Duffy, James Blake, Snow Patrol, Elbow, Status Quo, Eric Clapton, Marie Osmond, Yngwie Malmsteen, Waldo de los Ríos, Ruti Olajugbagbe, Lana Del Rey, Soraya, Haim, Keith O'Conner Murphy, Tove Lo, LANY, Azealia Banks, Zucchero and Alyssa Reid.
– Wikipedia
|
||||
6803
|
dbpedia
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2
| 69
|
https://amplifyyou.amplify.link/2021/11/labels-refuse-to-release-music/
|
en
|
What Happens When Labels Refuse To Release An Artist’s Music?
|
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[
""
] | null |
[
"Janelle Borg"
] |
2021-11-19T11:54:55+00:00
|
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
|
en
|
AmplifyWorld
|
https://amplifyyou.amplify.link/2021/11/labels-refuse-to-release-music/
|
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.
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.
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For the young man whose only other career choice would have been a forced, unwilling existence as a sheet-metal worker, The Who was a life-saver. Roger Daltrey’s ambition for his first real band, the Detours, became even stronger, more devouring, for The Who. He often referred to himself as a “shit singer,” with only adequate skill as a guitar player. He knew, without any doubt, that the failure of The Who would doom him to a working-class and unremarkable life. His success, so closely linked to that of The Who, mattered more to him than anything.
Although The Who had many breaks before 1969, including their incendiary performance at the Monterey International Pop Festival in 1967, the single work that changed everything for them was Tommy. The release of this album and the live tour that followed also marked one of the major, watershed periods in Roger’s musical career and personal life. It would be difficult to overemphasize the importance of Tommy to Roger. His total onstage identification with the character led to immense popularity among rock fans, many of whom considered Roger to be the personification of Tommy Walker as well as The Who. In addition, the demands of the role offered Roger an unprecedented opportunity for development as a singer and performer. The now-famous Daltrey charisma blossomed during this stage of his career.
Roger was involved with Tommy at four separate but vital times: The recording of the original LP and the live tours that followed, the London Symphony Orchestra LP and live performances, the Tommy movie, and the 20th-anniversary tour that was part of The Who’s own 25th anniversary celebration.
The Tommy album and live tour. “To me, it was as though I was just singing Who songs until the second time we played it [Tommy] on the stage, and then I realized that I was becoming something else.” (Roger Daltrey, quoted in Dave Marsh’s Before I Get Old, p.344).
On April 22, 1969, at the Institute of Technology in Bolton (from The Who: Concert File, Joe McMichael and “Irish” Jack Lyons, p. 85), something now considered an established part of rock-and-roll history happened for the very first time. Four musicians set up on stage and the lead singer–short, vigorous, with a mane of curly, blond hair–joined the others in singing about the birth of a baby boy. This was the public’s first chance to hear and, just as importantly, to see Tommy.
The event considered the official premiere was a subsequent performance at Ronnie Scott’s Club in Soho on May 2. This concert was intended for the press, as a way to promote the new double LP. The listeners were stunned. No one had ever heard a story quite as unusual (perverse, many said) as this, but the praise of the live, loud performance was nearly uniform. After this show, The Who started a live tour, playing most of their new rock opera intact. The members of the group were their usual selves: Pete Townshend windmilling and leaping, locked in musical, mortal combat with his guitar; Keith Moon flailing away at his ever-growing drum kit; John Entwistle anchoring the frenzy in his normal spot on stage, improvising on his bass guitar as he kept one eye on Moon. Roger Daltrey, however, was changing dramatically. His athleticism increasing with the longer and wilder swing of his microphone cord, he had left the mod look, the op-art look, the psychedelic look, and the short, straight hair behind to adopt what was to become his trademark appearance during the early 1970s. He allowed his thick, blond, naturally curly hair to grow to his shoulders, his toned chest was bare, decorated only with a large cross, and he started to wear the skin-tight, fringed leather outfits that became, for a time, his concert uniform.
On stage, Roger was electric. Tommy was helping him find his true rock-and-roll voice, that ranged from guttural and angry to pure, high, and piercing. His movements on stage were designed to focus the attention of the audience on him alone. When he wasn’t twirling the microphone, in apparent danger of braining one of the other musicians (or himself) with it as he whipped it further and further away from him, his dramatic gestures and movements-arms pumping, leather fringes flying, hair tossed forward and back–commanded attention. It never looked as though he was just singing the numbers in Tommy; he was Tommy, singing for the broken little boy and the visionary young man Tommy was to become during the course of an hour and a half on stage.
During the creation of the original LP in 1968-69 at IBC Studios in London, Pete Townshend depended upon the opinions of the other members of The Who during the six months that the group used to record, re-record, rehearse, alter, and adjust Tommy. Early titles for this “rock opera,” a term coined by Kit Lambert (one of The Who’s managers) to help stimulate Pete’s creativity, included Deaf, Dumb and Blind Boy; Amazing Journey; Journey into Space; The Brain Opera; and Omnibus. (Before I Get Old, p. 317) Typically, Pete would play his home-recorded demos for the others, who would then discuss, rehearse, record, and revise based on group discussions conducted in a local pub. This was the first project where Pete leaned heavily upon the opinions of the other members of the band during an album’s conception and development. According to Roger, “Pete used to come in some days with just half a demo. We used to talk for hours, literally. We probably did as much talking as we did recording. Sorting out arrangements and things.” (From The Who: Maximum R&B, Richard Barnes, p. 50) Although six months in a recording studio seems an inordinate length of time, by the end of that period, with funds seriously depleted and themselves scheduled for a tour starting in April, 1969, The Who still felt that the final work on the album was rushed. Planned overdubs, in particular those by John Entwistle, could not be added. This lack may really be a mixed blessing, as Kit Lambert had also hoped to overdub a full orchestral accompaniment to The Who’s work, and this overdubbing (fortunately) did not occur.
Roger Daltrey, although very much involved in the day-to-day work on the album, probably had little idea about what Tommy would be like when played live before an audience, or how vitally important he would be in its presentation. On the album, Roger does not merely sing Tommy’s songs; his voice, growing in adaptability, strength, and dramatic range, becomes Tommy’s own voice. When The Who finished recording the album, they began full rehearsals in preparation for their live tour. After the first complete run-through, Pete and Keith went to a pub together to relax and discuss the day’s work. According to Pete, “Roger had become something else, and we debated what would happen and how it would change everything. We knew we had something that was magic and that magic wasn’t as clear on the album as it would be in a live performance.” (Before I Get Old, pp. 339-340)
Roger himself saw a change, but not so much in himself as in The Who: “The last six months–it’s been like the rebirth of the Who. We’ve calmed down a lot. Before that all our energy had gone in trying to keep the group from splitting up. We still have our differences but we’re much more harmonious.” (The Who: Maximum R&B, p. 96) After the initial launch of Tommy on April 22, 1969, the show continued for months, initially in the U.K. and then with a full-fledged tour in the States. Starting in Michigan (ever since, Detroit has been a Who stronghold), the show progressed through the East Coast, Canada, and the Midwest, with additional stops in Los Angeles and three incredible nights at the Fillmore West in San Francisco in June. After returning to the U.K., The Who did more shows there late in the summer, before bouncing back to the U.S. to do two shows: The Tanglewood Music Shed in Massachusetts and a gathering called the Woodstock Music & Arts Fair, held on Max Yasgur’s farm near Bethel, New York.
Woodstock has been thoroughly described by other authors, as well as being characterized by Roger as “the worst gig we ever played.” (Before I Get Old, p. 350) The Who were not pleased with their four a.m. appearance on August 17th. Their set had been delayed for hours, they were not paid until just before they went on stage, and, to top it off, some thoughtful person spiked their beverages with LSD. Even so, film footage and audience memories from that show mark it as something extraordinary. Ragged, raw, and rough, the group pushed itself through the set on adrenaline and will power. Amazingly enough, the sun began to come up as the end of the Tommy set approached, illuminating Roger as though he, himself, was the god of the morning. Bad circumstances and anger rarely interfered with Roger’s performance. His transformation into Tommy accompanied the development of his consummate showmanship. Whatever Roger did on stage, he did with his whole body and spirit. The Woodstock footage (both official and bootleg) shows this: His total concentration on singing, the way he literally threw his body into the role, was focused and, at times, nearly brutal. Roger was mesmerizing, and his full immersion into the role and the music was obvious. Audience shots show tired, doped-up, boozy young faces filled with awe at the musical spectacle they were witnessing. The taut body, the mass of curls, the storm of suede fringes were all just window-dressing for the musical miracle that was Roger Daltrey singing for Tommy Walker.
The tour continued into 1970, with more stops in the U.K., the U.S., and Canada. Early in 1970, the tour developed a new, grander flavor, as Tommy was played in European and American opera houses, including the Metropolitan Opera House in New York. On February 14th, The Who played their now-famous concert at Leeds University, a portion of which show appeared subsequently on the officially released album, Live at Leeds. Magnificent bootleg recordings of the complete show are still in circulation, and are highly recommended as compelling evidence that The Who, at their best, were unsurpassed on stage. Many more legendary shows followed.
Tommy made the members of The Who famous as well as millionaires. By 1971, audiences who believed that the group itself was called “Tommy” demanded more of the same, while Pete Townshend and the rest of the band desperately wanted to do something different. While work began on the Lifehouse music/film project that ultimately collapsed into the Who’s Next album, audiences still demanded and got Tommy . The success of the work, while helping to refine Roger’s onstage image and presenting him as the personification of both The Who and Tommy, was also a burden. The dynamic persona, so vigorously presented, came to be something that was expected of him along with the bare chest, the leather fringes, and the mane of hair: “And of course I personified Tommy. I was the guy who used to play the part. I played the damn part for five years. I slogged my balls off around the world sweating it out. People thought I was Tommy. I used to get called Tommy in the street.” (Quoted in “Look Who’s Talking: A Conversation with Roger Daltrey” By Ken Sharp, from Goldmine magazine, July 8th, 1994.)
Tommy and the London Symphony Orchestra
In 1972, Roger had another chance to sing the role of Tommy, but from a different perspective. Lou Reizner approached Pete Townshend with an idea: He wanted to record the rock opera, using guest stars, a full orchestra, and a chamber choir rather than The Who’s pared-down, four-man approach. At first the group hesitated; after all, with the Who’s Next album, they had been trying to break away from their image as a one-work band. Tommy had become something they were expected to perform joyfully over and over, ad infinitum and ad nauseam. But, Pete had always been a revisionist at heart, never totally satisfied with any single version of a musical work, so it was not difficult for Reizner to captivate him with his vision of an elaborate production.
Rod Stewart was Reizner’s original casting suggestion for the role of Tommy, but Stewart turned the opportunity down, as he did not want to have to learn all the song lyrics. (He happily settled for singing “Pinball Wizard.”) Pete Townshend, so often Roger’s opponent, was the person who recommended that Daltrey be offered the role. Roger had not been considered initially, as Reizner thought that none of the members of the band would be eager to be associated with yet another Tommy , but Roger surprised him: “It’s part of me. I was only too glad to do it. I could never get tired of it.” (The Who: Maximum R&B, p. 102)
Roger’s voice on the recorded album is a revelation, with a rich quality and assurance that were only suggested in the original, 1969 recording. The months spent touring, improving both his voice and his confidence, are very apparent in the 1972 release.
Roger and Rod Stewart, excited by the way the album was turning out, convinced Reizner and Pete that this new version of Tommy deserved a life of its own onstage. On December 9th, 1972, at the Rainbow Theatre in London (after the Royal Albert Hall had turned Tommy down as being “unsavoury” (The Who: Concert File, p. 151)), a number of guest stars and the London Symphony Orchestra and Chamber Choir put on a show for the six thousand people willing and able to pay 200 British pounds for each ticket. Guest artists included John Entwistle as Cousin Kevin, Keith Moon as Uncle Ernie, Pete Townshend as the narrator, as well as Rod Stewart, Peter Sellers, Steve Winwood, Maggie Bell, Merry Clayton, Richie Havens, and Ringo Starr (list from The Who: Concert File, p. 151). The show was so successful that it was repeated, with many of the same guests, on December 13, 1973.
The 1973 concert was released as a bootleg double-LP set. One amusing highlight was the addition of Jon Pertwee, the current Doctor Who, as the doctor. Although the guest artists and the orchestra put on a fine performance, Roger’s is the voice that shines, soaring out from an album that was probably produced in someone’s garage. The purity and strength of his singing demolish the competition. There is absolutely no question that he was the person to sing the role of Tommy, and the perfection of his performance that night proves it.
Tommy becomes a movie
“My idea of acting is never to act, just go and fucking do it. I really went in at the deep end on this one. I’d never been in a fucking school play. And there I was on the third day on the set, Ann-Margret, Jack Nicholson, and ME! And I thought, ‘What the fuck am I doing here–scumbug Daltrey?’ ” (Roger Daltrey, quoted in Crawdaddy in The Who: Maximum R&B, p. 106)
The Who had been considering a movie version of Tommy for years. Kit Lambert had written a script at the time the original album was issued in 1969, and sundry other deals had been planned, only to be set aside. Finally, the time seemed right; Robert Stigwood, who had produced the film version of Jesus Christ Superstar, would produce, and Ken Russell, known for bizarre, surreal films such as The Devils and Women in Love, would direct. Pete Townshend, although he initially tried to distance himself from the project, was induced to be musical director (a daunting prospect, considering that only a single word of dialogue is spoken, rather than sung, throughout the entire movie).
Although David Essex (who had starred in Stardust and Godspell) was approached to take the role of Tommy, Roger Daltrey was again the obvious choice. This was an incredibly important opportunity for Roger to make the transition from rock star to movie star, a leap which so many musicians attempt without success. Opposing Pete’s wishes, Ken Russell cast a number of “names” in the film: Ann-Margret, Oliver Reed, Jack Nicholson. Although Ann-Margret was the only true singer of the bunch, singing rock was obviously not her forte. Russell did round out the cast with more appropriate performers: Eric Clapton as the preacher, Tina Turner as the Acid Queen, Elton John as the defeated pinball champion, as well as a number of other excellent rock musicians, including the three other members of The Who.
Roger’s role of Tommy was not supposed to be the main character; in fact, he was cast to support the “stars” (Ann-Margret, Reed, Nicholson). But, the filming of the movie in 1974 began to resemble the 1969 recording of the original Tommy album in one very important way: Roger’s talent, charisma, and voice all began to dominate the process. The finished film shows this very clearly. Roger stands out in every scene in which he appears, even competing successfully with Clapton, Turner, and John in pivotal scenes in which he never sings a note. Once he opens his mouth and that incredible voice emerges, the movie is his. Again, as in the 1972 London Symphony Orchestra recording, the unique quality and strength of his voice show even more development.
Not that the filming was easy for Roger. Russell was a demanding director, imperiously insisting on take after painful take that might span several hours. During the filming of Tommy, Roger was subjected to the following ordeals:
–During “Cousin Kevin,” Roger’s first day on the set, he was “dragged around by the hair, dumped in a bath of evil smelling liquid, drenched by a high-pressure fire hose and dried out with an electric iron” (The Story of Tommy, Richard Barnes and Pete Townshend, p. 100).
–During the multiple backward falls he had to take into a swimming pool at the conclusion of “Smash the Mirror” and the beginning of “I’m Free,” he had to have a towel taped to his back, as he was becoming so terribly bruised. In addition, he nearly drowned after emptying his lungs in order to sink properly.
–During “I’m Free,” one of the judo throws performed on him knocked him out for thirty minutes.
–Again during “I’m Free” (Roger probably felt anything but), Russell filmed more than 30 takes of Daltrey running full-tilt and barefoot through a mustard field. Roger’s feet were so badly blistered that spent the next three days unable to walk.
–During “Sensation,” Roger was filmed hang-gliding during a thunderstorm. He was forced down into a patch of thistles and spent the next day removing the thorns from his much-abused feet.
–During “Acid Queen,” he was covered with, in turn, walking sticks and then butterflies for the hallucination sequence. “Didn’t work did it? They just shit all over me and left. Same with the butterflies–I got covered with butterfly shit, and it don’t half pen-and-ink. All for nothing. You wouldn’t think little things like that could make a mess like that would you?” (The Story of Tommy, p. 100)
All the tribulations paid off. Although the movie was awarded only mixed reviews, Roger’s performance was universally acclaimed. In 1975, he was awarded the American ABC Interstate Theater’s “New Star of the Year” award for the role. Not only was he a genuine rock star, he shone on-screen as well. A new generation of fans, too young to have attended any Who concerts, were exposed to Roger’s dazzling presence and captivated by it. Many dedicated Who fans trace the beginning of their love affair with The Who to their first viewing of this film. On December 15th, 1975, Roger’s photograph appeared on the cover of People magazine with the caption, “For Roger Daltrey, The Who is no longer the question; it’s whether to be a star.”
Tommy’s 20th anniversary
“I knew immediately then [in 1989] that in certain ways I was being manipulated into going out with Pete’s band, but my ego’s not that important to me. I don’t give a toss whose band I’m playing with, as long as Townshend and Entwistle are in it and we’ve got a great drummer and we’re singing Who songs.” (Roger Daltrey, quoted in The Who: Maximum R&B, p. 164)
By 1989, following the death of Keith Moon (in 1978), several more studio albums, major break-ups, reunions, and a 1982 greatest-hits tour, The Who realized that, like any other child, Tommy was theirs for life. They had been discussing the possibility of a new album or a tour to celebrate the group’s 25th anniversary, but Pete Townshend was reluctant to commit to either. In a typical and abrupt change of mind, he decided that the group should record a new album in his home studio, but Roger countered with the suggestion that The Who do a benefit performance of Tommy.
After Pete’s studio could not be finished as planned, John Entwistle found himself in financial difficulties after his divorce, and a very unpleasant exchange among the group members over the status of Moon-replacement drummer Kenney Jones, the band decided to do one more tour, featuring Tommy in its entirety. Plans for the tour grew more and more elaborate as city after city was added to the schedule. Roger was very apprehensive that, with the addition of eleven guest musicians (including female backup singer Chyna and percussionist Jodie Linscott), drummer Simon Phillips, and a brass section, he would, in effect, be performing with Deep End (Pete’s band from earlier solo gigs). His suspicions were well founded as, indeed, the lineup was very much that of Deep End. Nonetheless, Roger was satisfied enough with the sound of the new Who to commit to the tour.
The heart of the tour was the partial performance of Tommy at every show. Near-complete versions were done only twice: Once at Radio City Music Hall in New York City, the second at the Universal Amphitheater in Los Angeles. The second show was also broadcast live on pay-per-view television, where audiences could watch the augmented Who perform with guest musicians Steve Winwood, Phil Collins (whose Uncle Ernie was truly disgusting), Patti LaBelle, Billy Idol, and Elton John (reprising his role from the movie as “Pinball Wizard” Local Lad). The most expensive tickets for these two shows were $1500 each, with all proceeds donated to charity.
Roger was Tommy for the last time. His wild curls again grown long, his chest bare, with a combination of consummate professionalism, dedication, and passion, he roamed the stage as he had twenty years earlier. His voice was deeper, more mature, which seemed not at all to detract from his performance as the deaf, dumb, and blind boy. The Who had changed dramatically: Keith was long gone, Pete and John both had the assured musical presence that comes after twenty-five years of live performances, and the stage was densely populated by a host of additional musicians. The sound was different, too. That raw, violent, vintage Who sound seemed to be a thing of the past. In its place, Townshend, Entwistle, and Daltrey (or TED, as they are often referred to by fans) had substituted a fuller, rehearsed, more deliberate musical style. All the same, Roger’s Tommy seemed to be a constant. He stalked the stage as he always had, threatening the lives of the other musicians with the whirling, slicing arc of his microphone cord, putting his whole soul into every note he sang. He seemed just as driven and charismatic as he had always been, demanding that every face in the audience be turned to him. On stage, Roger and Tommy were one, just as they had always been.
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RPM: Jonathan Perry's Life in Analog
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The sentiment of my original story still holds. Happy 75th Birthday, Mr. Townshend, and many more. So glad you didn’t die before you got old. You had so much more to say and do. And in turn, over the years you’ve certainly inspired me (and many others) to listen to, live through, and reflect upon, […]
In the spirit of Throwback Thursday (although, truth be told, we’re throwin’ it back pretty much every day of the week here), I invite you to check out a sample of some of my rarer records and vintage music memorabilia being posted and catalogued on an ongoing basis at my brand-spankin’ new “RPM: Life In Analog” Google+ […]
Originally posted on RPM: Jonathan Perry's Life in Analog:
The sound of a jet taking off? Nope, it’s just The Who in full flight. Just a quick one — pun intended — to honor one of my all-time favorite artists, The Who, to mark their “Who Hits 50!” world tour that lead singer Roger…
Happy Birthday to the greatest scream in rock and one of my two or three favorite rock & roll singers — The Who’s incomparably leather-lunged frontman Roger Daltrey, who proved that — like the Volkswagen Beetle and the Small Faces’ Steve Marriott– big things came in small packages (and in Roger’s case, he had a […]
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Roger Daltrey’s most criminally underrated solo album
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] |
[] |
[] |
[
""
] | null |
[
"Carrie-Anne",
"~ Carrie-Anne"
] |
2024-03-15T00:00:00
|
One of the Boys, which I consider perhaps Roger Daltrey's most criminally underrated solo album that deserved much better success, was recorded from November 1976–March 1977 at The Who's Ramport Studios in London and Pathé Marconi Studios in Paris. Because of tax complications, the vocals had to be recorded in Paris instead of at home.…
|
en
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https://secure.gravatar.com/blavatar/fcac6bc064da6d933f5388d3487a6717419deb3459378c9b25456dca96f0d365?s=32
|
Welcome to My Magick Theatre
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https://carrieannebrownian.wordpress.com/2024/03/15/roger-daltreys-most-criminally-underrated-solo-album/
|
One of the Boys, which I consider perhaps Roger Daltrey’s most criminally underrated solo album that deserved much better success, was recorded from November 1976–March 1977 at The Who’s Ramport Studios in London and Pathé Marconi Studios in Paris. Because of tax complications, the vocals had to be recorded in Paris instead of at home.
The album has a more eclectic sound and consistently high-quality material because Roger enlisted the help of a larger group of songwriters instead of just one or two main people with their own particular style. He also used a lot more musicians than on his previous two solo albums.
For the third time in a row, Roger’s cousin Graham Hughes designed and photographed the album art. The cover is modelled after René Magritte’s painting Not to Be Reproduced, which also depicts the subject reflected from the back instead of showing his face.
Roger generously let students from a nearby technical school in the Battersea district film the London recording sessions for an educational project they were doing.
Roger co-wrote three of the songs, his first time since “Here for More” in 1970 he’d done any songwriting. When he puts his mind to it, he’s more than capable of producing a nice tune. His musical calling, however, is obviously singing, which is where he’s chosen to focus his strengths and develop his talents.
One of the Boys was recorded during a six-month sabbatical from The Who, and Roger felt it would finally establish a coherent musical direction for himself as a solo artist. In a 1977 Rolling Stone interview, he said, “It’s always been difficult for me to do that up till now. I’ve always said that if I wanted to make a rock and roll album I’d do it with The Who, because that’s the finest rock and roll vehicle in the world. It would be pointless to do second-best to that. But there are all kinds of music The Who don’t touch.”
In that interview, Roger also admitted feeling overwhelmed and inhibited by Pete’s constant, excellent supply of songs, “but a solo album seemed a good opportunity to put my own material to the test.” His prior songs were “Anyway, Anyhow, Anywhere” (single; co-written with Pete), “See My Way” (on A Quick One), “Early Morning Cold Taxi” (outtake from The Who Sell Out), and the abovementioned “Here for More” (B-side of “The Seeker”).
“The Prisoner” was inspired by John McVicar, an armed robber and prison escapee whom Roger later portrayed in a 1980 biopic. Roger was so fascinated by his stories of prison life, he bought the film rights to Mr. McVicar’s memoir.
Track listing, with stars by the bonus tracks:
“Parade” (written by Phillip Goodhand-Tait)
“Single Man’s Dilemma” (Colin Blunstone)
“Avenging Annie” (Andy Pratt) (#88 in the U.S.)
“The Prisoner” (Roger, David Courtney, S. Todd)
“Leon” (Phillip Goodhand-Tait)
“One of the Boys” (Steve Gibbons) (features backing vocals and bass by John Entwistle, whose deep “Boris the Spider” voice you can’t miss)
“Giddy” (Paul McCartney)
“Say It Ain’t So, Joe” (Murray Head)
“Written on the Wind” (Paul Korda) (#46 in the U.K.)
“Satin and Lace” (Roger, David Courtney, Tony Meehan)
“Doing It All Again” (Roger, David Courtney, Tony Meehan)
“You Put Something Better Inside Me”* (Gerry Rafferty, Joe Egan)
“Martyrs and Madmen”* (Steve Swindells)
“Treachery”* (Steve Swindells)
I love every single song on this album! It’s held up so well over time, and is hands-down one of Roger’s strongest, finest solo albums. Sadly, it wasn’t promoted well enough, and only achieved modest chart success (#45 in the U.K., #46 in the U.S., #80 in Australia). I’d highly recommend it as a great place to start exploring Roger’s solo work.
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https://www.forbes.com/sites/eamonnforde/2021/07/01/raye-of-light-singers-tweets-expose-the-development-hell-of-new-artists/
|
en
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Raye Of Light: Singer’s Tweets Expose The Development Hell Of New Artists
|
[
"https://static-cdn.spot.im/assets/community-guidelines/community-guidelines-symbol.svg"
] |
[] |
[] |
[
"Raye",
"Universal Music Group",
"Polydor",
"Prince",
"George Michael",
"Megan Thee Stallion",
"De La Soul",
"Taylor Swift"
] | null |
[
"Eamonn Forde"
] |
2021-07-01T00:00:00
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Pop singer Raye talks of her frustrations with her label and not being able to release music.
|
en
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Forbes
|
https://www.forbes.com/sites/eamonnforde/2021/07/01/raye-of-light-singers-tweets-expose-the-development-hell-of-new-artists/
|
It is rare that a new musician breaks rank and attacks the label they are signed to, but when they do, all manner of uncomfortable truths come racing to the surface.
As is so often the case, the depth of the accusations and the scale of the frustrations are still only hinted at when the matter goes public. Only so much is said and only so much of the iceberg’s tip is visible.
This was exactly the case at the end of June when, over a series of tweets, British pop singer Raye (real name: Rachel Agatha Keen) outlined her building exasperation with her record label for, she says, locking her into a contractual and artistic oubliette for seven years.
She says she was signed to a four-album deal with Polydor (part of Universal Music Group, the world’s biggest record company) back in 2014 and has only be able to release one album (technically a nine-track mini album) since then, 2020’s Euphoric Sad Songs.
There have been a number of singles over the years – standalone tracks and features with acts like David Guetta, Jax Jones, Major Lazer and Rudimental – but most artists see an album (their own album) as the true marker of their creative arrival.
“I know this is the kind of thing I’m suppose 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,” wrote Raye.
She added she has been informed that, unless her new single ‘Call On Me’ does well (how well is unclear), the label will not proceed with an album.
“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,” she said.
She alleged that budgets are being held back to make an album and songs she has worked on are now being handed over to “A list artists because I am still awaiting confirmation that I am good enough to release an album”.
She also alluded to the culture of creative concessions that acts have to bend to in order to try and please a label enough to put their music out.
"I’ve done everything they asked me, I switched genres, I worked 7 days a week, ask anyone in the music game, they know,” she claimed. “I’m done being a polite pop star. I want to make my album now, please that is all I want.”
That is perhaps the key line in all of this – being “a polite pop star”. That phrase compresses a library of chagrin and dejection down to four words. It also hints at the way that certain acts (most of them female) have to carry themselves through the music industry – smiling, acquiescing, constantly saying they are thankful for being there and never, ever complaining.
The challenges, the knock-backs, the interminable waiting, the changing (yet again) of the A&R focus, the consulting of the data, the scrapped recordings, the shotgun weddings of having to work with people who have written or produced big hits so clearly know better than you what’s best for you, the having to be a different artist this week compared to the one you had to be last week which was different again to the one you had to be the week before that… and having to do all that while smiling or swallowing down the rage and the disappointment as you do not have the power yet to start dictating back to the label.
There are many, many stories of major artists taking their record labels to court to win back power, or rights or creative control (or all three). Acts like Prince, George Michael, De La Soul, Megan Thee Stallion and Taylor Swift. Sometimes they are victorious and sometimes not. But these are acts with track records and confidence and money and, yes, power to be able to say no.
We rarely hear of the acts caught in what Hollywood terms “development hell”, where it’s a mashup of Catch-22, Groundhog Day and Waiting For Godot. Which makes what Raye has done all the more exceptional. She did what young pop stars (even those like her who are seven years into a deal) are not supposed to do: she took her complaints public.
Polydor was approached by the NME to comment on her long list of problems, concerns, worries and frustrations.
“We were saddened to read RAYE’s tweets last night and have reached out to her management team to discuss and offer our full support,” is all a label spokesperson would say for now.
Perhaps this is the moment that will break the impasse in Raye’s stonewalled career. Maybe it will sour relations further. However it is almost certainly not an isolated incident in the industry.
None of this is new; but it does not follow that it should be normalised.
What is perhaps most surprising about it all is just how – endlessly, frustratingly, upsettingly – unsurprising it is.
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| 89
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https://forums.stevehoffman.tv/threads/the-who-album-by-album-by-song.944089/page-234
|
en
|
The Who - Album by Album by Song
|
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[
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[
""
] | null |
[] | null |
Here's Pete with Cook & Jones of the Sex Pistols
[IMG]
I wonder if this was taken the very night of the events that inspired "Who Are You."
The Who:...
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en
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/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
|
https://forums.stevehoffman.tv/threads/the-who-album-by-album-by-song.944089/page-234
|
One of Pete’s strongest songs, it took me over 20 years to recognize it for the masterpiece it is, mainly because of how much it was overplayed on the radio when it first came out. A seemingly simple existential question, with multiple meanings depending upon which word is accentuated, shifts between meanings as the song progresses building to a final climax/chord. Great stuff. I only wish that Keith was young and healthy when playing the drums on it. I think that the Concert For New York has to be the definitive live version. Great energy, and Pete gets some feedback at the ~2 minute mark that just fits perfectly.
Great track and a great way to end this album.
As I will be away for a week, I don't want to leave you all bored, and the next project up is The Kids Are Alright. I figure that You guys can discuss this as an album and a video/movie while I am away..... but you are also quite welcome to sit back and wait .... it's completely up to you.
The Kids Are Alright
Soundtrack album by
The Who
Released 8 June 1979
Recorded 1965–1978
Genre Rock
Length 79:35
Label Polydor
Producer Various
The Kids Are Alright is a soundtrack album by the British rock band The Who, a companion to the band's documentary film of the same name.[5] As a compilation album, it serves as a retrospective look at the band's biggest hits throughout their career to the point it was released. Most of the tracks are live recordings, rather than the original studio versions.
It was originally released as a double album in June 1979 on Polydor Records in the UK and MCA Records in the US. The performance of "My Wife" was from a concert The Who filmed for The Kids Are Alright at the Gaumont State Cinema in Kilburn; however the footage was not used in the film. That show was later restored for DVD and released as The Who at Kilburn: 1977 in 2008. "Tommy Can You Hear Me" had a longer outro with Roger Daltrey repeating the word "Tommy" before Keith Moon screams "'Ello!" to end the song. The soundtrack album did well in the US where it peaked at No. 8 on the Billboard albums chart and went platinum, while it peaked at No. 26 on the UK charts.
The Who
Roger Daltrey – vocals, harmonica
Pete Townshend – guitars, keyboards, vocals
John Entwistle – bass guitar, keyboards, vocals, musical director
Keith Moon – drums, vocals
Design
Bill Curbishley – sleeve concept
Chris Chappel – sleeve concept
Richard Evans – sleeve concept, design, illustration
Art Kane – photography
Roy Carr – liner notes
1. "My Generation" The Smothers Brothers Comedy Hour, 15 September 1967 4:32
2. "I Can't Explain" Twickenham Film Studios, 3 August 1965 2:01
3. "Happy Jack (not used in the film)" University of Leeds Refectory, 14 February 1970 2:13
4. "I Can See for Miles (not used in the film)" credited as from The Smothers Brothers Comedy Hour, 15 September 1967, actually a new stereo remix of the standard studio version[citation needed] 4:19
5. "Magic Bus" Beat-Club, 12 October 1968 3:23
6. "Long Live Rock" Olympic Studios, Barnes, London, 5 June 1972 3:58
7. "Anyway, Anyhow, Anywhere" (Townshend, Roger Daltrey) Ready Steady Go!, 1 July 1965 2:50
8. "Young Man Blues" (Mose Allison) Coliseum, London, 14 December 1969 5:46
9. "My Wife (not used in the film)" (John Entwistle) Gaumont State Theatre, Kilburn, London, 15 December 1977 6:07
10. "Baba O'Riley" Shepperton Film Studios, London, 25 May 1978 5:29
11. "A Quick One, While He's Away" The Rolling Stones Rock and Roll Circus film, recorded on 11 December 1968 7:32
12. "Tommy Can You Hear Me?" Beat-Club, 27 September 1969 1:47
13. "Sparks" Woodstock festival, New York, 17 August 1969 3:01
14. "Pinball Wizard" Woodstock festival, New York, 17 August 1969 2:48
15. "See Me, Feel Me" Woodstock festival, New York 17 August 1969 5:27
16. "Join Together/Road Runner/My Generation Blues (Medley)" (Townshend/McDaniel) Pontiac Silverdome, Pontiac, Michigan on 6 December 1975 cut from early CD pressings 9:55
17. "Won't Get Fooled Again" Shepperton Film Studios, London, 25 May 1978 9:58
The Who – The Kids Are Alright
Label:
Universal Music DVD Video – 2732096
Format:
Blu-ray, Remastered, Multichannel
Country:
Australia
Released:
2010
Genre:
Rock, Non-Music
Style:
Interview, Mod, Psychedelic Rock, Hard Rock
1 My Generation
2 I Can't Explain
3 Russell Harty #1
4 Baba O'Riley
5 Shout And Shimmy
6 Russell Harty #2
7 Young Man Blues
8 Melvin Bragg #1
9 Drum Kit Mayhem Keith MoonOther [Shot By] – Jon Rubin
10 The Keith Ringo Knows?
11 Tommy, Can You Hear Me?
12 Ringo And Keith: On Roger
13 Pinball Wizard
14 Ummm....Jah
15 See Me, Feel Me
16 Melvin Bragg #2
17 My Generation (Conclusion)
18 Anyway, Anyhow, Anywhere
19 Russel Harty #3
20 Success Story
21 Pete: On The Beatles
22a Substitute, Pictures Of Lily, Magic Bus
23 Happy Jack
24 Melvin Bragg #3
25 A Quick One, While He's Away
26 A Circus Act
27 Ringo & Keith: Joining The Who
28 Cobwebs And Strange
29 Russel Harty #4
30 Ringo & Keith: On Pete
31 Pete: On Doing His Job
32 Sparks
33 Barbara Ann
34 Road Runner / My Generation Blues
35 Pete: The Power Of Volume
36 Russel Harty #5
37 Who Are You
38 Russel Harty #6
39 My Generation
40 Final Words
41 Won't Get Fooled Again
42 Long Live Rock (Original End Credits)
43 The Kids Are Alright (Restoration End Credits)
----------------------------------------------------------------------
I always liked the bands songs, but I made some poor first album buying choices and it took a while for me to gain too much interest in the band as an album band.
I have never had this album, but I seem to remember seeing this on tv or something back in the day, and it interested me a lot.
When this came out on dvd I got it, and it sparked my interest in exploring the band a little more closely, because I absolutely loved this. The guys were full of personality and fun and the music is great.
So for me, this was where my journey with the Who really began.
I ended up buying the bluray when that came out as well ...
Obviously we have some great videos and the interview segments are much more interesting than a lot of bands interview inserts. This was put together really very well as a movie, and I think it captures who the band were extremely well.
The thing that really sent this over the top for me is the Shepparton Studio footage... I absolutely love that footage, and for the longest time I thought that it was a complete concert, and was somewhat annoyed that the whole concert wasn't available, but in recent years I believe that I found out that it was just a few songs that they shot footage for .... or something along those lines ... I know The Who experts will fill us in on that really quickly and correct or refine what I sadi there.
So for me this is almost the focal point of my love for the band. With the Shepparton stuff, The Rock and Roll Circus performance, the goofy videos, and the really interesting and funny interviews this captures the Who in a way that many bands often fail to in this kind of project.
So please, over the next week, please share some videos, and some songs, and your thoughts regarding them ... hopefully it won't be a train wreck, and I will look forward to seeing where we are at when I get back.
Cheers
Mark
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https://www.aarp.org/benefits-discounts/members-only-access/info-2024/roger-daltrey-electric-acoustic-tour-interview.html
|
en
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Roger Daltrey Talks New Tour, Pete Townshend and the Who
|
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2024-06-12T18:43:00+00:00
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The Who’s Roger Daltrey shares details of his new electric-acoustic tour, his relationship with Pete Townshend and the secrets to his long marriage.
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https://www.aarp.org/etc/everywhere/images/favicon.ico
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AARP
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https://www.aarp.org/benefits-discounts/members-only-access/info-2024/roger-daltrey-electric-acoustic-tour-interview.html
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Sixty years after forming the Who, rocker Roger Daltrey is back on tour. And he says fans can expect a stark departure from his previous shows.
The Who, with bassist John Entwistle, guitarist Pete Townshend and drummer Keith Moon, conquered the charts with such hits as “Won’t Get Fooled Again,” “My Generation,” “I Can See for Miles,” “Substitute” and “You Better You Bet” and fattened its artistic legacy with ambitious works including rock operas Tommy and Quadrophenia.
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The British rock band also raised the live performance bar with Moon’s savage bashing and Townshend’s guitar windmills. Daltrey rose as one of the most iconic showmen in the rock era, a golden-maned, bare-chested howler in a fringed suede coat twirling a microphone.
Breakups, reunions, infighting, substance abuse and reckless behavior also crop up frequently on the group’s résumé. Keith Moon died at 32 of a sedative overdose in 1988. Entwistle died at 57 of a heart attack in 2002.
Daltrey, 80, and Townshend, 79, have continued to carry the battle-frayed banner, but are they in the final stretch? Who knows — not even Daltrey. He spoke to AARP from his farm in Sussex, England, where he lives with his wife, Heather, and shares details of his new tour, his relationship with Townshend and the secrets to his long marriage.
This interview has been edited for length and clarity.
This tour’s intimate approach is a radical departure from the last two big Who tours.
I’ve got some different instrumentation. I’ve got a squeeze-box, piano, no synthesizers. Violin, mandola. It allows me to open up some of the old Who classics in ways that present them as different songs. It’s really refreshing to have the freedom to not be tied to tape loops and to be able to generate sounds and moods that get washed out in really loud rock ’n’ roll. Of course, Townshend’s lyrics are so good, they work in any formula.
You’re not just singing Pete’s songs.
I do loads of songs. I have a long solo recording career. I do those and songs I recorded with other people. I did an album, Going Back Home (2014) with Wilko Johnson. It’s very breezy, down-home, different from anything Pete would have written. It’s absolutely liberating. The whole idea is, it’s a miserable world out there at the moment. Let’s have a good night out. If anything can dig us out of the hole the world’s in, music will do it. I get a chance to get closer to the audience. They can leave questions at the box office, and I go through them before the show and answer the interesting ones onstage.
What are fans most curious to know about you?
The color of my underpants. I really don’t know. They never cease to amaze me, especially the really loyal fans, who seem to turn up at every show. Actually, they’re all mad. I think it’s a psychosis. I do appreciate their support, but I do find it peculiar.
In 2011, you staged the Who’s Tommy on a solo tour. Was it challenging to tackle that on your own?
That’s what I liked about it. I like things that challenge me. I don’t like to just go through the motions of what we always did. [When] I did the orchestra shows with Tommy, that’s the first time it was ever played in its entirety. Even in its day, we never ever played “Welcome.” I ended up with an opinion that Tommy is probably the best opera ever written.
In April, Pete told The New York Times, “I don’t get much of a buzz from performing with the Who. If I’m really honest, I’ve been touring for the money.” Are we looking at the end days of the Who?
I can’t do it for the money, and I don’t want to be out there with someone doing it only for the money. I go out there to deliver whatever energy I’ve got to my audience. I know how hard it was to work and buy those tickets. I did that in the early days, watching my first rock heroes in the late ’50s after saving up four to six weeks to buy a ticket. I don’t want to go and watch someone dialing it in. I don’t want to work with someone like that. So perhaps it is the end unless his attitude changes and he can try and find the passion for it again.
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Are you going to do something about it? Talk to him?
How can I do anything about it? It’s not my problem. It’s his. My commitment is always there. I’m committed to not half doing it. It’s painful. If he’s going to go on tour with that attitude, my job becomes twice as hard. He seems to do it all in the press. And then I read about it and discuss it with you. Talk your head out, Pete. If you 100 percent want to do it, I’ll be there for you. If not, why would I want to?
If he throws in the towel, how do you see your career going forward?
I’ve got a solo career, and I’m very happy in it. I don’t need to earn oodles of money. I’m a musician, a singer. I can play bar mitzvahs and funerals. There could be more of those coming up. We did what we did, and I’m very, very grateful for it. I shall miss it. But I can’t half do it. It would be cheating our fans. It would be cheating everything we stood for.
Has your relationship with Pete mellowed since 1961?
No. I think the world of him. He’s a difficult cuss. He will say the same thing about me. He’s the north pole and I’m the south pole. Somewhere in between there is incredible chemistry. I put this group together in the first place. I’ve been with him since he was 16. Remember, I was the only straight one, with three addicts.
How did you navigate that chaos?
Someone had to control them. I was married very early on with a wife and a baby at 19 years old. I had no alternative but to make this band work. I did not want to go back to sheet metal work. Whereas they were party animals who just wanted to have a good time.
You had discipline the others lacked, but you were also known as a brawler.
When you’re dealing with somebody who’s just had two bottles of brandy and was spitting at you and kicking you, you kind of had to be a brawler. It’s how it worked. I don’t question it.
Despite the mayhem, did you sense the Who was bound for greatness?
A singer never sees the band. You are center stage, and you feel them. I used to be out front listening. I knew that our first drummer was completely wrong. Before Keith Moon joined, we were like every rock ’n’ roll band on the circuit. As soon as Keith joined, within a week, we were unique. The Who made headlines for smashing equipment and trashing hotel rooms. You didn’t approve or participate. I recognized its value. It got us noticed. It’s like a kid in a ghetto spraying his name on a wall. That doesn’t mean I particularly liked it. I especially didn’t like paying for it. It cost us a great deal of money.
You, Mick Jagger and Robert Plant are considered among the best showmen in rock history. What does it take to be a great rock singer?
Mick Jagger is possibly the best front man there ever will be. Him and James Brown. Without James Brown, Mick would have never learned his stage show. Freddie Mercury was a great singer and entertainer. It’s horses for courses. I can’t be objective. I always felt I was kind of introverted on stage. Swinging the microphone, I was just kind of trying to knit everything up into this ballet: Keith’s mad drumming behind me, Pete’s Mexican jumping bean windmill lunacy on one side and John standing completely stoic on the other. I used to feel the microphone whizzing about, and by God, it used to whiz about. Like I say, I’ve never seen it, so I don’t know.
You’ve released 10 solo studio albums and lots of other recordings. Did you ever consider leaving the Who?
I had a chance to go solo in 1973 when I had a huge solo record, my first, called Daltrey. I was actually selling more records than the Who, and the record company was worried about me creating a Rod Stewart/Small Faces situation. It’s my band! I’m not leaving the band. We were not doing anything at the moment. Pete was writing another load of songs, and I had to wait for them. But I wanted to keep singing.
In terms of skills, what have you gained and lost over time?
My voice is better than ever. My hearing has suffered terribly. Mostly it suffered from the factory rather than the band. I used to be on a grind wheel all day, grinding welds on belt grafts. We had no ear defenders in those days. I think that did more damage to my ears than ever the Who did, even though I call my right ear my Entwistle ear and my left ear my Townshend ear.
What is behind the band’s influence and longevity?
All I can say is that Pete wrote songs from a perspective totally different from almost anybody else out there. When it comes to be studied in the future, not in our lifetimes, they will realize that he was up on another level. He was writing internal songs that spoke to a different part of you than most pop music did. And he was talented enough to put voice structures and chord structures together so that his songs don’t seem to date, whereas quite a lot of pop and rock songs you listen to years later, you think, By God, that sounds old-fashioned. You hear “Baba O’Riley,” for instance, it sounds as fresh as the day it was made.
Was there an upside to growing up in a poor neighborhood?
We didn’t have much money, but we were incredibly wealthy because we had a fantastic community. We were post-war. We really knew how to support each other. But now everyone is divided, and everyone has to have a neurosis.
You and Heather tied the knot in 1971. What’s your secret to a lasting marriage?
She’s starting to like me. There’s no secret. I got lucky. I’ve got a lovely family. I like rural life. I like country people. It got so heavy for me in the late ’60s, early ’70s. It got unbearable to go out and get shoved under the lens of a microscope. I moved to the countryside and bought myself a farm. I love it. It kept me grounded. It kept me from going off the rails.
What’s the status of the Keith Moon movie you’ve been working on for so long?
We’re looking for directors. As soon as I get a director, I can do the final draft of the script. I think I’ve found the perfect Keith Moon, at least a good prototype. I would like for people to realize why we loved him so much and how clever and smart he was, but also how flawed he was. He was the most extraordinary man I ever met in my life. I want to make a proper film. Cinema seems to have lost its way. Film should be bigger than TV, brighter than TV. What they make now for streaming are these fuzzy, dull pictures for small screens that go on forever. We are going backwards.
Anything else you’d like to say?
Make mine a large whiskey.
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https://sixtiescity.net/Mbeat/mbfilms195.htm
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articles from the creator of iconic 60s music paper Mersey Beat
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Cult director Ken Russell's controversial movie version of The Who's 1969 double-album rock opera 'Tommy', produced by Robert Stigwood. Ken Russell also penned the screenplay, with additional material from Pete Townshend and John Entwistle. The Columbia film features Roger Daltrey as Tommy Walker, Ann-Margret as Nola Walker Hobbs, Oliver Reed as Frank Hobbs, Keith Moon as Uncle Ernie, Paul Nicholas as Cousin Kevin, Jack Nicholson as The Specialist, Tina Turner as the Acid Queen, Elton John as the Pinball Wizard, Eric Clapton as the High Priest and Robert Powell as Captain Walker. The story on the 'Tommy' album was originally set in an earlier period when Tommy's father is allegedly killed in World War I, but returns in 1921 and kills his wife's lover. This was changed for the film which now begins in World War II and it is the Captain rather than the lover who is murdered.
The film begins when Newlywed Nora Walker learns that her pilot husband Captain Walker has been shot down on a bombing mission. She gives birth to her son Tommy on Victory Day and later moves to live in the holiday camp run by her rascally cousin Frank Hobbs. The couple get married. The naked couple are wakened in their bed one night when a scarred Walker turns up. He didn't die in the crash and a fight ensues during which Frank kills Walker, witnessed by the ten year-old boy Tommy. Nora and Frank turn on Tommy screaming to him in song 'You didn't see it! You didn't hear it! You won't say nothing to no one ever in your life!' The boy takes it literally and becomes psychosomatically deaf, dumb and blind. Over the years Nora seeks to cure him by taking him to a number of weird cultists including a Marilyn Monroe cult. She even takes him to see the Acid Queen who pumps him full of drugs. Two perverted relatives also abuse the boy, Cousin Kevin with physical torture and Uncle Ernie with sexual abuse. Tommy discovers a working pinball machine in a junkyard and finds he has a talent for the game. He challenges the Pinball Wizard, beats him and becomes the world pinball champion. He recovers his senses and becomes the object of cult worship. Director Russell employs some unusual visuals in the film - notably a scene in which Ann-Margret squirms in a flood of baked beans and chocolate which come pouring out of a television set; giant Marilyn Monroe figures based on the skirt-raising scene in 'The Seven Year Itch'; Elton John as the Pinball Wizard in a pair of colossal shoes and 'Acid Queen' Tina Turner strapping Tommy into an iron maiden-style device to inject him full of drugs. Some prints of the film were released at selected cinemas with a multi-track hi-fi soundtrack which was labelled 'quintaphonic sound'. 'Tommy' was nominated for two Oscars: Ann-Margret in the Best Actress category and Pete Townshend for Best Music. Ann-Margret also won the Golden Globe Award as Best Actress for her part in the film. The soundtrack album included two additional numbers written for the film - 'Bernie's Holiday Camp' and 'Champagne', the latter specially written for Ann-Margret
The film soundtrack was a double album:
Disc One: Overture for 'Tommy', The Who; Prologue 1945, Pete Townshend/John Entwhistle; Captain Walker/It's A Boy, Pete Townshend; Bernie's Holiday Camp, The Who; 1951/What About the Boy, Ann-Margret/Oliver Reed; Amazing Journey, Pete Townshend; Christmas, Ann-Margret/Oliver Reed/Alison Dowling; Eyesight To The Blind, Eric Clapton; Acid Queen, Tina Turner; Do You Think It's Alright, Ann-Margret, Oliver Reed.
Disc Two: Champagne, The Who/Ann-Margret/Oliver Reed; There's A Doctor, Ann-Margret; Go To The Mirror, Ann-Margret/Oliver Reed/Jack Nicholson/Roger Daltrey; Tommy Can You Hear Me, Ann-Margret; Smash The Mirror, Ann-Margret; I'm Free, Roger Daltrey; Mother and Son, Pete Townshend; Sensation, Roger Daltrey; Miracle Cure, Simon Townshend; Sally Simpson, Pete Townshend/Roger Daltrey. Originally, Pete Townshend wanted Tiny Tim for the part of the Acid Queen, but it was Robert Stigwood who insisted on Tina Turner. He also offered Stevie Wonder the part of the Pinball Wizard but was turned down. Ann-Margret filled some of the rock artists with adolescent-style passion. Keith Moon described her to the press as 'a lovely girl with bit tits' while Eric Clapton spent an entire night banging on her hotel bedroom door shouting "I'm yours Ann-Margret. I love you". Ann-Margret recalls, "Keith was so loose. He once slipped a diamond ring off his finger and gave it to me simply because I admired it".
Actually, Ann-Margret is rather accident prone and was taken to hospital following her breakdown in the 'Champagne' scene, during which she throws a champagne bottle at the television set. The initial rush of foam from the set, blown through a special tunnel, completely knocked her back. As she crawled forward she didn't realise how close she was to the smashed television set and cut her arm on the jagged glass. She completed the scene, being completely enveloped in baked beans and chocolate. A blanket was wrapped round her and she was rushed to hospital, caked in the materials, her make-up running and was attended by an Indian doctor who could speak little English, but made no comment on her bizarre appearance as he put 27 stitches into her arm. She still bears the scar today.
There is no actual dialogue in the film as all the parts are sung, as in an opera. The recordings were made prior to the filming. There was no problem with Ann-Margret, a professional vocalist, but Townshend was unsure about the casting of Jack Nicholson, although he was pleased and surprised to discover the actor could sing. The same couldn't be said for Oliver Reed, who had to record his part literally a line or a word at a time so that they could be cut together. The film was originally budgeted at £1m but after eighteen weeks of shooting the final bill came to £3.5m 'Tommy' was premiered at the Ziegfeld Theatre in New York on 18th March 1975 and there was a celebration party after the screening at the 57th Street subway station. Producer Robert Stigwood had transformed the three-block long area with trees, fauna and flowers. There were six hundred guests and a thousand people gathered outside to watch the stars arrive.
The West Coast premiere took place the next day at Mann's Chinese Theatre in Los Angeles. The European premiere was staged at Leicester Square Theatre, London on 26th March. The last word must go to director Russell, who was to comment, " 'Tommy' is greater than any painting, opera, piece of music, ballet, dramatic work or what you will, of this century. Audiences, especially young audiences, reach out for it and feel better after hearing it or seeing it performed. They grow taller after it, it changes them for the better, it communicates with people of all ages. Every art form should communicate, of course, but 'Tommy' communicates deeply, more deeply than anything else I know".
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https://jazzrocksoul.com/artists/roger-daltrey/
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Roger Daltrey -
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2018-01-03T07:24:11+00:00
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Roger Daltrey (born March 1, 1944) is an English vocalist from Hammersmith, known internationally as the frontman of The Who for more than 55 years. He began his performing career in 1962 when he co-founded The Detours, a pre-beat combo that first recorded as the High Numbers before settling on the Who nameplate in 1965. […]
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https://jazzrocksoul.com/artists/roger-daltrey/
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Roger Daltrey (born March 1, 1944) is an English vocalist from Hammersmith, known internationally as the frontman of The Who for more than 55 years. He began his performing career in 1962 when he co-founded The Detours, a pre-beat combo that first recorded as the High Numbers before settling on the Who nameplate in 1965. The band would ultimately release 10 studio albums during the ensuing 17-year period, including two operatic double-albums.
While the band was active, Daltery released three proper solo albums on Track and Polydor between 1973 and 1977. He also featured on the soundtracks of three movies in which he played titular characters: Tommy (1975), based on the Who’s 1969 four-sided rock opera; Litzomania (1975), a musical dramatization of the life of 19th century classical composer Franz Liszt; and McVicar (1980), about the namesake former criminal. The last of those yielded a hit for the singer with the Russ Ballard-composed “Free Me.” After the Who’s first “farewell” tour in 1982, Daltery released four further solo albums on Atlantic between 1984 and 1992.
Daltery debuted as a solo singer with a surnamesake album on Track Record in 1973, produced by pre-Beatles U.K. pop idol Adam Faith. The material was primarily written by the team of David Courtney and Leo Sayer, including two songs (“One Man Band” and “Giving It All Away”) that Sayer himself would record for his 1974 sophomoric release Just a Boy. Instrumentation on the album was provided by members of Argent with violin on one track courtesy of Dave Arbus (East of Eden), who also features on the Who staple “Bargain.”
Discography:
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https://americansongwriter.com/5-fascinating-facts-about-the-whos-roger-daltrey/
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en
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5 Fascinating Facts About The Who’s Roger Daltrey
|
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"Matt Friedlander"
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2024-02-29T00:26:10+00:00
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With Roger Daltrey celebrating his 80th birthday on March 1, 2024, here are five fascinating facts about the Who frontman.
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en
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American Songwriter
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https://americansongwriter.com/5-fascinating-facts-about-the-whos-roger-daltrey/
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Happy 80th Birthday to The Who’s lead singer, Roger Daltrey, who was born March 1, 1944. The London-born vocal juggernaut has had an impressive career with his famous band that’s spanned over 60 years, and he’s also made his mark as a solo artist, an actor, and a philanthropist.
Here are five fascinating facts about the lauded entertainer:
Videos by American Songwriter
Daltrey Was Expelled from Grammar School at Age 15
As Daltrey explained in his 2018 memoir Thanks a Lot, Mr. Kibblewhite: My Story, he had been a problem student at Acton County Grammar School, and hated being bothered by the teachers.
[Buy Roger Daltrey Concert Tickets]
He’d already gotten in trouble for smoking, being disruptive in class, and truancy, but his time at the institution came to an end the day he decided to bring an air gun to school. That day, a friend had taken the gun and shot it, and the ricocheting pellet hit another classmate in the eye.
While the friend who shot the gun wasn’t punished, Daltrey was expelled from school by the headmaster, Mr. Kibblewhite. Daltrey says he recalled the school official telling him that day, “You’ll never make anything of your life, Daltrey.”
[RELATED: 5 Roger Daltrey Solo Highlights in Honor of The Who Frontman]
While Daltrey initially began working as a laborer, he credits getting kicking out of school with putting him on a path that led to his music career. Hence, the title of his autobiography.
Daltrey Only Has Three Songwriting Credits with The Who
The Who’s main songwriter has always been the talented and prolific Pete Townshend, while bassist John Entwistle also had a knack for composing memorable tunes. So it’s not surprising that Daltrey’s songwriting contributions to the band are meager at best.
Daltrey is credited co-writing one of the group’s early hit singles with Townshend, “Anyway, Anyhow, Anywhere.” The 1965 tune, which was the band’s second single, peaked at No. 10 on the U.K. charts.
Daltrey’s only full songwriting credits for The Who are the tunes “See My Way” and “Here for More.” “See My Way” is a throwaway track from the band’s 1966 sophomore album, A Quick One, which was released in the U.S. the following year under the title Happy Jack. “Here for More” is a country rock-flavored song that was issued as the B-side of The Who’s 1970 single “The Seeker.”
He’s Acted in a Lot of Movies and TV Shows
Daltrey made his acting debut in a role that was tailor-made for him, as the deaf, dumb, and blind Tommy Walker in director Ken Russell’s 1975 film adaptation of The Who’s 1969 rock opera Tommy. In 1976, he was nominated for a Golden Globe Award in the Best Acting Debut in a Motion Picture category for Tommy.
Daltrey went on to appear in more than a dozen more movies. Among his other noteworthy film roles include portraying composer Franz Liszt in Russell’s bizarro 1975 comic biopic Lisztomania, and as the lead in the 1980 biographical drama McVicar. For the latter flick, about the British bank robber-turned-author John McVicar, Daltrey also recorded a hit soundtrack album.
Daltrey also appeared in dozens of television shows, including Tales from the Crypt, Highlander, Lois & Clark: The New Adventures of Superman, Rude Awakening, Witchblade, That ’70s Show, CSI: Crime Scene Investigation, and many more.
He Has Eight Confirmed Children
Daltrey married his first wife, Jackie Rickman, in 1964, and she gave birth to their son, Simon, later that year. The couple divorced in 1968. In 1967, Daltrey had a second son, Mathias, with Swedish model Elisabeth Aronsson.
Daltrey met second and current wife, U.K.-born model Heather Taylor, in 1968 and married her in 1971. They have three children—daughters Rosie Lea and Willow Amber (born in 1972 and 1975, respectively), and son Jamie (born in 1981).
During the 1990s, Daltrey also discovered that he had fathered three more daughters in the late 1960s, apparently in the period between his two marriages.
Daltrey also has 15 grandchildren.
He’s Received Some Prestigious Honors
Daltrey was inducted into the Rock & Roll Hall of Fame as a member of The Who in 1990.
On December 31, 2004, Daltrey was recognized by Queen Elizabeth II’s in her New Year’s Honours List. He was appointed a Commander of the Order of the British Empire for services to Music, the Entertainment Industry and Charity. Daltrey’s charitable work includes his patronage of the U.K.’s Teenage Cancer Trust, which supports teens and young adults stricken with the disease.
In 2005, Daltrey was inducted into the UK Music Hall of Fame with The Who. In 2008, he and Townshend were honored as part the 31st annual Kennedy Center Honors event in Washington, D.C.
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https://www.recordoftheday.com/news-and-press/polydor-president-ben-mortimer-announces-a-series-of-key-promotions-at-the-label
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en
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Polydor President Ben Mortimer announces a series of key promotions at the label
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https://www.recordoftheday.com/news-and-press/polydor-president-ben-mortimer-announces-a-series-of-key-promotions-at-the-label
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Polydor Records President Ben Mortimer is delighted to announce some key promotions at the label. With immediate effect, Jodie Cammidge and Stephen Hallowes become co-Managing Directors, promoted from their current roles as Promotions Director and Director of Marketing respectively. Alongside this, two Senior Director roles have been created, with Semera Khan promoted to Senior Director of Creative and Luke Ferrar to Senior Innovation Director.
Stephen Hallowes joined Polydor from Beggars/XL in 2009 as Digital Manager. He was promoted to Head of Digital, before making the move to marketing, where he was Head, and then Co-Director of the department. He has led and overseen campaigns for Lana Del Rey, ABBA, Mabel, Jax Jones, Years & Years, HAIM, Celeste, Glass Animals and Sam Fender amongst others.
Jodie Cammidge began his Universal Music career at Polydor, before spending a decade at Mercury (latterly Virgin EMI) where he was Director of Radio. Since his return to Polydor in the role of Promotions Director he successfully grew Polydor’s radio and TV Airplay market share to #1 label in the UK.
In her decade at Polydor, the multi-award winning Semera Khan has curated creative campaigns with Lana Del Rey, The 1975, James Blake, Celeste, Madonna, Michael Kiwanuka, The Rolling Stones, and Mick Jagger. In addition to being awarded Best Commissioner at the UKMVA’s two years in a row, she was inducted into the Music Week Women In Music Roll of Honour in 2017. Alongside her commissioning role, Khan has recently directed videos for Baby Queen as well as Sam Fender, for which she was recognised with a win at the Kinsale Shark Awards 2022. She has also completely revamped Polydor’s creative department to reflect the rapidly changing face of visuals.
Luke Ferrar joined the team at Polydor in 2016 as Head of Digital. He was subsequently promoted to the newly created position of Innovation Director, reflecting his unique ability to identify and harness the very latest in digital technologies and innovations to optimise artist campaigns. Amongst his many achievements are the world class digital campaign he put together for The BRIT Awards 2022, opening up the event up to many new areas and technologies, as well as his work as part of the ABBA Voyage team. Furthermore, he has successfully assembled a world class digital team who are amongst the best in the business.
Ben Mortimer says, “These promotions reflect Polydor’s vision of what a modern record company should be, with music, creativity and innovation at the heart of the label. Stephen exemplifies a modern executive, as kind and thoughtful as he is driven and intelligent. Jodie is well loved by artists, managers and the wider industry with deep relationships not just in promotions but across the industry both here and abroad.
“Together they complement each other brilliantly, and alongside Semera and Luke - who as anybody will tell you are stars - they have played massive roles in Polydor’s huge success over the last few years. It feels great to be able to recognise that”.
Hallowes says, “Polydor’s incredible roster of artists and the brilliant group of people I work alongside are what have made us the best label in the business and our success over the last few years is a testament to that. I am thrilled and honoured to have the opportunity to be a part of this very exciting next chapter for the company alongside our entire exceptional team. Jodie and I first met and worked together more than 15 years ago and our careers have progressed in parallel ever since. In our time at Polydor we have developed a very close working relationship which I look forward to strengthening in our new roles.”
Cammidge says, “I feel fortunate to work with an amazingly talented group of people at Polydor. Together we have achieved many wonderful things already and I’m excited to continue building on these successes. Stephen and I have had a close working relationship dating back to early 2000s at V2 Records and we have a deep understanding of each other’s approach to getting the results we strive for.”
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https://www.vulture.com/2023/02/raye-my-21st-century-blues-escapism.html
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en
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Raye’s First Album Was About Making Ugly Thoughts ‘Sound Beautiful’
|
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[
"Emma Madden"
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2023-02-03T11:00:16.956000-05:00
|
Raye spoke with Vulture about releasing ‘My 21st Century Blues,’ her first full-length project on her terms, the decision to call her former label Polydor out publicly, and what she has planned next.
|
en
|
Vulture
|
https://www.vulture.com/2023/02/raye-my-21st-century-blues-escapism.html
|
One of pop music’s great recent vindication stories begins with a 14-year-old named Rachel Keen, a prodigious singer-songwriter from South London who performs under the name Raye.
Raye mixes with the right crowd, makes music with a pre-fame Stormzy, and begins writing songs for others including Charli XCX and Beyoncé. She soon releases an EP of her own, which catches the attention of Polydor, which signs her to a four-album deal. But the albums never materialize. So she becomes something of a session singer, a vehicle for some of the world’s biggest DJs and their most chart-baiting songs, before fading into pop anonymity. Then, years later, Raye finally speaks up.
Toward the end of 2021, Raye posts several tweets detailing exploitation at the hands of her label. She eventually splits from Polydor, goes independent, and releases “Escapism,” a song about nighttime hedonism and unsustainable self-medication. It quickly goes viral on TikTok via a fan-made, sped-up remix and hits No. 1 on the U.K. charts. A few months later, My 21st Century Blues, her long-awaited first album, finally arrives.
On Blues, the 25-year-old singer presents a distinct and immersive world, one that recalls the days when the album format was queen. It details all the subjects Raye is least practiced in speaking about: her assaults, her substance abuse, her body dysmorphia. It’s also the sound of her on her high-horse: five-star stays in Mauritius, the world at her fingertips. But you don’t begrudge her for it. You end the record, which took well over a decade to come into existence, with the faith that Raye is about to have everything she’s ever deserved.
The singer spoke with Vulture about the experience of releasing her first full-length project on her terms, the decision to call her former label out publicly, and what she has planned next.
It’s been interesting seeing the rise of “Escapism” alongside the fan-made, sped-up version. Do you ever factor in a song’s potential for slowed-down and sped-up versions in the studio now that they’ve become so popular?
I definitely don’t consider them during the creation process. Hearing the same song slightly faster or slower doesn’t offend me; if anything, it allows you to feel the song in a different way. It’s flattering that there was one fan who created the first sped-up version, and it was the version everyone made videos to, and it started to catch a lot of traction. I messaged that fan to say, “Thank you.” We’re in a society where people are gonna do what they want and hear music the way they wanna hear it. Maybe they’re just moving quick in life and need to hear the lyrics faster.
I was very moved watching that video of you crying as you were handed your trophy for “Escapism” going No. 1 in the U.K. What emotions were you feeling in that moment?
Aw. I just think the past ten years flooded and flashed before my eyes. You know, how much creatives have to give and how much I had to sacrifice, how lost I was at the hardest of times, how many lies I’d been told. It was a moment of, Wow, never did I think I’d be holding a trophy like that, let alone everything it took for that moment to happen.
Going back to those tweets you wrote last year about Polydor, I’m curious to know whether you consulted any other artists before posting them?
I didn’t consult anybody before. A lot of conversations were had after. A lot of artists reached out — I won’t name names — expressing the same struggles. It was clear there was a through-line in the things I was feeling and had been experiencing for so long. Unfortunately, for a lot of artists, it’s just kind of a given, something you learn to deal with.
There’s currently this broader reckoning with major labels and their mistreatment of artists. Do you think this will be an ongoing trend and result in more artists leaving their label in order to go independent?
I guess I don’t know because contracts are airtight; they’re serious things. Sometimes the choice won’t even be there. I think we’re definitely in a different age where it’s harder to force-feed music down people’s throats, which was essentially the job of a record label. Now there’s more power to independent artists and artists who don’t have a huge financial backing to get their music out to more ears. The requirement for these huge infrastructures is decreasing. I hope for the future of musicians that artists see that you don’t have to be with a major label to have a career in music. I think that’ll be an exciting thing for up-and-coming artists to realize. Their power is in their creative freedom.
My 21st Century Blues begs to be listened to in full. Do you have faith in your listener to pay the album the attention it deserves?
I don’t know. At the end of the day, I guess it’s down to the individual and how they wanna consume this body of work, whether they consume it at all. For me, albums are so important. There is that nostalgia for when you’d sit down, close your eyes, and listen to an album in full. I know, for a lot of people out there, they don’t have time for an album. But there are also a lot of people who do, who love digesting thick and full bodies of work. I would love to tap into those people who appreciate those details. The album format itself is beautiful. It’s important. It’s special. It’s like a short film from an artist to a listener. I’m just excited that this is my first one. I’ve created my own album the way I wanted to create it.
You’re really putting yourself out there on this album. It sounds like you really want to be known.
It’s deep, innit? [Laughs.] It is definitely very raw and open. To be honest, it’s just my nature as a human being. With the people I cross paths with and share relationships with, I say it how it is. It’s also a very medicinal album. A lot of the stuff I discuss on here has just lived isolated in my head for a long time. In music, I’m able to make something so ugly in my head sound somewhat beautiful. I think that’s half the intention of this album, just getting stuff off my chest and being loud and open and honest about how I feel when it comes to things I’ve been scared to talk about in the past.
Do you think exploring these darker themes was also a reaction to the peppy, dance-floor-ready songs you’d previously been typecast in?
Yeah, I think the overall through-line in this is honesty. I just wanted to be on the nose about everything I’ve experienced instead of just vaguely describing it through metaphors. I was living in this dance-poppy “Everything’s great” kind of thing, and I had to have that energy wherever I went when I was promoting those records, singing them. But that’s just not honest. That’s the biggest thing for me as an artist: I want to be honest no matter how tough or ugly that might be.
Do you have material for a second album?
Yes, I’m working on stuff already. This first album is a collation of songs I’ve created across my life, mosaic puzzle pieces from the past seven years. I’m really excited to see what it’s like to create an album entirely from this free “anything is possible” mentality that I have now. There are no rules. That’s my favorite phrase.
What is the goal now? Where would you like to be in, say, two years’ time?
In two years, I would love to be releasing my second album. I want to step up a level. I want to tell stories not just from my perspective but from others’ as well. I want to make sure that I never get carried away with the wrong intentions or mind-set. I don’t want to create with the intention to sell.
This interview was edited and condensed.
|
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https://hitsdailydouble.com/news%26id%3D318897%26title%3D%25C2%25A0POLYDORS-RECIPE-FOR-SUCCESS
|
en
|
POLYDOR'S RECIPE FOR SUCCESS : HITS Daily Double
|
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2019-11-22T07:36:00+05:00
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If there’s one label that has shone brighter than the rest in the U.K. over the last year, it’s undoubtedly Polydor. The UMG imprint has the most #1 albums during that period with seven...
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https://memberdata.s3.amazonaws.com/hi/hitsdd/files/3765647622705.ico
|
HITS Daily Double
|
https://hitsdailydouble.com/news&id=318897&title=%C2%A0POLYDORS-RECIPE-FOR-SUCCESS
|
If there’s one label that has shone brighter than the rest in the U.K. over the last year, it’s undoubtedly Polydor. The UMG imprint has the most #1 albums during that period with seven (Atlantic takes second place with three), from a diverse mix of homegrown stars including Sam Fender and multi-BRIT Award winners The 1975, established names Elbow, Lana Del Rey and Take That, U.S. breakout smash Billie Eilish and the A Star Is Born ST. Under the joint reign of Tom March and Ben Mortimer, who took the helm of the label in 2016, Polydor’s AES all-albums marketshare has risen nearly 3% and moved up three places to #2 on the leaderboard, behind only longtime champ Virgin EMI (which claims the biggest breakthrough artist of the year in Lewis Capaldi).
As UMG U.K. chief David Joseph notes, “All our labels have had a great year, but Polydor’s renaissance has been a standout. Tom and Ben have created a culture of confidence, energy, communication and, above all, ambition. If they have one distinction, it’s the value they bring to artists, and their acknowledgment of the immense responsibility that comes with it. It’s undoubtedly an ethos which has rubbed off on the whole of their team.”
With Eilish and BRITs Critics Choice winner Fender, both of whom will play arenas next year, Polydor has two of the three biggest debuts of 2019, with 48k and 41k combined first-week sales, respectively. Mabel isn’t far behind after hitting Top 3 with her debut and having a global streaming hit with #3 track “Don’t Call Me Up,” which has reached nearly a billion streams worldwide, while “Mad Love” peaked at #8 on the U.K. Official Singles Chart.
In addition, Yungblud reached #6 on the U.K’s Official Albums Chart with his latest EP at the end of October and has sold out the 5k-capacity Brixton Academy, and soulful singer/songwriter Celeste is fast becoming a key name to look out for in 2020.
Alongside Eilish, who has sold out four 20k-capacity O2 Arena shows for July, Polydor has lent a hand to another breaking act from the U.S. in Summer Walker, who peaked at #7 in the U.K. with her debut in October. After a particularly quiet period for breaking British acts (there were no #1 debut albums last year), Polydor has helped revitalise the market.
The run of success, according to March, is partly due to his label staff. “We’re a young creative team who have been growing together over the past three years, all hustling and fighting for each other and our artists,” he tells us. “We’re quick to jump on new ways of breaking and exposing our artists’ music. The label is able to deliver a wide variety of campaigns. I love working and having success with our established roster and delivering spectacular campaigns, but I’ve been really loving breaking a load of new artists this year. We’ve had a great year for that.”
Mortimer points to the quality of output, which also included a gold-selling album from dance act Jax Jones, who has racked up 3.5b total global streams, a #2 house smash with “Piece of Your Heart” from Meduza f/Goodboys (signed via UMG Germany), and James Blake, who achieved his highest chart position yet at #6 with the critically acclaimed Assume Form. Jonas Brothers also had a career best in Blighty, as their comeback album peaked at #2. And with Norman Fucking Rockwell!, Lana Del Rey (jointly signed with Interscope) had her fourth U.K. #1 and sold over 700k adjusted albums globally, with 3.3b total streams.
“The main factor behind our great year is that we’ve put out some bloody great music,” Mortimer says. “Whether that’s from patient artist development with Mabel and Sam Fender, some precise streaming-focused A&R with Jax Jones and Meduza or long-term investment in our brilliant roster of artists, seeing the likes of James Blake, Elbow and Lana Del Rey continue their success. And some wonderful albums from our partner labels, so much so that it’s hard to single them out, although Billie Eilish, Jonas Brothers and Summer Walker have all been great artists to be involved with.”
Polydor has also released two of the biggest-selling soundtrack albums with the domestically signed Mamma Mia! Here We Go Again, which was #1 for five weeks last year, and A Star Is Born, which was the first soundtrack to top both the albums and singles chart in the U.K. The Cats ST will arrive before the end of the year.
So who should we be looking out for next year? Alongside Celeste, new signings with albums coming in 2020 will include Canadian singer/songwriter Jessie Reyez, dance duo Prospa and rock bands Sea Girls and Inhaler (whose frontman, Elijah Hewson, is the son of Bono).
Clearly not one to rest on his laurels, March points toward an even bigger 2020, concluding: “It’s been a decent year, but there’s still so much more to do. I’m much more excited about what we’re going to do over the next 12 months. We have some brilliant plans for the label and what we can offer to our artists and managers. I feel confident we can take things up another gear from where we are now.”
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https://wror.com/2024/04/01/roger-daltrey-80-im-on-my-way-out/
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en
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Roger Daltrey on Turning 80: 'I'm On My Way Out'
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2024-04-01T00:00:00
|
Roger Daltrey turned 80 on March 1, and the often blunt and forthcoming Who frontman had some pretty dark things to say about it.
|
en
|
105.7 WROR
|
https://wror.com/2024/04/01/roger-daltrey-80-im-on-my-way-out/
|
Roger Daltrey Gets Dark About Turning 80: ‘I’m On My Way Out’
Roger Daltrey turned 80 on March 1, and the often blunt and forthcoming Who frontman had some pretty dark things to say about it.
In a new interview with U.K.’s 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.”
Despite needing “someone else to drive things,” Daltrey is hitting the road in North America this June on what he calls a “special semi-acoustic” tour. During the tour, he’ll perform hits and rarities from The Who and share stories from his career. (Fingers crossed they won’t hit you like a ton of bricks like his whole “I’m on my way out” comment.)
Dates for Daltrey’s tour are below, with full ticket details available at TheWho.com.
June 12 – Wolf Trap – Vienna, VA @ Filene Center
June 14 – Niagara Falls, ON @ OLG Stage at Fallsview Casino
June 16 – Bethel, NY @ Bethel Woods Center for the Arts
June 18 – Port Chester, NY @ The Capitol Theatre
June 20 – Boston, MA @ Leader Bank Pavilion
June 22 – Lenox, MA @ Tanglewood – The Koussevitzky Music Shed
June 25 – Detroit, MI @ Meadow Brook Amphitheatre
June 27 – Indianapolis, IN @ Murat Theatre at Old National Centre
June 29 – Highland Park, IL @ The Pavilion at Ravinia
What Does This Mean for The Who?
Both Daltrey and Pete Townshend have made comments in the press about the uncertain future of The Who.
In January, Daltrey said in another interview with The Times that he couldn’t give a definitive answer because he’s not the one who writes the songs. (Townshend, of course, has always been the band’s primary songwriter.)
However, Daltrey did say, “[Pete 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.”
In December 2023, Townshend made similar remarks to Record Collector. He said, “I think it’s time for Roger and I to go to lunch and have a chat about what happens next.”
Townshend then added, “Because [the final summer tour stop] shouldn’t feel like the end of anything, but it feels like the end of an era.”
As far as performing and touring goes, Townshend stressed that it all depends on a few factors. Among them is whether an idea would be doable and profitable. Perhaps the most important factor is whether an idea would even be fun to do. Believe it or not, Townshend said he’s had a lot of fun on the road lately, even though he’s said in the past he’s not super fond of touring.
Roger Daltrey and 5 Other Iconic Screams of Classic Rock
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
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Roger Daltrey
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Roger Daltrey. Actor: Lisztomania. Roger Daltrey is noted as a founder of the legendary rock band The Who. After leaving London's Acton County Grammar School in 1963, he formed a skiffle band called The Detours, then displayed an early genius by putting together unusual elements into a world-class performance. The unusual elements included Daltrey on vocals, John Entwistle on bass and Pete Townshend on lead guitar. In 1965 they added...
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https://www.imdb.com/name/nm0002032/
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Roger Daltrey is noted as a founder of the legendary rock band The Who. After leaving London's Acton County Grammar School in 1963, he formed a skiffle band called The Detours, then displayed an early genius by putting together unusual elements into a world-class performance. The unusual elements included Daltrey on vocals, John Entwistle on bass and Pete Townshend on lead guitar. In 1965 they added drummer Keith Moon, and the fabulous line-up was complete. The band was remarkable for the synthesis of personalities: Townshend's art-school sensibilities; Daltrey's down-to-earth interpretation; and Entwistle's and Moon's skill as performers. They were first noted for deafening shows and for smashing their instruments in ferocious displays of auto-destructive art, but they went on to considerable chart success through original songs written by Townshend and the more humor-oriented Entwistle. Townshend wrote the first rock mini-opera for their second album, and after their first tour of America, the band presented the full-length rock opus Tommy, which shattered barriers and established The Who as a major artistic force in the world of music. Daltrey released his first solo album in 1973, and followed that with a number of solo chart successes. He also established a stage and (somewhat offbeat) film career after starring in the movie of Tommy (1975). He pursued films more steadily after the death of drummer Moon, and turned to production with the drama L.A. Prisoner (1980). The band continued to perform sporadically with different drummers and John Bundrick on keyboard, but returned to full force in the 1990s with the addition of Zak Starkey on drums. Though Townshend is noted as the songwriter and lead guitarist of The Who, Daltrey remains the genius who drives their performances. His energy and stage presence established The Who at the monumental Monterey Pop, Woodstock and Isle of Wight music festivals, and his instincts for production carved their path through the era of stadium rock. The filmography of musical performances stand as the best evidence of Daltrey's brilliance as both a musician and a stage performer.
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2024-07-29T22:27:06+00:00
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"Have been one of my favourite groups for years..." John Peel, Disc & Music Echo, 1968-11-02 The Who were among the very biggest names in rock music in the late 1960s and 1970s, with a line-up of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon...
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John Peel Wiki
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https://peel.fandom.com/wiki/Who
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"Have been one of my favourite groups for years..."
John Peel, Disc & Music Echo, 1968-11-02
The Who were among the very biggest names in rock music in the late 1960s and 1970s, with a line-up of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. They came to fame in the mid-1960s, were associated with the Mod movement and were one of the first groups to experiment with sound, using feedback and pure noise in tracks like "Anyway, Anyhow, Anywhere". They also experimented with longer forms, as in the "mini-opera" which was the title track of their 1966 LP A Quick One and led to the full-scale rock opera Tommy (1969).
They made the transition into the psychedelic era; Townshend was one of the first pop stars to be interviewed by International Times in February 1967 and became a regular visitor to London's UFO club. The Who won a new audience with their dynamic performances at festivals like Monterey (1967), Woodstock (1969) and the Isle of Wight (1969, 1970), becoming one of the most popular live acts of the 1970s and beyond. Even in the changed musical landscape after 1976, their 1965 "My Generation" anthem continued to find a place in the Festive Fifty, while a new generation of musicians such as The Jam paid their respects and the release of the film version of Quadrophenia sparked something of a mod revival. In 1982, the band's 1967 single "I Can See For Miles" inspired Colin Miles and Mark Rye to name their newly-founded label, dedicated to reissuing material from the 1950s, '60s and '70s, See For Miles Records.
[]
Peel was aware of the Who when he was living in the USA and working for radio station KMEN in San Bernardino, California. He personally compiled the station's British chart, including records he liked; the EP Ready, Steady, Who appears in the chart dated 2 December 1966. In his The British Scene column in the 10 December 1966 issue of the station newspaper, The Kmentertainer, Peel (as John Ravencroft) wrote: "Controversy continues to hang limply around the shoulder of the Who, whose auto-destructive stage shows. which involve the destruction of guitars and amplifiers, and anything else in the immediate area, have irked those who can't afford to follow their example...". Two weeks later, in the Christmas edition of his column, he enthused over the band's new LP, A Quick One: "Everything about the new L.P. by the Who is beautiful.....an outstanding achievement for the group. It captures their cynicism ,violence and humor."
After returning to Britain, he played tracks from the LP on the Perfumed Garden, including "Run, Run, Run" which can be found on the final PG of 14 August 1967. The DJ also played the single of two Rolling Stones songs, "Under My Thumb/The Last Time", which the Who recorded and released in July 1967 as a gesture of support for Mick Jagger and Keith Richards, who had just received prison sentences (later to be overturned) for drug possession. He continued to play the group's records as they appeared, interviewing the band for Dutch TV when The Who Sell Out was due to be released, in October 1967 (see below), and describing the newly-issued Tommy on the "son of Night Ride" show of 07 May 1969 as "the best LP since Sergeant Pepper".
The band's drummer, Keith Moon, sat in for Peel for the second hour of the DJ's Tuesday slot with A Touch Of The Moon, produced by John Walters, for four shows between 21 August 1973 and 11 September 1973. In 1976 Peel narrated a TV advert promoting The Who's album The Story Of The Who and in 2000 narrated the TV documentary The Real ... Keith Moon. Moon guested on the first of Peel's late-night programmes, following the demise of Top Gear (see below); the DJ previewed the drummer's appearance on the final Top Gear, saying that John Entwistle would guest on the second show, "if there's anything left of the studio" after Moon's visit.
The Who are mentioned three times in Peel's autobiography, Margrave Of The Marshes, completed by this wife Sheila:
{pg 102): I can remember one night when I couldn't sleep because John was downstairs with Marc Bolan and they were playing an advance copy of Tommy by The Who over and over again with the volume cranked up.
(pg 193): We took a driving holiday in Europe in summer 1969, accompanied by John's brother Alan, blasting out The Who and Leonard Cohen and Captain Beefheart on the superb eight-track cartridge system in the Dormobile.
(pg 199): There was a similar incident at a gig in Birmingham with The Who, where Keith Moon collapsed at his drumkit. John helped to drag him off stage, where he was roused with a bucket of cold water in the face before being carried past me and plonked behind his kit again. (This appears to have taken place at a gig in Mothers on 1969-07-19. See also Gigography 1969.)
The band also crop up in Olivetti Chronicles, a collection of Peel's journalism:
(pg 205) Sounds 1973-12-01: From here the debate moved onto weightier matters and I found myself trying to explain why I like the Faces, the Floyd and The Who, but not ELP, Yes and Focus.
(pg 297-8) Sounds 1975-04-05: Peel describes at great length the premiere of the film Tommy before concluding, "Oh, alright then. I wasn't invited."
(pg13) Sounds 1976-08-14: reference to a retrospective on the band (see below, Other Shows Played).
(pg 72) The Listener 1976-04-22: Although I have a lot of time for them myself - after all, I grew up with them - I am astounded that such ageing combos as The Who, the Rolling Stones, Led Zeppelin and the Pink Floyd still dominate the romping and stomping field.
The Complete Chronicle Of The Who (Andrew Neill & Matthew Kent) contains four entries that mention Peel:
1967-10-21: Around this time, Pete (Townshend) played an acetate of a rough mix of "Armenia City In The Sky" to Radio 1 DJ John Peel while being interviewed for Dutch television at Track's Old Compton Street office. Townshend displayed the proposed artwork for The Who Sell Out and discussed the album's thematic advertising link, as well as the difference between selling records and playing concerts. This "John Peel Special Report" appeared in Vjoew, transmitted Monday 30th October, 7:03-7:55 pm on Nederland 2. (Part of this footage may have been used in the band's Amazing Journey documentary).
1969-01-22: On the 22nd, a nine minute interview for Dutch television by John Peel, filmed at Regents Park Zoo (date unknown), was screened on Later, 7:13-7:55 pm on Nederland 2. "We were told that the Dutch can't say 'Who', so could we say 'Woo!' " Peel explained. " 'Tell me, Pete, what are the plans for The Woo?!' 'Well, John, The Woo aren't merely a singles group and I'm working on a rock opera especially for The Woo!' 'A Woo opera, eh Pete? Strong stuff,' and so on.
1975-03-07: At Broadcasting House, London, Pete recorded an interview with John Peel, previewing the Tommy soundtrack for a two and a half Radio 1 Rock Week special, broadcast 5:00-7:30 pm the following day.
1975-10-01/02: Keith (Moon) and John (Entwistle) appeared on respective nights as guests on John Peel's new Radio 1 programme, broadcast 11:00-12:00 pm, previewing a side each of The Who By Numbers. Neither of them had heard the final mixes. "This will be as much of a surprise for me as it will be for you," said Keith, confessing he hadn't heard most of the vocals.
After Peel's death, the band's singer, Roger Daltrey, would appear on John Peel's Record Box.
Festive Fifty Entries[]
Won't Get Fooled Again, 1976 Festive Fifty #29
My Generation, 1978 Festive Fifty #39
My Generation, 1979 Festive Fifty #32
Sessions[]
The band released a BBC Sessions collection, which contains several of the tracks below, although it is largely drawn from the pre-1967 period before the launch of Radio One, when Peel joined the BBC.
1. Recorded: 1967-10-10. First broadcast: 15 October 1967 (Top Gear compered by Pete Drummond & Tommy Vance)
Pictures Of Lily / Our Love Was / I Can See For Miles / I Can't Reach You / A Quick One While He's Away / Jingles (Top Gear #1, Top Gear #2, Radio 1 #1, Radio 1 #2) / Happy Jack / Jingle (& See My Way, Someone's Coming)
Other Shows Played[]
The list below was researched only from the database of this site, with only limited tracklistings available for the band's peak period. Please add further information if known.
1960s
17 July 1967: Substitute
18 July 1967: Circles () Reaction
02 August 1967: My Generation (7 inch) (Brunswick)
14 August 1967: Run Run Run (LP - A Quick One) Reaction 593 002
31 December 1967: Armenia City In The Sky (LP: The Who Sell Out) Track
28 April 1968: Call Me Lighting (7" - Call Me Lightning / Dr. Jekyll & Mr. Hyde) Polydor
09 June 1968: Call Me Lightning (7 inch) (US release only)
09 March 1969: 'Pinball Wizard (7 inch)' (Track)
07 May 1969: Christmas (2xLP - Tommy) Track
07 May 1969: Go To The Mirror (2xLP - Tommy) Track
07 May 1969: Overture (2xLP - Tommy) Track
18 May 1969: We're Not Gonna Take It (2xLP - Tommy) Track
25 May 1969: Go To The Mirror (album - Tommy) Track 613 013/4
08 June 1969: Christmas (album - Tommy) Track 613 013/4
1970s
09 May 1970: Substitute (LP – Live At Leeds) Decca
18 July 1970: Heaven And Hell (7" b-side Summertime Blues) Polydor
24 July 1971: Won't Get Fooled Again (7") Track
1971 Mix Reel: Bargain (album - Who's Next) Track Record 2408 102
18 February 1972: Run, Run, Run (LP - )
12 May 1972: I Can See For Miles (LP - Backtrack 1) Track
02 June 1972: Disguises (EP) Reaction
06 June 1972: Join Together (single) Track
09 June 1972: Join Together (single) Track
08 August 1972: Young Man (LP - Live At Leeds) Track
01 September 1972: Run Run Run (LP - A Quick One) Reaction
24 April 1973: Substitute (single) Reaction
04 September 1973 (A Touch Of The Moon): Dogs
25 October 1973: Dirty Jobs (album - Quadrophenia) Track Record 2657 013
25 October 1973: Love Reign O'er Me (album - Quadrophenia) Track Record 2657 013
30 October 1973: I'm One (album - Quadrophenia) Track Record 2657 013
30 October 1973: Dirty Jobs (album - Quadrophenia) Track Record 2657 013
30 October 1973: Helpless Dancer (album - Quadrophenia) Track Record 2657 013
30 October 1973: The Kids Are Alright (album - Quadrophenia) Track Record 2657 013
30 October 1973: Is It In My Head? (album - Quadrophenia) Track Record 2657 013
30 October 1973: I've Had Enough (album - Quadrophenia) Track Record 2657 013
01 November 1973: I'm The Face (7" - Zoot Suit) Fontana TF 480 (as High Numbers)
13 November 1973: So Sad About Us (album - A Quick One)
25 December 1973: Anyway Anyhow Anywhere (7") Brunswick
24 December 1974: Christmas (played at the wrong speed initially before correcting it)
06 February 1975: Eyesight For The Blind (The Hawker)
08 March 1975: Rock Week special preview of the Tommy soundtrack
07 April 1975: Bargain (album - Who's Next)
15 May 1975: Happy Jack (7") Reaction 591010
18 August 1975: Join Together (7") Track
28 August 1975: Relay (7") Track Record 2094-106
29 September 1975: Tracks from The Who By Numbers LP
30 September 1975: Tracks from The Who By Numbers LP
01 October 1975: Keith Moon appears as special guest on new John Peel Show, previewing one side of The Who By Numbers (see above)
02 October 1975: John Entwistle as special guest, previewing the other side of The Who By Numbers (see above)
24 October 1975: unknown
22 December 1975: I Can See For Miles
DE Tape 1 Peel Early 1976: Squeeze Box
19 May 1976: Daddy Rolling Stone
07 June 1976: I Can't Explain
09 August 1976: retrospective show dedicated to The Who (no tracklisting details available). First in series of ten.
DE Tape 21 Mid 1977: Join Together (7") Track 2094-102
09 August 1977: A Quick One, While He's Away
24 August 1977: So Sad About Us (LP - A Quick One) Reaction
14 September 1977: Run Run Run (album - A Quick One) Track 2407 008
06 October 1977: Baba O'Riley (album - Who's Next) Track Record 2408 102
23 June 1978: Disguises
30 June 1978 (Round Table): Who Are You (7" - Had Enough / Who Are You) Polydor
15 August 1978: New Song (LP – Who Are You)' (Polydor)
17 August 1978: Guitar & Pen (LP – Who Are You) Polydor
18 August 1978: 905 (album - Who Are You) Polydor (Peel also plays a clip of him on Kaleidoscope on Radio 4 discussing with Paul Gambaccini an exhibition of Who memoribilia at the ICA, making fun of his own accent)
30 August 1978: Guitar And Pen (album - Who Are You) Polydor WHOD 5004
07 September 1978: I Can’t Explain (day of death of Keith Moon, Paul Gambaccini hosting Peel show)
18 January 1979: 5.15
16 April 1979: Long Live Rock
05 June 1979: I Can See For Miles (LP - The Kids Are Alright) Polydor (JP: "I always thought that was the Who's best song, you know.") (John had bumped into Pete Townshend outside Broadcasting House on his return to London. Townshend and John Entwistle had been guests on Kid Jensen's show earlier in the evening.)
11 June 1979: My Generation (LP - The Kids Are Alright) Polydor
10 September 1979: Get Out And Stay Out (LP - Quadrophenia OST) Polydor
13 September 1979: Four Faces (v/a LP - Quadrophenia (Music From The Soundtrack Of The Who Film)) Polydor
17 September 1979: I Am The Sea
1980s
08 January 1980: Circles (7" EP - Ready Steady Who) Reaction 592 001
16 January 1980 (BFBS): Disguises (7" EP - Ready Steady Who) Reaction 592 001
29 March 1980 (BFBS): I Can't Explain (album - The Kids Are Alright) Polydor 2675 179
17 April 1980: The Ox (album - My Generation) Brunswick LAT 8616
23 October 1980: I Don't Mind
27 October 1980: Out In The Street (album - My Generation) Virgin V2179
27 January 1987: The Kids Are Alright (LP - My Generation) Brunswick
1990s
30 July 1994: Run Run Run (LP – A Quick One) Reaction
September 1996 (FSK): Circles
27 November 1997: Anytime, Anyhow, Anywhere
03 November 1999: I Can See For Miles (Peelenium 1967)
2000s
12 October 2000: Circles (LP - The Who) Polydor
17 October 2000: Mary-Anne With The Shaky Hand (b-side of 'I Can See For Miles' (US version)) Track
30 September 2003: Run, Run, Run (LP- The Story of The Who) (Polydor)
17 March 2004: Won't Get Fooled Again (7") Track
KMEN British Pop Top Ten
08 Apr 1966: Substitute (10)
15 Apr 1966: Substitute (10)
22 Apr 1966: Substitute (8)
29 Apr 1966: Substitute (4)
06 May 1966: Substitute (5)
13 May 1966: Substitute (9)
20 May 1966: Substitute (8)
27 May 1966: Substitute (7)
09 Sep 1966: I'm A Boy (10)
16 Sep 1966: I'm A Boy (10)
23 Sep 1966: I'm A Boy (8)
30 Sep 1966: I'm A Boy (4)
07 Oct 1966: I'm A Boy (2)
14 Oct 1966: I'm A Boy (1)
21 Oct 1966: I'm A Boy (1)
28 Oct 1966: I'm A Boy (1)
04 Nov 1966: I'm A Boy (3)
11 Nov 1966: I'm A Boy (4)
25 Nov 1966: Ready, Steady, Who E.P. (9)
02 Dec 1966: Ready, Steady, Who E.P. (7)
10 Dec 1966: Ready, Steady, Who E.P. (8)
17 Dec 1966: Ready, Steady, Who E.P. (10)
24 Dec 1966: Ready, Steady, Who E.P. (10)
31 Dec 1966: Happy Jack (9)
07 Jan 1967: Happy Jack (7)
14 Jan 1967: Happy Jack (7)
21 Jan 1967: Happy Jack (7)
28 Jan 1967: Happy Jack (5)
11 Feb 1967: Happy Jack (1)
18 Feb 1967: Happy Jack (1)
Roger Daltrey
01 May 1973: One Man Band (LP – Daltrey) Track
03 May 1973: The Way of The World (LP – Daltrey) Track
15 May 1973: You Are Yourself (LP – Daltrey) Track
21 August 1973 (A Touch Of The Moon): You Are Yourself
07 July 1975: Get Your Love (single) Polydor
D030 (1975 unknown date): Walking The Dog (LP - Ride A Rock Horse) Polydor
05 May 1977: Tracks from LP 'One Of The Boys'
12 May 1977: One of The Boys / Leon (LP-One Of The Boys) Polydor
Pete Townshend
13 June 1970: Begin The Beguine (LP - Happy Birthday) Universal Spiritual League 1
20 June 1972: Classified (3xLP – Glastonbury Fayre – The Electric Score) Revelation
27 June 1970: Content (LP - Happy Birthday) Universal Spiritual League 1
07 July 1972: Classified (3xLP – Glastonbury Fayre - The Electric Score) Revelation
20 June 1972: Classified (3xLP – Glastonbury Fayre – The Electric Score) Revelation
03 October 1972: unknown
01 September 1977 (& Ronnie Lane): Rough Mix (LP - Rough Mix) MCA
01 September 1977 (& Ronnie Lane): Misunderstood (LP - Rough Mix) MCA
01 September 1977 (& Ronnie Lane): April Fool (LP - Rough Mix) MCA
01 September 1977 (& Ronnie Lane): Street In The City (LP - Rough Mix) MCA
13 March 1980: Rough Boys (single) Atco (Peel is appearing on on the following evening's Roundtable with The Who guitarist and Nick Lowe)
17 March 1980: Rough Boys (7”) WEA
28 April 1980: Cat's In The Cupboard (album - Empty Glass) ATCO
01 May 1980: And I Moved (LP – Empty Glass) ATCO
23 June 1980: Won't Get Fooled Again (unknown) (Transcribed as Pete Townshend, but no evidence of a released solo version, so likely to have been the Who.)
September 1982 (BBC World Service): Ascension Two (v/a album - Music And Rhythm) WEA
28 November 1983 (with T-Bone Burnett): Fatally Beautiful (EP - Radio Sampler) Warner Brothers
Keith Moon
14 April 1975: One Night Stand (album - Two Sides Of The Moon) Polydor album 2442-134
17 April 1975: The Kids Are Alright (album - Two Sides Of The Moon) Polydor album 2442-134
08 May 1975: Solid Gold (album - Two Sides Of The Moon) Polydor album 2442-134
10 May 1975: Crazy Like A Fox
10 May 1975: Don't Worry Baby
John Entwistle
14 August 1971: No. 29 (Eternal Youth)
21 June 1973: Peg Leg Peggy (LP: Rigor Mortis Sets In) MCA
26 June 1973: Roller Skate Kate (LP: Rigor Mortis Sets In) MCA
28 August 1973 (A Touch Of The Moon): Roller Skate Kate
High Numbers
J P D13: I'm The Face (7" - Zoot Suit) Fontana TF 480
Covered[]
Peel played many covers of Who songs by other artists, most notably those featured during “Tommy (In Seven Minutes)” on the Dumbrock Vol 5 7”, which he played on 01 January 1994. The following list is compiled only from the Cover Versions page of this site. Please add more information if known.
Covering Artist | Song | First Known Play
Artless: Fiddle About 01 January 1994
Bucks Fizz: Pinball Wizard 07 December 1982
Dave The Spazz: Smash The Mirror 01 January 1994
Dogbowl: Tommy's Holiday Camp 01 January 1994
Alice Donut: We're Not Gonna Take It 01 January 1994
Erase Errata: Boris The Spider (session) 11 November 2003
John S. Hall: Tommy Can You Hear Me 01 January 1994
Iron Prostate: I'm Free 01 January 1994
Jack O'Fire: Run Run Run 05 December 1995 (Radio Mafia)
Jam: Disguises 28 May 1981
Les Calamités: The Kids Are Alright 09 September 1994
Lunachicks: Kraft Macaroni & Cheese Queen 01 January 1994
Pagans: Can't Explain 06 December 1989
Pig Pen: Christmas 01 January 1994
Russians: Can't Explain (session) 19 July 1979
See Me Feel Me Orchestra: Listening To You/See Me, Feel Me 01 January 1994
Screamfeeder: So Sad About Us 12 January 2000
Smack Dab: Amazing Journey 01 January 1994
Snuff: Can't Explain 28 April 1990 (BFBS)
Soup Dragons: The Kids Are Alright (session) 06 January 1987
Stumps: My Generation 06 October 1978
Johnny Thunders: Daddy Rolling Stone 02 October 1978
Uncle Wiggly: It's A Boy 01 January 1994
Workdogs: Eyesight To The Blind 01 January 1994
386 DX: My Generation 05 April 2001
See Also[]
Record Collection: D
Record Boxes: Don Letts
Record Collection: V&A LPs
Record Collection: Auction
KMEN British Pop Top Ten
ABC Of Beauty
1973 Top Ten Albums
John Peel Section
Singles Reviews
Sounds Playlist
Peel's 77 All Time Favourite Records List
Gigography 1967
Gigography 1969
Books
International Times: Perfumed Garden Column
Disc & Music Echo: Peel Columns
Sounds
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https://en.wikipedia.org/wiki/No_Plan_B_(band)
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No Plan B, also known as the Roger Daltrey Band, is an English rock band assembled by The Who singer Roger Daltrey to support performances and tours outside The Who. Daltrey's band includes Simon Townshend (brother of Pete Townshend) on guitar and vocals, Frank Simes on lead guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums. Frank Simes is also musical director for the band.[1] In a 2010 appearance on The Alan Titchmarsh Show, Daltrey called the band No Plan B.[2]
History
[edit]
In 2009 Roger Daltrey embarked on a tour of the U.S. and Canada with a new band assembled in Los Angeles, California. During 2010, the band performed as the support act for Eric Clapton, as well as performing additional solo shows.
In 2011, the band embarked on the Tommy Reborn tour, which included a special benefit show for the Teenage Cancer Trust (of which Daltrey is a patron) at the Royal Albert Hall in London on March 24, 2011. Pete Townshend joined the band onstage at this show for the songs "The Acid Queen" and "Baba O'Riley", and violinist Charlie Siem played the violin solo in "Baba O'Riley". In 2011 the band toured the UK performing The Who's Tommy, followed by dates in Europe, the US and Canada. The AEG Live-produced tour North American tour launched in Hollywood, Florida, at the Seminole Hard Rock September 13 and wrapped in Calgary, Alberta at the Scotiabank Saddledome. All shows were well-received, and the band booked additional dates in Europe and Japan for 2012.
Set lists have included music from The Who, from Daltrey's solo albums, and various covers of other material including two songs from Largo, a little-known 1998 album which Daltrey has specified onstage.[3] Harmonies performed by Daltrey's band has allowed them to perform Who songs that have remained unperformed since as far back as the 1960s. At the October 12, 2009 show in Seattle, Pearl Jam singer Eddie Vedder joined Daltrey on stage for performances of Pearl Jam's "Better Man"[4] and The Who's "The Real Me" and "Bargain".[5] The band was joined on stage by Ronnie Wood, Paul Weller, Kelly Jones and Michael Miley at the 28 March 2012 Royal Albert Hall performance for the Teenage Cancer Trust.
Set list
[edit]
2009 U.S. Tour (The Use It or Lose It Tour)
[edit]
10/10/09: Commodore Ballroom - Vancouver
12/10/09: Showbox SODO - Seattle, Washington
14/10/09: "Oracle Event" - San Francisco, California
15/10/09: San Manuel Indian Casino - Highland, California
17/10/09: Orpheum Theatre - Los Angeles, California
18/10/09: Humphrey's - San Diego, California
20/10/09: Paramount Theatre - Denver, Colorado
22/10/09: WinStar Casino - Thackerville, Oklahoma
24/10/09: Hard Rock Cafe - Biloxi, Mississippi
25/10/09: Florida Theatre - Jacksonville, Florida
28/10/09: Durham PAC - Durham, North Carolina
30/10/09: Ryman Auditorium - Nashville, Tennessee
31/10/09: Horseshoe Southern - Elizabeth, Indiana
02/11/09: House Of Blues - Chicago, Illinois
03/11/09: House Of Blues - Cleveland, Ohio
05/11/09: Casino Rama Ent Centre - Orillia
07/11/09: MGM Grand Theatre at Foxwoods - Mashantucket, Connecticut
08/11/09: House Of Blues - Boston, Massachusetts
11/11/09: Wellmont Theatre - Montclair, New Jersey
13/11/09: The Borgata - Atlantic City, New Jersey
14/11/09: The Borgata - Atlantic City, New Jersey
17/11/09: Count Basie Theatre - Red Bank, New Jersey
18/11/09: Chrysler Theatre Hall - Norfolk, Virginia
20/11/09: Nokia Theatre Times Square - New York, New York
22/11/09: The Fillmore - Charlotte, North Carolina
24/11/09: North Charleston CColosseum- North Charleston, South Carolina
25/11/09: House Of Blues - Buena Vista, Florida
27/11/09: Barbara Mann Performing Arts Hall - Fort Myers, Florida
29/11/09: Hard Rock Arena - Hollywood, Florida
30/11/09: Ruth Eckerd Hall - Clearwater, Florida
2010
[edit]
The following dates were performed in support of Eric Clapton:
25/2/2010: Mellon Arena - Pittsburgh, Pennsylvania
27/2/2010: Sommet Center - Nashville, Tennessee
28/2/2010: BJCC Arena - Birmingham, Alabama
02/3/2010: BOK Center - Tulsa, Oklahoma
03/3/2010: Sprint Center - Kansas City, Missouri
05/3/2010: FedEx Forum - Memphis, Tennessee
06/3/2010: New Orleans Arena - New Orleans, Louisiana
08/3/2010: RBC Center - Raleigh, North Carolina
09/3/2010: Gwinnett Center - Atlanta, Georgia
11/3/2010: BankAtlantic Center - Sunrise, Florida
13/3/2010: Amway Center - Orlando, Florida
During The Summer, Roger also performed the following solo dates:
22/6/2010: Anselmo Valencia Tori Amphitheater - Tucson, Arizona
23/6/2010: HP Tech Forum - Las Vegas, Nevada
25/6/2010: Stiefel Theatre - Salina, Kansas
26/6/2010: Uptown Theater - Kansas City, Missouri
These were followed by more dates supporting Clapton:
28/6/2010: Marcus Amphitheater (Summerfest) - Milwaukee, Wisconsin
30/6/2010: Riverbend Music Center - Cincinnati, Ohio
02/7/2010: Verizon Wireless Music Center - Indianapolis, Indiana
03/7/2010: DTE Energy Music Theatre - Detroit, Michigan
2011 (Tommy Reborn Tour)
[edit]
19/3/2011: O2 Academy - Bournemouth, UK
24/3/2011: Royal Albert Hall - London, UK
03/7/2011: Civic Hall - Wolverhampton, UK
04/7/2011: The Sage - Gateshead, UK
06/7/2011: Clyde Auditorium - Glasgow, UK
07/7/2011: Bridgewater Hall - Manchester, UK
09/7/2011: Royal Centre - Nottingham, UK
10/7/2011: Newport Centre - Newport, UK
12/7/2011: Colston Hall - Bristol, UK
13/7/2011: Cliffs Pavilion - Westcliff-on-Sea, UK
15/7/2011: GuilFest - Guildford, UK
16/7/2011: Broadlands - Hampshire, UK
19/7/2011: City Hall - Hull, UK
21/7/2011: Indigo2 - London, UK
22/7/2011: Blickling Hall - Norwich, UK
24/7/2011: IndigO2 - London, UK
26/7/2011: Marlay Park - Dublin, Ireland
28/7/2011: Royal Hall - Isle of Man
30/7/2011: Lokerse Festival - Lokeren, Belgium
31/7/2011: Valdemars Slot - Tåsinge, Denmark
13/9/2011: Hollywood, Florida Seminole Hard Rock
15/9/2011: Alpharetta, Georgia Verizon Wireless Pavilion
17/9/2011: Boston, Massachusetts Agganis Arena
18/9/2011: Newark, New Jersey Prudential Center
21/9/2011: Philadelphia, Pennsylvania MANN Center
23/9/2011: Uniondale, New York Nassau Coliseum
24/9/2011: Hartford, Connecticut XL Center
27/9/2011: Montreal, Quebec Place Des Arts
28/9/2011: Ottawa, Ontario Scotiabank Place
30/9/2011: Toronto, Ontario Sony Centre For The Performing Arts
1/10/2011: Windsor, Ontario The Coliseum at Caesars Windsor
4/10/2011: Minneapolis, Minnesota U.S. Bank Theater at Target Center
7/10/2011: Hammond, Indiana Venue at Horseshoe Casino
8/10/2011: St. Louis, Missouri Peabody Opera House
11/10/2011: Cedar Park, Texas Cedar Park Center
12/10/2011: Grand Prairie, Texas Verizon Theatre
14/10/2011: Kansas City, Missouri The Midland by AMC
16/10/2011: Broomfield, Colorado 1STBANK Center
19/10/2011: Los Angeles, California NOKIA Theatre
21/10/2011: San Jose, California San Jose Civic
22/10/2011: Paradise, Nevada The Joint
24/10/2011: Portland, Oregon Rose Quarter-Theatre of the Clouds
25/10/2011: Seattle, Washington KeyArena at Seattle Center
27/10/2011: Vancouver, British Columbia Rogers Arena
29/10/2011: Edmonton, Alberta Rexall Place
30/10/2011: Calgary, Alberta Scotiabank Saddledome
Dates cancelled:
1/11/2011: Saskatoon, Saskatchewan Credit Union Centre
2/11/2011: Winnipeg, Manitoba MTS Centre
2012
[edit]
15/1/2012: Yeovil, England, The Mermaid Hotel
9/3/2012: Padova, Italy, Teatro Geox
11/3/2012: Genova, Italy, Teatro Carolo Felice
12/3/2012: Torino, Italy, Teatro Colosseo
15/3/2012: Paris, France, L'Olympia Gerard Drouot
18/3/2012: Trieste, Italy, Teatro Rossetti
20/3/2012: Firenze, Italy, Teatro Comunale
21/3/2012: Rome, Italy, Auditorium Della Conciliazione
23/3/2012: Rome, Italy, Auditorium Della Conciliazione
24/3/2012: Milan, Italy, Teatro Smeraldo
28/3/2012: London, England, Royal Albert Hall
23/4/2012: Tokyo, Japan, Tokyo International Forum
24/4/2012: Tokyo, Japan, Tokyo International Forum
27/4/2012: Kanagawa, Japan, Kanagawa Kenmin Hall
28/4/2012: Osaka, Japan, Osaka Archaic Hall
30/4/2012: Nagoya, Japan, Nagoya Shi Kokaido
Notes
[edit]
References
[edit]
|
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6803
|
dbpedia
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2
| 5
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https://www.ranker.com/list/bands-and-musicians-on-polydor-records/reference%3Fpage%3D2
|
en
|
Polydor Records Complete Artist Roster
|
https://imgix.ranker.com/list_img_v2/18403/118403/original/bands-and-musicians-on-polydor-records-u6
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https://imgix.ranker.com/list_img_v2/18403/118403/original/bands-and-musicians-on-polydor-records-u6
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] |
[] |
[] |
[
""
] | null |
[
"Reference"
] |
2009-11-24T00:00:00
|
List of Polydor Records artists, listed alphabetically with photos when available. This Polydor Records roster includes both past and present artists. Popular ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/bands-and-musicians-on-polydor-records/reference
|
List of Polydor Records artists, listed alphabetically with photos when available. This Polydor Records roster includes both past and present artists. Popular Polydor Records bands and artists are all listed here with information such as what genre the bands fall under and what albums they're known for. If you're looking for any of these Polydor Records band's full discographies then click on their name and you can find them here on Ranker. The artists and bands on this list might be pop, rap, rock, electronic or any other genre, but what they all have in common is that they were signed by Polydor Records.
Artists here include everything from John Lennon to Jimi Hendrix.
This page can help answer questions like, "Who are the best Polydor Records bands?" and "Which artists are signed by Polydor Records?"
If any musical artists are missing from this Polydor Records artists list, you can add them at the bottom of the list. {#nodes}
|
||
6803
|
dbpedia
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3
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https://kslx.com/on-this-day-march-1-1944-the-whos-roger-daltrey-was-born/
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en
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On This Day: March 1, 1944 – The Who’s Roger Daltrey was born – 100.7 FM – KSLX – Classic Rock
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2023-03-01T16:00:00+00:00
|
On this Day, March 1, 1944… Musician and future Rock & Roll Hall of Famer Roger Daltrey was born in London, England. In 1959, Daltrey founded a band called
|
en
|
100.7 FM - KSLX - Classic Rock
|
https://kslx.com/on-this-day-march-1-1944-the-whos-roger-daltrey-was-born/
|
On this Day, March 1, 1944…
Musician and future Rock & Roll Hall of Famer Roger Daltrey was born in London, England.
In 1959, Daltrey founded a band called The Detours, which in 1964 was renamed The Who, with bandmates Pete Townshend, John Entwistle and Keith Moon. Daltrey’s voice can be heard on such Who classics as “My Generation,” “Pinball Wizard,” “Won’t Get Fooled Again,” “Baba O’Riley,” “You Better You Bet” and many others.
Daltrey also launched a solo career in 1973, releasing ten solo studio albums, and dabbled in acting, playing the title role in Tommy, the 1975 Ken Russell film inspired by The Who’s classic album. He also appeared in dozens of movies and TV shows over the years, including That ’70s Show, CSI, Tales from the Crypt and more.
Daltrey is also well known for his extensive charitable work, including his patronage of the United Kingdom’s Teenage Cancer Trust and its U.S. counterpart, Teen Cancer America.
As a member of The Who, Daltrey was inducted into the Rock and Roll Hall of Fame in 1988, and received a Kennedy Center Honor in 2008. He was also appointed a Commander of the Order of the British Empire for his services to music, entertainment and charity as part of Queen Elizabeth II’s New Year’s Honor’s List of 2004.
Daltrey and The Who are set to release The Who with Orchestra Live at Wembley on March 31 and will launch a U.K. summer tour in July.
Copyright © 2023, ABC Audio. All rights reserved.
|
|||||
6803
|
dbpedia
|
2
| 97
|
https://www.wikiwand.com/en/List_of_Interscope_Records_artists
|
en
|
List of Interscope Records artists
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
This is a list of artists who have recorded for Interscope Records. The names of Interscope affiliated labels, under which the artist recorded, can be found in parentheses.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/List_of_Interscope_Records_artists
|
This is a list of artists who have recorded for Interscope Records. The names of Interscope affiliated labels, under which the artist recorded, can be found in parentheses.
|
|||||
6803
|
dbpedia
|
2
| 78
|
https://labelsbase.net/polydor
|
en
|
Polydor Demo Submission, Contacts, A&R, Links & More.
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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 lab...
|
en
|
/favicon-16.png
| null |
Latest release
"All" (1 week ago)
Genres
Pop, Rock
Founded
1924
Location
London, United Kingdom
Contacts
General contact:
info@polydor.co.uk
Demo email to A&R:
communications@umusic.com
Address
72 Black Lion Lane, London W6 9BE
United Kingdom London, United Kingdom
Links in web
polydorrecords 3,799
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.
|
|||||
6803
|
dbpedia
|
0
| 36
|
http://www.audio-music.info/htm/w/Who_The_Live_at_Leeds.htm
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en
|
[CD] The Who: Live at Leeds
|
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[] |
[
""
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../../favicon.ico
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A r t i s t s , P e r s o n n e l C o m m e n t s , N o t e s
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|||||||
6803
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dbpedia
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3
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https://en.wikipedia.org/wiki/Roger_Daltrey
|
en
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Roger Daltrey
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English musician and lead vocalist of The Who (b. 1944)
Musical artist
Roger Harry Daltrey (born 1 March 1944) is an English singer, musician and actor. He is the co-founder and lead singer of the rock band the Who.[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". 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. 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,[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] He was ranked number 61 on Rolling Stone's list of the 100 greatest singers of all time in 2008;[9] Planet Rock listeners voted him rock's fifth-greatest voice in 2009.[10] Daltrey has also been an actor and film producer, with roles in films, theatre, and television.
Early life
[edit]
Daltrey was born on 1 March 1944 in Hammersmith Hospital, East Acton, London, the eldest of three children of Harry and Irene Daltrey. His father, an insurance clerk, was called up to fight in the Second World War, and three-month-old Roger and his mother were evacuated to a farm in Scotland.[11]
Daltrey attended Victoria Primary School and Acton County Grammar School in west London with Pete Townshend and John Entwistle. He showed academic promise in the English state school system and was top of his class in the eleven-plus examination, after which he went to Grammar School.[12]
Daltrey's first guitar, a cherry red Stratocaster replica, he made himself in 1957.[13] He joined a skiffle group called the Detours who needed a lead singer, and produced it when they told him to bring a guitar. His father bought him an Epiphone guitar in 1959 and he became the band's lead guitarist.
He also became the band's leader, and gained a reputation for using his fists to impose discipline. According to Townshend, Daltrey "ran things the way he wanted. If you argued with him, you usually got a bunch of fives[14] [a hard punch]".[15] Daltrey explained, later in life, that this harsh approach came from the tough neighbourhood in which he had grown up, where arguments were resolved by fighting. He was expelled from school, and Townshend wrote in his autobiography, "until he was expelled, Roger had been a good pupil."[16]
They discovered in 1964 that another band was performing as the Detours, and discussed changing their name. Townshend suggested "the Hair" and Townshend's room-mate Richard Barnes suggested "The Who". The next morning, Daltrey made the decision for the band, saying "It's the Who, innit?"[17]
The Who
[edit]
Overview
[edit]
Townshend began writing original material for the band, and after their first hit single ("I Can't Explain") and record deal in early 1965, Daltrey's dominance of the band diminished.[18] The other members of the Who fired him from the band in late 1965 after he beat up their drummer, Keith Moon, for supplying illegal drugs to Townshend and Entwistle, but he was re-admitted to the band a week later on probation after he promised not to do it again. He 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."[19]
The band's second single, "Anyway, Anyhow, Anywhere", was a collaboration between Daltrey and Townshend.[20] While Townshend was developing into an accomplished composer, Daltrey was gaining 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 a signature move. His 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 young people around the world and became a trademark sound. His scream near the end of "Won't Get Fooled Again" was a defining moment in rock and roll.[21]
By 1973, Daltrey was experiencing success with his solo projects and acting roles. While the other members of the band were recording the music for Quadrophenia, he took the opportunity to examine the Who's financial books and found they had fallen into disarray under the management of Kit Lambert and Chris Stamp. Lambert was Pete Townshend's artistic mentor, and challenging him led to renewed tension within the band. During a filming session, in an incident that Daltrey later 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.[22]
In the Who's milestone achievements, Tommy, Who's Next, and Quadrophenia, Daltrey became the face and voice of the band as they defined themselves as 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. He 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 worked with Russell again, starring as Franz Liszt in Lisztomania, and collaborated with Rick Wakeman on the soundtrack of the film.[23]
The Who's drummer, Keith Moon, died in 1978. The band continued working after his death, but Daltrey thought that new drummer Kenney Jones had been the wrong choice.[24] The Who broke up in 1983 when Townshend felt that that he could no longer write for them.[25]
The band reformed in 1989 for a 25th Anniversary Tour, which also celebrated the 20th anniversary of their rock opera Tommy. The tour featured a large backing band, with guest appearances by Steve Winwood, Patti LaBelle, Phil Collins, Elton John, and Billy Idol. Daltrey managed to complete the tour in spite of an abdominal ailment, for which he later received surgery.[26]
In 1996, Pete Townshend was approached to produce Quadrophenia for the Prince's Trust concert at Hyde Park, London. Daltrey agreed to help to produce a one-off performance, and the opera was to be 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 and the accident fractured his eye socket. There was concern that he might not be able to perform, but Daltrey covered the bruises with an eye patch and completed the show as scheduled. Townshend took the production on tour in 1996–97 as the Who.[27]
After the success of the Quadrophenia tour, the band returned as the Who with a five-piece line-up for tours in 1999–2000, and they made a major impact at the Concert for New York City in 2002. After Entwistle's death in June 2002, Daltrey and Townshend decided to continue with an already planned tour, with bass player Pino Palladino taking Entwistle's place. They also completed a brief tour in 2004. In 2006, they released the Who's first studio album of new material in twenty-four years, Endless Wire, which led to suggestions that the much-discussed artistic tension in the Who lay between Daltrey and Townshend. The band undertook a world tour in 2006–07 in support of the album.[28]
In February 2010, Townshend and Daltrey, headlining as the Who, performed the half-time show at Super Bowl XLIV in Miami, Florida, and were seen by 105.97 million viewers across the world. In March 2010, Townshend and Daltrey, 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.[29]
Songwriting
[edit]
Daltrey wrote several songs in the band's catalogue during their early years:
"Anyway, Anyhow, Anywhere" (1965) – the Who's second single, co-written with Townshend.[30]
"See My Way" (1966) – Daltrey's contribution to A Quick One.[31]
"Early Morning Cold Taxi" (1967) – Outtake from The Who Sell Out (later appearing as a bonus track on deluxe editions and on the 1994 box set Thirty Years of Maximum R&B), co-written with David "Cyrano" Langston.[32]
"Here for More" (1970) – B-side to "The Seeker".[33]
Daltrey also wrote a song titled "Crossroads Now" for the Who, which grew from an onstage jam in 1999.[34] Another Daltrey song, "Certified Rose", was rehearsed by the Who shortly before the death of John Entwistle. The band had intended to play it, as well as Townshend's "Real Good Looking Boy", during their 2002 tour, but it was dropped after Entwistle's death.[35] It was rumoured that a studio version had been recorded during the Endless Wire sessions which may have featured Entwistle's basslines from 2002, but Townshend later stated that no such recording had been made.[36] A more recent recording of "Certified Rose" was released on Daltrey's 2018 album, As Long As I Have You.[37]
Solo career
[edit]
Overview
[edit]
Daltrey has released ten solo studio albums. The first, Daltrey (1973), was 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 which referred to the Narcissus myth, as Daltrey's reflection in the water differed from his actual appearance. He also released a single in 1973, "Thinking", with "There is Love" on 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, which included a TV set thrown out of a window.[38]
Daltrey's second solo album, Ride a Rock Horse, was released in 1975. It was his second most commercially successful solo album.[citation needed] McVicar was a soundtrack album from 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", Daltrey's best-selling solo recording.[39]
His next album, Parting Should Be Painless, received negative reviews and was his poorest-selling studio album up to that point. In it, Daltrey had vented his frustrations after the break-up of the Who by assembling a set of roughly autobiographical songs. They included a track contributed by Bryan Ferry ("Going Strong"), and one contributed by the Eurythmics ("Somebody Told Me"). Daltrey said the album covered musical areas that he had wanted the Who to pursue.[40] The title track of the next album, Under a Raging Moon, was a tribute to the Who's drummer, Keith Moon, who had died in 1978 at the age of 32. On his Rocks in the Head album, Daltrey's voice ranged from a powerful bluesy growl in the style of Howlin' Wolf, to tender vocals shared with his daughter Willow on the ballad "Everything a Heart Could Ever Want".
Daltrey appeared in the Freddie Mercury Tribute Concert in 1992, singing the hard rock Queen song "I Want It All", in homage to his friend Freddie Mercury who had died the previous year one day after a public announcement that he had AIDS.[41][42]
To celebrate his 50th birthday in 1994, Daltrey performed two shows at Carnegie Hall in New York. A recording of the concerts was later issued on CD and video, entitled A Celebration: The Music of Pete Townshend and The Who, and is sometimes called Daltrey Sings Townshend. The success of these shows led to a US tour under the same name, featuring Pete Townshend's brother Simon on lead guitar. Phil Spalding played bass in the first half of each show and John Entwistle played bass in the second half. An Australian leg was considered but eventually scrapped.[citation needed]
A 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 after the final football match was played at the Highbury ground.[43] Daltrey's performance was part of Arsenal's celebration of the club's 93 years at Highbury as it prepared to move to a new stadium.[44]
Daltrey embarked on a solo tour of the US and Canada on 10 October 2009, the "Use It or Lose It" tour, with a new touring band he called "No Plan B" on the Alan Titchmarsh Show.[45] 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.[46] Eddie Vedder made a guest appearance at the Seattle show on 12 October.[47] In 2010, Daltrey and No Plan B appeared for several dates with Eric Clapton,[48] including Summerfest at Milwaukee, Wisconsin.[49]
On 15 March 2018, Daltrey announced the forthcoming release on 1 June of a new solo studio album, As Long as I Have You.[50] He appeared on BBC One's The Graham Norton Show on 13 April 2018 to promote the single taken from the album.[51]
In May 2021, Daltrey announced a return to touring, with the solo Live and Kicking Tour, starting in August 2021.[52] The tour was rescheduled and carried out during the summer of 2022.[53]
Discography
[edit]
Main article: Roger Daltrey discography
Collaborations
[edit]
In 1998, Daltrey performed two songs with the Jim Byrnes Blues Band at the Los Angeles Highlander Convention.[54]
On 12 January 2009, he headlined a one-off concert 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".[55] 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.[56]
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 local band Milestone for an impromptu rendition of "I Can't Explain". The band were playing at a wedding reception in the hotel.[57]
Legacy
[edit]
Pete Townshend said Daltrey had "almost invented the pseudo-messianic role taken up later by Jim Morrison and Robert Plant."[1] His stage persona 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, 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.[58]
Equipment
[edit]
See also: The Who's musical equipment
Daltrey hand-built his first guitar from a piece of plywood, and he also built guitars for the band in the early days when they had little money to buy equipment.[59] 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.[60][61] After he took over as the band's vocalist in the 1960s, and during the 1970s, Daltrey rarely played guitar on stage, except for a Martin acoustic guitar he used while promoting his solo album Daltrey.[62] 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.[63] 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.[64]
After 1999, it became 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.[65] 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.[66] On his 2009 tour, he played Pete Townshend's "Blue, Red and Grey" on an Ashbury cutaway tenor EQ ukulele.[67]
Daltrey is among those who brought the harmonica into British popular music.[68] Harmonica brands he has used include Hohner and Lee Oskar.[69]
Daltrey uses Shure microphones. Their cords are taped to strengthen the connection to the microphone and to avoid cutting his hands when he swings and catches it. He commonly uses a standard Shure SM58,[70] but has also used Shure SM78 (in 1981), Shure model 565D Unisphere 1, and Shure model 548 Unidyne IV.[71] Daltrey also uses a hybrid monitoring system, with one in-ear monitor supplemented by floor wedges.[72]
Acting career
[edit]
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 2001 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
[edit]
Daltrey contributed to a collection of childhood fishing stories published in 1996 entitled I Remember: Reflections on Fishing in Childhood.[73] In 2009, he contributed a foreword to Anyway, Anyhow, Anywhere: The Complete Chronicle of The Who 1958–1978 by Andrew Neill and Matt Kent.[74] In 2011, he wrote a tribute article in honour of the late Ken Russell which was published in Britain's Daily Express.[75]
In October 2018, Daltrey published his memoir, Thanks a Lot Mr. Kibblewhite: My Story.[76] The title is a reference to the man who threw him out of grammar school, enabling him to go into a successful music career.[77]
Awards and achievements
[edit]
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.[78]
In 1990, Daltrey was inducted into the Rock and Roll Hall of Fame in Cleveland, Ohio as a member of the Who.[79] 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".[80] 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.[81][82]
In 2003, Daltrey was honoured by Time magazine as a European Hero for his work with the Teenage Cancer Trust and other charities.[83] 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.[84][85]
As a member of the Who, Daltrey was inducted in 2005 into the UK Music Hall of Fame.[86] 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 the then-president of the United States, George W. Bush.[87] 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.[88]
On 12 March 2011, he received the Steiger Award (Germany) for excellence in music.[89] 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.[90]
In July 2012, Daltrey received an honorary degree from Middlesex University in recognition of his contributions to music.[91]
Daltrey has received numerous awards for his music, including Best Blues Album in the British Blues Awards 2015 alongside Wilko Johnson.[92]
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.[93][94]
Charities
[edit]
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 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.[95]
Daltrey performed at the first ChildLine Rocks concert at London's the O2 on 13 March 2008.[96] In 2009, Daltrey was a judge for the 8th annual Independent Music Awards to support independent artists.[97][98] In the same year, he appeared 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.[99]
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.[100] 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.[101] The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant, and Dave Grohl.[102] 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.[103]
Political views
[edit]
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."[104]
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.[105] In 2018, he criticised Labour leader Jeremy Corbyn, describing him as a "communist".[106]
Daltrey supported Britain leaving the European Union.[107] 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."[108] He again criticised the EU in 2019, saying, "If you want to be signed up to be ruled by a fucking mafia, you do it. Like being governed by FIFA".[109]
In 2017, Daltrey opined that a "dead dog" could have defeated Hillary Clinton in the 2016 United States presidential election.[110] In 2018, he denounced the MeToo movement, saying: "I find this whole thing so obnoxious. It's always allegations and it's just salacious crap."[111]
In 2021, Daltrey criticised "the woke generation" 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 saying "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."[112][113]
Personal life
[edit]
Daltrey has been married twice. In 1964 he married Jacqueline "Jackie" Rickman, and later that year their son, Simon, was born. They divorced in 1968. In 1967, another son, Mathias, was born, the result of an affair with Swedish model Elisabeth Aronsson. In 1968 he met Heather Taylor, a UK-born model living with her grandmother at the time, who was the subject of the 1967 Jimi Hendrix song "Foxy Lady".[114] Daltrey and Taylor have been married since 1971, and have three children: daughters Rosie Lea (born 1972) and Willow Amber (born 1975),[115] and son Jamie (born 1981), who runs Daltrey's trout farm near Burwash Common.[116][117]
On 1 March 1994, his 50th birthday, Daltrey received a letter from a woman who claimed to be his daughter from a brief relationship in the interval between his marriages.[118] Daltrey later met two more daughters who were born during this period in the late 1960s.[118] All three had been adopted, and had grown to adulthood before meeting their biological father. Daltrey stated that Heather had joined him in welcoming them to their extended family.[114] As well as his eight children, Daltrey has fifteen grandchildren.[119]
In 1971, Daltrey bought a farm at Holmshurst Manor, near Burwash, Sussex.[104]
Daltrey announced onstage in 2018 that he had suffered hearing loss as a result of exposure to loud noise levels during performances and was now "very, very deaf". He urged audience members to use earplugs.
In 1978, during the recording of the Who's album Who Are You, Daltrey had throat surgery to remove nodules.[120] During a solo tour in 2009 he 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 a possibly pre-cancerous growth.[121] Both surgeries were considered successful, and Daltrey has regular checks to monitor his condition.[122]
Daltrey has an allergy to cannabis that affects his singing voice. When second-hand marijuana smoke from an audience has affected his performance, he has occasionally interrupted the concert to request that people not smoke it.[123][124] Daltrey has stated that he has never taken hard drugs.[125][126]
Daltrey is a supporter of Arsenal F.C.[127]
References
[edit]
Further reading
[edit]
Roger Daltrey, 2018. Thanks A Lot Mr Kibblewhite: My Story, Blink Publishing; Henry Holt & Co ISBN 978-1-788700-28-3
Steve Huey, Roger Daltrey – Biography, AllMusic.com
David M. Barling, Biography of Roger Daltrey, Archived extract at Wayback MachinegeExternal links
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U.K. SPECIAL ISSUE: POLYDOR'S BEN MORTIMER & TOM MARCH
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2017-11-27T07:20:00+05:00
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Interview by Rhian JonesPolydor co-Presidents Ben Mortimer and Tom March have enjoyed an 11-week run at #1 with Luis Fonsi and Daddy Yankee’s “Despacito” f/Justin Bieber this year,...
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https://memberdata.s3.amazonaws.com/hi/hitsdd/files/3765647622705.ico
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HITS Daily Double
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https://hitsdailydouble.com/news&id=309518&title=U.K.-SPECIAL-ISSUE:-POLYDORS-BEN-MORTIMER-
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Interview by Rhian Jones
Polydor co-Presidents Ben Mortimer and Tom March have enjoyed an 11-week run at #1 with Luis Fonsi and Daddy Yankee’s “Despacito” f/Justin Bieber this year, as well as #1 albums with Elbow, Pete Tong, Lana Del Rey and the La La Land soundtrack. Take That’s eighth studio album hit #2 in March and was #7 on 2017’s list of best-sellers at the halfway point. The duo were newly appointed in May 2016, when marketing star March was upped from Virgin EMI GM, while A&R man Mortimer rose from Polydor A&R Director. The UMG label has also enjoyed a string of Top 10 singles this year with Jax Jones and Raye, Julia Michaels, Zedd and Alessia Cara, Demi Lovato, and another Latin American hit in J Balvin/Willy William’s “Mi Gente.”
Tell us about your strategy for Polydor.
Ben Mortimer: From an A&R and new business perspective, Tom and I said from the start that we would be open to any opportunity that came our way. Keep a real open mind to things, no matter how crazy. We also decided to really dig in on the artists that we believed in, and not just get caught up with what’s new and hot out there. Saying that, when we knew something was hot and really starting to fly, we moved quickly to close them.
How has that played out in your tenure to date?
BM: Being open-minded absolutely helped with us being the U.K. home for the Latin records that exploded this year. We were open to the idea of it, and took a chance on them, long before they showed signs of working over here.
We’re seeing the benefit of believing in our artists. Mabel, for example, is having a big hit with “Finders Keepers.” I signed her over two years ago but sometimes things just don’t connect instantly. Artists take time to find themselves and find their sound. Closing the deals with Stefflon Don and new artist Grace Carter was incredibly exciting. It’s a lot of fun to be involved in situations like that. We’re already seeing Stefflon Don break the Top 10 with her first proper single. With Grace it’s early, but she is incredible. We really believe in her.
What are the biggest changes you’ve experienced in the music industry this year?
BM: The time it can take to break an artist, it’s such a long haul now. But in a way we’re just returning to artist development. Breaking artists over various EPs, singles and mixtapes is the modern day version of David Bowie finally exploding after years in the business, or Kate Bush being developed by EMI for years. So perhaps it’s just a change back to how things used to be.
Tom March: How we release music has completely changed. An artist can’t go away any more. You have to keep active, trying different things and collaborating. You have to keep releasing exciting music and content in a variety of forms to guide fans to your music.
“An artist can’t go away any more. you have to keep active, trying different things and collaborating.”—TOM MARCH
What are your priority projects next year?—
BM: Mabel and Stefflon Don have made massive strides in the last six months, but there’s so much more to come. They remain absolute priorities. The new Raye music is phenomenal and Becky Hill is such a brilliant songwriter and her vocal is so recognisable. Jessie Reyez, who we signed in a JV with Island U.S., is such a real artist, and just so damn good I can’t not see great things happening for her. I’m also really excited by the Roger Daltrey solo album that he’s been working on.
TM: Jax Jones has had a breakout year this year and has some huge singles to come next year. Mura Masa will continue to grow and be one of the most exciting new acts in the world. Plus we are hopeful of new music from Years & Years, Ellie Goulding, Haim, Lana Del Rey, The 1975 and James Blake.
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https://www.udiscovermusic.com/artist/roger-daltrey/
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Roger Daltrey
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[] |
[] |
[
""
] | 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
|
uDiscover Music
|
https://www.udiscovermusic.com/artist/roger-daltrey/
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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.
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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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Rock 'n' Roll Reviews and Trivia
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2023-10-15T12:17:33+00:00
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Posts about Uncategorized written by Rockin' and Rollin' Dentist
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Rock 'n' Roll Reviews and Trivia
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The violin is a 4-stringed instrument that is generally played with a bow (though it can be plucked as well for a staccato sound plus there are now 5-string versions). The strings are attached to pegs at the top that allow them to be tuned – usually to G, D, A & E (adding a C if it has a fifth one). The strings pass over a bridge that transfers the vibrations to the hollow wooden body (soundboard) that amplifies them. On either side of the bridge are f-holes that allow the sound to escape the inside of the instrument. This was the case before electrified violins, but as can be seen from the intro pictures manufacturers have come up with all sorts of wild shapes including the skull violin made by Stratton with the advent of amplification.
Bowed/stringed instruments appear in history about the 1400’s in Arabia then in to Europe. By the mid-1500’s the Italians were making instruments that look like violins as we know them. People like Andrea Amati (1505-1577) and Antonio Stradivari (1644-1737) helped evolve the instrument’s curvature and bridge height along with perfecting materials. Originally they were made with dense woods such as maple, spruce, poplar, ebony, boxwood, willow and rosewood though resins are now used as well. The strings themselves can be gut, synthetic polymers or steel.
So what is the difference between a violin and a fiddle? Heck, the rocknroll sister Cheryl played and sang in Fiddlin Ed’s Swinging Country Band maybe 40 years ago so I guess she could tell me if there is a difference. Apparently there is no difference other than semantic implications. To play the violin seems to mean more formal use written out (a la classical music) while fiddling connotes playing rough and tumble to get the feet moving. Whatever the definition, we will make no distinction. What follows is a list of 25 bands/individuals who incorporate ‘fiddling about’ into their sound. I admit to not being a big fan of jazz so don’t look for those sorts of players. I can hear at least one of you say “where is John Cale (Velvet Underground)?” He played the viola which plays in a deeper register and is tuned differently. Feel free to submit comments with your additions. By the way, Jack Fallon’s fiddle contribution to Ringo’s song “Don’t Pass Me By” (from their 1968 double album The Beatles) didn’t make our list as he was an old jazz-bo who played this as a session only and of course was not a member of the Fab Four.
1.Dave Swarbrick – Fairport Convention
To your blogger there is no better player than the late Swarb when he was with Fairport Convention from 1969 till 1979. He started with the Ian Campbell Folk Group in 1960 playing British traditional ballads then played sessions. He was asked to fiddle on “A Sailor’s Life” for the album Unhalfbricking and joined Fairport subsequently helping to create an electric folk sound beginning with Liege & Lief. His energetic playing of jigs and reels plus his saucy style and vocal prowess came to define the classic Fairport Convention especially after Sandy Denny and Richard Thompson departed. He had hearing issues and went back to acoustic music other than the occasional band reunions (including this 1987 show at the annual Cropredy Festival where he played ” The Hen’s March Through The Midden & The Four Poster Bed”). The studio cut was originally on the 1973 Rosie LP and here really gets moving about the 1:55 mark. He was a heavy smoker and this ultimately took his life in 2016 aged 75 having had a double lung transplant in 2004.
2.Peter Knight – Steeleye Span
Born in London in 1947, Knight played with the Fairport Convention offshoot band Steeleye Span from 1970 till 1977 then again from 1980 till 2013. He was classically trained at the Royal Academy of Music. Just like Fairport, Steeleye Span have played electrified British traditional folk music with singer Maddy Prior the last remaining original member. This video starts with the song “Robbery With Violins” (about 26 seconds in) which was on the 1973 studio album Parcel Of Rogues. My first exposure to this band was as the support act to Procol Harum that year. I just remember my pal Dan and I being stunned by how good they were especially singing the madrigal “Gaudete”. Knight’s most recent work was as a duo with John Spiers who played concertina in the band Bellowhead.
3.Jim Lea – Slade
Boy when you think of metallic glitter music you don’t usually think of the fiddle, but bassist Jim Lea used it pretty darn effectively on hits like “Run Runaway” and “Coz I Love You”. Born in Wolverhampton, England, Lea started off on violin at the age of 10 apparently inspired by jazz player Stéphane Grappelli. As a bassist he joined the ‘N-Betweens at the age of 16. This band evolved in to Slade who had mostly English success behind the leather lungs of Noddy Holder (editorial comment: it’s pathetic that their original versions of songs like “Cum On Feel The Noize” and “Mama Weer All Crazee Now” weren’t hits here). Lea co-wrote most of Slade’s hits with Holder and did some singing as well. When Holder left Slade in 1992, so too did Lea.
4.Mik Kaminski – Electric Light Orchestra/ELO II/The Orkestra
It is with ELO that most of us think of the violin in a rock band. Roy Wood and Jeff Lynne of The Move (editorial comment: once again why wasn’t The Move big in the U.S.?) had the idea to create a band around the chugging cello sound of “I Am The Walrus” by The Beatles. They called it The Electric Light Orchestra and released their self-titled debut album in 1971 (No Answer in the U.S.). Wood and Lynne parted soon after with Wood forming Wizzard and Lynne keeping the old name (usually abbreviated as ELO). The third musician to play violin in ELO is the most remembered and longest lasting one – Mik Kaminski. He was born in Yorkshire in 1951 and was trained at the Leeds School Of Music. He joined ELO in 1973. The biggest problem the string players had in ELO was they couldn’t be heard over the rock instruments and it was the discovery of pickups by Barcus-Berry that really changed the ballgame for violinists allowing them to be amplified. This video is for a live 1976 version of the song “Poor Boy (The Greenwood)” which was originally on the 1974 studio album Eldorado. Kaminski is noted for playing a blue violin plus had a 1979 U.K. hit with “Clog Dance” as Violinski.
5.Wilf Gibson – Roll Over Beethoven
English violinist Gibson passed away in 2014 at age 72 after having done session work for many years. His playing can be heard on records by Oasis, Tom Jones, Elton John, etc.. He studied at London’s Royal College Of Music and is best remembered for replacing Steve Woolam in The Electric Light Orchestra in 1972. Woolam had been fired in 1971 after the first album and ultimately killed himself. Gibson played on the LP ELO II (1973) which included the memorable “Roll Over Beethovan” (a Chuck Berry cover with classical overtones). He contributed on a few songs for their next LP (On The Third Day) but was asked to leave when he was apparently unhappy about finances.
6.Duncan Chisholm – Wolfstone
Duncan Chisholm and guitarist Stuart Eaglesham formed Wolfstone in 1989 and they are still leading a version of this Scottish Celtic rock band. “Morag’s Reels” is from the 1994 album Year Of The Dog, their third. Wolfstone uses electric guitars plus drums but also pipes and whistles giving them a more Celtic feel than bands like Fairport Convention and Steeleye Span. His most recent solo recording is the 2018 album Sandwood which is more peaceful instrumentals.
7.Ric Sanders – Fairport Convention/The Albion Band
Bassist Ashley Hutchings helped found three of the most important bands in the British traditional folk genre – Fairport Convention, Steeleye Span and The Albion Band. English violinist Sanders, born Dec. 8, 1952, has been a member of two of the three. He played on perhaps the most important Albion Band album Rise Up Like The Sun (1978) then joined Fairport in 1984 where he has rosined his bow since. This track is from the all-instrumental album expletive delighted! in 1986. Though not a vocalist like the elfen Dave Swarbrick who he replaced in Fairport, Sanders is a versatile musician having played with Soft Machine, Rosalie Cunningham, Robert Plant, etc.
8.Robby Steinhardt – Kansas
Steinhardt was born in Chicago (1950), but grew up in Lawrence, Kansas – the adoptive son of the University Of Kansas director of music history. Having studied violin since he was eight, in 1972 he joined the group White Clover that became Kansas. In addition to violin, he was a vocalist (mostly singing the lower parts) and on-stage MC. He left the band in 1982 only to rejoin in 1997 till he left again in 2006. Our video track is from his solo album Not In Kansas Anymore released three months after his passing from pancreatitis in July 2021.
9.Ric Grech – Family/Blind Faith/Traffic
Bassist/violinist Grech fought substance abuse during his career which ultimately led to his death in 1990 at age 44. Born in France, he grew up in England where he took up violin as a kid. He joined the group Family in 1965 who in 1968 released their debut LP Music In A Doll’s House – a psychedelic masterstroke produced by Dave Mason. Your young Dentist used to crank up very loudly this track (“Peace Of Mind”) with it’s eerie echoy violin riff (sorry mom and dad). He left after singing “Second Generation Woman” on their second LP (Family Entertainment) to join Eric Clapton’s supergroup Blind Faith. You can hear his melodic violin solo on their “Sea Of Joy” (1969). He was sacked due to substance abuse then joined with drummer Ginger Baker in Air Force and also recorded with a new version of Traffic – mainly Low Spark Of High Heeled Boys (1971). After this he did some session work before he dropped out of music.
10.John Weider – Eric Burdon & The Animals/Family
Ric Grech’s replacement in Family was another combination bassist and violin player. Weider was an English musician born in 1947 and stayed in Family till 1971. Prior to that he had moved around a lot before landing in Eric Burdon’s new version of The Animals (1966). Weider’s violin was best used on the single “When I Was Young” (1967) and at the 1967 Monterey Pop Festival on a psychedelic workout around the Stones’ song “Paint It Black”. Since, he has done sessions and dabbled in new-age music.
11.David LaFlamme – It’s A Beautiful Day
Back when your Dentist bought albums based on the cover art, the debut by It’s A Beautiful Day attracted the Broomfield High School me. The song “White Bird” (1969) became the band’s signature song but didn’t crack the U.S. hot 100 then (though cool FM stations like Denver’s KLZ-FM did play it). The sound of the band was notable for the melodic violin playing by singer David LaFlamme (born 1941). Their second album Marrying Maiden (1970) led off with the track “Don & Dewey” which was a band workout to the 1959 Don & Dewey single on Rush records “Stretchin’ Out” with both featuring violin lead. By the way, that same riff also became the song “Wring That Neck (Hard Road)” for Deep Purple on the 1968 LP The Book of Taliesyn. LaFlamme went solo and did chart with an inferior version of “White Bird” in 1976 (#89). David, his wife Linda plus original drummer Val Fuentes are still leading It’s A Beautiful Day at the time of this writing.
12.Don “Sugarcane” Harris – The Mothers Of Invention/Don & Dewey/John Mayall
Back in 1999 Don Harris passed away at age 61 at his LA home. He previously had a long and varied career in music starting with a doowop group (The Squires) that included his future partner Dewey Terry. They formed the duo Don & Dewey next and recorded some notable non-hits that became successful later for others (“Farmer John”, “Justine”, “Big Boy Pete”, etc.). Harris ostensibly got his nickname from Johnny Otis because he was smooth with the ladies. He contributed to albums by John Mayall (USA Union) and Frank Zappa (Hot Rats – check out “Willie The Pimp”). He sang lead and played nasty violin on the old Little Richard song “Directly From My Heart To You” which came out as by The Mothers Of Invention in 1970 (Weasels Ripped My Flesh) though it was an outtake from the Hot Rats LP. He played music off and on after that but reportedly substance abuse got in the way.
13.Vanessa Mae
Vanessa-Mae Vanakorn Nicholson was born in Singapore (Oct. 27, 1978) and was adopted at age four by a British father who moved her to London where she eventually studied at the Royal Academy Of Music. Her debut pop album The Violin Player was released in 1995 with production by Mike Batt (The Wombles). She charted three singles from that LP in the U.K., but it was this album track that grabbed your Dentist. She has recorded sporadically over the years with Choreography from 2004 being her most recent album. Since her real father is from Thailand, oddly she decided to represent that country in the 2014 Olympic Games held in Sochi, Russia where she finished 67th or last of all the skiers who completed the Giant Slalom competition.
14.Craig Espie – Skerryvore
In concert, Skerryvore are the most exciting band I have seen in years. When the twin bagpipers crank it up along with the rest of the band I get goosebumps. Fiddler Craig Espie adds to the mix cranking out some fine jigs and reels. The band is based around Glasgow, Scotland and I feel blessed that they have come to Colorado several times now. Espie was born in Rutherglen, Scotland on Sept. 16, 1983 and joined Skerryvore in 2006. If you can’t see them in concert at least try to grab a copy of their 2020 live album Live Across Scotland which is a good intro to the band.
15.Sharon Corr – The Corrs
While girly-pop fans know them for the song “Breathless”, the Irish family-band The Corrs have a lot of skill as Celtic musicians as well playing tin whistle, bodhrán, violin and guitar. Their debut record Forgiven, Not Forgotten (1995) in particular has some wonderful instrumentals including the traditional reel “Toss The Feathers”.
16.Charles O’Connor – Horslips
Horslips might be considered the fathers of the Irish Celtic rock scene that birthed The Corrs. The original band came together in 1970 with multi-instrumentalist Charles O’Connor (born 1948) supplying fiddle for reels and jigs. Their Happy To Meet – Sorry To Part debut album (1973 in the U.S.) was notable for the cover art looking like an octagonal concertina with holes in it. “The High Reel” is a track that my pal DC hipped me to back in college that has great fiddle. They recorded a fun tribute single as Lipstick – “Come Back Beatles” that Beatles fans may want to look for on youtube.
17.Dave Arbus – East Of Eden/The Who
Dave Arbus played the outstanding violin solo at the end of The Who’s track “Baba O’Riley” which is about all I knew him for till years later looking him up and discovered he was with the band East Of Eden. They went through many line-ups over the years always playing sort of jazz-rock-progressive sort of music. They did manage one U.K. hit in 1970’s “Jig A Jig” which was more in the Celtic vein. It is for the 1971 Who solo on the LP Who’s Next that Arbus makes our list mainly.
18.John McEuen – The Nitty Gritty Dirt Band
While John McEuen might be the best banjo player (at least from my generation), it turns out he plays a pretty mean fiddle as well. Back in 1971 your Dentist as a sophomore at the University Of Colorado picked up the All The Good Times LP which was the follow-up to the breakout album by The Nitty Gritty Dirt Band Uncle Charlie & His Dog Teddy. While it wasn’t as brilliant as that album, it did have some goodies including this incendiary work-out on “Diggy Liggy Lo”, the old Rusty & Doug song that charted country for them in 1961. I’m not sure if McEuen played fiddle on other NGDB tracks, but this was all it took to make the list. Born in 1945 in Oakland, he has been a solo artist since leaving The Dirt Band in 2017.
19.Doug Kershaw
You simply can’t do a fiddle list and omit the Ragin’ Cajun (and he is the original with that name buddy; don’t mix him up with any pretenders). He was born Jan. 24, 1936 in Louisiana and had a duo for a time with his brother Rusty. His song “Louisiana Man” is classic cajun music which is the sound of the French-speaking Acadians from that part of the U.S. along with zydeco. You get your fiddle and your accordian and set your feet to movin’. He went solo with his first album The Cajun Way in 1969. His flamboyant style included holding his fiddle low instead of tucking it under his chin.
20.Haylie Ecker – Bond
Producers Mike Batt and Mel Bush hit upon the idea of selling rocked-up classics by putting attractive female string players from Australia and the U.K. in tight costumes – and it worked. Their 2000 debut album Born stormed the charts worldwide (and sold a copy to your Dentist as well). The Mike Batt remix of “Victory” was my fave track on that record. Ecker (born 1975 in Australia), was the lead violin player till 2008 when she decided to quit and start a family. The current lead violinist is former viola player Tania Davis also from Australia. Their most recent studio album is Play from 2011.
21.Darryl Way – Curved Air
Curved Air are a progressive-folk-rock band that have been going off and on since 1970. Violinist Way is no longer with them. While not a big fan of them, I have to admit a fondness for Way’s workout a la Vivaldi on the song of that name from their debut Air Conditioning. Englishman Way was in and out of the band over the years along with contributing to albums by Jethro Tull and his own band Darryl Way’s Wolf. He was born in England in 1948.
22.Gordon Burt – Runaway Express/Chuck Pyle
By now looking at this list it should be obvious how much your Dentist loves jigs and reels. Jim and Salli Ratts’ band Runaway Express put out a fabulous album in 1993 (Port Of Mystery) that included this excellent lively lilt. The jaunty fiddle that starts things off is by local string-man extraordinaire (and Jeffco music teacher) Gordon Burt who has seemingly appeared on every Colorado musician’s album (Jon Chandler, Southern Exposure, Dakota Blonde, etc.). My pal the retired Dr. Eddie from Buena Vista is the guy I can thank for turning me on to this guy. Years ago we went to a BV coffee shop to see Chuck Pyle ‘the zen cowboy’ (now deceased) and I was amazed at how good his fiddle accompanist Gordon Burt was. Pyle was good, but Burt was amazing. No doubt every corner of the U.S. has unsung skilled musicians that fly under the radar and entertain us just for the fun of playing music.
23.Papa John Creach – Jefferson Airplane/Jefferson Starship/Hot Tuna
Beaver Falls, Pennsylvania was the birthplace of quarterback Joe Namath and an itinerant fiddler named John Creach (1917). Early on he performed with people as diverse as Nat King Cole, Big Joe Turner and Louis Armstrong. During the hippy era he became friends with Joey Covington who replaced Spencer Dryden on drums with the Jefferson Airplane. Creach ended up joining the band and played with the offshoot acts Hot Tuna and The Dinosaurs. He was on several albums of theirs including the highly successful 1975 Red Octopus LP for The Jefferson Starship. He left for a time then returned in 1992 to play his fiddle till he passed in 1994.
24.Lindsey Stirling
Stirling has made the violin hip with her wild playing and collaborations with pop stars that have sold millions. While most know her from electro-pop tracks like “Shatter Me” and “Crystallize”, a song like this (originally on her 2017 studio CD Warmer In The Winter) shows that she can play other genres. She was born in Santa Ana, CA in 1986 and attended BYU. She has been featured in LDS promos and shuns alcohol.
25.Andy Stein – Commander Cody & His Lost Planet Airmen
While Stein has been composing film scores and appearing on the radio show A Prairie Home Companion, he is probably best known as a founding member of Commander Cody & His Lost Planet Airmen. They released their first album Lost In The Ozone in 1971 which had elements of rock, western swing, blues and just about everything else that was fun. Stein is from New York and is skilled in every area frankly from jazz to classical while playing violin and sax. His aunt was the renowned viola player Lillian Fuchs.
26.Charlie Daniels – The Charlie Daniels Band
Let’s go next with Charlie Daniels mainly because you can’t leave out the person you think of when you mention the fiddle in southern rock and outlaw country. He was born in North Carolina on Oct. 28, 1936 and passed in 2020 at 73. His first hit (the 1973 single “Uneasy Rider”) portrayed him as a member of the counterculture even though he looked like a redneck. His politics would change over his life. The song most identified with him is the #3 hit “The Devil Went Down To Georgia” from 1979 about a fiddle contest between the Devil and a young man named Johnny. The video is of perhaps the definitive fiddle song, “Orange Blossom Special”, with Daniels’ version appearing on the 1974 LP Fire On The Mountain.
27.Eddie Jobson – Roxy Music/King Crimson/Frank Zappa/U.K./Jethro Tull
If you don’t have the patience to sit through Jobson’s wonderful keyboards before he picks up the violin, you can cut to 2:55. This video shows the virtuosity of Jethro Tull during the time of A but especially Eddie Jobson. He was born April 28, 1955 in England. As can be seen he has played violin and keys in a number of musical acts. In addition to his band work he has also scored music for films and TV.
28.Ashley MacIsaac
Born Feb. 24, 1975 in Nova Scotia, MacIsaac style has been described as “genre-bending” which may turn off some folks but who cares? He plays intriguing fiddle music. An interesting fact about his playing is that he uses a fiddle strung for a right-hander but plays left-handed. The closest he came to having an actual hit was the 1995 single “Sleepy Maggie” (from the album Hi™ How Are You Today?) with dance rhythms and vocals by Mary Jane Lamond. He played at the opening ceremonies of the 2010 Vancouver Winter Olympics.
29.Richard Greene – Seatrain
Richard Greene played violin with a number of bands including those of Bill Monroe, Jim Kweskin and David Lindley. He was on the first few albums by Seatrain including two on Capitol that were produced by George Martin. He was born Nov. 9, 1942 in L.A. and joined the band that would become Seatrain but was called Blues Project for 1968’s Planned Obsolescence LP. Several members stayed with the band which did become Seatrain while several others formed Blood, Sweat & Tears (it’s confusing – read online if you care).
30.Steve Wickham – The Waterboys/In Tua Nua
Having expanded this to 30 from the original 25 I figured I would get everyone in yet here we are and I haven’t included Jerry Goodman of The Flock/Mahavishnu Orchestra, Jean-Luc Ponty, David Cross (King Crimson), Mark O’Connor, Ricky Scaggs, on and on. Let’s end with a band I had literally given up on before they became a more Irish-folk band with prominent fiddle. I quit on them after “The Whole Of The Moon” (1985 album This Is The Sea) and was chastised by another Dentist friend (Jack A – thanks for the heads up) for not including these guys. Steve Wickham supplied the fiddle to the U2 song “Sunday Bloody Sunday” on their 1983 album War. He was a founder of In Tua Nua and his fiddle is prominent on their cover of the Jefferson Airplane song “Somebody To Love”. He left that band in 1985 and joined The Waterboys putting his stamp firmly on the 1988 album Fisherman’s Blues. The song I have included is from the 1990 Room To Roam disc.
Your rock n roll dentist admits to dabbling in the guitar back in the day with my pal Mr. D on drums. We may not have been very good but we made enough noise to annoy the neighbors (sorry Cheryl Watkins). We also had alot of fun while destroying our hearing. Today I doubt that kids have the same itch to pick up a 6-string to make music like us Baby Boomers did (thanks in no small part to The Beatles). The guitar itself is a stringed instrument that goes back in antiquity, but it was the addition of electomagnetic pickups making them louder that got us kids revved up. Your’s truly started playing a Harmony acoustic then added a Vox Buckingham amp with a Fender Telecaster to up the volume (sorry mom and dad) then quickly traded that for a Gibson SG that looked way more rock and roll.
Well, this list is of my personal fave guitarists (and no the dude who is pictured in the intro is not one of them but he at least used to have a lot of hair – not any more I fear). Don’t start screaming that I left out the best players (you can add your own via a comment at the end). If I like their sound they are in. My fave players in many cases played more lyrical lead parts rather than racing up and down the fretboard so don’t look for Eddie Van Halen or Joe Satriani for instance. The other kind of sounds I love are either three-chord monkey-beat riffs or nasty blues licks.
1.Stevie Ray Vaughan
Aug. 27, 1990 SRV was cut down at age 35 when the helicopter he was in crashed in foggy conditions after a show in Wisconsin leaving a huge void in my musical arsenal. The man could flat out pick it and did so while playing the nasty rockin’ blues I love. When your Dentist saw him with Joe Cocker at Fiddler’s Green here in Colorado, I could have sworn there were two guitarists on stage. He did things with a guitar that I could have only dreamed about. His classic axe was a Fender Stratocaster with his fave being an amalgam of a 1963 body with a 1962 neck and 1959 pickups. He was born in Dallas Oct. 3, 1954 and moved to Austin, Texas where he is best known for fronting Double Trouble. That band (Chris Layton on drums with Tommy Shannon on bass then later Reese Wynans on piano) recorded four essential studio albums during SRV’s lifetime.
2.The Wrecking Crew Guitarists (Tommy Tedesco, Louie Shelton, Al Casey, Glen Campbell, Gerry McGee, Billy Strange, etc.)
It was hard to know how to include these folks other than to lump them all together. As ’60s kids we all pictured Mike Nesmith playing the “Last Train To Clarksville” lick or David Costell the flamenco runs on “Sure Gonna Miss Her”. When those songs became classics it was revealed that in reality Louie Shelton played the Monkees song and Tommy Tedesco that complex Gary Lewis & The Playboys guitar run. Many likely don’t care who played on those songs, they just like the records. It was, however, the skill of those session guys at quickly learning a song while adding their personal touches that made those records so memorable. The excellent 2008 Denny Tedesco documentary about those players (The Wrecking Crew) went a long way to gaining those folks their due and is essential viewing if you want to know how the records were created. We may never remember who played on the Tijuana Brass or the Marketts records, but we still love to hear them. Sadly very few of them are still alive. As this is written Louie Shelton is still alive and made an interesting video on how the Monkees’ lead part came about.
3.Steve Hackett
My first introduction to Steve Hackett was on the 1971 Genesis album Nursery Cryme when my buddy Mr. D played it for me (no doubt while sitting in his basement noshing on Yellow Zingers and Bubble-Up). Hackett was born in London Feb. 12, 1950 and cites disparate influences like Bach, The Beatles, Hendrix and the blues. During the classic progressive rock era of Genesis Steve created some outstanding guitar parts plus was the one who suggested they add mellotron to the band. He left in 1977 just before Genesis became a pop music behemoth thanks to Phil Collins. While Hackett likely missed out on a bunch of money, I salute him for staying true to prog rock with some excellent solo albums. In concert he also revisits his old music in Genesis while still playing his 1957 gold Gibson Les Paul. This video starts off with some crazy fretwork but then about a minute and a half in gets down to the business of playing the closer “Los Endos” from the 1976 Genesis album A Trick Of The Tail. Mr. Hackett’s playing even won over my non-prog wife while on the 2019 On The Blue Cruise. She was stunned by his powerful playing (plus he was a very quiet-spoken pleasant man who signed autographs and posed with us).
4.George Harrison
The quiet Beatle (not really – just sardonic), George could play straight rock and roll licks and also some beautifully melodic leads. He passed way too young, living from Feb. 25, 1943 to Nov. 29, 2001 (don’t smoke, ever!). He was born in Liverpool. He had a fortuitous moment meeting Paul McCartney on the bus to school. He was invited to join John Lennon and Paul’s band The Quarrymen in 1958 as he knew how to play the instrumental “Raunchy”. He took some time to come in to his own in The Beatles but at the end contributed some great songs including “Here Comes The Sun” with its bright acoustic guitar runs. Engineer Geoff Emerick said in his Beatles bio that it would take George a long time to master his leads (which apparently annoyed Emerick), but if true who cares as they were great. After the Fabs broke up, he turned more and more to playing slide guitar on his solo records. George could still rock as was evident in the 1985 video he, Dave Edmunds, Ringo, etc. did to honor Carl Perkins (Blue Suede Shoes: A Rockabilly Session) – check it out!
5.Scotty Moore
Winfield ‘Scotty’ Moore III stood quietly behind Elvis Presley and created the template that so many rockabilly guitarists have copied ever since. He was born in Gadsden, Tennessee Dec. 27, 1931 and passed away in Nashville June 28, 2016. When producer and Sun Records owner Sam Phillips invited Scotty and Bill Black on bass (later dubbed ‘The Blue Moon Boys’) to back Elvis in 1954, the tide of rock and roll picked up steam. There were no rules as it was all brand new and many credit Moore’s work on “Jailhouse Rock” as the first to use power chords. For “That’s All Right Mama” (the first Elvis record) he used an echo sound that came to be called ‘slapback’ and came to define that style – rockabilly. Elvis’ manager Colonel Tom Parker allegedly worked to ease Moore out of the picture and his last lead for a Presley record was 1962 – “(You’re The) Devil in Disguise”. He did play with Elvis one last time for the TV show ’68 Comeback Special. During his heyday he used several Gibson guitars including a ES-295 and a Super 400.
6.Chuck Berry
Every teen band of kids from my generation when they would get together would start by jamming on Chuck Berry songs as his licks became pretty much universal. He was born and died in Missouri Oct. 18, 1926 to March 18, 2017. Berry was nearing thirty when he finally became a star with “Maybelline” in 1955 on Chess. He had been playing a mix of blues and country plus R&B and this melded in to the sound we all know by him. For a great many of his touring years he wouldn’t bother to rehearse with the local band who backed him as he assumed they all knew his songs which led to hit and miss live shows. “Sweet Little Sixteen”, “Johnny B Goode”, Roll Over Beethoven”, on and on – all classics that he wrote (though it is sad that the awful “My Ding A Ling” was his only #1). If you watch this video you get a hint of his other contribution to guitarists – the look. He had a cocky swagger about him and just knew how to look cool while playing his red Gibson ES-350T.
7.Dave Edmunds
Well if you know me at all you are aware that my fave band was The Beatles and my fave solo artist was Dave Edmunds so it isn’t a surprise to see him here. He played that three chord monkey-beat Chuck Berry-style rock and roll I loved, but the man could flat out fly on the strings too. This cover of the 1942 classical song “Sabre Dance” by Aram Khachaturian was a #5 hit in the U.K. in 1968 for his band Love Sculpture. They lasted from 1966 to 1970 when he had his first big solo hit with “I Hear You Knocking”. He was born in Cardiff, Wales April 15, 1944. He loved the sound of old rock records and worked to duplicate what he heard on early hits like “Baby I Love You” and “Born To Be With You”. He then formed Rockpile with Nick Lowe and put out a succession of great records with he or Nick listed as the primary player. After they broke up he continued having hits with his own band plus had some success as a producer (Foghat, The Stray Cats). The rockabilly licks are what appealed to me the most, but his instrumental work on “Farandole” and “The Stumble” is equally nifty.
8.Jeff Beck
His sound is as distinctive as any guitarist if hard to describe – almost a crying but heavy sound. He was born June 24, 1944 in Surrey, England and passed Jan. 10, 2023 and seemed to have either a black Fender Stratocaster or a motorcycle in his hands. My first exposure to him was on the Yardbirds records I bought back in the day “Shapes Of Things” and “Over Under Sideways Down”. He followed a pretty tough act in that band, Eric Clapton who left in early 1965. In 1966 while still a member of that band, he and future Yardbird Jimmy Page recorded this as a side project along with Keith Moon of The Who on drums. His first album with The Jeff Beck Group (Truth 1968 with Rod Stewart on vocals) is essential and points the way to the similarly themed Led Zeppelin. After that band folded he put together Beck, Bogart and Appice with Vanilla Fudge alumni before going in to the studio with producer George Martin (The Beatles) to record another classic Blow By Blow (1975). His jazz instrumental style dominated from then on but he also did some notable side projects including his tribute to Gene Vincent’s guitarist Cliff Gallup on the excellent 1993 album Crazy Legs. After SRV I think he is the best guitarist I have seen live.
9.David Gilmour
Gilmour is the opposite of flash preferring to make his bluey vibrato solos speak or even cry on his black Fender Strat. Check out the video I have included with a great solo starting about the 1:45 point. Of course you know him from Pink Floyd mainly. He was asked to replace the erratic Syd Barrett in that band starting at the tail end of 1967. Roger Waters slowly took more and more control of the music of Pink Floyd so when he left it was assumed they would either languish or break up. That Gilmour led them after that through great albums like A Momentary Lapse Of Reason and The Division Bell shows his talent. He is an Englishman born in Cambridge March 6, 1946.
10.Mick Ronson
Only true ’70s glam fans know the late Mick Ronson but he was the heart of David Bowie’s Ziggy Stardust era and the engine of The Ian Hunter Band. Ronson didn’t have much success in music till hooking up with Bowie’s backing band The Hype in 1970. They morphed in to The Spiders From Mars for the 1972-3 Bowie era that saw him become a superstar. This video of the Aladdin Sane track “The Jean Genie” from 1973 finds Ronson looking every inch the blonde guitar god. Ronson came in at the very end of Mott The Hoople for the single “Saturday Gigs” (1974) then stayed with Ian Hunter in to his solo years. His swan song with Hunter was the 1989 YUI Orta LP that included the criminally overlooked “Big Time”. He died in London on April 29, 1993 at age 46 of liver cancer.
11.Johnny Winter
After SRV and Jeff Beck, Johnny Winter was the most technically skilled guitarist I ever saw in concert. Rail thin with long white hair and later covered in tattoos, he had a look nobody else had. He and his brother Edgar were born albinos which made them as white as anyone you have ever seen plus nearly blind. John Dawson Winter III was born in Beaumont, Texas Feb. 23, 1944 and passed away July 16, 2014 in Switzerland. When I bought his first self-titled Columbia record in 1969 he was backed on drums by Uncle John Turner and future SRV sideman Tommy Shannon on bass doing amped up blues. In 1970 he hooked up with the remnants of The McCoys (“Hang On Sloopy”) and found more success as Johnny Winter And doing rock and roll (“Rock And Roll Hoochie Koo”). He fell in to heroin addiction which he kicked but he would continue to have bouts of drug use that affected him over the years. His later career saw him record some fine blues albums on Alligator including Guitar Slinger in 1984. He is best known for playing the Gibson Firebird guitar.
12.Billy F. Gibbons
Another red-hot Texas blues man is William Frederick Gibbons best known for his work in ZZ Top. He is a Houston native born Dec. 16, 1949. Billy started out his recording career as leader of the 1966-69 psychedelic band The Moving Sidewalks. Later in ’69 he hooked up with Dusty Hill (bass) and Frank Beard (drums) to form ZZ Top. They were always rooted in the blues but Gibbons didn’t grow the crazy beard till the band moved from London Records to Warner Brothers in 1979 (Deguello). Their high point was the trio of bluesy hard rock albums Eliminator, Afterburner and Recycler (1983 to 1990). After moving to RCA they took on a more straight blues style. Gibbons has put out some pretty darn good solo albums as well that don’t sound too far away from ZZ Top (most recently Hardware in 2021). He has played a number of different guitars notably ‘Pearly Gates’ a 1959 Gibson Les Paul Standard.
13.Justin Hayward
When you think of the music of The Moody Blues the guitar isn’t what comes to mind, yet Justin Hayward has played some great guitar over their career including “The Story In Your Eyes” from Every Good Boy Deserves Favour (1971). His red Gibson 335 electric turns up on most of their records, but it is the slashing acoustic that dominates “Question” from A Question Of Balance (1970). Born Oct. 14, 1946 in England, Hayward wrote a good many of their hits while possessing one of the best singing voices in progressive rock.
14.Duane Eddy
Who owns a riff? The opening guitar lick on Eddy’s first hit “Moovin’ N’ Groovin” (#72 in 1958) was also the intro to the Chuck Berry song “Brown Eyed Handsome Man” (1956). That same riff opened the Beach Boys record “Surfin’ U.S.A.” in 1963. At any rate, Duane Eddy charted records from then till 1964 though his last big hit was “(Dance with the) Guitar Man” (#12 in 1962). Duane Eddy was born in Corning, NY April 26, 1938 and grew up mainly in Arizona where he linked up with producer Lee Hazelwood. Eddy’s style was referred to as ‘twang’ rocking mainly on the low strings of his 1957 Chet Atkins Gretsch 6120 guitar. “Rebel-Rouser”, “Peter Gunne”, “Forty Miles Of Bad Road” – these were all hits that inspired a lot of kids to take up the 6-string. It is a bit of a crime that oldies radio rarely plays his hits today.
15.Keith Richards
While he has been the butt of jokes about how he has outlived all expectactions having abused his body with booze and drugs, the man is a human catalog of guitar riffs. Is Mick Mick the Rolling Stone without Keith? No way. Having met him briefly back in 1989 or so, skull ring and all he seemed like a very nice likeable guy – go figure. Of course he has been a Rolling Stone since 1962, a band that fittingly started their recording career with a Chuck Berry cover (“Come On” 1963) since Keith says Berry was a major influence on him. I have to salute him for putting together a lasting tribute to Berry with the 1987 doc Chuck Berry Hail! Hail! Rock ‘n’ Roll.
16.Angus Young
Angus is known as an Aussie yet he was actually born in Glasgow, Scotland March 31, 1955 (his family moved to Sydney in 1963). In 1973 he (with his brother Malcolm on rhythm guitar) started ACDC. Like most of the U.S., I didn’t really notice their brand of hard rock till the 1979 record Highway To Hell. When singer Bon Scott died after that it seemed like curtains yet they have become one of the biggest bands in the world thanks to the addition of Brian Johnson on vocals. Indeed the Back In Black LP at 50 million copies and counting is second to only Thriller by Michael Jackson as the biggest selling record worldwide. Angus’ guitar looks a lot like what I played which I always thought was cool. I assume he plays it for the same reason I did and that is because it is light – something important to him as he is a whirling dervish on stage in his school-boy outfit while pumping out hot guitar licks. Stoopid rock and roll to the max – gotta love it.
17.Pete Townshend
Here is another guitarist that doesn’t know how to stand stock-still on stage and at the same time whirling his arm in a circle to crash down on the strings in a bloody collision. Again, good for him! Rock and roll is all about energy. As the driving force of The Who he isn’t about technical excellence – that was up to bassist John Entwistle and drummer Keith Moon. Pete was mostly about slashing power chords (and mashing his guitar in to pieces back in the band’s early days). He was born in London May 19, 1945 and joined The Detours as rhythm guitar to Roger Daltrey’s lead. Needless to say eventually Daltrey eschewed the guitar for a microphone and Townshend took over on sole six-string. The Who was then born in 1964 (briefly The High Numbers) and became one of the most important British Invasion bands though they would take awhile to catch on in the U.S. (their first top 20 hit here was “I Can See For Miles” in 1967 at #9). The rock opera Tommy (1969) and Who’s Next (1971) cemented them as superstars. Townshend has also carved out a decent solo career with hits like “Let My Love Open The Door” (1980) and “Face The Face” (1985).
18.Paul Simon
Well here is a complete 180 from all the guitarists we has listed so far, but Paul Simon is a superb folk guitar player. He and Art Garfunkel started out as a rockin’ duo – Tom & Jerry and had a hit with “Hey Schoolgirl” in January 1958 (#49). It would be a few weeks shy of eight years till they returned to the charts as Simon & Garfunkel with the song “The Sounds Of Silence”, #1 in January 1966. By then their style was folk with Simon composing most of the songs while playing acoustic guitar and harmonizing with Artie. After they split in 1970 Simon started a successful solo career while having occasional reunions with Garfunkel (he even supplied guitar and vocals to Art’s first three solo LPs). Paul Simon was born in Newark, N.J. Oct. 13, 1941 but mostly grew up in Queens, NY. If producer Tom Wilson hadn’t added electric instrumentation in 1965 to the acoustic folk song “The Sounds Of Silence” from the 1964 LP Wednesday Morning, 3 A.M. one has to wonder if we would ever have heard of Paul Simon. The answer is probably yes as he had too much music in him to stay hidden.
19.Dave Davies
Dave is the forgotten Davies brother playing the hot guitar licks on his brother Ray’s brilliant Kinks records. Born in London Feb. 3, 1947 he is three years young than Ray. Dave formed a band with Pete Quaife on bass followed by Ray soon after – The Ray Davies Quartet, then The Ravens and finally The Kinks (with Mick Avory on drums). It was their single “You Really Got Me” that put them firmly in the middle of the British Invasion of the U.S. back in 1964 (#7). Songs like “All Day & All Of The Night” and “Tired Of Waiting” continued the power chord driven hit trend till Ray started writing more topical songs like “Sunny Afternoon” and “Waterloo Sunset” that relied less on the guitar. Dave had his own hits such as “Death Of A Clown” and “Susannah’s Still Alive” but it was the The Kinks as sung by Ray that was his main musical outlet. It was the late ’70s and the early ’80s that saw Dave get to really rock again for the Arista label records like “Live Life” and the live LP One For The Road. After he had a stroke in 2004 it was iffy whether he would play guitar again, but he regained that ability over time. Sadly The Kinks never have reunited after their split in 1994. Dave has played a number of guitars over the years with one of the most memorable being a Gibson Flying V.
20.Eric Clapton
Your blogger has to admit the great blues guitarist Eric Clapton would be far higher on this list had he not put out horrid records like “I Shot The Sheriff” and “Wonderful Tonight”. Of course they were hits so what do I know? We just saw him in concert last night at Ball Arena in Denver and while he can still play the blues like very few others can, I can’t say I liked to show much as he had zero stage presence plus didn’t rock out as much as I wanted (where was “After Midnight”,”Badge”, “Let It Rain”, “Sunshine Of Your Love”, etc.?). In fairness we had seen Rod Stewart a few weeks before this show and that man can really put on a hugely entertaining evening. Clapton was born March 30, 1945 in Surrey and started playing guitar as a young teen. He was a bit of a musical nomad jumping around quite a bit. His first taste of success was with The Yardbirds starting in 1963, but quite early in 1965 when they started moving away from the blues he loved. In John Mayall & The Bluesbreakers he recorded the classic ‘Beano’ album (so named because of the cartoon on the cover that Clapton is holding). In July of 1966 he, bassist Jack Bruce and drummer Ginger Baker formed Cream – one of the first supergroups. Over four classic albums they conquered the world in the late ’60s. Next up was a one and done as Blind Faith (1969) and then as Derek & The Dominos (1970) with the hit “Layla”. His heroin use got in the way for a time till he cleaned up and went on a hit-making path in the mid to late ’70s (far removed from the blues). Since then he has returned to the blues at times which are the records of his that your Dentist has bought (notably the 2004 CD Sessions for Robert Johnson. For a time he was considered the best guitarist going until…
21.Jimi Hendrix
James Marshall Hendrix was a mercurial shooting star in his all too brief life Nov. 27, 1942 to Sept. 18, 1970). He was actually named Johnny Allen Hendrix for the first four years of his life when he was born in Seattle. He always wanted a guitar and finally got a cheap acoustic in 1958 which he practiced all the time. Eventually he got a red Danelectro and while he was in the Army his playing caught the attention of another GI Billy Cox who joined him on bass. After he was discharged in 1962 he learned how to pick the strings with his teeth. He moved around quite a bit till getting the chance to back The Isley Brothers on a record in 1964. The following year he was backing Little Richard and then in 1966 he formed his own band in Greenwich Village – Jimmy James & The Blue Flames (with future Spirit guitarist Randy California). Eventually he came to the attention of former Animals bassist Chas Chandler who brought him to England where he added Mitch Mitchell on drums and Noel Redding on bass to form The Jimi Hendrix Experience in October of ’66. Success came pretty quickly with “Hey Joe” then “Foxey Lady”, “Purple Haze”, etc. – a sound few had ever heard before (when he jammed with Clapton the first time, Eric reported walked off early in disbelief at his talent). Jimi burned up the U.S. literally at the Monterey Pop Festival in June of 1967 when he set fire to his Fender Strat guitar at the end of his set. During his career he only released three studio albums and one live set, but after his death there have been at least twelve more studio records and a bunch of live ones. My pal Chuck Davis always tried to convince me of Jimi’s genius, but his gimmickry always turned me off. Over time, however, I have come to see that Hendrix was a true innovator and one heck of a player.
22.Jimmy Page
He was the third superstar guitarist with The Yardbirds during their Little Games era (1967). Born in Middlesex, England January 9, 1944, his music career started with him as a session guitarist. Starting in 1963 he played guitar on many of the British Invasion records such as Petula Clark’s “Downtown” and Donovan’s “Sunshine Superman”. After the breakup of The Yardbirds, it was with Led Zeppelin from 1968 to 1980 that he made his name. Since then he has collaborated with David Coverdale and for a time reunited with Led Zep singer Robert Plant. In 2000 he and The Black Crowes released a nifty live double album Live At The Greek of mostly Zeppelin covers.
23.Roger McGuinn
James Joseph McGuinn III was born in Chicago July 13, 1942 (he changed his first name to Roger in 1967). His jangling 12-string guitar sound with The Byrds helped define a whole genre called folk-rock. In the late ’50s and early ’60s he worked as a sideman for acts like Judy Collins, The Limeliters and Bobby Darin. Reportedly it was seeing George Harrison playing a 12-string Rickenbacker electric guitar that inspired McGuinn to buy one and think about performing it on folk songs. He brought banjo picking and later Coltrane-influenced jazz runs to his lead parts. Starting in 1964 with David Crosby, Gene Clark, Chris Hillman and Michael Clark, he created great music like “Mr. Tambourine Man”, “Turn Turn Turn” and “Eight Miles High”. McGuinn was the only original member left when they disbanded in 1973 having morphed in to a country-rock band. Since then there have been solo albums, partial reunions and a return to folk with The Folk Den.
24.Nokie Edwards
The Ventures continue as one of the most known bands in guitar-based instrumenal music today even though none of the members from their ’60s hey-day are alive. When they debuted on the charts in 1960 with “Walk Don’t Run” the lead part was played by Bob Bogle and the bassist was Nole (Nokie) Edwards. He had previously recorded in Tacoma, WA as the guitarist with The Marksmen. He and Bogle swapped instruments fairly soon and Nokie became the lead guitarist with The Ventures. In this live clip from Japan (where they were mega-stars), Edwards in the taller guitarist in the middle playing the speedy lead parts. I still love to listen to their classic LPs like Knock Me Out!, Where The Action Is and Guitar Freakout that I bought as a youngster. Over the years he came and went from The Ventures only to rejoin several times. He toured with them till 2012. Nokie lived from May 9, 1935 till March 12, 2018, long enough to get inducted belatedly with his band in 2008 in to the R & R Hall Of Fame.
25.Martin Barre
Well it was hard to leave out Eddie Angel from Los Straitjackets or Frank Zappa, Robert Fripp, Brian May, Richie Blackmore, Mark Knoepfler and Mike Campbell, but let’s settle on the lead player with Jethro Tull – Martin Barre as our #25. Once again, when you think of Tull you do not think of guitar, but rather Ian Anderson’s distinctive use of flute. If you listen to their records, however, Martin Barre over the years has contributed some outstanding guitar licks to songs like “Aqualung”, “Locomotive Breath” and “To Cry You A Song”. Martin Lancelot Barre was born Nov. 17, 1946 in Birmingham, England. He replaced Mick Abrahams who left after the first Jethro Tull album to form Blodwyn Pig. Martin was with Tull from the album Stand Up (1969) till 2012. He has been sorely missed from Jethro Tull and it is inexcusable that Anderson saw fit to exclude him when the excellent 2022 album The Zealot Gene was recorded.
Your Dentist loves horrible music. As a parent, there is little better than tormenting your cherished offspring by playing them a really terrible song as payback for the hours of lost sleep and diaper changes. Every Christmas my kids Brenna and Hilary were subjected to Jimmy Jenson (The Swinging Swede) and his song “Walkin’ In My Winter Underwear” – and they could do nothing about it! I think my love of novelty records goes back to Kohl Elementary School days when my old pal Rick Steele would play records like Robert Preston’s “Chicken Fat”. In the U.S. those sort of records haven’t totally died out, but they seem to be more popular in places like the U.K. where Christmas records such as Bob The Builder’s 2000 #1 “Can We Fix It” chart more readily. For my 100th post (whew!) lets grab 25 of these records – some trying to be funny while other in a serious vein. This list won’t include more modern oddness like Ylvis – “The Fox (What Does The Fox Say?)”, “Baby Shark” by Pinkfong or Psy – “Gangnam Style” so feel free to seek those out on your own. There are so many of these that somewhere down the road we may do another.
1.”Weird Al” Yankovic – Smells Like Nirvana
You really have to start a list like this with the man who has single-handedly kept novelty music alive for over 40 years with his clever song parodies that are at once funny and catchy. You could include his song “Eat It” from 1984 (a #12 hit) or “Like A Surgeon” from the following year (#47), but let’s go with his take-off on Nirvana’s “Smells Like Teen Spirit” which hit #35 in 1992. It has an awesome video that directly parodies Nirvana’s so it helps if you have watched it first to get the jokes. Raised in California, Al started out on the accordion and got an early boost from So-Cal syndicated radio host Dr. Demento. Al’s cult classic movie UHF from 1989 has supplied our family with several meaningful quotes such as “red snapper – very tasty” and “badgers, badgers – we don’t need no stinkin’ badgers”.
2.Ray Stevens – Ahab, The Arab
A novelty list like this also demands the original king of comedic rock/country records Harold Ray Ragsdale – Ray Stevens. Born in Clarksdale, Georgia in 1939 (20 years older then Weird Al), he has had success on the U.S. singles chart since 1960’s “Jeremiah Peabody’s Polyunsaturated Quick-Dissolving Fast-Acting Pleasant-Tasting Green and Purple Pills” which went to #35 – quite a mouthful for DJs of the time. His last single to chart was on the 2002 country charts with “Osama – Yo’ Mama” at #48. In between he has had “The Streak”, “Guitarzan” plus a clucking chickens version of “In The Mood” not to mention “Ahab, The Arab” at #5 in 1962.
3.Rolf Harris – Tie Me Kangaroo Down, Sport
A 1963 novelty about kangaroos, koalas, etc., this #3 U.S. hit (recorded by producer George Martin) was a remake of his 1960 original that had been a U.K. and Australian hit. The song inspired a short-lived craze to buy 2 by 3 foot pieces of flexible hardboard (wobble boards) that were shaken to achieve the weird noise that accompanies the record. Harris was born in 1930 (in Australia) and was successful till his career came crashing down when he was convicted in 2014 of inappropriate sexual contact with several teenaged girls over many years.
4.Senor Wences – ‘S-All Right! ‘S-All Right!
If you know Senor Wences then you are dating yourself as he appeared 48 times on Ed Sullivan’s Sunday night show in the ’50s and ’60s. Apparently he also had a return in the ’70s on The Muppet Show, but your Dentist saw him on Sullivan earlier. His bits included Johnny with a face drawn on his hand and a small wig doing falsetto ventriloquism (“is good”) and Pedro who was in a box and growled “‘s-all right, close ‘ee door”. Born in Spain, Wenceslao Moreno Centeno lived from April 17, 1896 till April 20, 1999. While it didn’t chart, he put out a cheesy cha-cha record on Joy in 1959 that included several of his catch-phrases interspersed.
5.Mrs. Miller – Downtown
In 1966 Mrs. Miller butchered Petula Clark’s #1 hit “Downtown” to #82 on the U.S. charts. From Joplin, Missouri, she was born Elva Connes and lived from October 5, 1907 till June 28, 1997. She was discovered by DJ Gary Owens (from Denver’s KIMN and later Rowen & Martin’s Laugh-In). Her first album was Mrs. Miller’s Greatest Hits and featured her warbling confused-tempo versions of modern hits. As she went from being an earnest amateur to a scripted overly-aware comic singer, it became less fun and she faded after a few albums. She did seem like a sweet old granny though she was only in her late 50s at the time.
6.Sam Chalpin – Dominique
Sam Chalpin’s horrid vocal stylings made Mrs. Miller sound like Celine Dion – which is why your Dentist loves him. The Atco LP My Father The Pop Singer couldn’t have sold too many copies, but I proudly have it on my record shelf. Since it came out in 1966, its obvious that the folks behind this monstrosity were inspired by Mrs. Miller’s success. Ed Chalpin owned a New York recording studio – Studio 76 and brought in his Yiddish father who was a Cantor to record modern songs such as the Singing Nun hit “Dominique”. While Ed was apparently exploitive of his father, you can’t help but smile at the results and hope that William Hung heard this record before recording his equally horrid version of “She Bangs” in 2004.
7.The Ran-Dells – Martian Hop
This record sounds way earlier than a fall of 1963 release realizing that in just a few months we would be consumed by Beatlemania. It hit #16 on the U.S. charts. This one-hit-wonder group was from Wildwood, New Jersey and consisted of Robert and Steven Rappaport plus their cousin John Spirt. An electronic sound was added as a sample from the cut “Moon Maid” on the album Electronic Music by The Electrosoniks which is sort of atonal electro-weirdness. Frankly your Dentist has always been impressed by the rapid-fire “papa-oom-mir-mir” background vocals – try it at that speed; its tough. The novelty was that the Martians were throwing a dance for all the human race and they were apparently fantastic dancers. For a novelty record, it has a pretty hot backbeat and was perfect to torment my daughters to.
8.Jack Ross – Cinderella
This 1962 comedy record hit # 16 and was one of the first 45s Rick Steele played for the young me. A performer in San Francisco and Tahoe mainly, Ross started as a trumpet player. He found success with this retelling of the story of Cinderella done with silly mixed-up word play. He rearranged the first letters of words so instead of “it will make your flesh creep” it became “it will make you cresh fleep”. He lived from 1917 till 1982.
9.Bob & Doug McKenzie – Take Off
The Canadian export SCTV was one of the best shows ever with an amazing cast during its short early ’80s U.S. run. John Candy, Eugene Levy, Martin Short, Catherine O’Hara, Harold Ramis, etc. made up the show about a fictitious network. Rick Moranis and Dave Thomas created the characters of Bob and Doug McKenzie – dopey beer-drinking donut-eating brothers who used Canadian cliches calling each other hosers. They ended up being successful and had a movie and an album released along with a 1982 #16 hit single “Take Off” with guest vocalist Geddy Lee of Rush. Their version of “The Twelve Days Of Christmas” is a perennial fave around our household.
10.The Young World Singers – Ringo For President
The absolute mania that gripped the U.S. in 1964 when The Beatles hit our shores can’t be overstated. The screaming and fainting in concerts, the massive success of their records – it was also accompanied by an attempt to cash in by marketing Beatle products like wigs, games, dolls and even records about them. George’s sister had a “tell-all” LP and labels released albums of their interviews. For some reason, U.S. fans especially took to drummer Ringo Starr (his name, his happy demeaner, his sad sack image). As it was an election year a single was released on Decca by The Young World Singers touting Ringo as a candidate for President (Rolf Harris also waxed a version). Apparently he did get a few write-in votes.
11.The Carefrees – We Love You Beatles
Let’s go with one more of the Beatles cash-in releases – this time a #39 charter by The Carefrees. The tune was taken from the song “We Love You Conrad” found in the musical Bye Bye Birdie. Each verse is about loving one of the Fab Four and musical quotations from their songs are interspersed. This is the highest charting of all the songs about the group.
12.Frank Gallop – The Ballad Of Irving
Well here is a novelty record that was in my sister Cheryl’s record collection (I think I bought it for her – hope she forgives me). Gallop was the announcer on Perry Como’s ’50s & ’60s TV show having previously done radio with Milton Berle and others. This 1966 #34 hit was a take-off on the Jimmy Dean #1 “Big Bad John” from 1961 and Lorne Greene’s “Ringo” from ’64. Big dumb dumb Irving was “the 142nd fastest gun in the West” and sadly accidently gunned himself down. Gallop passed a month before his 88th birthday in 1988.
13.Jimmy Cross – I Want My Baby Back
One of the more curious musical genres was that of teen death records. Songs like “Endless Sleep”, “Teen Angel”, “Deadman’s Curve”, “The Leader Of The Pack”, etc. were on the airwaves for kids who wanted to buy records about death and mayhem – weird. The style was ripe for parody and this incredibly morbid single managed to offend enough people to only get to #92 in 1965. Spoiler alert – in the end the boy misses his dead girlfriend so much that he digs her up and crawls in to the coffin. Yikes – wild stuff for 1965 (there is a Beatles reference in the lyrics, too).
14.David Seville – Witch Doctor
Eight months prior to having his creations The Chipmunks become a hugely successful (and still going) franchise, Ross Bagdasarian had a #1 hit with this song which also used the sped up vocals later heard from Alvin, Simon & Theodore. We were all singing “ooh ee ooh ah ah, ting tang walla walla bing bang” in the summer of 1958. He had previously written “Come On-a My House”, a 1951 #1 hit for Rosemary Clooney. He passed 11 days before his 53rd birthday in January of 1972.
15.The Serendipity Singers – Beans In My Ears
Your Dentist would be remiss to not include at least one record by a Colorado artist, this one from a 1964 folk group flying in the face of Beatlemania and the British Invasion. “Don’t Let the Rain Come Down (Crooked Little Man)” had already reached #6 earlier for The Serendipity Singers and this song was their #30 follow-up. It likely would have gotten higher in the charts but many stations stopped playing it as parents and doctors started reporting their gullible kids were actually putting beans in their ears. You can never underestimate the stupidity of your audience (cinnamon challenge, etc. anyone?). The song was actually a metaphor about keeping your mind open. Seven kids from Colorado and 2 from Texas created a wholesome folk group to rival The New Christy Minstrels. Over time as members left, it became a franchise with various unknown singers.
16.The Innocence – Mairzy Doats
Back in 1967 when this was a #75 chart record, your Dentist would not have been caught dead listening to pop music like this. A month later “Light My Fire” by The Doors and “Somebody To Love” by The Jefferson Airplane were more my speed. Somewhere over the years, I took the beans out of my ears and opened up to sweetly dopey pop music. Pete Anders & Vini Poncia were mainly songwriters but also had the groups The Trade Winds (“New York’s A Lonely Town”) and The Innocence who put out this record on Kama Sutra. It was a cover of a 1943 novelty song with slurred lyrics that made sense when spoken clearly. It was about mares and does eating oats while little lambs and kids eat ivy. Bob Hope and Bing Crosby sang it a lot together on USO tours during World War II while the Merry Macs had a hit with it in 1944.
17.Victor Lundberg – An Open Letter To My Teenage Son
The kids of baby boomers may find it amazing that alongside records like “Daydream Believer” (The Monkees) and “Hello, Goodbye” (The Beatles), radio stations played spoken word oddness like this. This actually got to #10 and was a reaction to the anti-war protests and the hippy movement sweeping the U.S. in late 1967 after the Summer of Love. Lundberg speaks of glue-sniffing draft-dodgers and basically disowns his son even though his wife still loves her son because after all “she is a woman”. Wow. Former DJ Lundberg was merely the voice for lyrics by Robert R. Thompson. This record spawned a spate of answer records such as “Letter from a Teenage Son” by Brandon Wade.
18.Byron MacGregor – Americans
The same style as “Open Letter…”, but a very different message – this was the most successful of three 1974 chart versions of a spoken tribute to our country. Canadian newsman MacGregor hit #4, John Ritter’s dad Tex hit #90 while the composer, Gordon Sinclair, hit #24. Obviously as a country we really wanted to hear a Canadian pat us on the back alongside radio hits by Ringo and Steve Miller – again weird by today’s standards. Commentator Sinclair was annoyed that nobody ever steps up and helps the U.S., but rather is always taking hand-outs while bad-mouthing our country. He wrote this after reading that the American Red Cross had run out of money. The record received a boost again after the Sept. 11 attacks and again after Hurricane Katrina.
19.Buchanan & Goodman – The Flying Saucer
Hitting #3 in 1956 this might be the first “mash-up” recording. This style of novelty record made a silly story using short excerpts of current singles inserted as answers to questions given by the announcer (in this case about an invasion from space). Your Dentist always enjoyed making his own versions of these sorts of novelties often with old pal G Brown who thankfully had radio connections and talented friends to make them professional sounding. The use of original clips from records was upheld in court and paved the way for a ton of follow-ups such as The Cosmonaut” by Colorado DJ Ray Durkee and many more Bill Buchanan &/or Dickie Goodman records (i.e. “Energy Crisis ’74”).
20.Bobby (Boris) Pickett & The Crypt-Kickers – Monster Mash
Perhaps the most successful novelty record, this was a chart hit many times. It hit #1 in 1962 then #91 in ’70, #10 in 1973 and amazingly #37 in 2021 during the age of hip-hop. Pickett wanted to be an actor but also sang with a rock group and would do an imitation of Boris Karloff’s voice (today’s folk may know Karloff as the voice of the Grinch in the old cartoon at Christmas time). There was another 1962 record “Mashed Potato Time” by Dee Dee Sharp so this was another song to do that dance to. A similar Christmas record “Monster’s Holiday” hit #30 also in 1962 for Pickett. He lived from 1938 till 2007.
21.Steve Allen – What Is A Wife
A genre of records that your Dentist collected for a time was “What is a…” songs. There are a ton of these with this being a #56 charting example at the end of 1955 for the originator of The Tonight Show. He was a gentler version of David Letterman before TV was so cynical. His wife Jayne Meadows had the B-side with “What Is A Husband”. He had a non-charting follow-up with “What Is A Freem” plus there were others like “What Is A Teenage Girl?”/”What Is A Teenage Boy?” by Tom Edwards in 1957. The talented Steve Allen was a writer, musician, comedian plus played the title role in the 1956 film The Benny Goodman Story. He lived from 1921 till 2000.
22.Cheech & Chong – Earache My Eye
I bought this single in 1974, the year it hit #9 here in the U.S.. It was first on the LP Cheech & Chong’s Wedding Album. The first half of the record is a heavy rock song. It then becomes a comedy routine when the needle gets drug across Tommy Chong’s (playing the son) record by Cheech Marin (as the dad) who wants his kid to get up and go to school. The song was the victim of protesters who demanded that it not be played on the radio as it encouraged truancy and only appealed to drug-addled drop-outs. Not being a drug-addled drop-out, I just liked the riff and thought the comedy was funny. There are some people in the world, however, who feel a need to dictate what you are allowed to watch and listen to. My advice to them is change the channel.
24.Tiny Tim – Tip-Toe Thru’ The Tulips With Me
Oh my, here is a #17 1968 hit for Herbert Khaury who became a short-lived sensation as Tiny Tim via appearances on Rowan & Martin’s Laugh-In and The Tonight Show with Johnny Carson. Indeed he married Miss Vicki on that show on December 17, 1969 with a reported 40 million people watching. He died at age 63 in 1996. According to friends in Flash Cadillac who toured with him at one point, he was a bit of an odd duck – we will leave it there. This song was the one he is most remembered for and begins with him strumming his ukulele and evolves in to a string-laden gently charming performance in a falsetto voice. The original song was first published in 1929. Needless to say, your Dentist didn’t like it at the time preferring Savoy Brown, Hendrix, etc. but now it sounds cute.
25.Charlie Drake – My Boomerang Won’t Come Back
Let’s end this thing with another record I remember my old Broomfield pal Rick Steele playing for me (hate to leave out “Does Your Chewing Gum Lose It’s Flavor (On The Bedpost Over Night)” by Lonnie Donegan – oh, well). This was a #21 hit in early 1962 and was a re-recording with sanitized lyrics with the original having the aborigine practice till he was “black in the face”. In this version he was “blue in the face”. It was also edited taking out parts that didn’t make sense to a U.S. audience about “The Flying Doctor”, etc.. The “black in the face” version was a hit in Australia as well for Londoner Drake back in ’62 but is now considered inappropriate. The record was produced pre-Beatles by their producer George Martin. Drake was 81 when he passed in 2006.
After doing part 1 of my fave male singers last month it was 50/50 if I wanted to do a part 2, but realizing that I had compared 2 singers to Roy Orbison and hadn’t actually included him in my list sealed the deal for a continuation. It really is hard to tell sometimes if you like someone simply because you like the songs they are singing or if it is their voice. That being said, there are artists I like a lot in spite of not being overly fond of the vocalist (Stray Cats – Brian Setzer, Rolling Stones – Mick Jagger, Led Zeppelin – Robert Plant all come to mind). In some ways this list was more fun to do since it was more challenging to figure out why to include someone while excluding another. This time your Dentist will be a a bit broader and open it up to at least a couple of singers not in the rock or r&b camp.
**Let me again stress what I always say (yet my detractors seem to always ignore): these are only my personal favorites and not meant to be the greated singers or culturally important in any way – deal with it. If you don’t like my choices feel free to add your own as a comment since I always appreciate anyone taking the time to read and respond.
***I also want to whine just a bit about a new trend that as a purist I abhor – the AI generation of new songs by long-dead artists. I don’t mean cleaning up old tracks digitally to improve the sound, I mean the horrid unauthorized remakes of songs that these folks would have never done and likely would hate. Scouring the internet, it is already overloaded with this trash and I can only hope that there is some sort of legal attempt to put a halt to it. Do we really want to hear John Lennon rapping or Patsy Cline doing a Beyonce song?!
26.Roy Orbison (The Traveling Wilburys)
The Big O died way too young aged 52 (April 23, 1936 to Dec. 6, 1988), but if he had to go when he did it was sure great that he was back on top thanks to The Traveling Wilburys and then his postumous hit “You Got It”. Texan Orbison first hit the charts as a rockabilly singer with “Ooby Dooby” in 1956 on the Sun label. He wrote the song “Claudette” about his then girl friend (later wife) which became a 1958 hit for The Everly Brothers. Sadly she died in a motorcycle accident in 1966. In 1968 he lost his home and his two oldest sons in a fire. Tragedy and pain permeated many of his hits and back in the day Mr. D and I joked at the start of each Orbi-song as to whether Roy would win or lose the girl in the end – always a toss-up. One of the best parts of his records was the high notes he would build to then hold like an opera singer. Orbison toured the U.K. in 1963 with The Beatles. “Only The Lonely”, “Oh, Pretty Woman”, “Running Scared”, etc. – all great hits.
27.Sam Cooke (The Soul Stirrers)
“Lady you shot me” – these as supposedly the last words uttered by Sam Cook(e) after motel manager Bertha Franklin shot and killed him allegedly in self-defence. Once again here is a man who died way too young having lived from Jan. 22, 1939 to Dec. 11, 1964, Born in Mississippi, he began his professional music career in 1951 singing gospel with The Soul Stirrers before crossing over to pop as a solo star with “You Send Me”, a #1 hit in 1957. Cooke wrote most of his hits including “Chain Gang”, “Another Saturday Night” and “Shake” which was a #7 hit a few months after his death. He was a warm grit to his voice that could handle ballads as well as rockers. The story of his death is shrouded in controversy and let’s just leave it at that (you can read about it one the internet)
28.Greg Lake (King Crimson/Emerson, Lake & Palmer)
Dorset, England-born Lake was a founding member of two of the most important progressive rock bands ever in King Crimson (1968) and Emerson, Lake & Palmer (1970). While he played bass and guitar, it was his vocals on songs like “Epitaph” and “From The Beginning” that mark him as the standard for a progressive rock singer. His 1975 solo single “I Believe in Father Christmas” has become a Yule classic. He replaced John Wetton in the band Asia for a short time and participated in different bands with Emerson and/or Palmer before his death from cancer (Nov. 10, 1947 to Dec. 7, 2016).
29.Rod Stewart (The Jeff Beck Group, Faces)
As this 1966 pre-fame track shows, Rod had (and still has) that same warm grit to his voice like Sam Cooke did – just compare them side by side. London-born Rod (Jan. 10, 1945) has been equally adept at writing great hits like “Maggie May” plus covering others like “Downtown Train”. He can rock (“Hot Legs”), do ballads (“People Get Ready”) and handle the great American songbook equally. I am sure a certain faction of his audience wants to see him wiggle his arse and tousle his hair, but this blogger only wants to hear the music which to this day is still aces with albums like Blood Red Roses from 2018.
30.Eric Burdon (The Animals, War)
I swear it wasn’t intentional to put three versions of the same song in the top five but it does allow comparison. Burdon doesn’t sound at all like Sam Cooke and is more of a blues-rock shouter which is where he shines for me. In many ways he and The Animals set the stage for the British blues explosion that followed in the late ’60s with bands like Fleetwood Mac and Savoy Brown. A song like their cover of John Lee Hooker’s “Boom Boom” (#43 in 1965) showed Burdon at his best starting in a menacing low register and then unleashing a high register howl on the chorus – classic blues-rock. He was born May 10, 1941 in Newcastle upon Tyne, England. His career has spanned The Animals (“It’s My Life”), Eric Burdon & The Animals (“Monterey”) and the first version of War (“Spill The Wine”).
31.Gerry Rafferty (Stealers Wheel)
The late Gerry Rafferty was in The Humblebums folk group with comedian Billy Connolly and then Stealers Wheel with Joe Egan before going solo. Stylistically he was definitely understated but could harmonize as well as anyone as can be seen from this starkly beautiful Mozart piece from his last solo album Life Goes On (2009). Gerry was born in Scotland April 16, 1947 and recorded a gentle pop 45 with Egan as The Fifth Column in 1966. After a couple of years in The Humblebums plus a solo album, he and Egan regrouped and had some success in Steelers Wheel (“Stuck in the Middle with You” – #6 in 1973). His biggest solo hit was “Baker Street” (#2 in 1978) but all his records are worthwhile. He battled alcoholism and it caused his liver to ultimately fail him on Jan. 4, 2011.
32.Eric Carmen (The Raspberries)
Here is another guy who could do rock and romance equally. His band The Raspberries kept the pop of the British Invasion from the ’60s while amping it up for the ’70s creating the template for the music we now call power-pop (Cheap Trick, The Bangles, The Smithereens). Carmen was born in Cleveland Aug. 11, 1949 and first tried to make it with Cyrus Erie who recorded unsuccessfully for Epic. When his band fell apart along with the Choir (“It’s Cold Outside”), the two bands fused as The Raspberries in 1970 and put out four essential albums on Capitol (“Go All The Way”, “Tonight”). As a solo artist he hit right out of the box in 1975 with his first self-titled Arista album that contained “All by Myself”. He had other hits like “Hungry Eyes” plus wrote for others including “Hey Deanie” that Shaun Cassidy made a hit in 1978. The Raspberries 2004/5 reunion tour was the stuff of power-pop legend that your Dentist was lucky enough to see at Fiddler’s Green (thanks Randy Jay!) – it was amazing – one of the best shows I ever saw. If you can find their live CD from that tour, do it (Pop Art Live).
33.Carl Wilson (The Beach Boys)
It feels like heresy to single out one of The Beach Boys. I could easily have put Brian Wilson or even Al Jardine for his vocal on “Help Me Rhonda”, but Carl had that pure tenor which never degenerated. “God Only Knows”, “Good Vibrations”, “Darlin'”, on and on – his brother Brian mostly wrote the classics and he mainly turned to Carl to sing them. He was the youngest Wilson brother (after Brian and Dennis) born in Hawthorne, CA Dec. 21, 1946. He became an impressive guitarist taking lessons along with David Marks from John Maus of The Walker Brothers. While Brian turned to studio musicians for Beach Boys records, he kept Carl’s guitar playing. Carl died from lung cancer Feb. 6, 1998 yet one of the best moments of the 2012 Beach Boys reunion concerts was the remaining band playing to a live video of Carl singing “God Only Knows”.
34.Bobby Darin
Here is another artist who died way too young yet filled his short life with some great musical moments. Walden Robert Cassotto was born May 14, 1936 in East Harlem. He was a music prodigy and started writing in 1955 with Don Kirshner (later famous for The Monkees, The Archies among others). “Splish Splash” in 1958 was his first hit for Atco (written with help from DJ Murray the K). After rock hits he hit with Sinatra-style jazz (“Beyond The Sea”), countryish-pop (“You’re the Reason I’m Living”) and folk (“If I Were A Carpenter”). His last charting hit was a Michel Legrand/Smokey Robinson ballad on the Motown label (“Happy”). He suffered from heart problems virtually all his life and that finally fatally caught up to him a month after releasing “Happy” – he passed Dec. 20, 1973 in L.A.
35.Jeff Lynne (The Idle Race, The Move, The Electric Light Orchestra [ELO], The Traveling Wilburys)
This one was a hard decision as he is so talented – which song to play? Since he follows Bobby Darin let’s use a cover of one of Bobby’s biggest hits. It is a bit unfair to compare the two since Lynne doesn’t have that jazzy styling and Richard Wess string arrangement, but this is still a good take. On Dec. 30, 1947 in Birmingham, England Jeffrey Lynne was born. After a stint in The Idle Race, he joined with Roy Wood and Bev Bevan in The Move which morphed in to The Electric Light Orchestra which was patterned after the “I Am The Walrus” era Beatles with chugging cellos. After their first album, Wood moved on to Wizzard while Lynne and Bevan became far more successful over time with ELO thanks to the compositions and arrangements of Lynne. Jeff seemed to grow into his voice while he matured as an artist on songs like “Mr. Blue Sky”, “Hold On Tight” and “Telephone Line”. On ballads like “Strange Magic” and rockers like “Do Ya” he eschews vocal histrionics keeping a pleasantly Brit-pop ’60s sound to his voice. As a producer he seems to know how to make other voices sound better as well (George Harrison and Tom Petty come to mind).
36.John Sebastian (The Lovin’ Spoonful)
Back when your blog poster fancied himself as some guitar-playing singer, I used to attempt this nice tune. Something about Sebastian’s voice was both sincere and comfortable on both ballads (“She’s A Lady”, “Rain On The Roof”) and good-time pop (“Do You Believe In Magic”). He wrote most of the hits, played a myriad of instruments well (autoharp, guitar, harmonica) and generally seemed like a good guy – someone you would like to be your friend. That all came through his vocals too – remember his big solo hit “Welcome Back”?. Grab his first solo LP on Reprise if you can (John B. Sebastian) not to mention as many of the Lovin’ Spoonful albums as you can find or at least a good greatest hits record.
37.Art Garfunkel (Simon & Garfunkel)
Possessing the sweetest tenor, Arthur Garfunkel was one half of the hugely successful folk duet Simon & Garfunkel who seemingly came out of nowhere in 1965 with “The Sound Of Silence”. Of course serious music fans realize that he and Paul Simon had a musical history going back to 1956 recording a #49 hit in “Hey Schoolgirl” (1957/8) – by Tom & Jerry. Art was born in Queens, NY Nov. 5, 1941. Paul Simon can of course sing well, but Garfunkel’s tenor is pure and inviting. While Simon is said to now regret giving it to Art to sing mostly solo, it is sour grapes as “Bridge Over Troubled Water” is a tour-de-force. After they split up Garfunkel dabbling in acting, but still put out some fine music in “Heart In New York”, “All I Know” and “Bright Eyes” (from the animated rabbit movie Watership Down (1978).
38.Nat ‘King’ Cole
Well in the intro to part 1 last month I mentioned I wasn’t going to include these more traditional ‘adult’ singers, but I simply can’t ignore Nat. In 1963 we didn’t as yet own a record player and I certainly had never heard rock and roll as dad played Mancini and mom played the classics (Mozart, Bach, etc.) on the radio. Somehow I heard this sprightly song and it was one of the first pop songs I remember liking. Growing up in the very white suburb of Broomfield, CO back then I wouldn’t have noticed that this album by a black artist featured four very white couples on the beach but in 1963 I guess you sold more records by hiding black faces. Possessing a very warm voice to wrap around songs like “Rambling Rose”, “Mona Lisa” and “L-O-V-E”, Nat was a fine jazz pianist first before slipping some vocals in to his repertoire. Nathanial Coles was born March 17, 1919 in Alabama. His family moved to Chicago where he dropped the ‘s’ and took on ‘King’ (like old King Cole). He was a heavy smoker so lung cancer felled him Feb. 15, 1965. His daughter Natalie briefly returned him to the top of the charts with a remixed newly created duet of Nat’s 1951 hit “Unforgettable”.
39.Andy Williams
If we are going easy listening then let’s go all the way with Howard Andrew Williams who lived a long fruitful life from Dec. 3, 1927 till Sept. 25, 2012. He started performing with his siblings as The Williams Brothers in 1938 on the radio in his native Iowa. As a solo artist his first hit record was in 1956 on Cadence with “Canadian Sunset”. He had a string of hits there till moving to Columbia where most of his success was – “Charade”, “Can’t Get Used To Losing You”, “Hopeless”, etc. during his TV show run (1962-71). His 1973 single “Solitaire” impressed me enough that I bought it (two year’s before The Carpenters would made this Neil Sedaka/Phil Cody song a big U.S. hit). His 1963 Christmas record “It’s the Most Wonderful Time of the Year” (written by Edward Pola and George Wyle) has become a yearly holiday favorite.
40.Jeremy Spencer (Fleetwood Mac)
Of all the many singers that have been in the multiple bands using the name Fleetwood Mac, my fave was slide-man Jeremy Spencer. He could do a voice like an old blues man (Elmore James comes to mind) or an early rocker like Buddy Holly. He did proto-punk with his song “Somebody’s Gonna Get Their Head Kicked in Tonite” which the Mac released as by Earl Vince and the Valiants in 1969 (as the b-side to their Immediate single “Man Of The World”). He was born in County Durham on July 4, 1948 and was a founding member in 1967 of the true Fleetwood Mac along with Peter Green which was a great blues-rock band at the beginning. In 1970 he recorded a nifty solo album on Reprise (U.K.) with an emphasis on old rock and roll. He abruptly left the Mac in 1971 to join a religious cult then resurfaced in the 2000’s with some decent records but nothing as good as his early music. He is the far right picture in the intro.
41.Bill Hurley (The Inmates)
Lordy, I nearly forgot about this dude who should have been on my part one list – sorry Bill! The Inmates were a classic rockin’ British blues band that got lumped in with the new wave post disco bands. They hit #51 back in early 1980 with a cover of the old Standells record “Dirty Water”. Their first two Polydor albums are essential if you like hot old school blues rock (First Offence and Shot In The Dark). There are a few other import Inmates albums worth checking out and a couple of decent solo albums as well. He has been silent however for some time I fear.
42.Kim Wilson (The Fabulous Thunderbirds)
My July 2022 blog post about harmonica players listed Kim Wilson as one of my faves so let’s also slide him in a year later as a fave singer. He has that classic blues-rock voice singing with The Fabulous Thunderbirds (“Tuff Enuff”, “Powerful Stuff”). He was born Jan 6, 1951 in Detroit then grew up in Goleta, CA. The Fabulous Thunderbirds formed in Austin back in 1974 around Wilson and guitarist Jimmie Vaughan. Wilson appears to still be leading a version of the T-birds with all new players. He has also released something like eight solo albums.
43.Martin Fry (ABC)
Lancashire born, Stockport raised Fry hit the world March 9, 1958 and is best known as lead singer with the British band ABC. Their 1982 debut album The Lexicon Of Love is an essential purchase for fans of Brit-pop of that era. “The Look Of Love”, “All of My Heart”, “When Smokey Sings” are all great. Fry is the only remaining member of ABC and in 2016 he put out the album The Lexicon of Love II which included the nice single “Viva Love”.
44.Brook Benton
His relaxed vocal style reminds one of Nat King Cole with a bit more quaver and depth to his voice. On many songs he drops down into a deep register which makes a fun counterpoint. Lazily rockin’ over a bed of strings with easy self-assurance describes many of his classic Mercury hits like “Kiddio” plus his duet with Dinah Washington – “Baby, You’ve Got What It Takes”. Benjamin Franklin Peay came to be in South Carolina Sept. 19, 1931 and started out singing gospel as so many of the early black artists did. At first he had more success co-writing including “Looking Back” for Nat King Cole and “A Lover’s Question” for Clyde McPhatter. He charted 49 songs on the Hot 100 with his last major hit being a cover of the Tony Joe White song “Rainy Night In Georgia” (#4 in 1970 on Cotillion). He passed away April 9, 1988. Benton is the far left picture in the intro.
45.Peter Gabriel (Genesis)
It was tempting to put John Mitchell (Lonely Robot, It Bites), Fish (Marillion) or Phil Collins (Genesis) here but then on reflection it was obvious that they all sound like copies of the original Genesis lead singer – Peter Gabriel. What caused some hesitation was I don’t like many of Gabriels solo songs since he like all the ex-Genesis members seems to have totally moved away from prog-rock (other than Steve Hackett – bless you!). Give me a mellotron and a twisting lead guitar part over a crazy time signature – but I digress. Just as Gabriel became a better performer while Genesis went on, so too did he grow in to his sort of hoarse but smooth tenor (though it was even there on their 1969 debut – From Genesis To Revelation. Collins sounded like a pleasantly pinched version while Mitchell and Fish nearly carbon copies of Selling England By The Pound or Foxtrot era Gabriel. From Surrey (born Feb. 13, 1950), Gabriel was luckily from a more upper crust family than most rock stars as it was at one of the more expensive boarding schools (Charterhouse) he met the other musicians who would form Genesis. After leaving Genesis in 1975, his unconventional world music course has not led to many hits (“Shock The Monkey”, “Sledgehammer”) but he has at least been interesting (his first 4 albums were all titled simply Peter Gabriel for instance).
46.Burton Cummings (The Guess Who)
After the Chad Allan sung “Shakin’ All Over”, all the hits of The Guess Who were vocalized by the lovely tenor of Burton Cummings – so do not accept any modern version of the band without him! He was born in Winnipeg, Manitoba on New Year’s Eve 1947. In 1966 he joined Chad Allan & The Expressions as a replacement keyboardist and eventually became singer Allan’s replacement as well as they became The Guess Who (due to a record label’s confusing stunt). He and guitarist Randy Bachman complimented each other well as songwriters churning out classics like “These Eyes”, “Laughing”, “No Sugar Tonight” and “American Woman”. When Bachman left after that last single Burton with The Guess Who continued to have hits with “Share The Land”, “Clap For The Wolfman”, etc. before leaving for a solo career (“Stand Tall”, “You Saved My Soul”). Cummings has concentrated more on his native Canada of late when it comes to touring.
47.Nick Lowe (Brinsley Schwarz, Rockpile, Little Village)
Here was another tough call as I simply don’t like Lowe’s music after he got the big payout from his song “(What’s So Funny ‘Bout) Peace, Love, and Understanding” being covered on the mega-hit The Bodyguard soundtrack by Curtis Stigers. For some reason in the mid-90s he stopped rocking which is a pity. That being said, on reflection I actually prefer his voice to that of his Rockpile bandmate Dave Edmunds’ more pinched vocal (though I have to say that Dave is my all-time fave solo artist). Nicholas Drain Lowe hit the world on March 24, 1949 in Surrey, England. Edmunds produced the last album for his band Brinsley Schwarz and when they broke up in 1975, Lowe became the bassist and songwriter for Rockpile. All but the last Rockpile album came out as either Lowe or Edmunds solo records as they were each signed to different labels. Here in the U.S. you only know Nick from “Cruel To Be Kind” and “I Knew The Bride (When She Used To Rock & Roll)” unless you like me were a big fan of British ’70s guitar pop. My all-time Lowe is “Half A Boy & Half A Man” recorded with Nick Lowe & His Cowboy Outfit back in 1984. Thankfully in the last few years he has started rocking again on record and while touring with Los Straitjackets.
48.Huey Lewis (Clover, Huey Lewis & The News)
Back in 1979 Huey played harmonica on a couple of songs for Rockpile. It wasn’t till 1982 however that mainstream rock audiences here in the U.S. got to know Huey Lewis and his band The News on their second album Picture This which included the single “Do You Believe In Love?”. From there it was “Power Of Love”, “Hip To Be Square”, “Heart & Soul”, on and on. Hugh Cregg III was born in N.Y. the day after the 4th of July in 1950, but grew up in Marin County (Calif.). As Hughie or Huey Louis he played harp and sang in the ’70s bay band Clover (a much more hirsute Huey can be seen on youtube doing “Chicken Funk” back in 1975 – he and Sean Hopper engage in some crazy dancing too in that video). Huey grew in to a classically powerful gravelly rock and roll voice. Hearing loss seems to have put an end to his singing.
49.Bryan Adams
Mr. Adams has that same grit to his voice that so many classic rock singers have. From Kingston, Ontario (Nov. 5, 1959) Bryan is the second Canadian on this list. “Heaven”, “Run To You”, “(Everything I Do) I Do It for You” were all big hits for Adams. He endears himself to me by citing Humble Pie, CCR and Deep Purple as faves (mine as well). With Jim Vallance he wrote classics including “Straight From The Heart”, “It’s Only Love” and “Heat Of The Night”. He has continued releasing fine new music including last year’s
So Happy It Hurts.
50.Glen Campbell
Your steely Dentist found himself choking with emotion while watching this bittersweet video from the fantastic 2008 album Meet Glen Campbell which for me is the best record he ever did. It also includes the definitive version of John Lennon’s “Grow Old With Me”. Of course you know his sweet tenor from “Rhinestone Cowboy”, “Wichita Lineman”, “Try A Little Kindness” etc. however not enough know this wonderful album. The video is bittersweet when we look back and realize that three years later he was diagnosed with Alzheimer’s which would take his memory and personality (though his ability to perform lasted longer – that shows the power of music, folks!). Glen Travis Campbell was born in Arkansas on April 22, 1936. He played guitar for years before moving to L.A. in 1960 and becoming a session musician (part of ‘The Wrecking Crew’). At the same time he was recording under his own name till finally hitting it big with “By The Time I Get To Phoenix” in 1967 (that same year he did the uncredited vocal on one of my faves – “My World Fell Down” by Sagittarius). “Sunflower”, “Southern Nights”, “True Grit” – he had a long and successful career helped by his TV exposure (especially The Glen Campbell Goodtime Hour which ran from 1969 till 1972). He passed away August 8, 2017.
Well we did my favorite female singers (see post September 2021) so it seems logical to remove one of the X chromosomes and add a Y. There are so many outstanding singers that it gets tough to whittle it down to only 25 (or 26 as #1 is definitely cheating – sorry). With different styles it also becomes tough as you end up comparing apples to oranges – ballad singers versus belters. Some may wish that this list would simply be rock/soul shouters and another list be balladeers, but I choose to lump them together to make the decisions tougher. That is what makes these sorts of lists fun at any rate (and may end up later calling for a part 2). Don’t look for Sam the Sham, but he would be on my list of best singers who wore a turban. Oh, and one caveat, these are not meant to be the ‘best’ singers; just my favorites. If we were looking at easy listening, Nat King Cole and Frank Sinatra would of course be here, but that isn’t in the scope of this list.
1.John Lennon/Paul McCartney (The Beatles)
Cheating right off the bat, but it becomes sort of like choosing your favorite M&M to pick betwixt these two and really a lot of what made The Beatles great was their vocal interplay. Both could equally sing ballads (“Yesterday”, “In My Life”) and screamers (“Long Tall Sally”, “Twist & Shout”). That is what really distinguishes them from so many other pop bands who tried to copy their sound. Very few bands could excel at rockers like “Revolution” and “Helter Skelter” then sing pop like “Please Please Me” and “Another Girl”. As solo artists they never reached the same vocal heights for me as they did in tandem. McCartney – June 18, 1942 (Liverpool) – present. Lennon – Oct. 9, 1940 (Liverpool) to Dec. 8, 1980 (New York).
2.Mike Smith (The Dave Clark Five)
The Dave Clark Five were the very first rock and roll combo that grabbed the ears of your Dentist as a teenager in 1965. They rocked much harder than The Beatles at that time with their raunchy sax, pounding drums and booming bass. What cemented it were the screaming vocals of Mike Smith on tracks like “I Like It Like That”, “Having A Wild Weekend” and “Reelin’ & Rockin'”. He could sing ballads like “Because” and “Come Home”, but this kid wanted to rock and that was mainly what the DC5 did. In 2003, he appeared at the KOOL Concert in Colorado’s Fiddler’s Green (Greenwood Village) and put on a rockin’ show. Thanks to good friend (and great DJ) Randy Jay, I was able to meet Mr. Smith backstage and was surprised at what a humble and quiet man he was compared to the shouter he was on stage. Sadly, not long after that summer show, Smith had an accident and was paralyzed which led to his death Feb. 28th just 11 days short of his band’s induction in to the R&R Hall Of Fame in 2008 (he was born in the U.K. Dec. 6, 1943). He is pictured in the 2nd picture in the intro.
3.Mark Lindsay (Paul Revere & The Raiders)
Well if The Dave Clark Five were the first band that grabbed your blogger as a kid, the second one was Paul Revere & The Raiders. They were the whole package – visuals (costumes and choreography), songs (“Just Like Me”, “Hungry”) and they rocked like mad. Their singer was Mark Lindsay who went from being a shy, nearly blind sax player, to a cocky pony-tailed shouter. He also wrote many of the songs. “Mad Man Markus” recorded several hit singles on his own like “Arizona” and “Silver Bird”, but make mine the rockers from The Raiders. Born March 9, 1942 in Eugene, Oregon, Lindsay should be in the R&R Hall of Fame along with his Raiders – but he isn’t nor are they. He is pictured in the 1st picture in the intro.
4.John Fogerty (Creedence Clearwater Revival)
In the late ’60s, it felt like John Fogerty and his band were single-handedly trying to bring America back from a psychedelic brink to 3-chord rock and roll. Thanks John – I bet you would be a fun guy to talk music with! A song like “Travelin’ Band” showed he was a rock and roll screamer with the best of them. Born in El Cerrito, CA May 28, 1945 he was a glasses-wearing white kid, but he sounded for all the world like a southern soul man. “Susie Q”, “Keep On Chooglin'”, “Green River”, etc. – all great CCR songs. As a solo artist he nailed it also with songs like “The Old Man Is Down The Road” and “Rockin’ All Over The World”.
5.Pete Ham (Badfinger)
Ham wasn’t a shouter, but there was something about his warm voice that continues to hit me to my core today. The songs he wrote like “Baby Blue”, “Just A Chance”, “No Matter What” and especially “Day After Day” are among some of my all-time favorites. When someone dies too early you have to wonder what music we were robbed of that they would have created. The Badfinger story is a terribly depressing one of financial betrayal that ultimately caused both Ham and Tom Evans to take their own lives. Sadly had they been able to weather the storm, one assumes they would have managed to reap rewards from at least the song they wrote together “Without You” (a #1 for Nilsson in 1972 and #3 for Mariah Carey in 1994). Pete was born in Swansea, Wales April 27, 1947 and passed April 24, 1975.
6.Barry Gibb (The Bee Gees)
If you only know the mega-star disco era Bee Gees, you are missing out on some of the best music the brothers did. Oldest brother Barry was born on the Isle Of Man Sept. 1, 1946. With his younger brothers Maurice and Robin, he was performing at a very young age. From 1958 till 1967 the Gibb family were living in Australia where the brothers honed their wonderful three-part harmonies. The single “Words” (1968 – #15 U.S.) was a solo vocal spot for Barry. Your Dentist was a rock and roll fool, but in college developed a soft spot for this sort of music including great songs like “To Love Somebody”, “Lonely Days” and “Run To Me”.
7.Elvis Presley
As a lad, this baby boomer saw Elvis as being old news that didn’t fit with The Stones and Hendrix. I still remember the event that changed it all. Drummer pal Mr. D and I went to a club to see Alan who was an Elvis imitator. As the night wore on I was frantically writing down the names of songs that I had never heard before and needed to own pronto. Probably the one that grabbed the young GK first was “I Got Stung”. Songs like “Too Much” and “Paralyzed” – rock and roll at its primitive best. You see, the Elvis us kids heard on the radio during the mid to later ’60s was a pale imitation of the real gone Elvis who rocked up a storm. Forget “Do The Clam” and “Spinout”, the good stuff was “Money Honey” and “Good Rockin’ Tonight”. Okay, he slipped in a few goodies later like “Promised Land” and “T-R-O-U-B-L-E”, but it is the Elvis from 1954 to 1962 or so that puts him here. The Kin
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What is a Record Label?
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Record labels sign artists to their rosters and license and promote sound recordings for public consumption. Learn more, with Exploration.
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Exploration
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https://exploration.io/what-is-a-record-label/
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Why We Wrote This Guide
Record labels have been around nearly as long as recorded sound. For years, being signed to a label was thought to be synonymous with “making it” in the music industry. While the internet and digital technology have made it easier for artists to succeed without record labels, they still play major roles in the industry. However, many individuals lack a basic understanding of record labels’ responsibilities, structure, or history. We wrote this guide to explain just what a record label is and does.
Who This Guide Is For
Artists who want to learn more about record labels and what they are designed to do for them.
Individuals hoping to work in the music business that are curious about the departments and structures of record labels.
Music lovers who want to know more about the past and present of record labels in order to better understand just how music comes to the public.
Songwriters, artists, or bands that want to learn more about how record labels work in order to better self-release using similar tactics.
Contents
Definition
History
The Big Three
Types of Labels
Structure of a Major Label
Record Labels & Artists
Getting Noticed - How to Find Your Record Label
What is a Record Label?
Record labels are companies, large or small, that manufacture, distribute, and promote the recordings of affiliated musicians. Essentially, record labels work to sell the brand of the artist and the products they create. There are various different departments within record labels that work together to best sell their products and artists.
History
Record labels began emerging in the late 1800s when phonographs and phonorecords began to commercialize as technology allowed mass production. By the end of the century, three record companies had established themselves as the leaders of the industry: the Thomas A. Edison Company, Victor Talking Machine Company, and Columbia Phonograph Company.
In the late 1910s, the original patents on audio recording technologies expired and entered the public domain. The access to these innovations led to the emergence of independent labels throughout the twenties. Simultaneously, the invention of radio was becoming popular and taking consumers away from the recorded music industry. Lastly, the Great Depression was preventing consumers from purchasing many luxuries at all. The combined result was a decline of the record industry in the late twenties and early thirties. The industry also consolidated in the late twenties as Victor and CBS both acquired labels. Edison, the company that led the audio industry in the beginning, shut down their phonograph and audio division in 1929. Consolidation continued throughout the thirties and left the American Gramophone Company, Decca, and RCA Victor as the top record labels of the decade.
The 1940s saw a large number of new independent record labels established. There also began a trend of film studios extending their operations to include a audio divisions. MGM created MGM Records in 1946. Paramount Pictures and Warner Bros. followed next by creating ABC Records and Warner Records. Eventually, 20th Century Fox followed by forming 20th Century Records.
Consolidation occurred again on a larger scale throughout the sixties. At this point, CBS had acquired Columbia Records and American Record Corporation (ARC) along with their stock of subsidiaries.
Warner Brothers bought Reprise and then Seven Arts. As Warner-Seven Arts, they bought Atlantic and Elektra Records before being purchased and folded into the Kinney Corporations umbrella in 1969. In 1967, MCA put subsidiaries Brunswick and Coral under the MCA label. They also bought Decca (US).
By the end of the sixties, CBS was the top record label followed by Warner Brothers. RCA Victor, Capitol-EMI, Polygram, and MCA also remained on the leaderboard of the recording industry.
Warner was incredibly active in the 1970s, establishing Casablanca and acquiring Sire and Asylum records. WEA was also created under Warner Communications through the merger of Elektra and Atlantic in 1973. Polygram (formed in 1972 in the merger of Phonogram and Polydor) bought half of Casablanca from Warner. They went on to purchase RSO Records in 1976. By the end of the decade, they owned many labels including Polydor, Mercury, Smash, MGM, and Verve.
EMI Records, formed by EMI in 1972, partnered with Capitol Records in the late seventies to create EMI-America. EMI purchased Liberty Records in 1979, putting them under the United Artists brand name. EMI was then bought by Thorn, becoming Thorn-EMI.
ABC-Dunhill and its newly acquired subsidiaries were bought by MCA in the seventies. Curb Records was established by MGM veteran Mike Curb, and Sugar Hill Records was formed as the first rap exclusive label in 1974. Other labels were also founded throughout the decade.
By the end of the 1970s the top major labels were CBS (owner of Colgems), EMI, Warner, PolyGram (owner of Polydor, Mercury, Smash, MGM, and Verve) and MCA.
The major acquisitions of the 1980s were General Electric’s purchase of RCA Victor (sold to BMG only a year later), Sony’s purchase of Columbia, CBS’ purchase of Monument, and MCA’s purchase of Motown. Time, Inc. and Warner Brothers merged during the eighties to form Time Warner, Inc. Labels founded in the 1980s included, IRS Records, Boardwalk, Def Jam, SubPop, and Matador. By the end of the decade, the top labels were Sony, Warner, Polygram, MG, EMI, and MCA.
In 1990, MCA was bought by Matsushita. The following year, CBS Records became Sony Music, establishing one of the label groups that remains a leader of the industry today. That was the same year that Warner-Elektra-Atlantic (WEA) changed their name to Warner Music Group. Another major record label today, Universal Music Group, formed in 1996 after Seagrams bought MCA. During the purchase, an MCA subsidiary label called Rising Tide changed their name to Universal Records. Universal went on to buy Interscope and Polygram, solidifying their top position in the industry. Universal also merged Island Records with Def Jam and Mercury and merged A&M and MCA. Other acquisitions occurred as Elektra bought a percentage of SubPop in 1994 and MCA bought Geffen Records in order to allow the head of the label to create a new company, DreamWorks. Rhino Records purchased the catalog of defunct rap label Sugar Hill Records in 1995. The following year, Thorn EMI separated and became EMI Group and the Thorn Company, respectively.
In 2000, Canal+ and Seagrams came together and, as a result, made Vivendi Universal the largest music company. The next year, AOL merged with Time-Warner. After initial resistance due to infringement problems with companies like Napster, record labels began to move towards accepting and promoting the internet in marketing and distribution. Vivendi Universal purchased MP3.com, BMG and Warner launched MusicNet, Sony and Universal created Pressplay, and BMG tried (and failed) to purchase Napster.
In the early 2000s, many major record labels went to court with representation from the RIAA in order to combat the upcoming trend of illegal file-sharing. In the later half of the decade, Sony and Warner ended up in court for their own illegal activity. The two labels admitted to payola, the illegal bribing of radio personalities and companies in order to get more airtime. Both Sony and Warner paid hefty settlements.
In April 2003, Apple launched the iTunes Music Store and entirely changed the face of music consumption. By providing legal, fast downloads of MP3s for only $0.99, the store became the number one American music retailer by 2008— even surpassing Walmart. In 2004, Sony Music Entertainment merged with BMG to form Sony BMG. By doing so, the list of major labels was narrowed down to only four: Sony BMG, Universal, EMI, and Warner. Four years later, Sony purchased BMG’s share of the joint venture and returned to the name Sony Music Entertainment.
In late 2012, the sale of EMI to Universal Music Group was approved. With this acquisition, the top three record labels were solidified as they remain today: Universal Music Group, Sony Music Entertainment, and Warner Music Group.
The Big Three
There are three main types of record labels: major labels, major label subsidiaries, and independent labels (see our Major vs. Indie guide, here). Today, the record companies considered to be major labels are referred to as the “big three.” In 2016, the big three possessed nearly 70% of the world market share of recorded music: Universal Music Group (28.9%), Sony Music Entertainment (22.4%), and Warner Music Group (28.9%).
Warner Music Group has three main record labels: Atlantic, Warner Bros., and Parlophone. Under each of the main groups, there are several smaller labels. Alongside that, Warner Bros. has international labels, distribution alliances, and multiple smaller record label groups.
Universal Music Group’s main record labels are Interscope Geffen A&M Records, Capitol Music Group, Republic Records, Island Records, Def Jam Records, Caroline Records, The Verve Label Group, and various smaller groups and international labels. Again, each of the main label groups have authority over a multitude of labels.
Columbia Records, Epic Records, RCA Records, Sony Music Nashville, Provident Label Group, and several other smaller and international labels make up Sony Music Entertainment’s current roster.
Types of Labels
The largest type of label is a major label. As stated previously, the three major labels are Sony, Universal, and Warner.
Labels such as RCA Records (Sony), Capitol Music Group (UMG), and Atlantic Records (WMG) are all major labels. The labels directly under their leadership, still within their parent label’s jurisdiction, are the major label subsidiaries that are in the middle ground between major and independent labels. These can be referred to as “sub-labels” or “affiliated labels”.
The true definition of an independent label is fairly complex. Some labels affiliated with major companies are still considered independent. Often, independent labels use distribution services provided by major labels. The real difference between a sub-label from a non-affiliated independent label is if the label shares their services with a major label under an umbrella of sorts.
Structure of a Major Label
Major record labels are led by a board of directors and executives like the president and vice president of the company. The board of directors oversees everything and has the final say on major decisions.
The Label Liaison is either one person or a small group of people. The liaison acts as the spokesperson in communications between the label they work for and the parent label or distributor.
The Artist and Repertoire (A&R) department of a record label is the portion of a record company that is responsible for finding new talent and convincing them to sign with their label. They seek out talent by going to live shows, keeping up with industry developments and breakout artists, listening to demos, and networking.
When A&R representatives find talent deemed worthy of a record deal, they lead negotiations between the label and the prospective artist. They continue involvement with the artist throughout their career by supporting the recording and promotion processes. The A&R department is the most heavily involved in the creative aspect of artist development.
The marketing department of a record label is responsible for leading press and promotion campaigns for artists, releases, tours, and anything else being sold. The goal of a good marketing team is to identify key demographics and market to them in order to maximize sales and public knowledge of the product. The marketing department typically works in direct association with the publicity, sales, and promotions departments as they carry out the massive plans designed by the marketing department.
The “creative services department” creates the aesthetic of the graphics involved in sales, publicity, and other facets of the industry. They design tour sets, advertisement graphic design, product packaging, merchandise design, and other visuals.
The production department of a record label focuses on focuses on the manufacturing, packaging, and release of records on a strict timeline. They work closely with marketing and A&R in order to ensure everyone is on the same timeline of pre-release promotions. The production department also keeps track of the stock and production data in order to maintain sales records.
The sales and distribution department works as the middleman between retailers and the production department. They work to take orders and make sure the production team has the correct number of products available at the correct time in order to avoid losing money, making too many records or running out of records to sell. Regardless of whether a label is working with an independent manufacturer or in-house manufacturing, the sales and distribution team is always communicating with manufacturers through the production department. If any of this communication is lost, a release can quickly fail due to a lack or surplus of supply.
The new media department handles new streaming platforms, technologies, and opportunities to spread their product in new, creative outlets. As trends evolve and new media emerge, successful trials by the new media department become parts of other departments.
The international department typically only works with artists that have grown successful in multiple countries or territories. They work on handling the manufacturing, copyrighting, and distribution of records in non-domestic markets. Typically, international departments make licensing deals with foreign record companies in order to have them manufacture and distribute in their native territory. The international department also works on organizing publicity and promotion as well as tours when artists go abroad.
Whereas the vast majority of a record label is focused on how to sell the products handed to them (the artist or their recordings or tours), the artist development department is focused on progressing the artist in order to improve the product itself. This can involve working with artists on improving branding, social media presence, performances, or recordings. They push the creative side of the artist with the goal of increasing sales. As the music industry becomes faster moving, this department is being taken out of many labels.
The goal of the publicity department in any industry is to increase the public’s knowledge of a product, event, person, or other thing being marketed. In the realm of record labels, the publicity department is responsible for finding, managing, and scheduling opportunities for press or media placement. Alongside this, publicists work to find opportunities for artists to get publicity on terrestrial radio or on streaming platforms.
In the promotions department, radio airplay and streaming placements are the goals. They work on creating and distributing recordings for analog radio, internet radio, satellite radio, streaming radio, and music videos. In today’s day and age, publicity on streaming platforms can be very helpful because of curated playlists that get hundreds of thousands of listens each week.
Independent labels function similarly to major labels, though they often outsource some responsibilities due to their smaller staff sizes. Public relations, for instance, is often outsourced by independent labels.
Record Labels & Artists
There are a variety of different recording contracts (“deals”) that record labels offer artists. The important thing to understand is that labels sign artists in order to promote them so that they will make money, which will go back to the record label.
When artists sign to a record label, they agree that the record label will take a portion of the royalties the recording generates. In exchange, artists can be provided with a vast network of professional connections, specialized marketing campaigns, and a plethora of other services (not to mention an advance and royalties after recoupment).
Contracts between labels and artists often include the type of deal being made, any limitations, the term or duration of the deal, the amount of money exchanging hands and when it will be paid back, and any obligations that the artist must meet before the deal ends. See our guide to music industry contracts here.
There is no cut and dry method to deciding when an artist should sign with a label (or if they ever should). In the simplest terms, a record deal is an artist giving up rights to their sound recordings and some of their future profit in order to gain professional services to advance their career. However, the goal of the record label is to increase the profitability of an artist regardless of how much they are taking out.
Getting Noticed - How to Find Your Record Label
For record labels around the country and across the world, finding the right artist to connect with is instrumental for future success. The A&R teams of many record labels receive an abundance of new music on a daily basis and are left to choose from a plethora of talent in the process. Thus, searching for the perfect compatibility is crucial - for both parties involved. In order to find and connect with a record label, one must do several things to stand out and grab their attention. With that being said, remember there is no set way to being signed, discovered, or get a record deal.
For starters, you must know your label. Big labels get hundreds of demos daily, so understanding the type of artist they work with is integral in building a relationship and finding specific labels that are compatible with your music.
Next, creating an appealing and recognizable brand for yourself is crucial. Your brand should include a website, artwork, a solid social media presence, cool photos, and more. Promoting yourself is key to any successful venture so active and updated profiles and contact information is essential..
Although signing with a label is a huge step away from being an independent artist, maintaining that sense of self-sufficiency goes a long way in ensuring your progress. Don’t stop doing what you do best as you pursue a record deal. . abels are increasingly looking for independent artists that can create a buzz and gain dedicated fans using unique branding and marketing.
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https://en.wikipedia.org/wiki/Sony_Music
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https://help.songtrust.com/knowledge/what-is-a-record-label
https://www.hypebot.com/hypebot/2020/09/what-exactly-is-a-record-label.html
https://support.songtradr.com/hc/en-us/articles/115005441688-What-is-a-Record-Label-
Composed by:
Mamie Davis, Jacob Wunderlich, Luke Evans, Rene Merideth, & Aaron Davis
Want to use this guide for something other than personal reading? Good news: you can, as long as your use isn’t commercial and you give Exploration credit.
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Elizabeth Grattan on LinkedIn: Joni Mitchell Delivers an All
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Mariah Carey getting Miley Cyrus starstruck.
Luke Combs giving Tracy Chapman her flowers.
Fantasia performing Proud Mary on stage again to pay tribute to the…
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Standing on the Grammy stage, becoming the first person to win Album of the Year four times, Taylor Swift used her speech as a love letter to unheroic work saying, “I would love to tell you that this is the best moment of my life, but I feel this happy when I finish a song, or when I crack the code to a bridge that I love, or when I’m shot listing a music video, or when I’m rehearsing with my dancers, or my band or getting ready to go to Tokyo to play a show. For me the award is the work. All I want to do is keep being able to do this.” The award is the work. What a testament to everything it takes to succeed. Eye on the everyday, not as a grind, but in joyful embrace of doing. This is the stuff I talk about as the unheroic work. Don’t get hijacked by the hype of the killer campaign or distraction of a shiny new object. Stay in the unheroic work of figuring out your ‘song’ and getting the moves right with your team. That’s the stuff that mints value stored in your brand. If you need convincing, consider Taylor Swift’s concerts will generate her over 1 billion towards she can use for more albums, something new or causes she cares about. And all those things grow through use and add more to the brand. That’s how you put the value stored in your brand to work.
New Post: 9 Artists Could Own the 2024 Grammys Narrative: Here’s What It Would Mean If Each of Them Did - https://lnkd.in/gGNCzzTF - When it comes to the hardware being handed out on Grammy night, all eyes are trained upon the Big Four — the quartet of general categories (album of the year, record of the year, song of the year and best new artist) that not only represent the most coveted trophies of the yearly ceremony, but also help clarify which artist defined that ceremony. Sometimes, like at the 2023 Grammy Awards, four different artists will win the four different prizes; other times, like when Billie Eilish swept the Big Four in 2020 or when Bruno Mars took home three of the top trophies in 2018, it’s clear which artist has owned the evening. So who will define the 2024 Grammys? While there’s a chance that 2024 plays out like 2023 and the Big Four gets divvied up across different stars, nine artists will enter the 66th annual Grammy Awards on Sunday night (Feb. 4) with the opportunity to win multiple Big Four prizes, and effectively command the narrative of music’s biggest night. Those artists range from stadium-shaking superstars and awards-circuit mainstays to outsiders trying to crash the party and veterans attempting to secure the first Grammys of their respective careers. The biggest awards of the night are at stake, and so are the Grammy legacies of everyone involved. Will the front-runners prevail, or could we have a shocking upset? And in either case, what would that mean for the general reception of the artist who comes out most on top? Ahead of the 2024 Grammys, here are the nine artists who have the chance to dominate the narrative of the awards ceremony (in alphabetical order), what they would need to win in order to do so, and what those wins would mean on a grander scale. - ----------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR
New Post: Noah Kahan’s ‘Stick Season’ Set For Seventh Week Atop U.K. Chart - https://lnkd.in/dsiMR3nY - Noah Kahan’s “Stick Season” (via Republic Records) is sticking around in the U.K., where it’s predicted to notch a seventh consecutive week at No. 1. Based on midweek sales and streaming data published by the Official Charts Company, “Stick Season” is the clear favorite, accumulating double the tally of its nearest competitor. That distant rival is Teddy Swims’ “Lose Control” (Atlantic) which is primed for a new peak position, lifting 3-2 on the Official Chart Update. There’s a chance Kahan could snag his first chart double. His Stick Season LP rises to No. 2 on the midweek albums tally — an all-time high — with Declan McKenna and his third album What Happened To The Beach? (via Columbia) the only objects currently blocking his path. Meanwhile, Sophie Ellis-Bextor’s 2001 hit “Murder on the Dancefloor” (Polydor) continues to feel the Saltburn bump, dipping 2-3 on the singles chart blast. Meanwhile, Benson Boone’s “Beautiful Things” (Warner Records) is poised to do something it has never done before; it’s set to gain 8-4 for a new peak position. The 21-year-old Washington native currently leads the Billboard Global 200 chart with his rock ballad. Ella Henderson and Rudimental’s “Alibi” (Atlantic) scaled a new peak last Friday, rising 24-16 in its fourth week. The only way is apparently up for “Alibi,” which is poised for a No. 12 spot on the national chart. “Alibi” samples the late Coolio’s hit “Gangsta’s Paradise” (which in turn sampled Stevie Wonder 1976 single “Pastime Paradise”), a 1995 hit which logged two weeks at No. 1 and finished the year as the U.K.’s second biggest-selling single. Finally, Norwegian producer Kygo and U.S. singer Ava Max are expected to crack the U.K. top 20 for the first time with “Whatever” (Columbia/Kygo), improving 28-19 on the chart blast. The EDM tune samples “Whenever, Wherever,” the lead single from Shakira’s debut English-language studio album, Laundry Service, from 2001. All will be revealed when the Official U.K. Singles Chart is published late Friday, Feb. 16. - #news #business #world -------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR -------------------------------------------------- or download at SourceForge - https://lnkd.in/gNqB7dnp
New Post: Pearl Jam Unleashes ‘Dark Matter,’ Sets New Album - https://lnkd.in/dyxWGuZe - Pearl Jam is back, and they’ve returned to heavy. After throwing a listening party last month for a new album that frontman Eddie Vedder described as their “best” work, fans everywhere can now test that theory. The Rock Hall-inducted Seattle legends unleash “Dark Matter,” a muscular romp of power chords, in-your-face bass, drum fills and a late solo could cut a can in half. “Dark Matter” leads the way for the album of the same name, due out April 19. That twelfth studio album is the followup to 2020’s Gigaton, which peaked at No.15 on the Billboard 200 and was described by some devotees as their most experimental album yet. Based on the three-and-a-half minutes of “Dark Matter,” this next phase will rock. Stream it below. - #news #business #world -------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR -------------------------------------------------- or download at SourceForge - https://lnkd.in/gNqB7dnp
New Post: From ‘Ritmo’ to ‘Despacito’: The 21 Greatest Summer Songs of the Last Decade - https://lnkd.in/dpaGDanC - The summer season not only brings longer and hotter days, but also an incredible selection of music with perfect songs to accompany all the fun activities of the most relaxed time of the year. There are many songs that gain momentum each summer, but only a few reach the top of Billboard’s Hot Latin Songs chart, becoming the most popular tunes of the season. Undoubtedly, the last 10 years have produced tracks worthy of inclusion in the playlists of 2024: urban-flavored tracks like “Bailando” by Enrique Iglesias featuring Descemer Bueno and Gente de Zona, which took over the summer of 2014, and “El perdón” by Nicky Jam and Enrique Iglesias which conquered the top of the chart for 30 weeks in 2015. And let’s not forget the global phenomenon that was “Despacito” by Luis Fonsi and Daddy Yankee, whose impact transcended beyond 2017 and to date continues to be heard around the world. Nor can we fail to mention the Mexican music hit “Ella Baila Sola” by Eslabon Armado and Peso Pluma, which swept the summer of 2023. In addition to the phenomenon of “Gata Only”, which has been at the top of the chart for 14 weeks in 2024 and with which FloyyMenor and Cris MJ made history as the first Chileans to enter the top 10 of the chart in 25 years. Get ready to embark on a nostalgic musical journey through the Latin songs that accompanied your moments under the sun for the past 10 years. From “Ritmo” to “Despacito,” here are all the songs that were crowned No. 1 hits on the Hot Latin Songs chart each year between June and August, in chronological order. - #news #business #world -------------------------------------------------- Download: #Google #Font #Tester - https://lnkd.in/gKAZYbVN
Did Vice President Kamala Harris just make a political statement through her vinyl picks? 🎷 Caught some intriguing footage of Harris embracing the rich history and profound messages in jazz music! She was seen exiting a record store with some classic vinyl: Roy Ayers, George Gershwin's Porgy and Bess performed by Black artists Ella Fitzgerald and Louis Armstrong, and the innovative Charlie Mingus. These picks are more than just music—they’re powerful statements on pluralism and equality. 🌍✊ George Gershwin, the Jewish son of Russian immigrants, crafted Porgy and Bess to bridge cultural divides, blending classical and jazz elements to highlight the African-American experience. Roy Ayers, the epitome of cool in mid-70s soft funk, brought a laid-back, groovy vibe that continues to inspire with its smooth, soulful sound. Early 70's funk was a distinctly Afro-American style, blending soul, jazz, and R&B. Charlie Mingus, one of jazz’s greatest innovators, fearlessly challenged racial and social boundaries with his bold compositions and outspoken views on social justice. Mingus himself had a rich heritage with British, Chinese, Swedish, and African roots, which influenced his diverse and dynamic musical style. This footage isn’t just a politician buying records. It’s a clever statement on pluralism and equality, core values of American democracy. If you’re not familiar with these records, I encourage you to explore them and consider the political aspects they hold. Now that we’re aware of these aspects, ask yourself: what is the hidden meaning and message of your own playlist? 🎶 Can you guess other Harris' musical choices and do you think you share the same taste? #JazzHistory #CulturalDiversity #KamalaHarris #RoyAyers #LouisArmstrong #EllaFitzgerald #CharlieMingus #MusicForChange #LeadershipThroughArt
Beyond the New York Phil, it’s not a coincidence that the vast majority of these assaulted musicians are pre-tenure or subs. Because the perpetrators ARE PREDATORS, selecting and grooming their victims with pure, cold, calculation. In the orchestra, ranks are closed against outsiders all too often, and predators capitalize. The horrible details of the article—the difficult-to-trace rape drug, the tampon, and the dismissal or departure of the victim and/or their supporters while the rapist was allowed to keep their job—hit with a sickening blow of recognition: They are, in various combination, common among more than one friend, more than one family member, and more than one colleague. Many more. Artists exist at the forefront of change. So how are we so backward on this? Because we allow the organization with its bureaucratic so-called best practices to “handle it.” And handle it they do, with their closed-door executive sessions where optics, messaging, and fallout control reign supreme and justice is regarded as a liability. Every orchestra needs a musician committee of allies who demand to be involved in seeking due process and equity in these matters, because the current system is simply one of damage control, not justice. Demand it now. All of us have the duty to speak truth to power and close ranks against predators, not victims. https://lnkd.in/gweXqqc9
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https://www.forbes.com/sites/hughmcintyre/2024/06/12/the-whos-roger-daltrey-calls-the-rolling-stones-the-one-great-rock-n-roll-band/
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en
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The Who’s Roger Daltrey Calls The Rolling Stones The ‘One Great Rock N’ Roll Band’
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The Who's Roger Daltrey stated in a recent concert that he feels that The Rolling Stones are the "one great rock ‘n’ roll band."
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en
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Forbes
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https://www.forbes.com/sites/hughmcintyre/2024/06/12/the-whos-roger-daltrey-calls-the-rolling-stones-the-one-great-rock-n-roll-band/
|
The Who singer and guitarist Roger Daltrey kicked off his new solo tour earlier this week on Monday (June 10). The rocker played to a huge crowd in Pennsylvania, and in between songs, he took time to answer a few questions from fans who had submitted queries ahead of time.
As he conversed with the audience, Daltrey paid a massive compliment to one of the most beloved groups of all time. It seems that he’s not just a fan, but someone who respects what they do–even seemingly placing them above his own band.
A concert attendee asked Daltrey if he had a favorite rock band, and his answer was simple and unambiguous. “There’s only one great rock ‘n’ roll band, that’s The Rolling Stones,” the musician stated, according to American Songwriter.
Daltrey added to his answer by recalling some of the earliest days of The Who. The band used to open for The Rolling Stones, and that’s apparently when he fell even more in love with the band…and also when he learned just how incredible their frontman was (and still is).
“No one was gonna out-front Mick Jagger,” Daltrey commented about the legendary singer. “They were fantastic in those days, and they still are,” he said confidently, showing that he not only loved the group decades ago, but that he’s still a fan and he remains impressed with what they can do on stage.
Daltrey’s latest trek is scheduled to play dates all across the U.S. throughout the month of June. Currently, the rocker has 11 shows planned, including one in Canada.
The venture sees Daltrey performing a mix of tunes from various moments in his career. He treats fans to several cuts from The Who, which sound a bit different coming from him and him alone. Daltrey also showcases various songs from his solo career, and even includes a cover or two.
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POLYDOR
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Biography of a 1960s pop group
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2019-04-04T12:21:15+00:00
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Independent music magazine, covering alternative, underground, non-commercial and non-mainstream artists in variety of shapes and genres.
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It's Psychedelic Baby Magazine
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https://www.psychedelicbabymag.com/2019/04/the-shake-spears-biography-of-a-1960s-pop-group.html
|
The Shake Spears – Biography of a 1960s pop group
I had started this project several years ago and I hadn’t worked on it for a long time – but now I am happy to publish this post, finally. It is about one of my favourite bands from the 1960s, one that is sometimes considered “obscure”, and there’s very little information about them on the internet. I wanted to change that, and I was lucky to have one of the original band members among my friends. I first got in touch with Alan Escombe in 2009. We have exchanged many emails and messages, and he has become a close friend of mine. Great parts of the following text are based on our email and Facebook conversations that took place between 2009 and 2014, and the rest is based on several different websites with bits and pieces of information on the Shake Spears and their records. The most important sources were memoire60-70.be, a great website managed by Jean Jième, the Shake Spears’ former manager, and rhodiemusic.com.
I want to thank Jean at this point for all the great work he put into that website, and for the photos in this post that are used by his courtesy.
I want to thank Chris Stone, for providing additional information; but most of all for providing the only (!) photo of The Phantoms that has survived to this day.
And of course, last but not least, I want to thank Alan for sharing all those anecdotes and memories of the past, making it tangible for music enthusiasts who, like me, were born too late to experience this exciting period in music history themselves. Rest in Peace.
The Shake Spears
The story of the Shake Spears is one of the most absorbing within the annals of 1960’s rock and roll. Despite enduring numerous line-up changes involving key members throughout their history, the band persevered, successfully bridging different eras – the mid 60’s British Invasion, psychedelia, and late 60’s hard rock. This is an impressive achievement, as trends in music did not last long in this most volatile decade. The Shake Spears also stand among the very few notable bands of the era to originate from the African continent. Their history began with two young bands in the early sixties in Rhodesia, the Dynamics and the Phantoms. The original line-up of the Dynamics (starting ca. 1963 in Northern Rhodesia, today’s Zambia) was:
Chris Kritzinger – Keyboard, guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Calvin “Cal” Coleman – Bass & vocals
Their local success began to expand to larger cities and they even opened their own club, called “The Dynamic’s Club” (“The Club Dynamique”). The club was frequented by figures from show-business, television and theatre. They encouraged the group to try their luck abroad, so they went to Europe in 1964 and appeared in the Belgian TV show “De Goulden Mirco,” sponsored by the newspaper “Het Laatste News.”
They finally settled in Belgium and were signed to Ronnex Records. The label’s founder and owner, Albert van Hoogten, became their new manager. He changed their name into “the Shake Spears,” which is a play on words with William Shakespeare (to hint at sophistication) and their African origin (mixing savage – supposedly African – spears with the Shake, a popular dance to be found in many songs at the time – “do the Shake”), and was intended to sound exotic to attract the Belgian public’s interest, who at the time were keen on groups from foreign countries.
Meanwhile, in the small town Bulawayo in Southern Rhodesia (now Zimbabwe), members of the rock ‘n roll group the Phantoms were making plans for going abroad as well. The Phantoms were founded around 1961 and their members were:
Mike Westcott – Vocals
Chris Stone – Lead guitar
Mike London – Rhythm guitar
Alan Escombe-Wolhuter – Bass
Grahame Ross – Drums
Bassist Alan Escombe remembered the situation at the time, and the conflicts with a conservative parent-generation far away from the beginning revolution of youth-culture:
“I was born in Southern Rhodesia (which became Zimbabwe long after I left). […] All my family – except for me – were heavily involved with the church – Protestants! My older sisters became missionaries and still live in South Africa, but I was the ‘black sheep’ of the family and became aware when I was about thirteen that I had NO belief (atheist). I had already started playing guitar by then but Rock and Roll music […] was considered the devils work in our home. As soon as I left school aged 17, I left home […] and moved to England with the guitarist from our band The Phantoms.”
Playing with the Phantoms had been a great alternative to the dull and religiously bound life teenagers in a small town in Africa had to expect (be good, get a job and settle down), and it certainly provided some comfortable advantages:
“[…] high school dances back then were really something as often it was the first opportunity to get the courage to approach and speak to the girl or boy you had always fancied, if lucky get to dance with them and then of course the last dance was always a slow one (with the mirror ball going) so you finally got to hold each other tight!!! By the time of the high school dances I was already playing in a popular band (The Phantoms) and we played at loads of high school dances so we could watch the young romance happening on the dance floor. Maybe part of the reason us guys started playing in bands was that we never had to try very hard to meet the prettiest girls as teenagers back then (and probably now), always wanted to meet the guys in the band and it was a sort of prestige if a girl was actually going out with a guy in a band. Lucky us!! The girls used to approach us – not the other way around. It also meant we had to be a bit careful as it caused a lot of jealousy for the guys so you never knew who would be waiting to pick on you in the car park after the dances. Once we were professional musicians fortunately we always had really big roadies (they had to be as the equipment could be pretty heavy) so we had our own security in a way.”
To Alan, the times with the group certainly were happy ones, especially because he had the opportunity to attend a concert of his favourite artist of the era, Cliff Richard:
“When we were sixteen (1961), the biggest band that had ever come out to Rhodesia was Cliff Richard and The Shadows. At that time they were really the biggest band anywhere outside America. Most guys (in the world excluding America) who ever started playing guitars had been inspired by The Shadows and in our band (The Phantoms) at that age we were playing everything The Shadows did and had become the top band in Rhodesia as a result of sounding just like them. Anyway, we managed to get front row seats for their show in our town Bulawayo. Anyone would have killed to have been so lucky. […] We had been invited to the after show party because we were ‘famous’ in Bulawayo. (Being famous in Bulawayo is about as impressive as being famous in your own bedroom as it was such a small town”
In the end, despite local success and popularity, Bulawayo just wasn’t enough, and Alan decided to leave and follow the Phantom’s guitarist Chris Stone, who had been heading straight for England – a country where guitars just seemed to grow on trees and everyone appeared to have a chance for success in music. The journey to England proved to be long and hard, and as it was the extremely cold winter of 1964/65, African-born Alan was to face some severe (European) climate conditions:
“I certainly remember the good old days with snow. When I originally moved from Africa to England I travelled by one of the big ocean liners that took two weeks from Cape Town to Southampton. Back in the 60’s only the richest folks could afford to fly – even though the flights were pretty awful before jets (most of the aircraft then were what they called turbo-prop on the route from Rhodesia to London). The flight took 26 hours as the planes used to have to stop twice on the way to refuel. (It now takes 9 hours).
Right until the day before we reached England on that sea voyage even though it was the middle of December it was warm and sunny and I thought – well this isn’t bad at all. Then… twelve hours before arrival the ship sailed into the English Channel starting at The Bay of Biscay. It was the roughest sea I could imagine and half the people were sea sick with the rolling and swaying and huge waves. We arrived at Southampton at 6am and as we were coming into the port everyone went up on the deck to watch us come into the docks. I’ll never forget as I opened the door to go on deck I was hit by cold so severe it was like an electric shock. I was wearing every bit of warm clothing I had – three woolen jerseys, a coat and a scarf, but even so within minutes I was frozen to the bone. Of course it was still pitch black as being mid-winter the sun wasn’t due to rise until at least 8am. Then I thought I had made the biggest mistake in my life by moving to England, as a couple of the ‘deck hands’ – (these are the guys who work on the ships to throw the ropes over the side to the dock, clean the decks etc) were on the deck wearing Tee shirts or short sleeved shirts and one of them said to me ‘It’s a bit chilly today isn’t it?’ Here I was freezing to death and he was wearing just a Tee shirt. I figured I would never survive or get used to this kind of cold.
We then took what they used to call the ‘Boat Train’ from Southampton to London. This was a train just to accommodate all the passengers on the ship. One of the passengers by the way was a girl who was really becoming famous in England, and who chatted to me on the boat while we were waiting to get off as she saw I had a guitar case with me – Helen Shapiro. She had been doing a concert in Madeira which was the last stop the ship made before England, of course she was travelling First Class. As the train pulled out of the station at Southampton it began to snow. All of us folks from Africa loved the sight, and all the fields all the way to London were deep in snow. Beautiful!
To cut a long story short, I am glad I joined a band so quickly to occupy my mind as it turned out that the winter that year was the worst one England had had for over twenty years. Snow, Ice, Fog […].
Anyway after the shock of that first winter things were much better and I really enjoyed the snow and cold winters from then on.”
While Alan was beginning to acclimatize in the new country, the rechristened Shake Spears began to have success in Belgium.
Van Hoogten had ensured them a work permit for at least a year, regular live performances, and to record and release three to four singles. Their very first 45, “Shake It Over” / “Cry For Your Loving” (Ronnex 1336), climbed to rank 17 in the Belgian Hit Parade of February 1965 and made it to rank 93 in the overall Belgian charts of the year 1965. Other singles recorded at the time were “Do That Again” / “Don’t Play Funny Games” (Ronnex 1347), and “Garden of Eden” / “Nossi Dan” (Ronnex 1352).
Their fame spread outside Belgium and also reached England, where editor and composer Bill Crompton became interested in the group. He offered for them to come to London and record singles on the prestigious EMI label – an offer hard to reject for van Hoogten, although this meant the group had to work on Crompton’s own compositions. He eventually agreed and the Shake Spears relocated to England in February 1965, planning to stay for six months.
On the other side of the Channel, a young man was almost shivering to death and waiting desperately to get a chance to join a band again:
“When I arrived in England in the 1960’s in that dreadful cold almost no central heating existed anywhere except in Public buildings and Hotels. All houses were freezing and there was always a horrible smell of gas in the air as just the sitting room in houses would have a small gas fire. In the small flat (it was actually just a large room known as a bed sitter […]), so at one end there were two beds, then there were two armchairs facing a small gas fire and in the corner a one plate gas cooker. The bathroom was up the stairs and was shared by all the other bedsitters in the very large three storey house. There was a coin meter for the gas fire and one shilling (I suppose equivalent nowadays to one pound sterling based on how money has inflated since then), would last for about ten minutes. As the guy I was sharing with and myself had very little money when we arrived in England all we could do when we got back to the room was put the gas fire on for ten minutes to warm our hands from the cold outside and then get straight into bed to keep warm. It was dreadful.”
His chance would be coming soon, as the Shake Spears’ bassist Calvin Coleman suddenly had to leave and a replacement was urgently needed. Not hesitating for a minute, Alan Escombe joined the Shake Spears to become their new bassist. As a huge fan of Cliff Richard and the Shadows, Alan was happy to find a band that was able to achieve the sound of his idols:
“They [The Shadows] were probably the biggest influence on hundreds of guys who formed bands in the late 1950’s early 1960’s with their unique perfect playing, guitar sound and instrumental compositions. The stuff was easy to learn and play very quickly (Jet Harris the original leader and Bass player was definitely my biggest teacher and influence on Bass guitar). All bands tried to sound as smooth as the Shadows but very few succeeded. Early Shake Spears did manage to achieve this […]. While we were in Australia we used to do a live Radio show every Friday morning and the theme music that we always played at the start of the show was a Shadows tune ‘Dance on’ – which coincidentally is the tune that Brian Matthews uses on the BBC Program Sounds of the Sixties.”
The line-up complete again, the group were taken to the Regent Sound Studios to record two songs for Crompton. But it seemed the line-up wasn’t “complete enough,” as not just one but two vocalists were added to the group: the English singers Gene Latter and Linda Millington, who were hired for a special idea that Crompton had, resulting in the following record: “This Is The End” / “It Hurts Me” (Parlophone R 5268, 1965 April 16) more info on 45cat.
“I think the Teeny and Tony record on Parlophone label (‘A’ side is This is the end and ‘B’ side It Hurts me) is probably the rarest record in the world. Probably only about 1000 were released before the huge dispute about publishing rights started and EMI/Parlophone withdrew the record from the shops. The songs were written by a guy called Bill Crompton together with Chris Kritzinger from The Shake Spears. Because The Shake Spears were still under contract to Ronnex Records in Belgium the […] name Teeny Toni etc. was used by Bill Crompton to try and hide the release from our Belgian manager. As Chris Kritzinger was also under publishing contract to Ronnex Records, the name shown as a writer on the record was Chris Cavery (I don’t know where he got this secret name from). Of course our manager in Belgium found out about the release very quickly and sued Parlophone Records for half the publishing rights and royalties for the sales. All very nasty, but that is the sort of thing that was going on with bands and contracts in the 1960’s. Bill Crompton […] was trying to manage and promote a girl singer Linda Millington as she was very much like Lulu, so on the ‘A’ side Toni was Gene Latter, and on the ‘B’ side Teeny was actually Linda, and The Shake Spears were the Bushbabies. They thought it would be a unique idea to have a guy singing on one side and a girl on the other. The record was actually pretty good and in the first week of release received very good reviews and publicity, so it is not surprising that the Belgian manager found out about it very quickly as he used to read all the English music papers.[…]
It would even be a surprise for me to hear that record again as I haven’t heard it since 1965. The reason I think it may be at the BBC is because they actually played it several times when it was released, and at one of the Ideal Homes Exhibitions in London 1965 they had a BBC section where several artists lip synced ([…] it is when they mime to their record not singing live). Our record was played at their stand with Gene Latter lip syncing to it. The BBC has huge archives – I don’t think they ever throw anything away, so a good chance that this is there. It was on the Parlophone label.”
To this day, only very few copies of this record have surfaced, perhaps more of them hiding deep in the dust of the cellars and attics of British babyboomers who forgot about about the 45 they collected as teenagers. In 2013 two acetates were sold according to popsike.
Linda Millington, however, stayed with the group until June 1965, and Gene Latter became their steady vocalist until February 1966 (some compilation releases that appeared after the group disbanded appeared under the name of “Gene Latter and the Shake Spears”, which may lead one to the conclusion that Latter was their leader, but this was not quite the case). The group enjoyed engagements in several London clubs and thus a growing popularity and increasing number of fans. “A very successful time,” according to Alan, and he sure was right.
At just this moment, Roy Orbison was just finishing a world tour, and the saxophonist of the band supporting him, an Australian named Ron Patton, was looking for a new job. The Shake Spears were invited to attend some of Roy’s shows to check out Ron’s sax playing – and they were impressed. Ron became the sixth member of the Shake Spears, his instrument providing the sound they would need later for the biggest hit of their entire career.
Soon the group began to understand the true stipulations of the contract with Crompton they had accepted: they were only allowed to record songs written by Crompton himself. The songs written by the group’s songwriter Chris Kritzinger would remain unreleased, and the group’s ambitions and creativity would be curtailed. The contract in general was strongly designed in Crompton’s favour, also concerning publishing rights. At the same time, Linda Millington became less and less reliable. The group grew fed up with the situation and decided to go back to Belgium and back to van Hoogten – leaving Linda and taking Gene with them.
In June 1965, the Shake Spears returned to Brussels and recorded a brand new 45 in the Decca Studios: “(Do) the Shake Spear” / “Give It to Me” (Ronnex 1360), the A-side (a driving freakbeat number that appears on many 60s compilations today) was written by Chris Kritzinger, the B-side by Gene Latter. Van Hoogten at first wasn’t very happy about the addition of two new band members without his consent whom he now had to pay, and didn’t expect much from the new recordings. However, upon first listening to the songs, he was impressed. In addition, the groups live performances gained a lot of attention because of Gene Latter’s showmanship as a wild singer and dancer, loved by the Belgian public.
On the 11 and 12th September 1965, the fourth issue of the “De Gouden Micro” (the TV show they had already appeared on as the Dynamics when first arriving in Belgium) was broadcasted from the Sport Paleis Antwerp. The Shake Spears played on the show just before the Animals, and before the show shared a couple of drinks with Eric Burdon and Chas Chandler. A regular part of the Shake Spears’ live set at the time was an instrumental rendition of the theme song of a popular British TV series featuring Roger Moore – “The Saint.” That night the track was recorded. Surprised at the great quality of the recording, the group decided to release it as a 45. Making up the counterpart of “the Saint” on the A-side, the B-side was an instrumental called “Lucifer.” Alan recalled (in an email to the Shake Spears’ former manager Jean Jième):
“The year they won the Gouden Micro we were the afternoon ‘star’ attraction, and the Animals were the evening ‘star’ attraction. […] Gene Latter and Ron Patton were in the band then, and we also had two girl dancers so that when we played Do The Shake Spear, they could dance with Gene. It was on that show that Belgian radio recorded The Saint live which we released as a single. (A minor mistake – The Animals had already recorded and released We gotta get outta this place before the show at the Gouden Micro – it was already a hit in Belgium. Before the show Gene Latter, Ron and myself spent the early afternoon getting pretty drunk with Chas Chandler and Eric Burdon at a hotel in Antwerp. Albert van Hoogten was not at all happy as he thought we wouldn’t be able to play!”
“The Saint” / “Lucifer” (Ronnex 1366) was released in October 1965 and became a hit, reaching #30 of the Belgian Hit Parade in January 1966. The next big success wasn’t far away, the Shake Spears’ famous ska-version of George Gershwin’s “Summertime” was recorded the same month – to this day it is their best remembered song and can be found on a lot of 1960’s of compilation records. It was first released on “Summertime” / “What Happened” (Philips 319763) and re-released several times until the late 1970’s.
“We never made a studio version of The Saint as we never really expected to release it as a single, so we just used to do it live. We were surprised by the quality of the live performance and atmosphere at the show in the Sports Paleis in Antwerp, so it was released (a big surprise to us when it was a pretty major hit but that happened to us a few times. Summertime was something our manager wanted us to record so just as a joke in the studio we did it as a SKA/reggae version, and were amazed when it went to number one in the charts and turned out to be one of our best selling singles before Burning my Fingers). You may be surprised to know that although I have a deep voice all the highest harmonies on all the songs are sung by me!!”
“Summertime” went to #96 in the Belgian charts of 1966, and in that year a promotional LP titled “Give It to Me” (Philips QL 625 276) appeared in the Netherlands, which is today extremely rare and highy sought-after. It received a four-“records” rarity rating (six being the highest possible rating) in Hans Pokora’s 2007 book “5001 Record Collector Dreams.”
“On the Philips album ‘When you need someone’ you will see was written by Chris Kritzinger and me. ‘Hold what you’ve got’ is a Joe Tex song, but Gene had a great falsetto so he wanted to record it. We did it far better live as it is a difficult thing to do in the studio – especially the talking bit.”
After two hit singles in a row, the group were facing internal problems. Gene Latter’s temper had always been a problem for the group in varying degrees, but by February 1966 the situation was escalating. Apart from this, he still had his wife waiting for him in England, and her visits in Belgium mostly caused complications. In addition, the band had to face the difficulties of wearing long hair at the time:
“When we arrived in Belgium in 1965 no men had long hair so of course they would always comment on our hair and we would always hear the word ‘coiffure’ (barber) somewhere in their conversation. Gene also was one of the first guys they ever saw who had an earring. This was a real problem especially in a foreign country where he didn’t speak the language and he always imagined that when anything was said to him in Flemish or French that guys were making fun of him and the next thing we knew he would be fighting. […] A real shame as he was a great front man in the band as a singer and could really get an audience excited within a few minutes, but living with him became impossible. He had been told by our manager that if ever he threatened anyone in the band he would be thrown out (same as Roger Daltrey in The Who), but eventually the rest of us couldn’t take his bad behaviour anymore as it was bad for our reputation when he would even start fights in restaurants and at events where we were invited as special guests. After six months in Belgium he was thrown out of the band just before we were given the contract which took us to Australia for nine months in 1966.”
Gene Latter moved back to London, into an apartment with very noisy neighbours – a young group practising in their garage. Gene first was annoyed by this, but then realized that the guys had a lot of talent and helped them to release their first single, using all his contacts to the music business. The group was to remain a one-hit-wonder, but a quite famous one – the Equals with “Baby Come Back”.
This was Gene’s last major brush with fame, he then began a solo career and released several 45s. His records appeared on several labels, mainly Ronnex, but also CBS, Spark, Polydor, Decca and Bellaphon. A complete discography is not available (yet), and every now and then records and alternate releases seem to surface. Latter never had a lot of commercial success with his own records, and his style in music took a 180 degree turn to what the Shake Spears were then approaching (psychedelic pop/rock and later progressive rock), turning first to easy-listening pop with a lot of cover material (for instance the Rolling Stones’ “Mother’s Little Helper”), then to the popular disco-funk of the 1970s – one of his most famous releases being “Rock Your Boat” / “Funk and Hustle” (Ronnex 1452) from 1978, which surprisingly was released under the name “Gene Latter and the Shake Spears,” despite the fact that the Shake Spears had nothing to do with the record at all, and did not play on it. Although the Shake Spears did not exist as a group anymore at this time, seeing their name used by Latter didn’t please them a lot, Alan said:
“I have heard some of the stuff that Gene Latter did using the name The Shake Spears, and to be honest I don’t like any of it. He only kept using the name so that he could get record sales in Belgium and Holland, but it was a surprise to me when I first started checking out collectors websites to try and find our recordings to see discs released by Gene under our name. Cheeky!”
A story showing interesting similarities to that of Rod Evans of Deep Purple, Latter’s biography remains vague (Evans disappeared after being sued for officially using the name of the band he had been thrown out of – not seen for over thirty years, today it is unknown if he is still alive.) He was born as Arthur Ford in Cardiff, Wales, into a family of Arabic background. He lived at South William Street, Butetown (Tiger Bay) and had been a member of a local band called “the Alley Cats.” In the mid-sixties Latter went to London, where the Crompton / Shake Spears episode started, and later that with the Equals, on his return. There were connections to a band called “the Cousins” (not the Belgian surf / instrumental group), and in 1967 he fronted a group named “the Detours.” Latter released several 45s until the early eighties, where his trace suddenly disappears. Nothing was ever heard of him again.
Having lost their singer and stage-frontman, the Shake Spears got lucky again when they were offered a well-paid trip to Australia. Having learned from the trip to England and the trouble with Crompton, van Hoogten only accepted this offer under two strict conditions: the stay should not exceed three months and no records should be produced for a record label other than Ronnex, so that he could keep the exclusive publishing rights.
They started playing in a club called “Skyline Lounge” – a huge establishment that held up to fifteen-hundred people. It soon was packed every night and the group were overwhelmed by the initial success. The group were asked to stay for more than three months, and – against the initial limitation – they did so, obtaining higher payments, four girl dancers, and a new singer, Doc Jones, who took over the vocal duties in June 1966.
After staying in Australia for nine months, the Shake Spears, now known nationwide, were going to return to Belgium. They didn’t take their Australian singer with them, and they had also lost their Australian saxophone player. Ron Patton had felt so at home in his native country that he decided to leave the group and stay in Down Under. The driving, wailing sound of his sax would be missing from now own, but songs like “(Do) the Shake Spear” and “Summertime” ensured that his playing would not be forgotten any time soon.
Shortly before leaving, the band spent a final night at a small club called the “Surfers’ Paradise” where Alan by chance discovered a new voice: the sweet voice of young Queensland-native Brian Bastow (British-born though; Brian and his family emigrated from Salisbury, Wiltshire, to Australia when he was four years old), who was singing in the club that night. Brian was immediately approached by the group and asked to come with them to Belgium. Time was short as they had planned to depart the very next day, but Brian agreed and so Alan and Johnny quickly bought him a plane ticket – and so the Shake Spears came back in the same number as they had left (five members).
Although van Hoogten had no reason to be upset about additional payments this time, he immediately sent the group to Studio Madeleine to record new material. He was pressed for time for a new release. The result was “Candle” / “Jerk” (Ronnex 1372, 1966), the only official Shake Spears release with Brian on vocals. The B-side, “Jerk,” was in fact a cover of Sam Cooke’s “Shake” (already covered by many artists, including the Small Faces, the Animals and others). The management had decided to change the title into the name of a “hip” dance to make the track more interesting, against the band’s wish to keep the original title. The record flopped when another cover of “Shake” (now with the original title) was released in Belgium by Otis Redding, who also sang it at the Monterey Pop Festival.
It soon became apparent that the group’s choice for a lead singer was made in great haste. Brian had been singing cover versions of songs by Roy Orbison, P. J. Proby, the Hollies, and others when they had discovered him, and during their rehearsals and recording sessions in Brussels he proved to be quite adept at reproducing the vocals of cover songs while even adding his own style of singing to them, but had obvious difficulties with singing original material. As the Shake Spears were no longer considering themselves a cover band and had no intention of going back to being one, Brian just was not the singer they needed.
But this was their very own attitude – in fact, in order to stay successful and face the growing competition of other “foreign” groups in Belgium, they did not only have to play long hours providing dance music in clubs and halls, but also integrate more and more cover material into their set. This was driving them away from the direction they had originally wanted to pursue: landing hits with their self-penned material and being renowned for their own style. Now they were becoming more and more of a dance band – faceless, anonymous, to be called on demand and used as a jukebox. The first Shake Spear to become unhappy with the situation was guitarist Perry Jordaan. In February 1967 he left the group and went back to Africa, where he rejoined his family, whom he had not seen for more than two years.
The Shake Spears were now lacking a guitarist, essential for virtually every 60’s rock / pop group. Help came from Africa once again: Alan’s former bandmate from Phantoms days, Chris Stone, had often watched the Shake Spears’ performances in clubs while they had played in England. The Phantoms’ former guitarist had no current commitment by that time (lucky for the Shake Spears), and so he arrived in Brussels in March 1967. He was quickly integrated into the group. An adept musician, it didn’t take long for him to be well-versed in the entire Shake Spears repertoire. The group continued playing without any loss to their sound, and was able to fulfil every engagement.
Furthermore, Chris Stone was also active as a songwriter in the group. Their songs were now written by him and Chris Kritzinger, with occasional contributions by Alan Escombe and the other members.
As the Shake Spears now had two members named Chris, Chris Stone was nicknamed “Sox” to avoid confusion between the two.
Having successfully solved the guitarist-problem, the group were worried about their singer again. Brian was good at pop songs – a handsome crooner with a sweet voice, but could not really follow the group’s approach to a more rock orientated style. They eventually decided that he had to leave the group. To Brian, this was anything but a disaster, as van Hoogten immediately signed him as a solo artist, providing the soft, British pop songs the Belgian audience seemed so receptive for. This was not a bad idea at first, especially as Brian’s first release unexpectedly became an immediate hit. This was his last work with the Shake Spears:
“After Brian left the band our ex manager took him on as a solo artist. […] he asked us (Shake Spears) to play on Brian’s first recordings which we did for straight payment, but we didn’t want our name associated with the records as they were definitely not our taste in music so we called ourselves The High Five. Brian was quite a good looking guy and the manager promoted him as a sort of Englebert Humperdinck singer – wearing suits and high collar shirts or Tuxedo. Brian also recorded a couple of the songs we had written but thought were rubbish – Da Doo Dum Dum – I’m Gonna Love You – The Girl with the Bass Guitar. His biggest hit was a cover version of a very old song from the 1930’s, Poinciana, which we played on.
The thing that we always found odd about the Belgian public was the fact that when they clapped along to a song they always clapped ON the beat – not as one would normally clap to a rock song on the OFF beat, so for a complete joke we recorded Poinciana with the emphasis on the ON beat. It proved a point as the Belgians loved it and it was a hit. Apart from the songs we wrote for him and Poinciana, all the other songs he recorded were cover versions as the manager did a deal with a record label in Ireland (Major Minor Records). They would provide Ronnex records with Irish hit songs and just remove the voice so that Brian could sing over the musical backing. This was ok on records, but the band he formed couldn’t really play the stuff live so his career didn’t last very long.
[…] The last I heard was that he was back in Australia working as a postman in Sydney.
[…] Remember when listening to Poinciana what I said about the ON beat, also the little bass line which starts the song THAT IS ME!! […] the original paper sleeve [of Poinciana] was a picture of Brian with the other guys on the cover with their backs to the camera. That was us.”
“Poinciana” / “Do-dum-dum” (Ronnex 1378) by Brian & the Hi-Five was released in January 1968 and got to number 20 in the Belgian Hit Parade. Until 1970, seven more 45s on Ronnex, and one on MCA Records were to follow. His last record, “The Rainmaker” / “World of Evergreen” (MCA 2028, 1970), contained a Harry Nilsson cover on the A-side, while the B-side was a Chris Kritzinger song that Brian had edited, so that he was credited as a co-writer. Brian’s cover of “Give and Take” made it to number #9 in the Belgian charts of February ’68 and #2 in March (#30 for all of 1968) – even higher than any Shake Spears record – and “Come Back Girl” (originally released by Jackie Edwards the year before) got to number #10 in July ’68 (#81 in all of 1968). In 1969, “Cara-Lin” climbed to number #9 in March and #18 in April (#66 for the overall year). His 45 successes were also released on two LPs on Ronnex, LP 011 (1968 or ’69) and LP 012 (ca. 1970), together with a couple of tracks that were not released on 45s. The second one of those albums is now rare and sought after as well, ranked with a two-“records” rarity rating in “5001 Record Collector Dreams.”
Looking at these releases, it may appear as though Brian had been far more successful than the Shake Spears, but it has to be considered that these are the Belgian charts only. While Brian was a national phenomenon, the Shake Spears had success in all the Benelux-countries, Germany, and especially in France. Even earlier than in the case of Gene Latter, it became quiet around Brian after 1970, and all that is known about him is that he apparently died in 2008, according to discogs.
Now in March 1967, the Shake Spears were still looking for the right vocalist, and it was Chris Stone who came up with suggesting a singer he knew from England. Martin Piggot lived in London and was an excellent vocalist according to Chris, so now it was Chris’ task to get him to Brussels as soon as possible so that the group could continue recording and performing.
The Shake Spears did well now with their two new English members, but it was them who became dissatisfied with the management of van Hoogten. The owner and founder of Ronnex Records didn’t have a lot of time to organize their promotion or concert engagements, so now the group needed a new manager who could work for them only. The vacant job would be taken by Jean Jième, a reliable and good support for the band and a friend of Alan’s for the rest of his life.
To take a first step, they sent a demo tape to RCA records, which would contain their next big hit. The new single came out in 1968: “Burning My Fingers” / “Something to Believe In” (RCA 54.4025), the A-side being the first big success of Chris Stone, while the B-side was a Chris Kritzinger song, more in the earlier Shake Spears style. “Burning My Fingers” was quite unlike this style, it was more psychedelic, more late-60’s fashioned – their biggest number after “Summertime”.
Although “Burning My Fingers” earned them a lot of popularity, tensions within the group steadily grew. Chris Stone and Chris Kritzinger could not agree on a musical direction to take on, both accusing each other of not leaving enough creative space and dominating the whole business. The long hours of playing in small clubs as a “living jukebox” affected the mood of all band members, and Martin and Chris Stone were already thinking of going back to England.
Jième tried to prevent the group from breaking up in this troublesome situation, first by convincing the two Englishmen that it was better for them to stay in Belgium, and trying to reconcile the Stone-Piggott front with the Kritzinger-Kreuger front, who were now beginning to consider going back home, too. To get things going again, Jième had a whole new concept for the band – more physical presence. He envisioned a dynamic, wild show to get the audience out of their seats, Chris Stone’s and Martin’s good looks to attract female audience, and some between-the-songs entertainment by Alan. The revolution of the Shake Spears went even further, as suggestions were made to change the band name. Johnny and Chris Kritzinger were against it, but Alan, Martin and Chris Stone wanted a name that sounded more serious and sophisticated than the funny pun on literature and African spears that are shaken. The allusion to literature stayed, and with a majority of the three against two votes the new name of the group became: Shakespeare.
“Burning My Fingers” now even got them into the French TV, and – while the situation between Chris Kritzinger and Johnny and the rest of the group worsened – Jean Jième officially became their new manager.
Chris and Johnny now revealed their plans to return to Rhodesia because they felt homesick, but for Chris the real motivation for leaving was to become a composer and producer as his own career, not just writing for a group that he played in himself. They were allowed to leave, but with a period of notice set at three months. Shakespeare now was facing difficulties to get new contracts with club owners, because they refused to play for more than two hours per night and usually the contracts would require at least four to five hours. Nevertheless, they played with many French stars at the time. Alan recalled:
“[…] because we were ‘famous’ in Belgium we did shows with Jaques Dutronc (Gaston le telefon qui son – big hit in France and Belgium), Johnny Halliday and Michel Polnareff. All Hallidays musicians were English, but I didn’t like him much as he just covered English and American hit songs in French. Dutronc was a very friendly and funny guy, so was Polnareff, especially as he was very short sighted but too proud to wear glasses in public, so when he was talking to you he would screw up his face to see you and look like a cartoon mouse or something. Nice guy, very shy. At least these two guys did original material and we were even thinking about recording one of Polnareff’s songs in English.”
Negotiations with the French TV, which was still interested in “Burning My Fingers”, were still running, when all hopes of getting the final acceptance were suddenly destroyed when the French riots of May 1968 started. Now that there were more important things to be broadcasted than music programs, the chance for Shakespeare to get to play their music on TV was gone.
At the same time, replacements for Kreuger and Kritzinger were needed, because in just a matter of time the group would see itself without a guitarist and a drummer. One day Shakespeare was the opening act of Michel Polnareff at the Princes Theatre in Antwerp, and they met their future guitarist Georgie Wood. At the time he was just seventeen, but had already played in the established band the Love Affair. Astonished by Georgie’s playing skills, Chris, Martin and Alan decided they wanted to have him as the prime candidate for Shakespeare’s new guitarist – but to avoid discussions and further trouble, Chris Kritzinger and Johnny were not told about this yet.
Soon after, Alan and Chris Stone also found the drummer they were looking for. Attending a concert of Belgian singer Joske Harris, they were totally astonished by the brilliant technique and terrific skills of the drummer in Harris’ backing band. Alan approached him later on and offered him an audition with Shakespeare in Brussels. It took Alan quite a while to convince the guy that he wasn’t telling him a joke, although he spoke some English. Communication problems went on when the drummer was finally asked about his name, which seemed to be impossible to understand for the ears of an Englishman. So he suggested just to call him Randy (his full name then being Randy Ashe), and agreed to come to the audition.
Randy fit well into the group in matters of playing, but didn’t feel enjoy the big city of Brussels because he was used to living in a small town in the north of Belgium.
Chris Kritzinger and Johnny Kreuger were about to leave the group, just one single gig with them was left. When Chris Kritzinger relocated to South Africa, he opened his own business for music production and eventually his company became one of the top music publishers in the country. Since 2001, he lives in Australia and runs his own record label, Transistor Records.
The very last concert of the “old” Shake Spears line-up took place on 30th June 1968; a day after the first one with the new line-up took place in secrecy, on a private party in Geneva. This was extremely successful, due to new stage-outfits and a new light show. But this line up as it was didn’t last long, as Randy soon felt that he could not bear staying in Brussels and in a way he just could not get along with the other guys, staying quiet most of the time and seeming more and more lost. After just a few weeks with Shakespeare, Randy Ashe left and the group were left to find a new drummer who could keep up with Randy’s skills. By chance they were informed that the drummer of Michel Polnareff was available, due to the fact that Polnareff had to abort his tour following the events of May 1968.
Eventually, Mick Carter (an English guy once again) completed the new Shakespeare line up as their fifth official member, just in time for their new single “How Does She Look” / “Treasure of a Woman’s Love” (RCA 54.4036), which was recorded for RCA. Alan recalled:
“I would love to know what happened to at least another fifteen original songs we recorded for RCA but never released – (they were due for later releases) which were much heavier (with the final line up of the Shake Spears). I know that one of my songs strangely was used on a top selling brand of cigarettes for the advert shown in cinemas for several years in Belgium – Boule d’or cigarettes, and another short clip of a song was used for Alaska Ice-Cream. We were still receiving royalties from these as late as 1976 seven years after the band split up. […]
Probably the most successful one which I wrote completely is called “Big Sleep”, there is also the original guitar version of U S Thumbstyle (done by the 1968 line up of The Shakespeares), and a song called “Turn me on” with the same sort of sounds and double guitar harmonies as Burning my fingers. This last one was recorded (a demo) for Warner Brothers records in the USA as they were interested in Burning my Fingers but as RCA owned the copyright to it they wanted a new song but in the same style. It never got released as The Shakepeares broke up just about the same time as this copy was sent to the USA.”
The new record increased their popularity a lot, as did the fantastic live performances of the new line up. Even a music video of “How Does She Look” was shot, on the initiative of and with a lot of effort by Jean Jième, anticipating MTV clips by decades. Rare footage of “Burning My Fingers” appeared on youtube in 2012, but was removed again after a very short time, due to copyright issues.
Not much later the group had to face some serious problems again, as it turned out that not all of them had valid work permits for Belgium. Martin, Alan and Chris had a residence permit valid until 1969, but Mick and Georgie didn’t. While they had worked for Albert van Hoogten they had enjoyed a certain protection, but now they had to take care of such things themselves. The only appropriate solution seemed to be leaving Belgium as soon as possible. So the group secretly disappeared from the scene while Jième still tried to negotiate with the Immigration Office; some went to Paris, the others back to London. Unlike the small Ronnex Records, RCA had no interest in helping the musicians in this situation because their record sales were not financially important to the big label.
Also in secret, Shakespeare returned to Belgium and resumed their concert schedule as if nothing had happened. September and October passed, “How Does She Look” was ranked number 1 in the weekly charts of mosquito TV, but still no more than four thousand copies were sold. The group were fortunate though, as soon afterwards they were approached by a rich, American business man, who was interested in producing a Shakespeare album in the United States. The group were very enthusiastic, especially as this seemed to be a chance for them to get them out of Belgium, where playing and performing was risky.
Their slightly dubious sponsor sent his agent to assess their playing on a live gig, but it didn’t go very well and the agent wasn’t convinced. Her boss though surprised Jième and the group by telling them that he was still interested and financed a trip to Spain for them, so that they could record and play untouched by the Belgian authorities. Down south they were expected to improve their playing skills and record material for the prospective album, and later travel to New York to make the final recordings in top studios.
Jième had a difficult decision to make, as accepting the deal would mean that he had to leave his entire former life in Belgium behind, including his car, his job, and his girlfriend. Meanwhile, Alan had to face different problems. Since a motorcycle accident he suffered as a teenager where he had landed on his jaw, this region of his body had always caused him problems. Just at this time, he had such serious troubles that he had to go to hospital. Since he was not a Belgian citizen and had no permit, he was not covered by health insurance. Luckily, all hospital bills were paid by Shakespeare’s American sponsor. Budgets for plane tickets to Palma, transport of equipment, accommodation, traveling, food, etc., were now being calculated, Shakespeare’s departure was now determined and being planned.
By mid-November it was suggested by the sponsor that the members of the group, as British citizens, should apply for a visa for Spain from their home country, thus they would have to return to England before going to Spain. Their last concert in Belgium took place on the 8th February 1969.
The journey south seemed to be over before it began, when the group found it impossible to get their equipment out of the country, as their patron obviously hadn’t thought about borders and customs. But eventually Shakespeare landed in Mallorca, planning to stay for six months. There they even found their long needed roadie, Ian Kerr – a tough Scotsman with certain love of pranks:
“We first met Ian when he was a DJ at Sergeant Peppers, the biggest club in Majorca, (It was the club owned by Mike Jeffries – Jimi Hendrix Manager). It was huge and held about 1500 people. It always had amazing music with a great sound system. The lighting was very dark as it was a disco, and there was a very big shiny polished steel metal dance floor. The dance floor was surrounded by flashing lights but was also quite dark to give the place atmosphere. The DJ position where he had all the turntables and tape machines etc. was high up at the one side of the dance floor in a thing that looked like a control tower at the airport. Curved windows all around. To get up into the tower there was a closed in staircase in a dark corner of the dance floor, so it couldn’t be seen. One night Ian said to me – Do you want a laugh? Of course I said Yes, so he said come up to the DJ tower with me.
We went up there and he got a length of electric cable with a plug on one end, but bare wires at the other. He plugged it into the wall and then we went back down the stairs and sat on the bottom step where no one could see us, but we could see the whole dance floor.
As it was a holiday place, and the temperature was always quite high, most of the people dancing away to the disco music had bare feet (no shoes on). Ian said – Now watch this. And he tapped the metal floor very quickly with the bare wires from the electric cable.
Everyone on the dance floor jumped – it was like stepping on a lighted cigarette. They would look at their feet to see if they were burnt, but it was such a quick shock the pain almost instantly disappeared and they would carry on dancing again thinking it was their imagination. He would wait a while and then tap the floor again. It was very funny to see all the people jump and not know what had happened, but because of the drink and mood of the place they would carry on dancing and he would spend quite a while making them jump whenever he felt like it.”
Unfortunately, Shakespeare’s Spanish adventure was over when their sponsor suffered a heart attack and the group was forced to return to England as they were left with no money coming in.
This line-up of Shakespeare didn’t last long after their return. Disillusioned by their failed tour to Spain and with no hope of going to the US, the band envisioned no bright future and decided to split up.
Martin and Georgie left, but Alan (now the senior member of the group), Chris, and Mick had new plans. It just happened that at the same time the English psychedelic-pop / blues-rock band Grapefruit had also disbanded, so they could enlist Grapefruit’s keyboard player Mick Fowler for their new project. They teamed up as an entirely new band, for which they chose the name Fynn McCool (after Finn McCool, originally Fionn mac Cumhaill in Gaelic, a figure in Irish mythology). So in mid-1969 Fynn McCool started as:
Chris Stone – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Mick Carter – Drums
Mick Fowler – Guitar, piano, lead vocals
The group signed to RCA, which had not only been the Shake Spear’s last record label, but also that of Grapefruit (who were signed to the RCA Dunhill label in the USA), so the company was familiar with both bands and knew about their popularity in Europe, so that it was easier to promote them. Fynn McCool toured through the countries that had been the creative home of the Shake Spears before: the Benelux states, Germany, and especially France.
The 1960’s came to an end, and the new decade looked promising for the group. Soon they started recording at Olympic Studios, and their style would be far different from the Shake Spears. Fynn McCool now was into heavier, progressive tunes – no more pop for Belgian kids. Their first record, “U.S. Thumbstyle” / “Diamond Lil'” (RCA 1956; A-side by Chris Stone, B-side by Mick Fowler) was released in May 1970 and the group’s first album was still being completed, when RCA suddenly decided to release it prematurely in August 1970 – the tracks were not fully worked out and the model that was being built for the cover art wasn’t finished either. The group was anything but pleased, and little did they know at the time that there would never be a finished version of this album. Alan recalled:
“We actually designed the style of the cover for the Fynn McCool album, but RCA Records decided on which picture they wanted on the back. The stoic look was possibly also a bit stonedness as well as coolness. It was winter at 8am so poor light of day and extremely cold. This was in fact the first gatefold sleeve that RCA ever did in England. The model on the front was an idea for mythical Fynn McCool, […] an Irish folk story about a giant who created one of the geographical landscapes between Ireland and England called the Giant’s Causeway. It is a group of huge rocks that stick out of the sea all the way across the Irish Sea between Ireland and England. The myth goes that he (Fynn) threw these into the sea to use as stepping stones to walk across to England. All drawings of him show him with a helmet that had Deer antlers. Like the rest of the record – the model wasn’t quite finished when RCA put out the record, so the finish on it should have been much smoother and realistic. […]
Very 1960’s on the photo on the back. As you can see, I didn’t like the Afghan fur coats that were so popular then. They were awful when they got wet as they would smell like a wet dog. That picture was taken outside Olympic Studios in London by the RCA photographer. It was about -5 degrees [celsius] early morning when we had just finished a eight hour long night in the studio. Considering that I think we looked pretty fresh……. maybe? […]
[On the Fynn McCool album] I actually wrote many of those songs with the other guys. That is how it was with The Shake Spears as well but normally with The Shake Spears if just parts of a song were written by other members of the band they weren’t shown as writers. With Fynn McCool we decided that if all of us were either adding lyrics, or musical passages then we should all get mentioned (for royalties this was important). I actually did the music for the first part of Shattered and then I came up with the rhythm and style with percussion for the second part.”
On the inside of the album’s gatefold sleeve is a note written by an American D.J. at the infamous Rock ‘n’ Roll Circus in Paris where Fynn McCool were regular guests:
“6 A.M. in the Pub just off St. Germain. Mick rabbits about saxophones and doughnuts (he prefers Oranges to Grapefruit). Chris stumbles around the dark corners of the Circus, glass in hand, wondering when the next set is. Ian digs French musicians who jam on the group’s gear, (Ye can’t shove yer granny off the bus) Christmas Eve dinner got together by Dominique. Drummer Mick wants “Old Blue” – again?? Sam’s gonna sing, what? Diamond Lil, – a gas. (Come and do it with). Alan’s in-between-numbers chatter drives the hip French audience wild. Bongos in a bit of state. We’ve all got our problems. Mick picks up the twelve-string guitar, chucks it for six, sits down behind the piano, figures what the hell and decides to do a quick P.A. as D.J.
It is the morning and back to Merrie Ould England and relative sanity.
FYNN MCCOOL. Very together. Nice one chaps….
Cameron Watson,
Rock ‘n’ Roll Circus
Paris 1970. ”
Alan recalled:
“My chat with the French audiences were normally just my sense of humour introducing songs and occasionally making fun of the French in general – although they took it without any offence in good humour. I would deliberately speak with a far worse French accent than I could actually speak, (they call it Franglaise which is an Englishman speaking French). That way I could make deliberate mistakes which could be quite rude but they would excuse them as it was funny to them to hear an English guy speak French. Just a little example… the French word for a kiss is ‘bisu’ and the word for making love is ‘baiser’ (this is the four letter English word for making love if you know what I mean). In French they are almost pronounced the same so I could point out a good looking couple and say – when you say goodnight to your girl tonight, don’t forget to kiss her, but of course I would deliberately use the wrong word for kiss and they would believe that I had just made a silly mistake and all laugh. There were many things that just came into mind while I was announcing things.”
Fynn McCool turned out to be a fluctuating group, as by the time the album (recorded with the initial line up) came out, the line up had already been changed, as two more ex-Grapefruit members, Bob Wale (replacing Chris Stone on guitar) and Geoff Swettenham (brother of Pete Swettenham; replacing Mick Carter on drums) were recruited in July. Bob Wale had joined Grapefruit in spring 1969, and had been a key figure in the group’s immediate change of style from sweet baroque pop to heavier tunes. Vik Tedeschi, a Swiss-German Jazz musician, joined on saxophone, oboe and flute, but for just a couple of months.
Mick Carter’s whereabouts after Fynn McCool remain unknown. Chris Stone, however, left the playing side of music business and started to work in the promotions department of Decca Records, where he and Alan met again a couple of years later. He later became the head of promotions of Apple Records and eventually ended up as a director of promotions and video for BMG in England. When a footage of the Shake Spears playing “Burning My Fingers” had appeared on youtube not long ago, Chris had provided the following piece of information to accompany the video:
“A 5 piece band without an easily discernible ‘sound’, The ShakeSpeares diverse style was forged in the musical melting pot of the 60s.
Growing up on a diet of British pop and US soul, the group whose members assembled from as far afield as Africa & England, wandered from London pubs to Paris clubs, mainly paying the rent with mind-numbing 6 hour gigs in Belgium circus tents. Originally signed to a Belgian record label, and subsequently picked up by RCA, the band enjoyed more live success than record success until the release of this single ‘Burning My Fingers’.
An instant hit on French Radio the song was featured as ‘Disque Rouge’ on the new Paris TV programme ‘Bouton Rouge’.
As fate would have it, their overnight breakthrough coincided with the start of the famous Paris riots of 1968, with police battling students on the streets and over 11 million people joining in the biggest general strike in the history of France. Record stores stopped reporting sales, and the charts ceased to function.
When normality returned, the world had moved on and ‘Burning my Fingers’ had disappeared into history. Soon afterwards the band split, with some members reforming as Fynn McCool, and signing to RCA in London.
Guitarist Chris Kritzinger subsequently returned to Africa and formed his own music production company. He again relocated, this time to Australia where his Transistor Records became one of the most successful Australian independants.
Bassist Alan Escombe moved on and joined the biggest rock’n’roll shipping company in the world – RockIt Cargo, becoming a director of the company, responsible for the logistics of the mega stadium gigs of U2, Rolling Stones, Michael Jackson, Madonna & the Eagles.
Guitarist Chris Stone became a record promoter with Decca Records in London, worked for the Beatles at Apple Records in Savile Row, and following a lengthy spell at Chrysalis working with Jethro Tull and Blondie, became Senior VP International at Sony/BMG overseeing the European development of key RCA and Arista artists such as Whitney Houston and Take That.”
Only two months later the group again got a new guitarist when Glen Turner took the place of Bob Wale, who joined Hard Meat in November 1970. Glen turned out to be a rather tragic figure in the music scene, but he also was the key to an interesting encounter for Alan:
“Later in Fynn McCool we took on a guitarist Glenn Turner (who replaced Bob Wale of Grapefruit in Fynn McCool). Glenn had been with Chris Stainton and Joe Cocker when he was still only 14. He was a guitar genius but was too young to tour overseas with Cocker and that is why he joined us. Unfortunately getting into the business so young, by the time he was 18 he was really into heavy drugs and that is when we had to get rid of him. Sadly he is probably dead by now as we never heard anything more about him.
Peter Sellers was God Father to Paul Kossoff of Free. His father David Kossoff was also a famous actor in England and a very good friend of Peter Sellers, that’s why Sellers was so interested in Paul’s career. On one occasion I was in the best known Guitar shop in London (Sound City) with our guitarist [Glen] buying guitar strings when Peter Sellers came in and asked the guys behind the counter which was the best guitar they had. They showed him a Vintage Gibson Les Paul (which was extremely expensive at the time) and told him that this was the guitar of choice for Jimmy Page and loads of other Blues guitarists, Sellers turned to us and said – can you guys play guitar? Glen of course said he could (and in fact he was an amazing guitarist). He then spent fifteen minutes playing the Les Paul showing how all the tone controls worked and the different sound available. Peter Sellers told us he needed it to be good as his God son (way before Free days) was learning guitar and he wanted to give it to him as a present. Amazing that I always recognised that guitar whenever I saw Free on TV.”
The occupants of the position as Fynn McCool’s lead guitarist seemed to change every couple of months, so by March 1971 another new member joined the group. Garth Watt-Roy had formerly played in the Greatest Show on Earth (which he had founded with his brother Norman), and would later join East of Eden after they had their big break-through with “Jig-a-Jig” (which was to remain a one-hit-wonder though). When the days of Fynn McCool were numbered, Alan and Garth teamed up for a short lived group, which unfortunately did not release any records:
“Another EXTREMELY rare recording that exists was by a band called GARTH. Very heavy Led Zepplin style three piece band, just guitar, bass and drums (like Hendrix). It was me on bass, Garth Watt-Roy on guitar and vocals, and Paul Francis on drums. This was just as Fynn McCool were breaking up. Garth asked me if I would be interested in forming a band with him. He was an amazing guitarist and singer and Paul was a brilliant drummer. We did one audition for A & M records who immediately said they would sign us, and they put us in a studio for two days and we recorded four demos. Two days after we had recorded them, Paul Francis phoned me and told me Garth had been asked to join East of Eden who had a record at number one in the charts (Jigger Jig). As he had been offered a lot of money Garth left straight away. There is a bit about Garth on the internet. He had been in the following bands, The Greatest Show on Earth, Fuzzy Duck, East of Eden, Paul Young and The Cue Tips and the last I heard he was with The Barron Knights. (His brother Norman was bass player for Ian Dury and The Blockheads). Garth would have copies of the demos we did. We only did one live show together arranged by A & M records and it was incredible as the crowd went absolutely mad (about 4,000 people at The Sheffield Civic hall). The other band that night was Slade, who went on to become huge in England in 1970/71.”
The last major line up change included the departure of Geoff Swettenham, who to this day continues to play as a session musician in England. And as Garth Watt-Roy had also sought his fortune elsewhere, only Mick and Alan were left as original members. Fynn McCool’s final line up by mid-1971 consisted of:
Steve Krieger – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Ken (Ginger) Dixon – Drums
Mick Fowler – Guitar, piano & lead vocals
Peter Arnesen – Piano & vocals
The band broke up in February 1972, the completed version of their album was never released. The uncompleted version has been re-released unofficially on the label “Prog Temple”, in both a vinyl and a CD edition, but those releases are pirated as nobody receives any royalties from them (please wait for the official re-release instead of buying those).
Austrian Peter Arnesen later joined the pop band the Rubettes in 1973, Kenneth Dixon appeared on the 1974 album “Aslan Is Not a Tame Lion” by Narnia, and Steve Krieger and Mick Fowler completely disappeared from the music scene.
Alan Escombe continued playing for a couple of years in several bands, and then decided to leave the stage in favour of a job behind it:
“After our band split up in 1974 I was looking for a job in the record industry and one of the companies where I went for an interview was Decca (as Chris Stone from The Shake Spears was already working there in the promotion department). My meeting was in the A & R department (the department responsible for finding artists and arranging recording) and I was introduced to the head of the department, Dick Roe – the guy who famously turned down the Beatles. As it happened the guy who interviewed me told me that Decca was starting to take a different direction and I went to a couple of shows with him. They were looking to start signing Punk bands. I […] always hated Punk music – maybe apart from The Clash. I turned down their offer of a job.
Just adding to the little bit about me going for an interview at Decca – the A & R guy who introduced me to Dick Roe told me that because Dick Roe turned down the Beatles the very next group to send him a demo tape – no matter how bad it was he had decided to sign. It was The Rolling Stones – and believe me I am sure that their demo tape was absolutely terrible as they have always been very rough and ready […].”
Now (temporarily) turning his back to music business, Alan eventually ended up with a job in a company handling fine art and antiques. Not fully satisfied by this occupation, he already started establishing contacts with producers and managers handling bands and tours.
In 1978, together with a young chap named David Bernstein, he opened a company handling world-wide airfreight and oceanfreight for groups on tour: Rock-It Cargo. To this day, it is the biggest company of its kind, handling tours for countless groups and artists, with big names among its clients like the Rolling Stones, U2, Paul McCartney, Madonna, Bob Dylan, and many others, David Bernstein being the head of the whole business. Having worked in this business for nearly thirty years, Alan seemingly got the job that many of us perhaps were always dreaming of:
“I was fortunate enough to meet and hang out with guys like Jim Morrison, Jimi Hendrix, George and Paul (Beatles) to name a few. It was a pretty cool career I had, but plenty of stress as tours and equipment became huge once the open air concerts became a regular thing. […]
Most people can’t really understand what I did for a living as they always imagine that a band carries a few guitars and amplifiers so when I tell them that in fact doing an international world tour with a band like U2 with 1250 tons of equipment requiring 98 trucks, or The Rolling Stones with 900 tons of equipment and 78 trucks, either flying all the equipment requires 7 or 8 Jumbo 747 freighter aircraft, or 7 Antonov Russian freighters aircraft which are bigger than a 747. People don’t realise that everything goes, 70 tons of lights, 40 tons of sound system, 18 tons of catering equipment etc., and if the band are playing outdoor stadiums they carry 3 of their own outdoor stages. Each stage is 325 tons of steel requiring 18 x 12metre containers or trailers. We would move a show for instance from Wembley Stadium London on a Saturday after the concert finished to [New Jersey’s Giants Stadium] for a show on the Monday night, so everything flew on the Sunday, was customs cleared and delivered to the stadium by 06:00 on the Monday for set up. […] we handled around 300 to 400 bands, I would be working on two or three bands at a time so flying around the world non stop supervising moves from UK to USA, or USA to Tokyo, Germany to Rio. We had at least ten of our guys doing the same out of the USA and UK with other bands, so a really flat out hectic business.”
Alan retired to Australia with his wife in 2005. There, Alan had played bass in his son’s band “The Lords of Byron” and had begun working on remastered versions of all the Shake Spears and Fynn McCool material. Sadly, after a brave battle with severe illness, Alan Escombe passed away on 17th October 2015. And with him, a true legend of rock music history left us, still deeply missed by family and friends.
His son, Luke Escombe, who moved to Sydney in 1999, became a musician just like his father, and released his debut album “Golden Ages” in 2008. The live DVD “Chronic Illness” followed in 2010. Watch, listen to or buy his CDs and DVDs here: lukeescombe.com.
Recently Luke has been working on a 5-part radio series on the life of his father, called Rock and Roll Dad. Clicking on the name will take you to the facebook page Luke has set up for this project where you can stay up to date on when and where it airs and lots of memorabilia that Luke keeps digging up like never before seen photos and more – stay tuned!
Alan’s daughter, Melanie, is a rock music photographer in Los Angeles, shooting professional pictures of Elton John, Billy Joel, Iggy Pop, Status Quo, Johnny Winter, and many others. You can see her amazing work here: melanieescombephotography.com and read an interview with her here.
The Shake Spears and Fynn McCool are probably not among the best remembered bands of the 1960s and 70s, but their musical output always had a unique quality that was much appreciated by the dance crowds of the time and record collectors. And even today, in the age of the internet, social networks, and vinyl rips being readily available on youtube, etc., their popularity seems to grow steadily. Let’s salute these heroes, for they have created something, danceable as well as mind-expanding, that will entertain many more generations of music lovers.
– Sarah Steffen
Shake Spears Line up changes
The Phantoms, ca. 1961
Two members of this group would later become members of the Shake Spears.
Mike Westcott – Vocals
Chris Stone – Lead guitar
Mike London – Rhythm guitar
Alan Escombe-Wolhuter (b. 16th August 1945 – d. 17th October 2015) – Bass
Grahame Ross – Drums
The Dynamics, ca. 1963
In 1964 the name would be changed into “The Shake Spears”.
Chris Kritzinger (b. 12th Dec 1941) – Keyboard, lead guitar & vocals
Perry Jordaan (b. 1942?) – Guitar & vocals
Johnny Kreuger (b. 1944?) – Drums & vocals
Calvin “Cal” Coleman (b. 1944?) – Bass & vocals
Feb. 1965, as the Shake Spears
Calvin Coleman leaves and is replaced by Alan Escombe from the Phantoms.
Chris Kritzinger – Keyboard, lead guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
Gene Latter (born Arthur Ford) – Lead vocals
Linda Millington – Vocals (Feb. to June 1965)
Jun. 1965
Linda Millington’s engagement ends, Australian Saxophonist Ron Patton joins after touring with Roy Orbison.
Chris Kritzinger – Keyboard, lead guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
Gene Latter – Lead vocals
Ron Patton – Saxophone
Feb. 1966
Gene Latter leaves.
Chris Kritzinger – Keyboard, lead guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
Ron Patton – Saxophone
Jun. 1966
Chris Kritzinger – Keyboard, lead guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
“Doc” Jones – Vocals
Ron Patton – Saxophone
Nov. 1966
Chris Kritzinger – Keyboard, lead guitar & vocals
Perry Jordaan – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
Brian Bastow (29th October 1943 or 5th May 1944 – 22nd March 2008) – Vocals
Feb. 1967
Perry Jordaan returns home to South Africa and is replaced by Chris Stone from the Phantoms.
Chris Kritzinger – Keyboard, lead guitar & vocals
Chris Stone – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass
Brian Bastow – Vocals
Mar. 1967
Brian Bastow leaves in order to pursue a solo carrier. Later, “The Shake Spears” become “The Shakespeare”. Chris Kritzinger and Johnny Kreuger plan to return to Rhodesia.
Chris Kritzinger – Keyboard, lead guitar & vocals
Chris Stone – Guitar & vocals
Johnny Kreuger – Drums & vocals
Alan Escombe-Wolhuter – Bass & vocals
Martin Pigott – Vocals
Jun. 1968
ex-Love Affair member Georgie Wood and Randy Ashe, drummer of the backing band of Joske Harris, are recruited as replacements for Kritzinger and Kreuger.
Chris Stone – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Martin Piggott – Vocals
George Wood – Lead guitar & vocals
Randy Ashe – Drums
Aug. 1968
Mick Carter, who had been touring with Michel Polnareff, joins after Randy Ashe leaves.
Chris Stone – Guitar & vocals
Alan Escombe-Wolhuter – Bass
Martin Piggott – Vocals
George Wood – Lead guitar & vocals
Mick Carter – Drums
Late 1968, as Fynn McCool
Mick Fowler, a former member of Grapefruit, joins.
Chris Stone – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Mick Carter – Drums
Mick Fowler (b. 25th July 1948) – Guitar, piano & lead vocals
Jul. 1970
Two other ex–Grapefruit members, Bob Wale and Geoff Swettenham, join. Vik Tedeschi, a Swiss/German Jazz musician, joins for a couple of months.
Bob Wale – Guitar, harmonica & vocals
Alan Escombe-Wolhuter – Bass & vocals
Geoff Swettenham (b. 8th March 1948) – Drums
Mick Fowler – Guitar, piano & lead vocals
Viktor Tedeschi – Saxophone, oboe & flute
Sep. 1970
Bob Wale is replaced by Glen Turner.
Glen Turner – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Geoff Swettenham – Drums
Mick Fowler – Guitar, piano & lead vocals
Viktor Tedeschi – Saxophone, oboe & flute
Mar. 1971
Garth Watt-Roy joins. He later left to join East of Eden.
Garth Watt-Roy – Guitar & Vocals
Alan Escombe-Wolhuter – Bass & Vocals
Geoff Swettenham – Drums
Mick Fowler – Guitar, piano & lead vocals
Jun. 1971
Peter Arnesen joins. He later left to join The Rubettes.
Steve Krieger – Guitar & vocals
Alan Escombe-Wolhuter – Bass & vocals
Ken (Ginger) Dixon – Drums
Mick Fowler – Guitar, piano & lead vocals
Peter Arnesen – Piano & vocals
Fynn McCool broke up in February 1972.
Shake Spears Discography & Related Discographies
The Shake Spears
1965 7″ Shake It Over / Cry For Your Loving Belgium Ronnex 1336
1965 7″ Midsummernight’s Dream / Brussels Bound Belgium Ronnex 1339
1965 7″ Do That Again / Don’t Play Funny Games Belgium Ronnex 1347
1965 Jun 7″ Shake It Over /Do That Again Germany Ariola 18 386 AT
1965 7″ Garden of Eden / Nossi Dan Belgium Ronnex 1352
1965 7″ I Can’t Tell / I Know Belgium Ronnex 1356
1965 7″ The Shake Spear / Give It to Me (mono) Belgium Ronnex 1360
1965 7″ The Shake Spear / Give It to Me (stereo) Belgium Ronnex 1361
1965 7″ The Shake Spear / Give It to Me Germany Ariola 18 548 AT
1966 7″ The Shake Spear / Give It to Me Mexico Orfeon 45-1881
1965 7″ I’ll Go Crazy / Stop Playing That Song Belgium Ronnex 1365
1966 7″ I’ll Go Crazy / Stop Playing That Song Denmark Ronnex STU 42252
1966 7″ Summertime / What Happened Belgium / France Philips 319763
1966 7″ Summertime / What Happened Germany Ariola 19 166 AT
1966 7″ Summertime (EP) France Barclay 071036
1966 LP Give It to Me Netherlands Philips QL 625 276
1966 Jul 7″ The Saint / Lucifer Belgium Ronnex 1366
1966 7″ The Saint / Lucifer Belgium Ronnex R 1366
1966 7″ The Saint / Lucifer Netherlands Fontana 278 120 YF
1966 7″ The Saint / Lucifer Italy RT Club RT 1522
1966 7″ The Saint / Lucifer Denmark Ronnex STU 42551
1966 7″ Candle promo Belgium Moonglow M-5020-1
1966 7″ Candle / Jerk Belgium Ronnex 1372
1967 7″ Candle / Our Life Italy RT Club RT 1545
1968 7″ Our Life / Ma-pah Belgium Ronnex 1377
1968 7″ El Santo / Give and Take Spain Acropol A-119
1968 7″ Give and Take / Ma-pah Greece Melody RRG 209
1968 May 7″ Burning My Fingers / Something to Believe In UK RCA 1695
1968 7″ Burning My Fingers / Something to Believe In France RCA 49.850
1968 7″ Burning My Fingers / Something to Believe In Belgium RCA 54.4025
1968 7″ Burning My Fingers / Something to Believe In Canada RCA 57-3464
1968 7″ How Does She Look / Treasure of a Woman’s Love Belgium RCA 54.4036
1977 7″ Summertime / What Happened Belgium Ronnex 1450
1977 7″ Summertime / What Happened Netherlands Ronnex 1450
1978 7″ Summertime / Give It to Me France CBS 6422
1978 7″ Summertime / Give It to Me Netherlands Scramble SRS 510.075
1978 LP Summertime Belgium Tornado 501
1979 LP Summertime Portugal Imavox IM-45001
1965 7″ Do That Again / Shake It Over Greece Melody RRG 172
196? 7″ Candle / Jerk Belgium Ronnex RO. 1372
1966 7″ Candle / Jerk Greece Melody RRG 197
196? 7″ Shake It Over / Do That Again Lebanon Ruby F-1017
196? 7″ Candle / Jerk (Shake) Lebanon Ruby F.1034
196? 7″ Candle / Jerk (Shake) Lebanon Ruby F-1034
196? 7″ The Saint / Lucifer Turkey RT Club TR 1522
196? 7″ Summertime / What Happened Belgium Ronnex 1450
1977 7″ Summertime / What Happened Belgium Ronnex 1950
1977 7″ Summertime / What Happened Belgium Ronnex 1950
197? 7″ Summertime / What Happened Belgium Ronnex 1950
197? 7″ The Saint / Lucifer Belgium Ronnex R 1366
197? 7″ The Saint / Lucifer Belgium Ronnex 1366
197? 7″ The Saint / Lucifer Belgium Ronnex R 1366
19?? LP Summertime France ABA 3385
19?? LP Summertime Belgium 4M034-62069
Teeny and Tony and the Bushbabies
1965 April 16 7″ This Is The End / It Hurts Me UK Parlophone R 5268
Fynn McCool
1970 May 15 7″ U.S.Thumbstyle / Diamond Lil promo UK RCA 1956
1970 7″ U.S.Thumbstyle / Diamond Lil UK RCA 1956
1970 7″ U.S.Thumbstyle / Diamond Lil France RCA 49.671
1970 LP Fynn McCool UK RCA SF 8112
2013 LP Fynn McCool Prog Temple PTLP8007
Brian
1967 7″ Poinciana / Do-dum-dum Germany Ariola 19 748 AT
1967 7″ Poinciana / Do-dum-dum Denmark Ronnex STU 42298
1967 7″ Poinciana / Do-dum-dum Netherlands Delta Grammophon DS 1256
1968 7″ Poinciana / Do-dum-dum Belgium Ronnex 1378
1968 7″ Poinciana / Do-dum-dum Belgium Ronnex R 1378
1968 LP Brian Belgium Ronnex LP 011
1968 7″ Look at Me / I’m Gonna Love You Belgium Ronnex 1382
1968 7″ Give and Take / And I Love Her Belgium Ronnex 1385
1968 7″ Give and Take / And I Love Her Netherlands Park BP 1003
1968 7″ Come Back Girl / If I Had My Way Belgium Ronnex 1388
1968 Aug 5 7″ Come Back Girl / If I Had My Way Netherlands Philips JF 333 827
1968 7″ Come Back Girl / If I Had My Way Yugoslavia Jugoton SRX 8204
1969 7″ Too Late for Tears / I Will Stay Belgium Ronnex 1395
1969 7″ Cara-Lin / Time Belgium Ronnex 1398
1969 Dec 09 7″ The Girl Who Plays the Bass Guitar / Half Hearted Germany Saga OPP 42
1970 7″ The Girl Who Plays the Bass Guitar / Half Hearted Belgium Ronnex 1406
1970 7″ Money and Love / Just One More Time Belgium Ronnex 1415
1970 LP Brian Belgium Ronnex LP 012
1970 7″ The Rainmaker / World of Evergreen Belgium MCA 2028
1971 7″ Too Late for Tears / Kiss Me Some More Canada Much International CH 2501
1978 7″ Give and Take / I’m Gonna Love You Belgium Ronnex R 1453
1978 7″ Give and Take / I’m Gonna Love You Belgium Ronnex R 1453
196? 7″ Poinciana / Do-dum-dum Sweden Olga SO 53
1968 7″ Give and Take / And I Love Her Belgium Ronnex R. 1385
197? 7″ Poinciana / Do-dum-dum Belgium Ronnex R 1378
197? 7″ Poinciana / Do-dum-dum Belgium Ronnex R 1378
Gene Latter
1966 Mar 25 7″ Just A Minute Or Two / Dream Lover UK Decca F 12364
1966 May 13 7″ Mother’s Little Helper / Please Come Back To Me Again UK Decca F 12397
1966 Jun 7″ Dream Lover / Just A Minute Or Two Germany Decca DL 25 239
1966 Dec 7″ Something Inside Me Died / Don’t Go UK CBS 202483
1967 Mar 31 7″ Always / A Woman Called Sorrow promo UK CBS 202655
1967 Mar 31 7″ Always / A Woman Called Sorrow UK CBS 202655
1967 Jul 14 7″ A Little Piece Of Leather / Funny Face Girl promo UK CBS 2843
1967 Jul 14 7″ A Little Piece Of Leather / Funny Face Girl UK CBS 2843
1967 Aug 7″ A Little Piece Of Leather / Funny Face Girl Germany CBS 2843
1967 7″ A Little Piece Of Leather / Funny Face Girl Belgium CBS 2843
1967 7″ A Little Piece Of Leather / Funny Face Girl Netherlands CBS 2843
19?? 7″ A Little Piece Of Leather / Funny Face Girl UK CBS 8131
1967 Sep 7″ With A Child’s Heart / Ways promo UK CBS 2986
1968 Jan 7″ A Tribute To Otis / Bring Your Love Home UK Direction 58-3245
1968 Jul 12 7″ Angie / Young And Beautiful<i>(as Gene Darling)</i> UK Spark SRL 1011
1969 7″ Sign On The Dotted Line / I Love You UK Spark SRL 1022
1969 7″ Sign On The Dotted Line / I Love You Germany Spark 14 261 AT
1969 Jul 11 7″ Holding A Dream / The Old Iron Bell UK Spark SRL 1031
1969 Aug 22 7″ Help Me Judy, Help Me / On The Highway UK Parlophone R5800
1969 Sep 7″ On The Highway / Help Me Judy, Help Me Germany Odeon 1C 006-04 232 M
1969 Oct 3 7″ Help Me Judy, Help Me / On The Highway Netherlands Parlophone 5C 006.04232 M
1969 Oct 31 7″ Tiger Bay / We Can Make It Out UK Parlophone R5815
1970 Jul 7″ Someday You’ll Need My Love / Come On Home UK Parlophone R5853
1971 Apr 2 7″ Catch My Soul / Happiness UK Parlophone R5896
1971 7″ Catch My Soul / Happiness Belgium Ronnex 1430
1971 7″ Catch My Soul / Happiness Netherlands Parlophone 5C 006-04809
1971 Aug 7″ Sing A Song Of Freedom / Too Busy Thinking About My Baby UK Parlophone R5913
1972 Apr 7 7″ Sign On The Dotted Line / I Love You promo UK Spark SRL 1063
1972 7″ Sign On The Dotted Line / I Love You UK Spark SRL 1063
1972 7″ Sign On The Dotted Line / I Love You promo Italy Spark AC 026
1972 7″ Sign On The Dotted Line / I Love You Italy Spark SR 809 LG
1972 7″ Sign On The Dotted Line / I Love You Sweden Spark SP 5045
1972 7″ Rock ‘n Roll Is Here Again / Come on Home Belgium Ronnex 1437
1974 Jun 7 7″ All Over Now / Annie’s Place UK Youngblood YB 1069
1974 Dec 7″ Sweet Little Rock And Roller / Annie’s Place Italy Young Blood YB 1022
1974 7″ Sweet Little Rock And Roller / Annie’s Place Germany Young Blood DL 25 641
1974 7″ Sweet Little Rock And Roller / Auntie Annie’s Place France Carrere 49.068
1974 7″ Sweet Little Rock And Roller / Auntie Annie’s Place Spain Poplandia P-30577
1974 Nov 15 7″ Sweet Little Rock And Roller / Rock ‘n’ Roll ’74 promo UK Private Stock Records PVT 4
1974 7″ Sweet Little Rock And Roller / Rock ‘n’ Roll ’74 UK Private Stock Records PVT 4
1974 7″ Groove It / Annie’s Place France Polydor 2056 464
1974 7″ Groove It / Red Indians Don’t Cry Germany Bellafon BF 18342
1974 7″ Groove It / Red Indians Don’t Cry UK Private Stock PVT 20
1975 7″ Groove It / Red Indians Don’t Cry Netherlands Negram NG 653
1975 Mar 14 7″ Sign On The Dotted Line / I Love You UK Spark SRL 1063
1975 May 16 7″ Groove It / Red Indians Don’t Cry UK Private Stock Records PVT 20
1976 Feb 26 7″ American Girl / I Wanna Dance UK Pye 7N 45581
1976 7″ Hello Hello / Mississippi Lady Germany CBS 4642
1976 7″ Hello Hello / Mississippi Lady promo Germany CBS 4642
1977 7″ Hello Hello / Mississippi Lady promo Spain RCA Victor SPBO-7094
1978 7″ Boogie Woogie Baby / Geronimo Belgium Ronnex 1454
1978 7″ Boogie Woogie Baby / Geronimo Belgium Ronnex R 1454
1978 7″ Rock Your Boat / Funk and Hustle Belgium Ronnex 1452
1978 7″ Rock Your Boat / Funk and Hustle Netherlands Groovy GRS 15093
1978 7″ John Travolta, You are a Superstar / Touch Me! ? Gip 468
1979 7″ John Travolta, You are a Superstar / Touch Me! Italy Durium DE. 3046
1979 7″ Rock Your Boat / Submarine Rock Canada Coach House Records GUY 20
1979 7″ Rock Baby Rock / Only You Belgium Ronnex 1458
1982 Jul 7″ Rock Baby Rock / Sweet Sugar Ray ? MAG 230
1984 7″ You’re So Sympatico / Melancholy B Baby Belgium Ronnex 1501
19?? 7″ Hello Hello / Funk ‘n Hustle Belgium Sinus Music BE 120-3144
Gene Latter & The Detours
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Daltrey, Roger 1944-PERSONALFull name, Roger Harry Daltrey; born March 1, 1944, in Hammersmith, London, England; son of Harry and Irene Daltrey; married Jacqueline (Jackie) Rickman, 1964 (divorced, 1968); married Heather Taylor (a model), 1971; children: (first marriage) Simon; (second marriage)
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|
Roger Daltrey
Singer
For the Record…
Selected discography
Sources
“The Who is the band that refused to die before it I got old,” stated Dave Marsh in The Rolling Stone Illustrated History of Rock and Roll. From their formation in the 1960s to their recent reunion tour, the Who have embodied some of the most basic elements of rock and roll—chaotic performances, destructive onstage behavior, and record-breaking noise levels— as well as taken music in new directions with trend-setting concept albums and rock operas. In a business where bands typically go through many personnel changes and rarely last for more than a few years, the Who are also remarkable for their stability and longevity. For more than twenty years, the group’s lyrics have been effectively shouted out by vocalist Roger Daltrey.
Daltrey, bassist John Entwhistle, and guitarist Pete Townshend all grew up in the same neighborhood, a working-class section of London known as Shepherd’s Bush. By the early 1960s, the three were playing together in a band called the Detours, which performed rhythm and blues and covers of early Beatles songs in local dance clubs. Late in 1963, the Detours hooked up with managers Pete Meaden and Helmut Gordon, who encouraged the band to cater to the British “mods”—young people dedicated to amphetamines, Vespa scooters, American rhythm and blues, and stylish clothing. Drummer Keith Moon joined the group, which had been renamed the High Numbers, and punched up their sound with his manic playing. They built up quite a following in the mods’ favorite clubs, but their only recording, “I’m the Face,” failed to sell.
Meaden and Gordon were soon replaced by Kit Lambert and Chris Stamp, two young filmmakers who discovered the band while looking for a movie subject. They were as much intrigued by the frantic crowds that came to hear the High Numbers as they were by the group’s music. They carefully calculated ways in which the band could heighten its appeal, suggesting that they revert to a gimmicky name they had used in the past— the Who—and prodding them to make destruction a part of their act. Under their tutelage the Who began putting out “soul music pilled-up and riotous, played with none of the elegant perfection of the Rolling Stones, but with all the zealotry of garage-band amateurs,” wrote Marsh. When Townshend began smashing his guitars onstage, and Moon kicked over his drum set, the mods loved it, and this type of flamboyance “saved the Who, who would never have gotten far trying to play R & B with the propriety of the Bluesbreakers or the Stones.” They took volume to new levels (eventually being listed in the Guinness Book of World Records as the world’s loudest band). Daltrey, who had “the mug, the posture, and the demeanor (permanently chipped shoulders) of a budding thug/aspiring John Dillinger,”
For the Record…
Full name Roger Harry Daltrey; born March 1, 1944, in London, England.
Founding member, with John Entwhistle, of rhythm and blues/dance band the Detours, early 1960s; founding member of the Who (originally called the High Numbers) with Entwhistle, Keith Moon, and Pete Townshend, 1965—; solo artist, 1973—. Has also appeared in films, including Tommy, McVicar, Lisztomania, Sextet, and The Legacy.
Addresses: Record company —Atlantic Records, 75 Rockefeller Plaza, New York, NY 10019.
developed a commanding stage presence. He “twirled his mike like a lariat, marched in place, danced silly steps, stuttered, swaggered, screamed; he pounced on the crowd, half stand-up comic, half assailant.”
The Who released their first single, “I Can’t Explain,” in 1965, but it didn’t really take off until they appeared on the British music show “Ready Steady Go!” with their screaming mob of fans from the London clubs. From then on success was theirs. Yet, from the very first, the Who mocked their own popularity, with album titles such as The Who Sell Out. Despite their tongue-in-cheek attitude, they were real innovators. Their second album included a ten-minute mini-opera that eventually led to the first full-scale rock opera, 1969’s Tommy. This story of a deaf, dumb, and blind pinball champion was considered pretentious by some, but was hailed as a masterpiece by many others, and it brought wealth, artistic respectability, and international fame to the Who. A second rock opera, Quadrophenia, explored the tortured inner lives of the mods the Who had once exploited to build their fame.
When The Who by Numbers was released in 1975, the group was as popular as ever, but its members, particularly Townshend, seemed to be undergoing an identity crisis. The most famous line from their first album had been “Hope I die before I get old,” but they hadn’t died, and they were uncertain as to what to do next. The group didn’t record for three years while its members worked on individual projects. Daltrey had already released a solo album and appeared in the title role of the film version of Tommy. In 1975 he portrayed classical composer Franz Liszt in Ken Russell’s Lisztomania. He later acted in Sextet, The Legacy, and McVicar, a film biography of train robber John McVicar. He also developed the script for McVicar from the robber’s autobiography. His solo albums received mixed reviews, with some critics commenting that Daltrey seemed to need Pete Townshend’s lyrics to reach his peak.
The Who returned as a unit in 1978 with Who Are You?, but only a month after the long-awaited album was released, drummer Keith Moon was found dead in his apartment, overdosed on a drug which, ironically, had been prescribed to curb his alcoholism. The Who’s future was thrown into doubt; but after much deliberation, Daltrey, Entwhistle, and Townshend decided to try to replace Moon and carry on. Kenny Jones of Small Faces was recruited, noted session man John “Rabbit” Bundrick joined the group on keyboards, and “finally, the Who came back onstage, with live shows that were more formal and less spontaneous but retained all of the old power and more of the enthusiasm than anyone had a right to expect,” wrote Marsh. Unfortunately, the return of the Who was overshadowed by a tragedy that occurred when they played Cincinnati’s Riverfront Coliseum: eleven concertgoers were crushed to death in a rush for seats. The group put out four more albums, but announced their official breakup in 1983 after the release of It’s Hard.
Although Who fans had hopes of a reunion tour in 1985, when the group agreed to perform at the Live-Aid benefit concert, it wasn’t until 1989 that all the members agreed to participate. Daltrey, Townshend, and Entwhistle hit the road with fifteen musicians to back them up on “The Kids Are Alright 1989 Tour.” “Extraordinary is the only word that comes to mind,” Boston Globe reviewer Steve Morse wrote of the much-anticipated show. “The Who thoroughly aced their exam, …scoring in the upper 99th percentile on song selection, visuals, sound mix, performance, crowd rapport, and just about anything else you might want to judge a show by…. It was the best stadium show this writer has ever seen.”
Selected discography
Albums with the Who
My Generation, Decca, 1966.
Happy Jack, Decca, 1967.
The Who Sell Out, Decca, 1968 (released in England as A Quick One).
Magic Bus—The Who on Tour, Decca, 1968.
Tommy, Decca, 1969.
Direct Hits, Track, 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.
Portrait, Polydor, 1975.
The Who by Numbers, MCA, 1975.
Who Are You?, MCA, 1978.
The Kids Are Alright, MCA, 1979.
Quadrophenia (soundtrack), Polydor, 1979.
Face Dances, Polydor, 1981.
Hooligans, MCA, 1981.
Phases, Polydor, 1982.
It’s Hard, Polydor, 1982.
Who’s Last, Polydor, 1985.
Two’s Missing, Polydor, 1987.
Solo albums
Daltrey, MCA, 1973.
Ride a Rock Horse, MCA, 1975.
One of the Boys, MCA, 1977.
McVicar (soundtrack), Polydor, 1980.
Best of Roger Daltrey, Polydor, 1981.
Best Bits, MCA, 1982.
Parting Should Be Painless, WEA, 1984.
Under a Raging Moon, Atlantic, 1985.
Can’t Wait to See the Movie, Atlantic, 1987.
Sources
Books
Hardy, Phil, and Dave Laing, Encyclopedia of Rock and Roll, McDonald, 1987.
Jahn, Mike, Rock: From Elvis Presley to Rock and Roll, Rolling Stone Press, 1976.
Miller, Jim, editor, Rolling Stone Illustrated History of Rock and Roll, Rolling Stone Press, 1983.
Periodicals
Audio, February, 1986.
Boston Globe, July 13, 1989; July 15, 1989.
Boston Phoenix, July 21, 1989.
People, August 3, 1987.
Rolling Stone, February 28, 1985; August 27, 1987.
—Joan Goldsworthy
Daltrey, Roger 1944-
PERSONAL
Full name, Roger Harry Daltrey; born March 1, 1944, in Hammersmith, London, England; son of Harry and Irene Daltrey; married Jacqueline (Jackie) Rickman, 1964 (divorced, 1968); married Heather Taylor (a model), 1971; children: (first marriage) Simon; (second marriage) Rosie Lea, Willow Amber, Jamie; two other children.
Addresses:
Agent—Gold/Marshak/Liedtke & Associates, 3500 West Olive Ave., Suite 1400, Burbank, CA 91505; Talentworks, 3500 West Olive Ave., Suite 1400, Burbank, CA 91505; Conway Van Gelder Ltd., 18-21 Jermyn St., 3rd Floor, London, SW1Y 6HP, United Kingdom; Special Artists Agency, 9464 Wilshire Blvd., Suite 890, Beverly Hills, CA 90212. Office—WEA/Atlantic, 75 Rockefeller Plaza, New York, NY 10019-6908.
Career:
Actor, singer, composer, musical director, and producer. The Who (rock band, previously known as The Detours and High Numbers), lead singer, 1965—; recorded as a solo artist, 1983—; appeared in numerous television commercials, including Bulova Watches and American Express; previously worked as construction worker and sheet metal worker.
Awards, Honors:
Golden Globe Award nomination, best acting debut in a motion picture—male, 1976, for Tommy; Grammy Award nomination (with others), best music video, 1991, for The Who Live, Featuring the Rock Opera Tommy; inducted (with The Who) into the Rock & Roll Hall of Fame, 1990; Star on the Hollywood Walk of Fame (with The Who), 1995; awarded Commander of the British Empire, 2005; inducted (with The Who) into UK Music Hall of Fame, 2005.
CREDITS
Film Appearances:
(With The Who) Monterey Pop, 1969.
(With The Who) Woodstock (also known as Woodstock-3 Days of Peace and Music), Warner Bros., 1970.
La Fete aujourd'hui, la fete demain, 1972.
Tommy Walker (title role), Tommy (also known as "Tommy" by The Who and The Who's "Tommy"), Columbia, 1975.
Himself, Ride a Rock Horse, 1975.
Franz Liszt, Lisztomania, Warner Bros., 1975.
(With The Who) The Kids Are Alright, New World, 1979.
Clive Jackson, The Legacy (also known as The Legacy of Maggie Walsh), Universal, 1979.
John McVicar (title role), McVicar, Crown International, 1980.
Himself, Profiles in Rock, 1981.
Himself, Concert for Kampuchea, 1981.
Himself, The Who Rocks America 1982, 1982.
(With The Who), Ready Steady Go, Volume 1, 1983.
Bitter Cherry, 1983.
Himself, Cool Cats—Twenty-five Years of Rock 'N' Roll Style, 1983.
Producer, Pop Pirates, 1984.
Roger, Murder: Ultimate Grounds for Divorce, 1984.
(With The Who), Ready Steady Go, Volume 2, 1985.
(With The Who), Rock 'N' Roll Goldmine: The Sixties (also.
known as Casey Kasem's Rock 'N' Roll Goldmine: The Sixties), 1986.
Himself, The Magic Years, Vol. 1 (also known as The Foundations), 1987.
Himself, The Magic Years, Vol. 2 (also known as Live Killers in the Making), 1987.
Himself, The Magic Years, Vol. 3 (also known as Crowded in Glory), 1987.
(With The Who), Rolling Stone: The First Twenty Years, 1987.
Jeb Macklin, The Little Match Girl, 1987.
The barrister, The Hunting of the Snark, 1987.
Colin, Gentry, 1987.
(With The Who), The Who: Who's Better Who's Best, 1988.
(With The Who), The Who Live at Giants Stadium, 1989.
Street singer, Mack the Knife (also known as The Threepenny Opera), 1989.
Keith Gibson, Cold Justice, 1989.
Terry Clark, Buddy's Song, 1990.
Himself, An Irish Evening: Live at the Grand Opera House Belfast, 1991.
Blade, If Looks Could Kill (also known as Teen Agent), 1991.
Voice of Barnaby, The Real Story of Happy Birthday to You, 1992.
The Who's Tommy, the Amazing Journey, 1993.
John T. Coles, Lightning Jack, 1994.
Himself, Celebration: The Music of Pete Townshend and The Who (also known as Celebration: The Music of the Who and Daltrey Sings Townshend), 1994.
(With The Who), The History of Rock 'N' Roll, Vol. 3 (also known as Britain Invades, America Fights Back), 1995.
(With The Who), The History of Rock 'N' Roll, Vol. 4 (also known as Plugging In), 1995.
(With The Who), The History of Rock 'N' Roll, Vol. 6 (also known as My Generation), 1995.
Champions of the World, 1995.
Bad English I: Tales of a Son of a Brit, 1995.
(With The Who), The Rolling Stones Rock and Roll Circus (documentary), Abkco Films, 1996.
(With The Who), Listening to You: The Who at the Isle of Wight Festival (documentary), 1996.
(With The Who), Message to Love: The Isle of Wight Festival (documentary), Castle Music Pictures, 1997.
(With The Who), Legends: The Who (documentary), 1997.
Kelvin, Like It Is, First Run Features, 1998.
Classic Albums—The Who: Who's Next (documentary), ILC Music, 1999.
Himself, British Rock Symphony (documentary), WLIW-21, 1999.
Pixelon's iBash, Pax, 1999.
The Messiah XXI, Ndb TV, 2000.
My Generation, PolyGram, 2000.
The Who Live at the Royal Albert Hall, Image, 2000.
Rodney Marsh, Best, Optimum Releasing, 2000.
Nehemiah Peoples, Chasing Destiny, Artist View Entertainment, 2000.
The Chemical Wedding, 2001.
Ben, .com for Murder, Kinowelt, 2002.
One Who Day, Radical, 2002.
Argon the dragon, The Wheels on the Bus Video: Mango and Papaya's Animal Adventures (video), Starlight, 2003.
Tommy and Quadrophenia Live: The Who (video), Warner Music Vision, 2005.
Argon the dragon, The Wheels on the Bus Video: Mango Helps the Moon Mouse (video), Starlight, 2005.
The Who: Music in Review-The Moon Years (video), 2006.
Jimmy, Johnny Was, Sony, 2006.
My Generation: Who's Still Who, Spitfire, 2007.
Film Producer:
McVicar, Crown International, 1980.
Buddy's Song, 1990.
Film Executive Producer:
Quadrophenia, 1979.
Film Musical Director:
Quadrophenia, 1979.
Buddy's Song, 1990.
Television Appearances; Series:
One of the Boys, 1977.
Terry Clark, Buddy, 1986.
How to Be Cool, 1988.
Host, Extreme History with Roger Daltrey, History, 2003.
Television Appearances; Movies:
Howard Storm, Forgotten Prisoners: The Amnesty Files (also known as Forgotten Prisoners), TNT, 1990.
Vlad/Jamie Blood, Vampirella, Showtime, 1996.
King Janos, Dark Prince: The True Story of Dracula, 2000.
Surgeon's assistant, Trafalgar Battle Surgeon, Channel 4, 2005.
Television Appearances; Miniseries:
William Dampier, Pirate Tales, 1997.
King Boric, The Magical Legend of the Leprechauns (also known as Kampf der kobolde and Leprechauns), NBC, 1999.
Television Appearances; Specials:
Listening to You: the Who at the Isle of Wight, 1970.
Cucumber Castle, 1970.
Roger Daltrey, 1983.
Macheath, The Beggar's Opera, BBC, 1983, then PBS, 1984.
Dromios, The Comedy of Errors (also known as BBC Television Shakespeare: "The Comedy of Errors"), BBC, then PBS, both 1984.
Live Aid, 1985.
Driving Force '86, 1986.
The Noel Edmonds Show, ABC, 1986.
Rock 'N' Roll Goldmine: The Sixties, 1986.
Rolling Stone Presents Twenty Years of Rock & Roll (also known as Rolling Stone: The First Twenty Years), 1987.
Atlantic Records 40th Anniversary: It's only Rock 'N' Roll, HBO, 1988.
(With The Who), MTV Rocumentary: The Story of the Who, 1988.
Fox Presents "Tommy" Performed by The Who, Fox, 1989.
Tommy Walker, Mr. Walker, Mrs. Walker, narrator, and specialist, The Who Live, Featuring the Rock Opera Tommy, 1989.
Two Rooms: A Tribute to Elton John & Bernie Taupin, 1991.
Freddie Mercury Tribute Concert (also known as A Concert for Life: A Tribute to Freddie Mercury), 1992.
The Chieftains in Concert with Roger Daltrey and Nanci Griffith, PBS, 1992.
Voice of Barnaby the stableboy, The Real Story of Happy Birthday to You, HBO, 1992.
"Forever Ambergris," Tales from the Crypt, HBO, 1993.
(With The Who), The Who's Tommy, the Amazing Journey, Disney Channel, 1993.
Woodstock Diary, 1994.
The Who: Thirty Years of Maximum Rhythm and Blues, 1994.
The Tin Woodsman, The Wizard of Oz in Concert: Dreams Come True, TNT, 1995.
Roger Daltrey: The Music of The Who, Disney Channel, 1995.
Jimmy, Mastercard Masters of Music Concert for the Prince's Trust, 1996.
William Dampier, Pirate Tales, TBS, 1997.
British Rock Symphony, 1999.
ABC 2000, ABC, 1999.
Freddie Mercury, the Untold Story, 2000 and 2001.
Host, Rockstock, 2000.
(With The Who), Piped Dreams, 2000.
The Concert for New York City, VH1, 2001.
2001: The Year in Music, VH1, 2001.
The Rise of the Celebrity Class, BBC, 2004.
Beautiful Dreamer: Brian Wilson and the Story of ‘Smile’, Showtime, 2004.
Live 8, 2005.
Movie Music Mania, ITV, 2005.
Rock n' Roll Fantasy Camp, The Learning Channel, 2006.
Television Appearances; Awards Presentations:
Presenter, MTV 1st Annual Video Music Awards, MTV, 1984.
The American Music Awards, ABC, 1986.
3rd Annual DVD Exclusive Awards, FX Channel, 2003.
Television Appearances; Episodic:
"Shindig Goes to London: Part 2," Shindig!, 1965.
Popside, 1966.
The Smothers Brothers Comedy Hour, 1967.
Beat-Club, 1967, 1968, 1969.
Top of the Pops, 1965-1981.
The John Denver Show, 1973.
Fracois Arconciel, "The Alchemist," Crossbow (also known as Guillaume Tell and William Tell), 1987.
Danny Bingham, "Can't Say N-N-No," Midnight Caller, 1991.
Hugh Fitzcairn, "The Hunters," Highlander, 1993.
Dalton, "Forever Ambergris," Tales from the Crypt, HBO, 1993.
Hugh Fitzcairn, "Star-Crossed," Highlander, 1995.
Tax, "Big Girls Don't Fly," Lois & Clark: The New Adventures of Superman, 1996.
Hugh Fitzcairn, "Till Death," Highlander, 1996.
Colonel Angus Rickman, "The Exodus: Parts 1 & 2," Sliders, 1997.
Hugh Fitzcairn, "The Stone of Stone," Highlander, 1997.
Hugh Fitzcairn, "Unusual Suspects," Highlander, 1997.
Himself, "Pauline and Linda Get a Bite," Jobs for the Girls, 1997.
Wetten, dass …?, 1997.
Late Night with Conan O'Brien, NBC, 1998.
"Keith Moon," Behind the Music, 1998.
Hugh Fitzcairn, "To Be," Highlander, 1998.
Hugh Fitzcairn, "Not to Be," Highlander, 1998.
Larry Moore, "Cracked Up," The Bill, 1999.
Nobby Clegg, "Between a Rock Star and a Hard Place," Rude Awakening, 1999.
Nobby Clegg, "Bosses, Burglars & Back Street Babes," Rude Awakening, 2000.
Nobby Clegg, "On the Rocks with a Twist of Limey," Rude Awakening, 2000.
Nobby Clegg, "Yes Sir, That's My Baby," Rude Awakening, 2000.
Nobby Clegg, "Untitled," Rude Awakening, 2000.
Voice of himself, "A Tale of Two Springfields," The Simpsons (animated), 2000.
Father Dennis Del Toro, Witchblade, TNT, 2001.
Mr. Wilkinson, That '70s Show, Fox, 2001.
Host, "Soul Man," Strange Frequency, VH1, 2001.
Madame Sesostris/Father Dennis Del Toro, "Hierophant," Witchblade, TNT, 2001.
Breakfast with Frost, BBC1, 2002.
Mr. Wilkinson, "That '70s Musical," That '70s Show, FOX, 2002.
The Late Late Show with Craig Kilborn (also known as The Late Late Show), CBS, 2003.
"Pete Townshend: Can't Explain," Biography, Arts and Entertainment, 2004.
Top Gear (also known as Top Gear Xtra), BBC, 2004 and 2006.
"The Priest & the Beast," The Mighty Boosh, BBC, 2005.
Mickey Dunn, "Living Legend," CSI: Crime Scene Investigation (also known as C.S.I., CSI: Las Vegas, and Les Experts), CBS, 2006.
Parkinson, BBC, 2006.
Mick Keating, "Once Upon a Time on the Westway," The Last Detective, ITV, 2006.
Television Appearances; Pilots:
Host/Devil, Strange Frequency, VH1, 2001.
Stage Appearances:
Scrooge, A Christmas Carol, Madison Square Garden, New York City, 1998.
Radio Appearances:
Judas, Jesus Christ Superstar, BBC, 1996.
RECORDINGS
Albums (with The Who):
Instant Party, 1965.
Ready Steady Who EP, 1965.
My Generation, 1965.
A Quick One (Happy Jack), 1966.
The Who Sings My Generation, Decca, 1966.
Happy Jack, Decca, 1967.
The Who Sell Out, Decca, 1967.
Live at Fillmore East, 1968.
Furious Prelude, 1968.
Magic Bus—The Who on Tour, Decca, 1968.
Tommy, Decca, 1969.
Live in Amsterdam, 1969.
The Who/The Strawberry Alarm Clock, 1969.
The Greatest Rock Sensation, 1970.
Live at Leeds, Decca, 1970.
Who's Next, Decca, 1971.
Meaty, Beaty, Big, and Bouncy (greatest hits), Decca, 1971.
Who Did It, 1971.
The Best of the Who, 1971.
Golden Double Album, 1971.
Exciting, 1971.
The Who Pop Giants, 1971.
Pop Heroes, 1971.
Collector's Item, 1972.
Tommy, Pt. 2, 1972.
Perfect Collection, 1973.
Quadrophenia, MCA, 1973.
Tales from the Who, 1974.
Magic Bus/My Generation, 1974.
Odds & Sods, MCA, 1974.
Who's Next/Odds & Sods, MCA, 1974.
A Quick One (Happy Jack)/The Who Sell Out, 1974.
Tommy (original soundtrack), Polydor, 1975.
The Who by Numbers, MCA, 1975.
Best of 1964-1974, 1975.
The Story of the Who, 1976.
Who Are You, MCA, 1978.
Musical Biography with Alison Steele, 1978.
The Kids Are Alright (original soundtrack), MCA, 1979.
Who Are You/Live at Leeds, 1980.
Face Dances, Warner Bros., 1981.
Filling in the Spaces, 1981.
Filling in the Gaps, 1981.
Phases, 1982.
It's Hard, Warner Bros., 1982.
Who's Next/Who by Numbers, 1982.
Live at Leeds/Who Are You, 1982.
Hooligans, MCA, 1982.
Meaty Beaty Big and Bouncy/Who by Numbers, MCA, 1982.
Who's Greatest Hits, MCA, 1983.
Dance to Keep from Crying, 1983.
Rarities, Vol. 1: 1966-1968. 1983.
Rarities, Vol. 2: 1970-1973, 1983.
Who's Last, 1984.
Who's Missing, MCA, 1985.
The Who, 1985.
Two's Missing, Polydor, 1987.
This is My Generation, 1988.
Who's Better Who's Best, 1988.
American Tour 1973, 1989.
Live in Amsterdam, 1989.
Tommy Live, 1989.
Join Together, MCA, 1990.
Talkin' 'Bout Their Generation, Baktabak, 1993.
Rarities 1966-1972, Vol. 1-2, Polydor, 1994.
Quadrophenia Demos, 1994.
Thirty Years of Maximum R&B, MCA, 1994.
Live at Leeds, MCA, 1995.
My Generation: The Very Best of the Who, MCA, 1996.
Live at the Isle of Wight Festival 1970, Legacy, 1996.
Who Are You, Polydor, 1996.
It's Hard, MCA, 1997.
Face Dances, MCA, 1997.
Music Must Change, 1998.
Who's Zoo Two!, 1998.
Closer to Queen Mary, 1998.
Woodstock, 1998.
20th Century Masters-The Millenium Collection: The Best of The Who, 1999.
BBC Sessions, 2000.
The Blues to the Bush, 2000.
The BBC Sessions, 2000.
High Numbered: More BBC and TV Sessions 1965-1970, 2001.
Who's Next, MCA, 2001.
Live at Leeds, MCA, 2001.
The Who Sell Out, 2002.
The Ultimate Collection, UTV, 2002.
My Generation, MCA, 2002.
Maximum Who: The Unauthorized Biography of the Who, 2002.
The Ultimate Collection, 2002.
Who's Next, MCA, 2003.
Singles, 2003.
Live at the Royal Albert Hall, Steamhammer, 2003.
Tommy, Geffen, 2003.
Ultimate Collection, 2003.
First Singles Box, Universal, 2004.
Singles Box, Vol. 1, Universal, 2004.
Then and Now: 1964-2004, 2004.
Put Downs and Sends-Ups Tour, 2004.
The Early Collection: Magic Bus,/Meaty Beaty Big and Bouncy/Who's Missing, 2004.
Quick One (Happy Jack), Polygram, 2004.
Then and Now: 1964-2004. Geffen, 2004.
High Numbers Live: 1964, 2005.
Rarities, Vol. 1/Vol. 2, Universal, 2005.
A Quick One (Happy Jack), Classics FR, 2005.
A Quick One (Happy Jack), Classics FR, 2006.
Direct Hits, Classics FR, 2006.
Tommy, Universal, 2006.
Endless Wire, 2006.
I'm a Boy, Universal, 2006.
Special Box Set, 2006.
Wire & Glass, Polygon, 2006.
I'm a Boy/Exciting, 2007.
Also recorded Who's Missing (1965-72).
Albums (as a solo artist):
Daltrey, MCA, 1973.
Ride a Rock Horse, MCA, 1975.
Lisztomania (original soundtrack), A&M, 1975.
One of the Boys, MCA, 1977.
McVicar (original soundtrack), Polydor, 1980.
Best Bits (greatest hits), MCA, 1983.
Parting Should Be Painless, Atlantic, 1984.
Under a Raging Moon, Atlantic, 1985.
Can't Wait to See the Movie, Atlantic, 1987.
Rocks in the Head, 1992.
Albums (Other):
Recorded (with others) The Chieftans: An Irish Evening.
Videos:
Ride a Rock Horse, 1975.
The Kids are Alright, Pioneer, 1979.
Quadrophenia, 1979.
Tommy, 1982.
Who Rocks America, 1983.
Who's Better, Who's Best: The Videos, 1988.
Live: Featuring Rock Opera Tommy, Sony, 1991.
Thirty Years of Maximum R&B Live, MCA, 1994.
Who's Tommy: The Amazing Journey, Walt Disney Video, 1994.
The Rockers are Alright, 1994.
Live at the Isle of Wight Festival 1970, 1998.
The Vegas Job: Reunion Concert Live in Vegas, 1999.
Classic Albums: The Who-Who's Next, 1999.
Who's Next, 2000.
Quadrophenia, 2001.
Live at the Royal Albert Hall, Image, 2001.
Host, The Who Weekend, VH1, 2002.
Brian Wilson: On Tour, Sanctuary, 2003.
The Old Grey Whistle Test: Vol 2, BBC, 2003.
Narrator, Yesspeak, Classic Pictures, 2003.
Early Years, 2004.
Tommy, Geffen, 2004.
The Who Live in Boston, Rhino, 2004.
The Singer and the Song, Ventura, 2004.
The Who: Live in Boston, WSM, 2004.
Tangled Up in Who, 2005.
Tommy and Quadrophenia: Live, Rhino, 2005.
Alan Meets Roger Daltrey, 2005.
Live from Toronto, Immortal, 2006.
Purple Hearts and Power Chords: The Who on Film 1965-1969, 2006.
The Moon Years, 2006.
Live from Toronto, 2006.
Quadrophenia Live, Rhino, 2006.
Tommy Live, Rhino, 2006.
In Their Own Words, Classic Rock Legends, 2006.
Music Box Biographical Collection, Music Video Box, 2006.
Live at the Isle of Wight Festival 1970, Eagle Vision USA, 2006.
20th Anniversary Reunion Concert, Passport, 2006.
The Who: Live at Lyon, 2006.
The Who: The Vegas Job, Universal, 2006.
Music Videos:
Appeared in Barbra Streisand's "Emotion."
WRITINGS
Film Scores:
(Additional songs) Lisztomania, 1975.
(Uncredited) Quadrophenia, 1979.
(With The Who) The Kids Are Alright, 1979.
Buddy's Song, 1990.
(Additional songs) Chasing Destiny, 2000.
OTHER SOURCES
Periodicals:
Entertainment Weekly, July 12, 1996, pp. 13.
The Independent, July 7, 1994, pp. 25.
New York Times, December 8, 1993, pp. C2; September 16, 1998, pp. B2.
People Weekly, February 28, 1994, pp. 84.
Time, November 16, 1998, pp. 133.
Roger Daltrey
Singer
"The Who is the band that refused to die before it got old," stated Dave Marsh in The Rolling Stone Illustrated History of Rock and Roll. From their formation in the mid-1960s to through several reunion tours, the Who embodied some of the most basic elements of rock and roll—chaotic performances, destructive onstage behavior, and record-breaking noise levels—and the group took music in new directions with trend-setting concept albums and rock operas. In a business where bands typically go through many personnel changes and rarely last for more than a few years, the Who were also remarkable for their stability and longevity. For more than 20 years the group's lyrics have been effectively shouted out by vocalist Roger Daltrey.
Daltrey, bassist John Entwistle, and guitarist Pete Townshend all grew up in the same neighborhood, a working-class section of London known as Shepherd's Bush. By the early 1960s the three were playing together in a band called the Detours, which performed rhythm and blues and covers of early Beatles songs in local dance clubs. Late in 1963 the Detours hooked up with managers Pete Meaden and Helmut Gordon, who encouraged the band to cater to the British "mods"—young people dedicated to amphetamines, Vespa scooters, American rhythm and blues, and stylish clothing. Drummer Keith Moon joined the group, which had been renamed the High Numbers, and punched up their sound with his manic playing. They built up a following in the mods' favorite clubs, but their only recording, "I'm the Face," failed to sell.
Meaden and Gordon were soon replaced by Kit Lambert and Chris Stamp, two young filmmakers who discovered the band while looking for a movie subject. They were as much intrigued by the frantic crowds that came to hear the High Numbers as they were by the group's music. They carefully calculated ways in which the band could heighten its appeal, suggesting that they revert to a gimmicky name they had used in the past—the Who—and prodding them to make destruction a part of their act. Under their tutelage the Who began putting out "soul music pilled-up and riotous, played with none of the elegant perfection of the Rolling Stones, but with all the zealotry of garage-band amateurs," wrote Marsh. When Townshend began smashing his guitars onstage and Moon kicked over his drum set, the mods loved it, and according to Marsh, this type of flamboyance "saved the Who, who would never have gotten far trying to play R & B with the propriety of the Bluesbreakers or the Stones." They took volume to new levels, eventually being listed in the Guinness Book of World Records as the world's loudest band.
The Who released their first single, "I Can't Explain," in 1965, but it didn't take off until they appeared on the British music show "Ready Steady Go!" with their screaming mob of fans from the London clubs. From then on, success was theirs. From the very first, the Who mocked their own popularity, with album titles such as The Who Sell Out. Despite their tongue-in-cheek attitude, however, they were real innovators. Their second album included a ten-minute mini-opera that eventually led to the first full-scale rock opera, 1969's Tommy. This story of a deaf, dumb, and blind pinball champion was considered pretentious by some, but was hailed as a masterpiece by many others, and it brought wealth, artistic respectability, and international fame to the Who. A second rock opera, Quadrophenia, explored the tortured inner lives of the mods, once exploited by the group to build their fame.
When The Who by Numbers was released in 1975, the group was as popular as ever, but its members, particularly Townshend, seemed to be undergoing an identity crisis. The most famous line from their first album had been "Hope I die before I get old," but they hadn't died and they were uncertain about what to do next. The group didn't record for three years while its members worked on individual projects. Daltrey had already released a solo album and appeared in the title role of the film version of Tommy. In 1975 he portrayed classical composer Franz Liszt in Ken Russell's Lisztomania. He later acted in Sextet, The Legacy, and McVicar, a film biography of train robber John McVicar. He also developed the script for McVicar from the robber's autobiography.
The Who returned as a unit in 1978 with Who Are You?, but only a month after the long-awaited album was released drummer Keith Moon was found dead in his apartment, overdosed on a drug which, ironically, had been prescribed to curb his alcoholism. The Who's future was thrown into doubt; but after much deliberation Daltrey, Entwistle, and Townshend decided to try to replace Moon and carry on. Kenny Jones of Small Faces was recruited, noted session man John "Rabbit" Bundrick joined the group on keyboards, and "finally, the Who came back onstage, with live shows that were more formal and less spontaneous but retained all of the old power and more of the enthusiasm than anyone had a right to expect," wrote Marsh. Unfortunately, the return of the Who was overshadowed by a tragedy that occurred when they played Cincinnati's Riverfront Coliseum: eleven concertgoers were crushed to death in a rush for seats. The group put out two more studio albums of new material, but announced their official breakup in 1983 after the release of It's Hard.
Although Who fans had hopes of a reunion tour in 1985 when the group agreed to perform at the Live-Aid benefit concert, it wasn't until 1989 that all the members agreed to participate in a tour. Daltrey, Townshend, and Entwistle hit the road with 15 musicians to back them up on "The Kids Are Alright 1989 Tour." "Extraordinary is the only word that comes to mind," Boston Globe reviewer Steve Morse wrote of the much-anticipated show. "The Who thoroughly aced their exam. … scoring in the upper 99th percentile on song selection, visuals, sound mix, performance, crowd rapport, and just about anything else you might want to judge a show by. … It was the best stadium show this writer has ever seen." The tour featured the band, this time with noted jazz and rock drummer Simon Phillips, performing Tommy in its entirety. In 1996 the group would re-form with drummer Zak Starkey on a live tour featuring complete performances of Quadrophenia. The group also gave an invigorated performance at the Concert for New York City benefit for the families of New York City Police and Fire Department members who died in the terrorist attacks on Sept. 11, 2001. Another reunion tour in 2002 was nearly grounded when the band's erstwhile bassist, John Entwhistle, died on the eve of the tour's first show. Rather than pack it in, Daltrey and Townshend enlisted Pino Palladino and soldiered on. Townshend's arrest and subsequent dismissal on child pornography charges (he claimed he was conducting research for a book on his own experiences as a child sexual abuse victim) brought Daltrey and Townshend closer together. The duo wrote and recorded the understated and underappreciated first Who album in nearly 25 years, Endless Wire, released in 2006.
For the Record …
Born Roger Harry Daltrey on March 1, 1944, in London, England.
Founding member, with John Entwistle, of rhythm and blues/dance band the Detours, early 1960s; founding member of the Who (originally called the High Numbers) with Entwistle, Keith Moon, and Pete Townshend, 1965; solo artist, 1973-; appeared in films including Tommy, McVicar, Lisztomania, Sextet, and The Legacy; hosted History Channel television series Extreme History, 2003.
Awards: named Commander of the Order of the British Empire, 2005.
Addresses: Record company—Atlantic Records, 75 Rockefeller Plaza, New York, NY 10019.
Flying Solo
The volatile relationships within the Who prompted the members to go their separate ways for extended periods between erratic recording and touring schedules. During these periods the members worked on solo projects. Daltrey's self-named debut solo effort, for example, was a highlight of album-oriented rock radio upon its release in 1973. The album featured eight songs written by the then-unknown songwriting team of Leo Sayer and David Courtney, including "One of the Boys," "Giving It All Away," and "The Show Must Go On." While generally considered to be a less successful effort, Daltrey's 1975 follow-up, Ride a Rock Horse, had many fine moments but failed to yield hit singles. If Ride a Rock Horse underwhelmed audiences, 1977's One of the Boys inexplicably yielded slight notice, this time because performers such as Daltrey were considered "dinosaurs" by punk musicians and critics. The album featured tasteful performances by such guest instrumentalists as Eric Clapton, Mick Ronson, Rod Argent, and John Entwhistle and songs written by Paul McCartney, Murray Head, and Andy Pratt.
After the recording of the Who's Who Are You, the death of Keith Moon, a subsequent tour and flurry of film projects, including the Who documentary The Kids Are Alright, and a cinematic version of Quadrophenia, Daltrey dedicated his newfound financial resources to the film and soundtrack of McVicar, a biography of a notorious bank robber. On the strength of the single "Free Me," the album became the highest selling release in Daltrey's solo catalog. The album also featured a blistering opening cut, "Bitter and Twisted," proving that the "dinosaur" could out-rock punk's snottiest contenders. A dearth of interesting material plagued Parting Should Be Painless, Daltrey's first album after the Who officially hung up their spurs in 1984. He rebounded a year later, however, on an album conceived both as a tribute to Keith Moon and a meditation on the ravages of age, Under a Raging Moon. Townshend contributed a fine composition brilliantly sung by Daltrey, "After the Fire," and Bryan Adams contributed "Let Me Down Easy." The 1987 release, Can't Wait to See the Movie, was a disappointing follow-up as Daltrey offered mostly indistinguishable ballads and held back on the throttle of his typically muscular vocals. Rocks in the Head, released in 1992, found Daltrey once again in fine command of his voice and song selection. Many of the songs were co-written by Daltrey with guitarist Gerard McMahon.
In 2005 Daltrey was named Commander of the Order of the British Empire in the Queen's New Year Honours List for his charity work, including the Teenage Cancer Trust. Inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990, Daltrey's inimitable vocal style has proven him possibly the best interpreter of Pete Townshend's lyrical forays into adolescent and middle-aged isolation, if not one of the best vocalists in all of rock music.
Selected discography
Albums with the Who
My Generation, Decca, 1966.
Happy Jack, Decca, 1967.
The Who Sell Out, Decca, 1968 (released in England as A Quick One).
Magic Bus-The Who on Tour, Decca, 1968.
Tommy, Decca, 1969.
Direct Hits, Track, 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.
Portrait, Polydor, 1975.
The Who by Numbers, MCA, 1975.
Who Are You?, MCA, 1978.
The Kids Are Alright, MCA, 1979.
Quadrophenia (soundtrack), Polydor, 1979.
Face Dances, Polydor, 1981.
Hooligans, MCA, 1981.
Phases, Polydor, 1982.
It's Hard, Polydor, 1982.
Who's Last, Polydor, 1985.
Two's Missing, Polydor, 1987.
Endless Wire, Universal/Republic, 2006.
Solo albums
Daltrey, MCA, 1973.
Ride a Rock Horse, MCA, 1975.
One of the Boys, MCA, 1977.
McVicar (soundtrack), Polydor, 1980.
Best of Roger Daltrey, Polydor, 1981.
Best Bits, MCA, 1982.
Parting Should Be Painless, WEA, 1984.
Under a Raging Moon, Atlantic, 1985.
Can't Wait to See the Movie, Atlantic, 1987.
Rocks in the Head, Atlantic, 1992.
Sources
Books
Hardy, Phil, and Dave Laing, Encyclopedia of Rock and Roll, McDonald, 1987.
Jahn, Mike, Rock: From Elvis Presley to Rock and Roll, Rolling Stone Press, 1976.
Miller, Jim, editor, Rolling Stone Illustrated History of Rock and Roll, Rolling Stone Press, 1983.
Periodicals
Audio, February, 1986.
Boston Globe, July 13, 1989; July 15, 1989.
Boston Phoenix, July 21, 1989.
People, August 3, 1987.
Rolling Stone, February 28, 1985; August 27, 1987.
Online
All Music Guide,http://www.allmusicguide.com (Feb. 22, 2007).
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This is a list of artists that are, or once were, signed to Polydor Records.
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https://www.wikiwand.com/en/List_of_Polydor_Records_artists
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English rock band
This article is about the English rock band. For other uses, see Who.
The Who are an English rock band formed in London in 1964. Their classic lineup (1964–1978) consisted of lead vocalist Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century. Their contributions to rock music include the development of the Marshall stack, large public address systems, the use of synthesizers, Entwistle's and Moon's influential playing styles, Townshend's feedback and power chord guitar technique, and the development of the rock opera. They are cited as an influence by many hard rock, punk, power pop and mod bands. The Who were inducted into the Rock and Roll Hall of Fame in 1990.
The Who evolved from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain" (1965), reached the UK top ten, and was followed by a string of hit singles including "My Generation" (1965), "Substitute" and "Happy Jack" (both 1966). In 1967, they performed at the Monterey Pop Festival and released "I Can See for Miles", their only US top-ten single. The group's 1969 concept album Tommy included the single "Pinball Wizard" and was a critical and commercial success.
Further festival appearances at Woodstock and the Isle of Wight, along with the concert album Live at Leeds (1970), established their reputation as a respected rock act. The success put pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up the album Who's Next (1971), including the hits "Won't Get Fooled Again", "Baba O'Riley", and "Behind Blue Eyes". The group released another concept album, Quadrophenia (1973), as a celebration of their mod roots, and oversaw the film adaptation of Tommy (1975). They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You (1978) was overshadowed by Moon's death shortly after.
Kenney Jones replaced Moon and the group resumed touring, and released a film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright (both 1979). After Townshend became weary of the group, they split in 1983. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th-anniversary tour in 1989 and a tour of Quadrophenia in 1996–1997. A full reunion began in 1999, with drummer Zak Starkey. After Entwistle's death in 2002, plans for a new album were delayed until 2006, with Endless Wire. Since Entwistle's death, the Who have continued to perform and tour, most commonly with Starkey on drums, Pino Palladino on bass, and Pete's brother Simon Townshend on second guitar and backing vocals. In 2019, the group released the album Who and toured with a symphony orchestra.
History
[edit]
Background
[edit]
The founding members of the Who, Roger Daltrey, Pete Townshend and John Entwistle, grew up in Acton, London and went to Acton County Grammar School. Townshend's father, Cliff, played saxophone and his mother, Betty, had sung in the entertainment division of the Royal Air Force during World War II, and both supported their son's interest in rock and roll. Townshend and Entwistle became friends in their second year of Acton County, and formed a trad jazz group; Entwistle also played French horn in the Middlesex Schools' Symphony Orchestra. Both were interested in rock, and Townshend particularly admired Cliff Richard's début single, "Move It". Entwistle moved to guitar, but struggled with it due to his large fingers, and moved to bass on hearing the guitar work of Duane Eddy. He was unable to afford a bass and built one at home. After Acton County, Townshend attended Ealing Art College, a move he later described as profoundly influential on the course of the Who.
Daltrey, who was in the year above, had moved to Acton from Shepherd's Bush, a more working-class area. He had trouble fitting in at the school, and discovered gangs and rock and roll. He was expelled at 15 and found work on a building site. In 1959 he started the Detours, the band that was to evolve into the Who. The band played professional gigs, such as corporate and wedding functions, and Daltrey kept a close eye on the finances as well as the music.
Daltrey spotted Entwistle by chance on the street carrying a bass and recruited him into the Detours. In mid-1961, Entwistle suggested Townshend as a guitarist, Daltrey on rhythm guitar, Entwistle on bass, Harry Wilson on drums, and Colin Dawson on vocals. The band played instrumentals by the Shadows and the Ventures, and a variety of pop and trad jazz covers. Daltrey was considered the leader and, according to Townshend, "ran things the way he wanted them". Wilson was fired in mid-1962 and replaced by Doug Sandom, though he was older than the rest of the band, married, and a more proficient musician, having been playing semi-professionally for two years.
Dawson left after frequently arguing with Daltrey and was briefly replaced by Gabby Connolly, before Daltrey moved to lead vocals. Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce, who started booking the band as a support act. The Detours were influenced by the bands they supported, including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates. The Detours were particularly interested in the Pirates as they also only had one guitarist, Mick Green, who inspired Townshend to combine rhythm and lead guitar in his style. Entwistle's bass became more of a lead instrument, playing melodies. In February 1964, the Detours became aware of the group Johnny Devlin and the Detours, and changed their name. Townshend and his house-mate Richard Barnes spent a night considering names, focusing on a theme of joke announcements, including "No One" and "the Group". Townshend preferred "the Hair", and Barnes liked "the Who" because it "had a pop punch". Daltrey chose "the Who" the next morning.
1964–1978
[edit]
Early career
[edit]
By the time the Detours had become the Who, they had already found regular gigs, including at the Oldfield Hotel in Greenford, the White Hart Hotel in Acton, the Goldhawk Social Club in Shepherd's Bush, and the Notre Dame Hall in Leicester Square. They had also replaced Druce as manager with Helmut Gorden, with whom they secured an audition with Chris Parmeinter for Fontana Records. Parmeinter found problems with the drumming and, according to Sandom, Townshend immediately turned on him and threatened to fire him if his playing did not immediately improve. Sandom left in disgust, but was persuaded to lend his kit to any potential stand-ins or replacements. Sandom and Townshend did not speak to each other again for 14 years.
During a gig with a stand-in drummer in late April at the Oldfield, the band first met Keith Moon. Moon grew up in Wembley, and had been drumming in bands since 1961. He was performing with a semi-professional band called the Beachcombers, and wanted to play full-time. Moon played a few songs with the group, breaking a bass drum pedal and tearing a drum skin. The band were impressed with his energy and enthusiasm, and offered him the job. Moon performed with the Beachcombers a few more times, but dates clashed and he chose to devote himself to The Who. The Beachcombers auditioned Sandom, but were unimpressed and did not ask him to join.
The Who changed managers to Peter Meaden. He decided that the group would be ideal to represent the growing mod movement in Britain which involved fashion, scooters and music genres such as rhythm and blues, soul and modern jazz. He renamed the group the High Numbers, dressed them up in mod clothes,[28] secured a second, more favourable audition with Fontana and wrote the lyrics for both sides of their single "Zoot Suit"/"I'm the Face" to appeal to mods. The tune for "Zoot Suit" was "Misery" by the Dynamics,[29] and "I'm the Face" borrowed from Slim Harpo's "I Got Love If You Want It". Although Meaden tried to promote the single, it failed to reach the top 50 and the band reverted to calling themselves the Who. The group – none of whom played their instruments conventionally[33] – began to improve their stage image; Daltrey started using his microphone cable as a whip on stage, and occasionally leapt into the crowd; Moon threw drumsticks into the air mid-beat; Townshend mimed machine-gunning the crowd with his guitar while jumping on stage and playing guitar with a fast arm-windmilling motion, or stood with his arms aloft allowing his guitar to produce feedback in a posture dubbed "the Bird Man".
Meaden was replaced as manager by two filmmakers, Kit Lambert and Chris Stamp. They were looking for a young, unsigned rock group that they could make a film about,[36] and had seen the band at the Railway Hotel in Wealdstone, which had become a regular venue for them.[38] Lambert related to Townshend and his art school background, and encouraged him to write songs.[36] In August, Lambert and Stamp made a promotional film featuring the group and their audience at the Railway. The band changed their set towards soul, rhythm and blues and Motown covers, and created the slogan "Maximum R&B".[28]
In June 1964, during a performance at the Railway, Townshend accidentally broke the head of his guitar on the low ceiling of the stage.[40] Angered by the audience's laughter, he smashed the instrument on the stage, then picked up another guitar and continued the show. The following week, the audience were keen to see a repeat of the event. Moon obliged by kicking his drum kit over, and auto-destructive art became a feature of the Who's live set.
First singles and My Generation
[edit]
By late 1964, the Who were becoming popular in London's Marquee Club, and a rave review of their live act appeared in Melody Maker. Lambert and Stamp attracted the attention of the American producer Shel Talmy, who had produced the Kinks. Townshend had written a song, "I Can't Explain", that deliberately sounded like the Kinks to attract Talmy's attention. Talmy saw the group in rehearsals and was impressed. He signed them to his production company, and sold the recording to the US arm of Decca Records, which meant that the group's early singles were released in Britain on Brunswick Records, one of UK Decca's labels for US artists. "I Can't Explain" was recorded in early November 1964 at Pye Studios in Marble Arch with the Ivy League on backing vocals, and Jimmy Page played fuzz guitar on the B-side, "Bald Headed Woman".
"I Can't Explain" became popular with pirate radio stations such as Radio Caroline. Pirate radio was important for bands as there were no commercial radio stations in the UK and BBC Radio played little pop music. The group gained further exposure when they appeared on the television programme Ready Steady Go![28] Lambert and Stamp were tasked with finding "typical teens", and invited the group's regular audience from the Goldhawk Social Club.[48] Enthusiastic reception on television and regular airplay on pirate radio helped the single slowly climb the charts in early 1965 until it reached the top 10. In early 1965, the Who made their first appearance on the television music show, Top of the Pops, at the BBC's Dickenson Road Studios in Manchester, with "I Can't Explain".[50]
The follow-up single, "Anyway, Anyhow, Anywhere", by Townshend and Daltrey, features guitar noises such as pick sliding, toggle switching and feedback, which was so unconventional that it was initially rejected by the US arm of Decca. The single reached the top 10 in the UK and was used as the theme song to Ready Steady Go!
The transition to a hit-making band with original material, encouraged by Lambert, did not sit well with Daltrey, and a recording session of R&B covers went unreleased. The Who were not close friends either, apart from Moon and Entwistle, who enjoyed visiting nightclubs together in the West End of London. The group experienced a difficult time when touring Denmark in September, which culminated in Daltrey throwing Moon's amphetamines down the toilet and assaulting him. Immediately on returning to Britain, Daltrey was sacked, but was reinstated on the condition that the group became a democracy without his dominant leadership. At this time, the group enlisted Richard Cole as a roadie.
The next single, "My Generation", followed in October. Townshend had written it as a slow blues, but after several abortive attempts, it was turned into a more powerful song with a bass solo from Entwistle. The song used gimmicks such as a vocal stutter to simulate the speech of a mod on amphetamines, and two key changes. Townshend insisted in interviews that the lyrics "Hope I die before I get old" were not meant to be taken literally. Peaking at No. 2, "My Generation" is the group's highest-charting single in the UK. The debut album My Generation was released in late 1965. Among original material by Townshend, including the title track and "The Kids Are Alright", the album has several James Brown covers from the session earlier that year that Daltrey favoured.[60]
After My Generation, the Who fell out with Talmy, which meant an abrupt end to their recording contract. The resulting legal acrimony resulted in Talmy holding the rights to the master tapes, which prevented the album from being reissued until 2002. The Who were signed to Robert Stigwood's label, Reaction, and released "Substitute". Townshend said he wrote the song about identity crisis, and as a parody of the Rolling Stones's "19th Nervous Breakdown". It was the first single to feature him playing an acoustic twelve-string guitar. Talmy took legal action over the B-side, "Instant Party", and the single was withdrawn. A new B-side, "Waltz for a Pig", was recorded by the Graham Bond Organisation under the pseudonym "the Who Orchestra".
In 1966 the Who released "I'm a Boy", about a boy dressed as a girl, taken from an abortive collection of songs called Quads; "Happy Jack"; and an EP, Ready Steady Who, that tied in with their regular appearances on Ready Steady Go! The group continued to have conflict; on 20 May, Moon and Entwistle were late to a gig having been on the Ready Steady Go! set with the Beach Boys' Bruce Johnston. During "My Generation", Townshend attacked Moon with his guitar; Moon suffered a black eye and bruises, and he and Entwistle left the band, but changed their minds and rejoined a week later. Moon kept looking for other work, and Jeff Beck had him play drums on his song "Beck's Bolero" (with Page, John Paul Jones and Nicky Hopkins) because he was "trying to get Keith out of the Who".
A Quick One and The Who Sell Out
[edit]
To alleviate financial pressure on the band, Lambert arranged a song-writing deal which required each member to write two songs for the next album. Entwistle contributed "Boris the Spider" and "Whiskey Man" and found a niche role as second songwriter. The band found they needed to fill an extra ten minutes, and Lambert encouraged Townshend to write a longer piece, "A Quick One, While He's Away". The suite of song fragments is about a girl who has an affair while her lover is away, but is ultimately forgiven. The album was titled A Quick One (Happy Jack in the US),[72] and reached No. 4 in the UK charts. It was followed in 1967 by the UK Top 5 single "Pictures of Lily".
By 1966, Ready Steady Go! had ended, the mod movement was becoming unfashionable, and the Who found themselves in competition on the London circuit with groups including Cream and the Jimi Hendrix Experience. Lambert and Stamp realised that commercial success in the US was paramount to the group's future, and arranged a deal with promoter Frank Barsalona for a short package tour in New York. The group's performances, which still involved smashing guitars and kicking over drums, were well received, and led to their first major US appearance at the Monterey Pop Festival. The group, especially Moon, were not fond of the hippie movement, and thought their violent stage act would stand in sharp contrast to the peaceful atmosphere of the festival. Hendrix was also on the bill, and was also going to smash his guitar on stage. Townshend verbally abused Hendrix and accused him of stealing his act, and the pair argued about who should go on stage first, with the Who winning the argument. The Who brought hired equipment to the festival; Hendrix shipped over his regular touring gear from Britain, including a full Marshall stack. According to biographer Tony Fletcher, Hendrix sounded "so much better than the Who it was embarrassing". The Who's appearance at Monterey gave them recognition in the US, and "Happy Jack" reached the top 30.
The group followed Monterey with a US tour supporting Herman's Hermits. The Hermits were a straightforward pop band and enjoyed drugs and practical jokes. They bonded with Moon, who was excited to learn that cherry bombs were legal to purchase in Alabama. Moon acquired a reputation of destroying hotel rooms while on tour, with a particular interest in blowing up toilets. Entwistle said the first cherry bomb they tried "blew a hole in the suitcase and the chair". Moon recalled his first attempt to flush one down the toilet: "[A]ll that porcelain flying through the air was quite unforgettable. I never realised dynamite was so powerful." After a gig in Flint, Michigan on Moon's 21st birthday on 23 August 1967, the entourage caused $24,000 of damage at the hotel, and Moon knocked out one of his front teeth. Daltrey later said that the tour brought the band closer, and as the support act, they could turn up and perform a short show without any major responsibilities.
After the Hermits tour, the Who recorded their next single, "I Can See for Miles", which Townshend had written in 1966 but had avoided recording until he was sure it could be produced well. Townshend called it "the ultimate Who record", and was disappointed it reached only No. 10 in the UK. It became their best selling single in the US, reaching No. 9. The group toured the US again with Eric Burdon and the Animals, including an appearance on The Smothers Brothers Comedy Hour, miming to "I Can See For Miles" and "My Generation". Moon bribed a stage hand to put explosives in his drum kit, who loaded it with ten times the expected quantity. The resulting detonation threw Moon off his drum riser and his arm was cut by a flying piece of a cymbal. Townshend's hair was singed and his left ear left ringing, and a camera and studio monitor were destroyed.
The next album was The Who Sell Out – a concept album paying tribute to pirate radio, which had been outlawed in August 1967 by the Marine Broadcasting Offences Act 1967. It included humorous jingles and mock commercials between songs, a mini rock opera called "Rael", and "I Can See For Miles". The Who declared themselves a pop art group and thus viewed advertising as an artform; they recorded a wide variety of radio advertisements, such as for canned milkshakes and the American Cancer Society, in defiance of the rising anti-consumerist ethos of the hippie counterculture. Townshend stated, "We don't change offstage. We live pop art." Later that year, Lambert and Stamp formed a record label, Track Records, with distribution by Polydor. As well as signing Hendrix, Track became the imprint for all the Who's UK output until the mid-1970s.
The group started 1968 by touring Australia and New Zealand with the Small Faces. The groups had trouble with the local authorities and the New Zealand Truth called them "unwashed, foul-smelling, booze-swilling no-hopers". After an incident that took place on a flight to Sydney, the band were briefly arrested in Melbourne and then forced to leave the country; Prime Minister John Gorton sent a telegram to the Who telling them never to return to Australia. The Who would not return to Australia again until 2004. They continued to tour across the US and Canada during the first half of the year.
Tommy, Woodstock, Isle of Wight and Live at Leeds
[edit]
By 1968, the Who had started to attract attention in the underground press. Townshend had stopped using drugs and became interested in the teachings of Meher Baba. In August, he gave an interview to Rolling Stone editor Jann Wenner describing in detail the plot of a new album project and its relationship to Baba's teachings. The album went through several names during recording, including Deaf Dumb and Blind Boy and Amazing Journey; Townshend settled on Tommy for the album about the life of a deaf, dumb and blind boy, and his attempt to communicate with others.[102] Some songs, such as "Welcome" and "Amazing Journey", were inspired by Baba's teaching, and others came from observations within the band. "Sally Simpson" is about a fan who tried to climb on stage at a gig by the Doors that they attended and "Pinball Wizard" was written so that New York Times journalist Nik Cohn, a pinball enthusiast, would give the album a good review. Townshend later said, "I wanted the story of Tommy to have several levels ... a rock singles level and a bigger concept level", containing the spiritual message he wanted as well as being entertaining. The album was projected for a Christmas 1968 release but recording stalled after Townshend decided to make a double album to cover the story in sufficient depth.
By the end of the year, 18 months of touring had led to a well-rehearsed and tight live band, which was evident when they performed "A Quick One While He's Away" at The Rolling Stones Rock and Roll Circus television special. The Stones considered their own performance lacklustre, and the project was never broadcast. The Who had not released an album in over a year, and had not completed the recording of Tommy, which continued well into 1969, interspersed with gigs at weekends. Lambert was a key figure in keeping the group focused and getting the album completed, and typed up a script to help them understand the story and how the songs fitted together.
The album was released in May with the accompanying single, "Pinball Wizard", a début performance at Ronnie Scott's, and a tour, playing most of the new album live. Tommy sold 200,000 copies in the US in its first two weeks, and was a critical success, Life saying, "for sheer power, invention and brilliance of performance, Tommy outstrips anything which has ever come out of a recording studio".[115] Melody Maker declared: "Surely the Who are now the band against which all others are to be judged."[116] Daltrey had significantly improved as a singer, and set a template for rock singers in the 1970s by growing his hair long and wearing open shirts on stage. Townshend had taken to wearing a boiler suit and Doctor Martens shoes.
In August, the Who performed at the Woodstock Festival, despite being reluctant and demanding $13,000 up front. The group were scheduled to appear on Saturday night, 16 August, but the festival ran late and they did not take to the stage until 5 am on Sunday; they played most of Tommy.[120] During their performance, Yippie leader Abbie Hoffman interrupted the set to give a political speech about the arrest of John Sinclair; Townshend kicked him off stage, shouting: "Fuck off my fucking stage!" During "See Me, Feel Me", the sun rose almost as if on cue; Entwistle later said, "God was our lighting man". At the end, Townshend threw his guitar into the audience.[123] The set was professionally recorded and filmed, and portions appear on the Woodstock film, The Old Grey Whistle Test and The Kids Are Alright.
Woodstock has been regarded as culturally significant, but the Who were critical of the event. Roadie John "Wiggie" Wolff, who arranged the band's payment, described it as "a shambles". Daltrey declared it as "the worst gig [they] ever played" and Townshend said, "I thought the whole of America had gone mad." A more enjoyable appearance came a few weeks later at the 1969 Isle of Wight Festival in England, which Townshend described as "a great concert for" the band. According to Townshend, at the end of the Isle of Wight gig the field was covered in rubbish left by fans (which the band's roadies helped to clear up), which inspired the line "teenage wasteland" from their single "Baba O'Riley".[127]
By 1970, the Who were widely considered one of the best and most popular live rock bands; Chris Charlesworth described their concerts as "leading to a kind of rock nirvana that most bands can only dream about". They decided a live album would help demonstrate how different the sound at their gigs was to Tommy, and set about listening to the hours of recordings they had accumulated. Townshend baulked at the prospect of doing so, and demanded that all the tapes be burned. Instead, they booked two shows, one in Leeds on 14 February, and one in Hull the following day, with the intention of recording a live album. Technical problems from the Hull gig resulted in the Leeds gig being used, which became Live at Leeds.[128] The album is viewed by several critics including The Independent,[129][130] The Telegraph[131] and the BBC,[132] as one of the best live rock albums of all time.
The Tommy tour included shows in European opera houses and saw the Who become the first rock act to play at the Metropolitan Opera House in New York City. In March the Who released the UK top 20 hit "The Seeker", continuing a theme of issuing singles separate to albums. Townshend wrote the song to commemorate the common man, as a contrast to the themes on Tommy. The tour included their second appearance at the Isle of Wight Festival. A record attendance in England which the Guinness Book of Records estimated at between 600,000 and 700,000 people,[136] the Who began their set at 2:00 A.M. on Sunday 30 August.[137]
Lifehouse and Who's Next
[edit]
Tommy secured the Who's future, and made them millionaires. The group reacted in different ways – Daltrey and Entwistle lived comfortably, Townshend was embarrassed at his wealth, which he felt was at odds with Meher Baba's ideals, and Moon spent frivolously.
During the latter part of 1970, Townshend plotted a follow-up Tommy: Lifehouse, which was to be a multi-media project symbolising the relationship between an artist and his audience. He developed ideas in his home studio, creating layers of synthesizers, and the Young Vic theatre in London was booked for a series of experimental concerts. Townshend approached the gigs with optimism; the rest of the band were just happy to be gigging again. Eventually, the others complained to Townshend that the project was too complicated and they should simply record another album. Things deteriorated until Townshend had a nervous breakdown and abandoned Lifehouse. Entwistle was the first member of the group to release a solo album, Smash Your Head Against the Wall, in May 1971.
Recording at the Record Plant in New York City in March 1971 was abandoned when Lambert's addiction to hard drugs interfered with his ability to produce. The group restarted with Glyn Johns in April. The album was mostly Lifehouse material, with one unrelated song by Entwistle, "My Wife", and was released as Who's Next in August. The album reached No. 1 in the UK and No. 4 in the US. "Baba O'Riley" and "Won't Get Fooled Again" are early examples of synthesizer use in rock, featuring keyboard sounds generated in real time by a Lowrey organ; on "Won't Get Fooled Again", it was further processed through a VCS3 synthesizer. The synthesizer intro to "Baba O'Riley" was programmed based on Meher Baba's vital stats, and the track featured a violin solo by Dave Arbus.[150] The album was a critical and commercial success, and has been certified 3× platinum by the RIAA.[151] The Who continued to issue Lifehouse-related material over the next few years, including the singles "Let's See Action", "Join Together" and "Relay".[153][154]
The band went back on tour, and "Baba O' Riley" and "Won't Get Fooled Again" became live favourites. In November they performed at the newly opened Rainbow Theatre in London for three nights,[157] continuing in the US later that month, where Robert Hilburn of the Los Angeles Times described the Who as "the Greatest Show on Earth". The tour was slightly disrupted at the Civic Auditorium in San Francisco on 12 December when Moon passed out over his kit after overdosing on brandy and barbiturates. He recovered and completed the gig, playing to his usual strength.
Quadrophenia, Tommy film and The Who by Numbers
[edit]
After touring Who's Next, and needing time to write a follow-up, Townshend insisted that the Who take a lengthy break, as they had not stopped touring since the band started. There was no group activity until May 1972, when they started working on a proposed new album, Rock Is Dead—Long Live Rock!, but, unhappy with the recordings, abandoned the sessions. Tensions began to emerge as Townshend believed Daltrey just wanted a money-making band and Daltrey thought Townshend's projects were getting pretentious. Moon's behaviour was becoming increasingly destructive and problematic through excessive drinking and drugs use, and a desire to party and tour. Daltrey performed an audit of the group's finances and discovered that Lambert and Stamp had not kept sufficient records. He believed them to be no longer effective managers, which Townshend and Moon disputed. The painful dissolution of the managerial and personal relationships are recounted in James D. Cooper's 2014 retrospective documentary, Lambert & Stamp.[166] Following a short European tour, the remainder of 1972 was spent working on an orchestral version of Tommy with Lou Reizner.
By 1973, the Who turned to recording the album Quadrophenia about mod and its subculture, set against clashes with Rockers in early 1960s Britain. The story is about a boy named Jimmy, who undergoes a personality crisis, and his relationship with his family, friends and mod culture. The music features four themes, reflecting the four personalities of the Who. Townshend played multi-tracked synthesizers, and Entwistle played several overdubbed horn parts. By the time the album was being recorded, relationships between the band and Lambert and Stamp had broken down irreparably, and Bill Curbishley replaced them. The album reached No. 2 in both the UK and US.
The Quadrophenia tour started in Stoke on Trent in October and was immediately beset with problems. Daltrey resisted Townshend's wish to add Joe Cocker's keyboardist Chris Stainton (who played on the album) to the touring band. As a compromise, Townshend assembled the keyboard and synthesizer parts on backing tapes, as such a strategy had been successful with "Baba O'Riley" and "Won't Get Fooled Again". The technology was not sophisticated enough to deal with the demands of the music; added to this issue, tour rehearsals had been interrupted due to an argument that culminated in Daltrey punching Townshend and knocking him out cold. At a gig in Newcastle, the tapes completely malfunctioned, and an enraged Townshend dragged sound-man Bob Pridden on-stage, screamed at him, kicked all the amps over and partially destroyed the backing tapes. The show was abandoned for an "oldies" set, at the end of which Townshend smashed his guitar and Moon kicked over his drumkit. The Independent described this gig as one of the worst of all time.[178] The US tour started on 20 November at the Cow Palace in Daly City, California; Moon passed out during "Won't Get Fooled Again" and during "Magic Bus". Townshend asked the audience, "Can anyone play the drums? – I mean somebody good." An audience member, Scot Halpin, filled in for the rest of the show.[178] After a show in Montreal, the band (except for Daltrey, who retired to bed early) caused so much damage to their hotel room, including destroying an antique painting and ramming a marble table through a wall, that federal law enforcement arrested them.
By 1974, work had begun in earnest on a Tommy film. Stigwood suggested Ken Russell as director, whose previous work Townshend had admired. The film featured a star-studded cast, including the band members. David Essex auditioned for the title role, but the band persuaded Daltrey to take it. The cast included Ann-Margret, Oliver Reed, Eric Clapton, Tina Turner, Elton John and Jack Nicholson. Townshend and Entwistle worked on the soundtrack for most of the year, handling the bulk of the instrumentation. Moon had moved to Los Angeles, so they used session drummers, including Kenney Jones (who would later join the Who). Elton John used his own band for "Pinball Wizard". Filming was from April until August. 1500 extras appeared in the "Pinball Wizard" sequence.
The film premiered on 18 March 1975 to a standing ovation. Townshend was nominated for the Academy Award for Best Original Score. Tommy was shown at the 1975 Cannes Film Festival, but not in the main competition. It won the award for Rock Movie of the Year in the First Annual Rock Music Awards and generated over $2 million in its first month. The soundtrack reached number two on the Billboard charts.
Work on Tommy took up most of 1974, and live performances by the Who were restricted to a show in May at the Valley, the home of Charlton Athletic, in front of 80,000 fans, and a few dates at Madison Square Garden in June. Towards the end of the year, the group released the out-takes album Odds & Sods, which featured several songs from the aborted Lifehouse project.
In 1975, Daltrey and Townshend disagreed about the band's future and criticised each other via interviews in the music paper New Musical Express. Daltrey was grateful that the Who had saved him from a career as a sheet-metal worker and was unhappy at Townshend not playing well; Townshend felt the commitment of the group prevented him from releasing solo material. The next album, The Who by Numbers, had introspective songs from Townshend that dealt with disillusionment such as "However Much I Booze" and "How Many Friends"; they resembled his later solo work. Entwistle's "Success Story" gave a humorous look at the music industry, and "Squeeze Box" was a hit single. The group toured from October, playing little new material and few Quadrophenia numbers, and reintroducing several from Tommy. The American leg of the tour began in Houston to a crowd of 18,000 at The Summit Arena, and was supported by Toots and the Maytals. On 6 December 1975, the Who set the record for largest indoor concert at the Pontiac Silverdome, attended by 78,000. On 31 May 1976, they played a second concert at the Valley which was listed in the Guinness Book of Records as the world's loudest concert at over 120 dB.[115] Townshend had become fed up of touring but Entwistle considered live performance to be at a peak.
Who Are You and Moon's death
[edit]
After the 1976 tour, Townshend took most of the following year off to spend time with his family. He discovered that former Beatles and Rolling Stones manager Allen Klein had bought a stake in his publishing company. A settlement was reached, but Townshend was upset and disillusioned that Klein had attempted to take ownership of his songs. Townshend went to the Speakeasy where he met the Sex Pistols' Steve Jones and Paul Cook, fans of the Who. After leaving, he passed out in a doorway, where a policeman said he would not be arrested if he could stand and walk. The events inspired the title track of the next album, Who Are You.
The group reconvened in September 1977, but Townshend announced there would be no live performances for the immediate future, a decision that Daltrey endorsed. By this point, Moon was so unhealthy that the Who conceded it would be difficult for him to cope with touring. The only gig that year was an informal show on 15 December at the Gaumont State Cinema in Kilburn, London, filmed for the documentary The Kids Are Alright. The band had not played for 14 months, and their performance was so weak that the footage was unused. Moon's playing was particularly lackluster and he had gained a lot of weight, though Daltrey later said, "even at his worst, Keith Moon was amazing."[206]
Recording of Who Are You started in January 1978. Daltrey clashed with Johns over the production of his vocals, and Moon's drumming was so poor that Daltrey and Entwistle considered firing him. Moon's playing improved, but on one track, "Music Must Change", he was replaced as he could not play in 6/8 time. In May, the Who filmed another performance at Shepperton Sound Studios for The Kids Are Alright. This performance was strong, and several tracks were used in the film. It was the last gig Moon performed with the Who.
The album was released on 18 August, and became their biggest and fastest seller to date, peaking at No. 6 in the UK and No. 2 in the US. Instead of touring, Daltrey, Townshend and Moon did a series of promotional television interviews, and Entwistle worked on the soundtrack for The Kids Are Alright.
On 6 September, Moon attended a party held by Paul McCartney to celebrate Buddy Holly's birthday. Returning to his flat, Moon took 32 tablets of clomethiazole which had been prescribed to combat his alcohol withdrawal. He passed out the following morning and was discovered dead later that day.
1978–1983
[edit]
The day after Moon's death, Townshend issued the statement: "We are more determined than ever to carry on, and we want the spirit of the group to which Keith contributed so much to go on, although no human being can ever take his place." Drummer Phil Collins, having a temporary break from Genesis after his first marriage had failed, was at a loose end and asked to replace Moon, but Townshend had already asked Kenney Jones, who had previously played with the Small Faces and Faces. Jones officially joined the band in November 1978.[214] John "Rabbit" Bundrick joined the live band as an unofficial keyboardist. On 2 May 1979, the Who returned to the stage with a concert at the Rainbow Theatre, followed by the Cannes Film Festival in France and dates at Madison Square Garden in New York.
The Quadrophenia film was released that year. It was directed by Franc Roddam in his feature-directing début, and had straightforward acting rather than musical numbers as in Tommy. John Lydon was considered for Jimmy, but the role went to Phil Daniels. Sting played Jimmy's friend and fellow mod, the Ace Face.[219] The soundtrack was Jones' first appearance on a Who record, performing on newly written material not on the original album.[220] The film was a critical and box office success in the UK and appealed to the growing mod revival movement. The Jam were influenced by the Who, and critics noticed a similarity between Townshend and the group's leader, Paul Weller.
The Kids Are Alright was also completed in 1979. It was a retrospective of the band's career, directed by Jeff Stein. The film included footage of the band at Monterey, Woodstock and Pontiac, and clips from the Smothers Brothers' show and Russell Harty Plus. Moon had died one week after seeing the rough cut with Daltrey. The film contains the Shepperton concert, and an audio track of him playing over silent footage of himself was the last time he ever played the drums.
In December, The Who became the third band, after the Beatles and the Band, to appear on the cover of Time. The article, by Jay Cocks, said the band had outpaced, outlasted, outlived and outclassed all of their rock band contemporaries.[226]
Cincinnati tragedy
[edit]
Main article: The Who concert disaster
On 3 December 1979, a crowd crush at a Who gig at the Riverfront Coliseum, Cincinnati killed 11 fans.[227] This was partly due to the festival seating, where the first to enter get the best positions. Some fans waiting outside mistook the band's soundcheck for the concert, and attempted to force their way inside. As only a few entrance doors were opened, a bottleneck situation ensued with thousands trying to gain entry, and the crush became deadly.
The Who were not told until after the show because civic authorities feared crowd problems if the concert were cancelled. The band were deeply shaken upon learning of it and requested that appropriate safety precautions be taken in the future. The following evening, in Buffalo, New York, Daltrey told the crowd that the band had "lost a lot of family last night and this show's for them".[230]
Change and break-up
[edit]
Daltrey took a break in 1980 to work on the film McVicar, in which he took the lead role of bank robber John McVicar. The soundtrack album is a Daltrey solo album, though all members of the Who are included in the supporting musicians, and was his most successful solo release.[232]
The Who released two studio albums with Jones as drummer, Face Dances (1981) and It's Hard (1982). Face Dances produced a US top 20 and UK top ten hit with the single "You Better You Bet", whose video was one of the first shown on MTV.[233] Both Face Dances and It's Hard sold well and the latter received a five-star review in Rolling Stone.[234] The single "Eminence Front" from It's Hard was a hit, and became a regular at live shows.[235] By this time Townshend had fallen into depression, wondering if he was no longer a visionary. He was again at odds with Daltrey and Entwistle, who merely wanted to tour and play hits and thought Townshend had saved his best songs for his solo album, Empty Glass (1980). Jones' drumming style was very different from Moon's and this drew criticism within the band. Townshend briefly became addicted to heroin before cleaning up early in 1982 after treatment with Meg Patterson.
Townshend wanted the Who to stop touring and become a studio act; Entwistle threatened to quit, saying, "I don't intend to get off the road ... there's not much I can do about it except hope they change their minds."[240] Townshend did not change his mind, and so The Who embarked on a farewell tour of the US and Canada[241] with the Clash as support,[242] ending in Toronto on 17 December 1982.[240]
Townshend spent part of 1983 writing material for a Who studio album owed to Warner Bros. Records from a contract in 1980, but he found himself unable to generate music appropriate for The Who and at the end of 1983 paid for himself and Jones to be released from the contract. On 16 December 1983, Townshend announced at a press conference that he was leaving The Who, effectively ending the band.[245]
After the Who break-up, Townshend focused on solo albums such as White City: A Novel (1985), The Iron Man (1989, featuring Daltrey and Entwistle and two songs credited to the Who), and Psychoderelict (1993).[246]
Reunions
[edit]
In July 1985, the Who performed at Live Aid at Wembley Stadium, London.[247] The BBC transmission truck blew a fuse during the set, temporarily interrupting the broadcast.[248][249] At the 1988 Brit Awards, at the Royal Albert Hall, the band were given the British Phonographic Industry's Lifetime Achievement Award.[250] The short set they played there was the last time Jones played with the Who until 2014.[251]
1989 tour
[edit]
In 1989, the band embarked on a 25th-anniversary The Kids Are Alright reunion tour with Simon Phillips on drums and Steve "Boltz" Bolton as a second guitarist. Townshend had announced in 1987 that he suffered from tinnitus[252][253] and alternated acoustic, rhythm and lead guitar to preserve his hearing. Their two shows at Sullivan Stadium in Foxborough, Massachusetts, sold 100,000 tickets in less than eight hours, beating previous records set there by U2 and David Bowie.[255] The tour was briefly marred at a gig in Tacoma, Washington, where Townshend injured his hand on-stage.[256] Some critics disliked the tour's over-produced and expanded line-up, calling it "The Who on Ice";[257] Stephen Thomas Erlewine of AllMusic said the tour "tarnished the reputation of the Who almost irreparably".[258] The tour included most of Tommy and included such guests as Phil Collins, Billy Idol and Elton John.[259] A 2-CD live album, Join Together, was released in 1990.[258]
Partial reunions
[edit]
In 1990, the Who were inducted into the Rock and Roll Hall of Fame. The group have a featured collection in the hall's museum, including one of Moon's velvet suits, a Warwick bass of Entwistle's, and a drumhead from 1968.[261]
In 1991, the Who recorded a cover of Elton John's "Saturday Night's Alright for Fighting" for the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. It was the last studio recording to feature Entwistle. In 1994, Daltrey turned 50 and celebrated with two concerts at New York's Carnegie Hall. The shows included guest spots by Entwistle and Townshend. Although all three surviving original members of the Who attended, they appeared on stage together only during the finale, "Join Together", with the other guests. Daltrey toured that year with Entwistle, Zak Starkey on drums and Simon Townshend filling in for his brother as guitarist.
Re-formation
[edit]
Revival of Quadrophenia
[edit]
In 1996, Townshend, Entwistle and Daltrey performed Quadrophenia with guests and Starkey on drums at Hyde Park. The performance was narrated by Daniels, who had played Jimmy in the 1979 film. This was the first live performance of Quadrophenia in its entirety. Despite technical difficulties the show led to a six-night residency at Madison Square Garden and a US and European tour through 1996 and 1997. Townshend played mostly acoustic guitar, but eventually was persuaded to play some electric.[265] In 1998, VH1 ranked the Who ninth in their list of the "100 Greatest Artists of Rock 'n' Roll".[266]
Charity shows and Entwistle's death
[edit]
In late 1999, the Who performed as a five-piece for the first time since 1985, with Bundrick on keyboards and Starkey on drums. The first show in Las Vegas at the MGM Grand Garden Arena[257] was partially broadcast on TV and the Internet and released as the DVD The Vegas Job. They then performed acoustic shows at Neil Young's Bridge School Benefit at the Shoreline Amphitheatre in Mountain View, California,[267] followed by gigs at the House of Blues in Chicago[268] and two Christmas charity shows at the Shepherd's Bush Empire in London.[269] Critics were delighted to see a rejuvenated band with a basic line-up comparable to the tours of the 1960s and 1970s. Andy Greene in Rolling Stone called the 1999 tour better than the final one with Moon in 1976.[257]
The band toured the US and UK from June to October 2000,[268] to generally favourable reviews,[270] culminating in a charity show at the Royal Albert Hall for the Teenage Cancer Trust with guest performances from Paul Weller, Eddie Vedder, Noel Gallagher, Bryan Adams and Nigel Kennedy.[271] Stephen Tomas Erlewine described the gig as "an exceptional reunion concert".[272] In October 2001 the band performed at The Concert for New York City at Madison Square Garden for families of firefighters and police who had lost their lives following the September 11 attacks on the World Trade Center;[273] with Forbes describing their performance as a "catharsis" for the law enforcement in attendance.[274] Earlier that year the band were honoured with a Grammy Lifetime Achievement Award.[275]
The Who played concerts in the UK in early 2002 in preparation for a full US tour. On 27 June, the day before the first date,[276] Entwistle, 57, was found dead of a heart attack at the Hard Rock Hotel in Las Vegas. Cocaine was a contributing factor.[277]
After Entwistle: Tours and Endless Wire
[edit]
Entwistle's son, Christopher, gave a statement supporting the Who's decision to carry on. The US tour began at the Hollywood Bowl with touring bassist Pino Palladino. Townshend dedicated the show to Entwistle, and ended with a montage of pictures of him. The tour lasted until September.[278] The loss of a founding member of the Who caused Townshend to re-evaluate his relationship with Daltrey, which had been strained over the band's career. He decided their friendship was important, and this ultimately led to writing and recording new material.[279]
To combat bootlegging, in 2002 the band began to release the Encore Series of official soundboard recordings via themusic.com. An official statement read: "to satisfy this demand they have agreed to release their own official recordings to benefit worthy causes".[280] In 2004, the Who released "Old Red Wine" and "Real Good Looking Boy" (with Palladino and Greg Lake, respectively, on bass) on a singles anthology, The Who: Then and Now, and went on an 18-date tour of Japan, Australia, the UK and the US, including a return appearance at the Isle of Wight.[281] Later that year, Rolling Stone ranked the Who No. 29 on their list of the 100 Greatest Artists of All Time.[282]
The Who announced in 2005 that they were working on a new album. Townshend posted a novella called The Boy Who Heard Music on his blog, which developed into a mini-opera called Wire & Glass, forming the basis for the album.[279] Endless Wire, released in 2006, was the first full studio album of new material since 1982's It's Hard and contained the band's first mini-opera since "Rael" in 1967. The album reached No. 7 in the US and No. 9 in the UK.[283] Starkey was invited to join Oasis in April 2006 and the Who in November 2006, but he declined and split his time between the two.[263]
In November 2007, the documentary Amazing Journey: The Story of The Who was released, featuring unreleased footage of the 1970 Leeds appearance and a 1964 performance at the Railway Hotel when the group were The High Numbers. Amazing Journey was nominated for a 2009 Grammy Award.[284]
The Who toured in support of Endless Wire, including the BBC Electric Proms at the Roundhouse in London in 2006,[285] headlining the 2007 Glastonbury Festival,[286] a half-time appearance at the Super Bowl XLIV in 2010[287] and being the final act at the closing ceremony of the London 2012 Olympic Games.[288] In November 2012, the Who released Live at Hull, an album of the band's performance the night after the Live at Leeds gig.[289]
Quadrophenia and More
[edit]
Main article: Quadrophenia and More
In 2010, the Who performed Quadrophenia with parts played by Vedder and Tom Meighan at the Royal Albert Hall as part of the Teenage Cancer Trust series of 10 gigs.[290] A planned tour for early 2010 was jeopardised by the return of Townshend's tinnitus. He experimented with an in-ear monitoring system that was recommended by Neil Young and his audiologist.[291]
The Quadrophenia and More tour started in November 2012 in Ottawa[292] with keyboardists John Corey, Loren Gold and Frank Simes, the last of whom was also musical director.[293] In February 2013, Starkey pulled a tendon and was replaced for a gig by Scott Devours, who performed with less than four hours' notice.[294] The tour moved to Europe and the UK, and ended at the Wembley Arena in July 2013.[295]
The Who Hits 50! and beyond
[edit]
In October 2013, Townshend announced the Who would stage their final tour in 2015, performing in locations they have never played before.[296][297] Daltrey clarified that the tour was unrelated to the band's 50th anniversary and indicated that he and Townshend were considering recording new material.[298] Daltrey stated, "We can't go on touring forever ... it could be open-ended, but it will have a finality to it."[299]
Jones reunited with the Who in June 2014 at a charity gig for Prostate Cancer UK his Hurtwood Polo Club, alongside Jeff Beck, Procol Harum and Mike Rutherford.[251] Later that month, the Who announced plans for a world tour with a possible accompanying album.[300][301] In September, the Who released the song "Be Lucky", which was included on the compilation The Who Hits 50! in October.[302] That November, the group released a virtual reality app co-designed by Daltrey's son, Jamie, featuring events and images from the band's history.[303]
The Who headlined 2015's Hyde Park Festival in June, and two days later, the Glastonbury Festival. Townshend suggested to Mojo that it could be the group's last UK gig.[304][305] To coincide with the Who's 50th anniversary, all studio albums, and the new compilation The Who Hits 50!, were reissued on vinyl.[306] In September 2015, all remaining US tour dates were cancelled after Daltrey contracted viral meningitis. Then Townshend promised the band would come back "stronger than ever".[307]
The Who embarked on the Back to the Who Tour 51! in 2016, a continuation of the previous year's tour.[308][309] This included a return visit to the Isle of Wight Festival (at the Seaclose Park in Newport) on 11 June opening date. After 13 concerts, it concluded with a performance at the Desert Trip festival at the Empire Polo Club in Indio, California on 16 October.[310][311][312] In November, the Who announced that five UK dates the following April (previously scheduled for that August and September) would include a full live performance of Tommy. The five-date tour was renamed "2017 Tommy & More" and included the largest selections from the album since 1989.[313] Two preliminary concerts at the Royal Albert Hall for the Teenage Cancer Trust on 30 March and 1 April featured Tommy in full.[314]
In January 2019, the band announced the Moving On! Tour.[315] The tour began on 7 May in Grand Rapids, Michigan, but was interrupted during a show in Houston, Texas on 26 September 2019 after Daltrey lost his voice. The tour was cut short in March 2020 by the COVID-19 pandemic. Ten shows in Ireland and the United Kingdom were eventually rescheduled for March 2021, but those were canceled a month before the fact in February 2021.
On 6 December 2019, the Who released their first studio album in thirteen years, Who, to critical acclaim.[316]
The Who Hits Back
[edit]
In February 2022, the band announced they would embark on a new North American tour entitled The Who Hits Back beginning 22 April 2022 in Hollywood, Florida and concluding 5 November 2022 in Las Vegas, Nevada.[317]
Musical style and equipment
[edit]
See also: The Who's musical equipment
"The music of the Who can only be called rock & roll ... it is neither derivative of folk music nor the blues; the primary influence is rock & roll itself."
— Jann Wenner
The Who have been regarded primarily as a rock band, yet have taken influence from several other styles of music during their career. The original group played a mixture of trad jazz and contemporary pop hits as the Detours, and R&B in 1963. The group moved to a mod sound the following year, particularly after hearing the Small Faces fuse Motown with a harsher R&B sound.[321] The group's early work was geared towards singles, though it was not straightforward pop. In 1967, Townshend coined the term "power pop" to describe the Who's style. Like their contemporaries, the group were influenced by the arrival of Hendrix, particularly after the Who and the Experience met at Monterey. This and lengthy touring strengthened the band's sound. In the studio, they began to develop softer pieces, particularly from Tommy onwards, and turned their attention towards albums more than singles.
From the early 1970s, the band's sound included synthesizers, particularly on Who's Next and Quadrophenia. Although groups had used synthesizers before, the Who were one of the first to integrate the sound into a basic rock structure. In By Numbers the group's style had scaled back to more standard rock, but synthesisers regained prominence on Face Dances.[329]
Townshend and Entwistle were instrumental in making extreme volumes and distortion standard rock practices. The Who were early adopters of Marshall Amplification. Entwistle was the first member to get two 4×12 speaker cabinets, quickly followed by Townshend. The group used feedback as part of their guitar sound, both live and in the studio. In 1967, Townshend changed to using Sound City amplifiers, customised by Dave Reeves, then in 1970 to Hiwatt.[333] The group were the first to use 1000-watt PA systems for live gigs, which led to competition from bands such as the Rolling Stones and Pink Floyd.[334]
Throughout their careers, the members of the Who have said their live sound has never been captured as they wished on record. Live gigs and the audience have always been important to the group. "Irish" Jack Lyons said, "The Who weren't a joke, they were fucking real, and so were we."
Vocals
[edit]
Daltrey initially based his style on Motown and rock and roll, but from Tommy onwards he tackled a wider range of styles. His trademark sound with the band, as noted in 1983, has been a characteristic scream, as heard at the end of "Won't Get Fooled Again".
Group backing vocals are prominent in the Who. After "I Can't Explain" used session men for backing vocals, Townshend and Entwistle resolved to do better themselves on subsequent releases, producing strong backing harmonies.[340] Daltrey, Townshend and Entwistle sang lead on various songs, and occasionally Moon joined in. Who's Next featured Daltrey and Townshend sharing the lead vocals on several songs, and biographer Dave Marsh considers the contrast between Daltrey's strong, guttural tone and Townshend's higher and gentler sound to be one of the album's highlights.
Daltrey's voice is negatively affected by marijuana smoke, to which he says he is allergic. On 20 May 2015, during a Who concert at Nassau Coliseum, he smelled a joint burning and told the smoker to put it out or "the show will be over". The fan obliged, without taking Pete Townshend's advice that "the quickest way" to extinguish a joint is "up your fucking arse".[342][343]
Guitars
[edit]
Townshend considered himself less technical than guitarists such as Eric Clapton and Jeff Beck and wanted to stand out visually instead. His playing style evolved from the banjo, favouring down strokes and using a combination of the plectrum and fingerpicking. His rhythm playing frequently used seventh chords and suspended fourths,[333] and he is associated with the power chord, an easy-to-finger chord built from the root and fifth that has since become a fundamental part of the rock guitar vocabulary. Townshend also produced noises by manipulating controls on his guitar and by allowing the instrument to feedback.
In the group's early career, Townshend favoured Rickenbacker guitars as they allowed him to fret rhythm guitar chords easily and move the neck back and forwards to create vibrato.[345] From 1968 to 1973, he favoured a Gibson SG Special live,[346] and later used customised Les Pauls in different tunings.[347]
In the studio for Who's Next and thereafter, Townshend used a 1959 Gretsch 6120 Chet Atkins hollow-body guitar, a Fender Bandmaster amp and an Edwards volume pedal, all gifts from Joe Walsh.[348] Townshend started his career with an acoustic guitar and has regularly recorded and written with a Gibson J-200.[349]
Bass
[edit]
A distinctive part of the original band's sound was Entwistle's lead bass playing, while Townshend concentrated on rhythm and chords. Entwistle's was the first popular use of Rotosound strings in 1966, trying to find a piano-like sound.[350] His bassline on "Pinball Wizard" was described by Who biographer John Atkins as "a contribution of its own without diminishing the guitar lines"; he described his part on "The Real Me" from Quadrophenia, recorded in one take, as "a bass solo with vocals". Entwistle's basses include a "Frankenstein" assembled from five Fender Precision and Jazz basses, and Warwick, Alembic, Gretsch and Guild basses.[353]
Drums
[edit]
Moon further strengthened the reversal of traditional rock instrumentation by playing lead parts on his drums. His style was at odds with British rock contemporaries such as the Kinks' Mick Avory and the Shadows' Brian Bennett, who did not consider tom-toms necessary for rock music. Moon used Premier kits starting in 1966. He avoided the hi-hat, and concentrated on a mix of tom rolls and cymbals.
Jones' concise, supportive drumming style was in sharp contrast to Moon's. The Who were initially enthusiastic about working with a completely different drummer. Townshend later stated, "we've never really been able to replace Keith" and Daltrey ultimately believed Jones was not right for the band, while still speaking highly of him as a friend and drummer.[357] Starkey knew Moon from childhood and Moon gave him his first drum kit. Starkey has been praised for his playing style which echoes Moon's without being a copy.[358]
Songwriting
[edit]
Townshend focused on writing meaningful lyrics inspired by Bob Dylan, whose words dealt with subjects other than boy–girl relationships that were common in rock music; in contrast to Dylan's intellectualism, Townshend believed his lyrics should be about things kids could relate to. Early material focused on the frustration and anxiety shared by mod audiences, which Townshend said was a result of "searching for [his] niche". By The Who Sell Out, he began to work narrative and characters into songs, which he fully developed by Tommy, including spiritual themes influenced by Baba. From the mid-1970s onwards, his songs tended to be more personal, which influenced his decision to go solo.
Entwistle's songs, by contrast, typically feature black humour and darker themes. His two contributions to Tommy ("Cousin Kevin" and "Fiddle About") appeared because Townshend did not believe he could write songs as "nasty" as Entwistle's.
Personal relationships
[edit]
"We're not mates at all."
—Roger Daltrey, 1965
"I just couldn't get through to Pete and Roger. We have absolutely nothing in common apart from music."
—Keith Moon, 1965
The Who are perceived as having had a poor working relationship. In the original band, Doug Sandom acted as the peacemaker and settled disputes. Moon, by contrast, was as volatile as Daltrey and Townshend. Entwistle was too passive to become involved in arguments. The group established their live reputation and stage show in part out of insecurity and aggression amongst its members, and Townshend recalled that all decisions had to be made democratically "because we always disagreed".
The only genuine friendship in the band during the 1960s was between Entwistle and Moon. The pair enjoyed each other's sense of humour and shared a fondness for clubbing. Journalist Richard Green noted a "chemistry of playfullness that would go beyond playfullness". Their relationship diminished somewhat when Entwistle got married in 1967, though they still socialised on tour. When Moon was destroying toilets in hotels, Entwistle admitted he "was standing behind him with the matches".[369]
The group regularly argued in the press, though Townshend said disputes were amplified in print and the group simply found it difficult to agree on things.[370] Tommy mutually benefitted Townshend and Daltrey's standing in the band because of the former's songwriting and the latter's stage presence, yet even this did not make them close friends. The pair quarrelled, particularly in the mid-1970s, over the group's direction. During his time with the band, Jones was subject to intermittent criticism from Daltrey.
Entwistle's death in 2002 came as a shock to both Townshend and Daltrey, and caused them to re-evaluate their relationship. Townshend has said that he and Daltrey have since become close friends.[370] In 2015, Townshend confirmed their friendship was still strong, adding their acceptance of each other's differences "brought us to a really genuine and compassionate relationship, which can only be described as love."[304]
Legacy and influence
[edit]
The Who are considered one of the most influential rock bands of the 20th century.[302][375] Their appearances at Monterey and Woodstock helped give them a reputation as one of the greatest live rock acts[376] and they have been credited with originating the "rock opera".[375]
The group's contributions to rock include the power chord,[377] windmill strum[378] and the use of non-musical instrument noise such as feedback. The band influenced fashion from their earliest days with their embrace of pop art[379] and the use of the Union Jack for clothing.[380] The guitar-smashing incident at the Railway Hotel in 1964 is one of Rolling Stone magazine's "50 Moments That Changed the History of Rock 'n' Roll".[381]
Pink Floyd began to use feedback from their early shows in 1966, inspired by the Who, whom they considered a formative influence. Shortly after arriving in London in 1966, Jimi Hendrix visited Marshall's music shop demanding an amp setup like Townshend's and manipulated electronic noises in ways that Townshend had pioneered. The Beatles were fans and socialised with Moon in particular during the mid-1960s. In 1965, Paul McCartney said the Who "are the most exciting thing around" and was inspired to write "Helter Skelter" in the group's "heavy" style; John Lennon borrowed the acoustic guitar style in "Pinball Wizard" for "Polythene Pam".
The loud volume of the band's live show influenced the approach of hard rock and heavy metal. Proto-punk, punk rock, and alternative rock bands such as the MC5,[387] the Stooges,[388] the Ramones[389] the Sex Pistols, the Clash,[390] Green Day,[391] and Pearl Jam[392] cite the Who as an influence. An early influence on Queen, guitarist Brian May referred to the Who as being "among our favourite groups".[393] The Who inspired mod revival bands, particularly the Jam,[394] which helped other groups influenced by the Who become popular.[376] The Who influenced hard rock bands such as Guns N' Roses.[395] In the mid-1990s, Britpop bands such as Blur[396] and Oasis were influenced by the Who.[397] The Who have also influenced pop punk band Panic! at the Disco.[398]
The Who have inspired many tribute bands; Daltrey has endorsed the Whodlums, who raise money for the Teenage Cancer Trust.[399][400] Many bands have covered Who songs; Elton John's version of "Pinball Wizard" reached No. 7 in the UK.[401]
Media
[edit]
During the Who's hiatuses in the 1980s and 90s, Townshend developed his skills as a music publisher to be financially successful from the Who without recording or touring. He countered criticism of "selling out" by saying that licensing the songs to other media allows a wider exposure and widens the group's appeal.[370]
The American forensic drama CSI (CSI: Crime Scene Investigation, CSI: Miami, CSI: NY, CSI: Cyber and CSI: Vegas) feature Who songs as theme music, "Who Are You", "Won't Get Fooled Again", "Baba O'Riley" and "I Can See for Miles" respectively.[402][403] The group's songs have featured in other popular TV series such as The Simpsons,[404] and Top Gear, which had an episode where the presenters were tasked with being roadies for the band.[405]
Rock-oriented films such as Almost Famous,[406] School of Rock[407] and Tenacious D in the Pick of Destiny refer to the band and feature their songs,[408] and other films have used the band's material in their soundtracks, including Apollo 13 (which used "I Can See For Miles")[409] and Austin Powers: The Spy Who Shagged Me (which used a take of "My Generation" recorded for the BBC).[410] Several of the band's tracks have appeared in the video game Rock Band and its sequels.[411]
Awards and nominations
[edit]
The Who have received many awards and accolades from the music industry for their recordings and their influence. They received Lifetime Achievement Awards from the British Phonographic Industry in 1988,[412] and from the Grammy Foundation in 2001.[413]
The band were inducted into the Rock and Roll Hall of Fame in 1990 where their display describes them as "prime contenders, in the minds of many, for the title of World's Greatest Rock Band",[414][415] and the UK Music Hall of Fame in 2005.[416]
The single "My Generation" and the albums Tommy and Who's Next have each been inducted into the Grammy Hall of Fame.[417] In 2008, Pete Townshend and Roger Daltrey received Kennedy Center Honors as members of the Who.[418] In 2009, My Generation was selected for preservation in the United States National Recording Registry.[419]
In 2003, Rolling Stone magazine's 500 Greatest Albums of All Time list included Who's Next at number 28,[420] Tommy at number 96,[421] The Who Sell Out at number 113,[422] Live at Leeds at number 170,[423] My Generation at number 236,[424] Quadrophenia at number 266,[425] and A Quick One at number 383.[426] And in 2004, on their 500 Greatest Songs of All Time list, Rolling Stone included "My Generation" at number 11,[427] "Won't Get Fooled Again" at number 133,[428] "I Can See for Miles" at number 258,[429] "Baba O'Riley" at number 340, and "I Can't Explain" at number 371.[430] The same publication ranked them the 29th greatest artist of all time. Eddie Vedder wrote in tribute:
The Who began as spectacle. They became spectacular. Early on, the band was in pure demolition mode; later, on albums like Tommy and Quadrophenia, it coupled that raw energy with precision and desire to complete musical experiments on a grand scale. They asked, "What were the limits of rock & roll? Could the power of music actually change the way you feel?" Pete Townshend demanded that there be spiritual value in music. They were an incredible band whose main songwriter happened to be on a quest for reason and harmony in his life. He shared that journey with the listener, becoming an inspiration for others to seek out their own path. They did all this while also being in the Guinness Book of World Records as the world's loudest band... The songwriter-listener relationship grows deeper after all the years. Pete saw that a celebrity in rock is charged by the audience with a function, like, "You stand there and we will know ourselves." Not "You stand there and we will pay you loads of money to keep us entertained as we eat our oysters." He saw the connection could be profound. He also realized the audience may say, "When we're finished with you, we'll replace you with somebody else." For myself and so many others (including shopkeepers, foremen, professionals, bellboys, gravediggers, directors, musicians), they won't be replaced. Yes, Pete, it's true, music can change you.[431]
Band members
[edit]
Current members
[edit]
Roger Daltrey – lead and backing vocals, rhythm guitar, harmonica, percussion, ukulele (1962–1983, 1985, 1988, 1989, 1996–present)
Pete Townshend – lead and rhythm guitar, backing and lead vocals, keyboards (1962–1983, 1985, 1988, 1989, 1996–present)
Former members
[edit]
John Entwistle – bass guitar, horns, backing and lead vocals (1962–1983, 1985, 1988, 1989, 1996–2002; his death)
Keith Moon – drums, backing and lead vocals (1964–1978; his death)
Doug Sandom – drums (1962–1964; died 2019)
Colin Dawson – lead vocals (1962–1963)
Gabby Connolly – lead vocals (1963)
Kenney Jones – drums (1978–1983, 1985, 1988)
Current touring musicians
[edit]
Billy Nicholls – backing vocals (1989, 1996–1997, 2019–present)
Zak Starkey – drums, percussion (1996–present)
Simon Townshend – guitar, backing vocals (1996–1997, 2002–present)
Loren Gold – keyboards, backing vocals (2012–present)
Jon Button – bass guitar (2017–present)
Keith Levenson – music coordinator, conductor (2019–present)
Katie Jacoby – lead violinist (2019–present)
Audrey Q. Snyder – lead cellist (2019–present)
Emily Marshall – keyboards, associate conductor (2019–present)[432]
Former touring musicians
[edit]
For a complete list, see former touring members
John Bundrick – keyboards (1979–1981, 1985, 1988, 1989, 1996–2011)
Simon Phillips – drums (1989)
Steve Bolton – guitar (1989)
Pino Palladino – bass guitar (2002–2016)
John Corey – keyboards, backing vocals (2012–2017)
Frank Simes – keyboards, mandolin, banjo, percussion, backing vocals, musical director (2012–2017)[433]
Discography
[edit]
My Generation (1965)
A Quick One (1966)
The Who Sell Out (1967)
Tommy (1969)
Who's Next (1971)
Quadrophenia (1973)
The Who by Numbers (1975)
Who Are You (1978)
Face Dances (1981)
It's Hard (1982)
Endless Wire (2006)
Who (2019)
Tours and performances
[edit]
Headlining 1960s–1990s
[edit]
1962–1963 performances
Tommy Tour
The Who by Numbers Tour
1979 tour
1980 tour
1981 tour
1982 tour
1985 and 1988 reunions
The Kids Are Alright Tour
1999 performances
Headlining 2000s–2010s
[edit]
References
[edit]
Bibliography
[edit]
Further reading
[edit]
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dbpedia
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2
| 55
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https://www.lanadelrey.com/
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en
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Lana Del Rey – Official Website
|
[
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] |
[] |
[] |
[
""
] | null |
[] |
2022-11-18T11:05:47+00:00
|
The new album ‘Did you know that there’s a tunnel under Ocean Blvd’ – out now.
|
en
|
Lana Del Rey
|
https://www.lanadelrey.com/
| ||||||
6803
|
dbpedia
|
3
| 19
|
https://wpdh.com/roger-daltrey-summer-tour-ny/
|
en
|
Experience The Who’s Best With Roger Daltrey’s Solo Tour
|
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[] |
[] |
[
"around the hudson valley",
"articles",
"concerts",
"hudson valley business",
"hudson valley entertainment news",
"hudson valley events",
"hudson valley news",
"news",
"news from wpdh",
"videos"
] | null |
[
"John Rutigliano"
] |
2024-03-19T17:26:51+00:00
|
The Who frontman will perform hits and rarities at New York area shows.
|
en
|
101.5 WPDH
|
https://wpdh.com/roger-daltrey-summer-tour-ny/
|
The Who frontman will perform hits and rarities at New York area shows.
Roger Daltrey is hitting the road with an electric/acoustic band this summer. The co-founder and lead singer of The Who had stated just last year that The Who would probably won't tour the U.S. again due to financial reasons. He also stated this past January when discussing The Who, that that part of his life is over. Whether or not The Who will ever tour the U.S. again remains to be seen, but one thing is clear, and that is that Roger Daltrey will be touring with a solo band playing the music of The Who.
Also See: Experience the Magic of John Fogerty and George Thorogood Live
The Who formed out of London, England in 1964 with the classic lineup featuring Roger Daltrey on vocals, Pete Townshend on guitar, bassist John Entwistle, and drummer Keith Moon. They are considered to be one of the most influential rock bands of all time, with over 100 million records sold worldwide. Hit singles from The Who include “I Can’t Explain”, “My Generation”, “Substitute”, “Pinball Wizard”, “Baba O’Riley” and “Won’t Get Fooled Again”.
The Who were inducted into the Rock and Roll Hall of Fame in 1990. 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 on upcoming tour.
Where is Roger Daltrey Performing?
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6803
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dbpedia
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2
| 43
|
https://www.billboard.com/pro/universal-music-uk-island-emi-polydor-labels-restructuring/
|
en
|
Universal Music UK to Merge Island and EMI Labels in Next Stage of Restructuring
|
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[] |
[] |
[
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] | null |
[
"Richard Smirke"
] |
2024-07-09T11:44:13+00:00
|
Universal Music UK is to merge its historic Island and EMI label divisions as part of a widespread restructuring of the company’s U.K. business.
|
en
|
Billboard
|
https://www.billboard.com/pro/universal-music-uk-island-emi-polydor-labels-restructuring/
|
LONDON — Universal Music Group is to merge its historic Island and EMI label divisions as part of a widespread restructuring of the company’s U.K. business that will also see the launch of new Audience and Media Division to support artists and labels.
The announcement was made on Tuesday (July 9) by David Joseph, chairman and CEO Universal Music U.K. and Ireland, in an internal memo, which has been viewed by Billboard.
The reorganization of Universal Music’s U.K. operations follows changes the company made to its U.S. teams earlier this year with the formation of Interscope Capitol Labels Group and Republic Corps.
That structure is now being loosely mirrored in the United Kingdom with the creation of what Joseph called “two new powerhouse frontline label groups” — Island EMI Label Group, headed by Louis Bloom as president, and the newly formed Polydor Label Group, led by Ben Mortimer.
Both label groups will be home to multiple labels “all with creative autonomy,” said Joseph’s memo. Each department will also contain a team dedicated to supporting artists from the wider UMG family, said the Universal U.K. boss.
In line with the restructuring, which comes into effect Oct. 1, Universal is shuffling its executive ranks.
EMI Records co-president Jo Charrington has been appointed president of a “reimagined” U.K. arm of Capitol, which will sit within the wider Polydor Label Group, as will 0207 Def Jam, led by president Alec Boateng. (Billboard understands that Boateng’s brother and co-president of 0207 Def Jam Alex Boateng is to remain with Universal and will be given a job within an international division).
EMI Records’ other co-president, Rebecca Allen, will take up the role of president of Universal’s Audience and Media Division (AMD), a newly formed U.K.-based department dedicated to serving artists and labels that will have a global remit.
Joining Allen in the Audience and Media team will be Suzy Walby (media), Kate Wyn Jones (Audience and Digital Strategy) and data and strategic branch The Square insight team, led by Jack Fryer.
In his internal staff memo, Joseph said the “industry first” AMD team “will revolutionise how we deliver for our artists” and will become Universal U.K.’s largest division.
Not mentioned in the memo is the scale or number of job losses that will result from the changes, although it does state that the consultation period for staff whose roles are potentially at risk starts today and will continue until mid-September.
In the United Kingdom, it is a legal requirement that companies must follow so-called “collective consultation” rules if it is making 20 or more employees redundant within any 90-day period. Universal U.K. declined to comment on staff redundancies.
Not impacted by the changes are Laura Monks and Tom Lewis, who will continue in their current roles of Decca co-presidents, which will remain a stand-alone label. Hannah Neaves remains sole president of Universal Music Recordings.
“As a company, we must continue to be forward-looking, innovative, and bold. Developing artists now requires more creativity and patience than ever before,” said Joseph in his internal memo.
Joseph went on to say that the restructure would “strengthen our labels’ capabilities to deepen artist and fan connections.”
“We are committed to being the number one place for artists, fans and talent,” surmised the U.K. CEO. “I have an incredible appreciation for our team given what we have achieved in the past and what I know we will achieve in the future.”
Founded in 1931, EMI Records is one of the United Kingdom’s best-known and most successful labels with The Beatles, Queen, Pink Floyd, Elton John and Spice Girls just a few of the famous names that have appeared on its roster.
The label’s recorded music division was acquired by Universal Music Group in 2012 in a $1.9 billion deal, ending EMI’s long held status as one of the world’s leading record companies. The same year saw Sony Corp. acquire EMI Music Publishing for $2.2 billion, while Warner Music Group completed the purchase of EMI-owned Parlophone Label Group in 2013 for $765 million as part of a regulator-forced divestment.
In 2022, UMG successfully integrated Capitol Records – a frontline UMG label in the U.K. since 2013 – into the wider EMI group, helping cement EMI’s position as one of the top imprints in the United Kingdom. Recent chart successes included No. 1 albums by Lewis Capaldi, Sam Smith, Take That, Metallica, Shania Twain and Taylor Swift. Last year’s launch of EMI North, a new imprint, based in Leeds, saw EMI become the first British major label to have an office outside of London, while Universal recently annouced the re-launch of EMI Records Philippines.
|
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6803
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dbpedia
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1
| 16
|
http://www.thewhothismonth.com/1966.html
|
en
|
The Who This Month! 1966
|
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[
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[] |
[
"The Who",
"Pete Townshend",
"Roger\nDaltrey",
"John Entwistle",
"Keith Moon",
"The Who",
"Pete Townshend",
"Roger Daltrey",
"John Entwistle",
"Keith Moon",
"Kenney Jones",
"British\nrock",
"rock music",
"classic rock",
"1960's",
"1970's",
"Seventies",
"Sixties",
"Roger Daltry",
"Mods",
"Entertainment",
"London",
"music",
"people"
] | null |
[] | null |
A history of The Who in the year 1966
|
en
| null |
January 1966
New music releases: Sounds of Silence - Simon & Garfunkel; "The Ballad of the Green Berets" - SSgt. Barry Sadler; "This Old Heart of Mine (Is Weak for You)" - The Isley Brothers; Doctor Zhivago - Maurice Jarre
A busy New Year's Day for the boys. The morning's issue of Melody Maker features Roger participating in their "Blind Date" feature. Record Mirror contains a letter calling a recent Who performance "the most appalling, sound-soaked, electronic drivel we have ever heard." That afternoon manager Chris Stamp shoots film of them performing onstage at an empty Marquee Club and that evening they play the Trade Union Hall in Watford. The next evening finds them at the Ultra Club in The Downs, Hassocks.
In the U.S., Billboard reports that "My Generation" has become a breakout hit in Washington, D.C.
On the 5th, Pete Townshend is featured on an episode of the BBC1 television programme A Whole Scene Going. A short documentary narrated by Pete shows his flat and a Who performance at The Witch Doctor Club in St. Leonard's-on-sea from August 4th of the previous year. Pete speaks in a dismissive way about the other members of The Who.
That same tone is extended to the segment after the film where Pete is interviewed by young people in the audience. He talks about how ugly The Who members are, how they are "blocked up" all the time on pills and how he and John recently listened to the backing tracks of a Beatles album and consider them "flippin' lousy" at playing their instruments. Asked if he meant the line in "My Generation," "hope I die before I get old," he answers emphatically "yes!".
The Who are also there to mime to "Out In The Street" and "It's Not True." The entire programme still exists and is used extensively in the 1979 film The Kids Are Alright.
Back to work as the boys play Mister McCoys Club in Middlesbrough on the 7th, the Jigsaw Club in Manchester on the 8th and the Cosmopolitan Club in Carlisle on the 9th.
On the 8th, Disc magazine reports that Pete says The Who are dropping the Pop Art look in an article called "Who Are Growing Up Fast." And, as usual, growing boys need new clothes. The Who are photographed for Fabulous Magazine clothes-shopping at a John Stephens in the King's Road, Chelsea.
Also on the 8th, The Who are shown playing "I Can't Explain" and "Daddy Rolling Stone" (recorded the previous August) on the last episode of the U.S. show Shindig.
On the 12th, Chris Stamp flies to New York to try to interest NBC-TV's Hullabaloo in the film he shot of The Who on the 1st. They turn it down. He also meets with Sir Edward Lewis to obtain his help in breaking The Who's exclusive contract with Shel Talmy and Brunswick/U.S. Decca. Lewis refuses. Nevertheless, Stamp goes to Atlantic Records and makes a deal to release a Who single on their Atco subsidiary, then telephones co-manager Kit Lambert to tell him to break the Talmy contract and sign The Who to a new label.
Meanwhile, on the very same day, The Who go to IBC studios to record their next single, "Circles" and "Instant Party Mixture." It will be their last time working under the production of Shel Talmy. A last time is also a first time as John records his first horn part for The Who.
Stage work continues, first in Wales at the Ritz Ballroom in Skewen followed by the Regal Ballroom in Ammangord, Glamorgan (13th), the Municipal Hall in Pontypridd (14th), then back to England at the "Big Beat Club" in the Two Puddings Pub in Stratford and Hackney (15th) followed by an all-nighter at the In Crowd Club (15-16th) then the Agincourt Ballroom in Camberley (16th), The Adelphi inWest Bromwich followed by the Smethwick Baths Ballroom (22nd), Co-Operative Hall in Warrington (23rd) and the Locarno Ballroom in Stevenage (26th).
On the 14th, the New Musical Express has the article "What a way to talk about your own fans!" Pete describes The Who's fans as "stupid, screaming little girls, morons and idiots."
On the 15th, Billboard reports "My Generation" has reached its peak in the Netherlands at #5.
Also on the 15th, Fabulous magazine puts out a piece called "It Makes Me Mad! Says Roger Daltrey". As one might expect from the bantam singer, there are plenty of irritants for him to list from traffic wardens, TV quiz shows, old people driving cars, and his own hair! "I have to spend an hour on it every morning. I keep wetting it, pulling it straight, then drying it quickly. Some mornings it just wonât go right. Iâve smashed three mirrors throwing the hairdryer at them."
On the 20th, the Merseybeats single "I Stand Accused," with an appearance on gong by Keith, hits the U.K. charts and reaches #38.
On the 22nd is the Disc article, "Faces of Keith Moon - by the woman who knows him best...His MUM!" In a rare interview Kathleen Moon says, "Keith doesn't smoke, drinks only in moderation and doesn't bother much about girls." She doesn't mention Kim, the teenage girl Keith got pregnant who is now living in their house.
Also on the 22nd, Billboard reports that "My Generation" has reached #4 in the Swedish charts. In the same issue, Billboard reports on major moves by the Polydor label. Formerly a continental Europe pop label owned by Deutsch Grammophon, Polydor moves into the U.K. market in 1965 and in January 1966 launches a new label, Reaction, headed by impresario Robert Stigwood. Polydor intends to quickly become one of Britain Big Five labels and Stigwood is agressively looking for name groups to add to his roster. Within the month, he will nab a major up-and-coming group.
On the morning of the 28th, The Who rehearse for their appearance on Ready, Steady, Go! at Studio One in Wembley. The performance is live during the show from 6:08p-6:35p as they perform "Runaround Sue" and "Instant Party Mixture." They then go to play at the Debating Hall at the University in Birmingham. In the following days they appear at the Imperial Ballroom in Nelson (29th), the Beachcomber Club in Leigh (30th), then back to Wales to play the Coed Eva Community College in Cwmbran (31st) supported by The Pieces of Mind.
At the show of the 30th, Roger is interviewed backstage by David Dutton for "The Pop Scene." He says The Who have stopped smashing their instruments because, "we're so skint we stand to go to jail."
Rave magazine puts out its February issue with Roger on the cover. Inside is a lengthy interview conducted by BBC disc jockey Alan Freeman with Pete, Roger and John together. It is one of the best in-depth interviews with the group from this early period. Pete and John report that their hearing is already beginning to go, leading to a humorous bit: "It's beginning to affect our eardrums." "Eh?" said John Entwistle. "I said it's beginning to affect our eardrums," roared Pete. "I don't like rum," shouted John. "I'll have a Scotch and coke." "What Scotch bloke?" Pete also admits that the story of him accidently smashing his guitar on the low ceiling of the Railway Hotel was concocted. Inspired by a lecture from self-destructive artist Gustav Metzger, Pete suggested to the band that they try it onstage. "We tried it out with me slamming the guitar into the amps. Keith pounded his drums into smithereens and hurled them into the audience and the audience threw them back." "I couldn't think of anything to contribute," Roger said modestly. "So, I scratched the speaker column with my fingernail. It made the best row of all." "But it worked out," said Pete. "The last chords were struck, and we put down the guitars and we walked off. They were astounded, and a few laughed at first. Then they began to clap, and that was it."
February 1966
New music releases: If You Can Believe Your Eyes and Ears - The Mama's & The Papa's; "(You're My) Soul and Inspiration" - The Righteous Brothers; "Nowhere Man" - The Beatles; Ballads of the Green Berets - SSgt. Barry Sadler
On the 1st, "My Generation" reaches its peak on the West German charts at #6. That night The Who play the Britannia Rowing Club in Nottingham.
On the 3rd, Pete sees 15-year old Stevie Wonder perform at the Scotch of St. James' Club in London. In 2002 Pete tells Q magazine that this was the best concert he ever attended. Afterwards he takes people home in his Lincoln Continental MkII and slides on Hyde Park Corner knocking a wheel off.
On the 4th, The Who begin their first headlining "theatre" tour in a three day test run starting at the Astoria Cinema in Finsbury Park with support Screamin' Lord Sutch & the Savages, the Merseys, the Fortunes and the Graham Bond Organization. The other two nights are the Odeon Cinema in Southend-on-Sea (5th) and the Empire Theatre in Liverpool (6th).
On the 11th, Norrie Drummond reviews the Finsbury Park show in New Musical Express. She says Roger moved well but the guitarists (Pete and John) need to improve their stage performance.
On the 11th, The Who go back to a regular performance at the Wimbledon Palais.
On the 12th, Melody Maker reports that "Circles" is not working out as the next Who single. Little does anyone outside The Who and their immediate circle know exactly how much it isn't working out. In fact, on this day, The Who sneak into Olympic Sound Studios on Carton Street and record their new single "Substitute" and a new version of "Circles." Pete takes the job of producer from Shel Talmy with Terry Brown as engineer. John turns the single into one of his most prominent performances by turning up his amps when no one is looking. Keith later calls Pete when he hears the single demanding to know who they got to drum on it. He has no memory of being at the session despite his noisy yell on the record.
Also on the 12th, "My Generation" reaches it peak on the U.S. Billboard charts at #74. New York station WMCA is reported to have finally started playing the single after overcoming objections raised by the Mothers League of Stammering Boys.
Then it's back to the crowds playing the Community Centre in Southall (13th), the Valentine's Day Panto Ball at the University of Liverpool (14th), the Esquire Club in Sheffield (15th) and Club A Go-Go in Newcastle (17th).
Pete and Roger are interviewed by a local reporter at the Southall gig. Asked about The Who's student audiences, Pete replies, "They're just a lot of 'dead faces.' Students don't know much about life anyway."
Pete is much more helpful in the first of two articles in Beat Instrumental magazine detailing his equipment and methods for setting up and recording in his home studio. At the time, Pete was one of the few pop musicians making demos for later band recording.
On the 18th, the news breaks in New Musical Express that The Who are leaving Brunswick and U.S. Decca for the new Reaction label in Europe and Atco in the U.S. Former producer Shel Talmy threatens the group with payback that he soon delivers, launching a lawsuit against the band and its managers.
"Substitute" was to have been released on the 18th but is stopped because of the lawsuit. That night The Who are safely across the border in Scotland, performing at the Volunteer Hall in Galashiels.
The 19th finds The Who at the Memorial Hall in Norwich followed by the Oasis Club in Manchester (20th). Immediately after this show, Colin Jones photographs the band for their appearance on the cover of next month's Sunday Observer magazine. The next day they play the Beachcomber Club in Preston.
On the 22nd, the band goes into rehearsals at the White Hart in Acton and are reported to have tried to record some instrumentals for a never-to-be-released French EP. Recording instrumentals may have been forced on them because Roger had come down with laryngitis. The Who perform without him on the 24th at the Victoria Ballroom in Chesterfield. Pete and John share the vocals. Beforehand, John and Keith sit in with the opening act The Fruit Eating Bears.
Roger remains out for the rest of the month as the trio plays the Majestic Ballroom in Wellington (25th), the Starlight Ballroom in Boston, Lincolnshire (26th) and the Eltham Baths in Eltham Hill (28th).
On the 26th, Billboard gives some more details about The Who's migration to Reaction records. It is apparently a notable part of a new deal to have the U.S. label Atlantic move their output in the U.K. from British Decca to Polydor. The article also lists Robert Stigwood, who runs Polydor's new Reaction label that has gotten The Who, as "the group's agent". The article mentions that Shel Talmy has threatened legal action, that Atlantic will now issue The Who's records in the States, and that they will soon rush-release "Substitute".
In the March issue of Rave, is another interview with The Who but it is as disastrous as the one in the previous month's issue was great. Interviewer Dawn James catches Pete in one of his dark moods and decides to press him on his admission of drug taking on A Whole Scene Going in January. Pete tells her, "Drugs donât harm you. I know. I take them. Iâm not saying I use opium or heroin, but hashish is harmless, and everyone takes it." He also goes off about religion. "I shall not have my children baptised and I don't care if they are banned from certain schools and that, I don't agree with doing things because everyone else does." Dawn says in the interview "Before my meeting with the Who, I thought I knew them. They are misunderstood, I decided, people aren't fair to them. After my meeting I realised they are understood well, and people really are quite patient."
March 1966
New music releases: Big Hits (High Tide and Green Grass) - The Rolling Stones; Frankie and Johnny - Elvis Presley; "Monday, Monday" - The Mama's & The Papa's; "When a Man Loves a Woman" - Percy Sledge
The Who kick off the month playing the Wolsey Hall in Cheshunt (2nd) and the Victoria Ballroom in Chesterfield (3rd).
On the 4th, the Reaction label finally gets its first Who single into stores, "Substitute" backed with "Circles." To provide some confusion over a planned injunction brought by their former producer Shel Talmy, Reaction also releases the single with a new label affixed to the b-side, retitling the song "Instant Party."
Also on the 4th, Talmy releases a new single by The Rockin' Vickers, "It's Alright," that is a re-write of "The Kids Are Alright." The band's lead guitarist is Ian Willis who will later be rechristened "Lemmy" when he becomes famous in Motörhead.
Around the same time The Fleur De Lys, with Jimmy Page on lead, release their own cover of "Circles" as a single in the U.K.
That night The Who play the I.C.I. Fibres "A" Shift Dance for the British Nylon Spinners Club in Pontypool, Wales.
On the 5th, Rod Harrod in Disc repeats a rumor that Keith is soon to be married to a woman named "Patsie." Keith deflects the story by claiming it is about "Patsie Klyne" from Bishopgate who has recently left for South Africa. On the same day Steve Marriott of The Small Faces reviews "Substitute" for "Blind Date" in Melody Maker. He instantly recognizes it as The Who: "Oh, great. It's just too much. They sound like Billy Fury! It's not as good as 'My Generation', but it's definitely a Number One. That'll please Pete, and Keith's mum! Pete's writing more and more commercial stuff. This actually conjures up a visual picture of them. Hayley Mills will like it."
Also on the 5th, "My Generation" reaches its chart peak in Malaysia at #8.
Financial trouble and internal tension make The Who prepare their CV's. Keith makes overtures to The Animals to join their group after drummer John Steel leaves. When The Animals instead pick Barry Jenkins of The Nashville Teens, Keith runs to The Teens and applies for that vacancy.
A way out for John appears in Melody Maker's issue of the 6th as he is selected for a "Group's Group" along with Eric Clapton (lead guitar), Bruce Welch of the Shadows (rhythm guitar), Brian Auger (organ), Ginger Baker (drums), and Stevie Winwood (singer). John will later point to this article as a possible genesis for the group Cream with Jack Bruce being selected as bass player over himself.
On the 7th, The Who mime to "Substitute" on The Scene at 6:30. The same day Talmy and the Brunswick label releases the first of their "spoiler" singles, choosing with no little spite "A Legal Matter" as the A-side. It is backed with the Talmy-produced version of "Circles," here re-titled "Instant Party." The next day Talmy gets an interim injunction against the further release by Reaction of either "Circles" or "Instant Party" claiming that they are violations of his copyright.
On the 9th, Polydor, owners of the Reaction label, go to the high court to have the injunction dismissed. Talmy's QC tells Mr. Justice Cross, "The group of young men who made the record is The Who." "The what?" replies the judge. "The Who m'lord, like the initials of the World Health Organization." Polydor makes the case that there is no copyright violation as Pete is the sole author of the song. Talmy's QC makes the case that, since Pete cannot read music and Talmy can, Talmy should be considered co-author. The judge extends the injunction against the Reaction release to the 18th but forces Talmy's company, Orbit Music, to put up $10,000 to pay to Polydor if Talmy's case is shown to have no merit.
The Who carry on, playing the Town Hall in Farnborough (9th), the Ram Jam Club in Brixton (10th), the Cavern in Leicester Square (11th), the Birdcage Club in Portsmouth (12th) and the Starlite Ballroom in Greenford (13th).
On the 10th, "Substitute" enters the British charts. The NME's Derek Johnson reviews the single calling it "a great hunk of commercial beat" but agreeing with Steve Marriott that he doesn't like it as much as 'My Generation.' Another article in the same NME mentions that Pete is producing a new London group called The Cat that includes future Thunderclap Newman drummer John "Speedy" Keene and future Empty Glass producer Chris Thomas. A cover of a new Townshend composition, "Run Run Run", is scheduled for single release on the 18th but it is cancelled before it appears.
On the 12th, Pete and the battle of the Who singles is the cover story in Melody Maker.
Sitting on 40,000 copies of "Substitute" it cannot release with "Circles" or "Instant Party" on the b-side due to the injunction of the 10th, Reaction re-issues "Substitute" on the 15th with a b-side instrumental credited to "The Who Orchestra," actually fellow labelmates The Graham Bond Organization, and called "Waltz for A Pig" in a pointed reference to Talmy.
Also on the 15th, The Who record "Barbara Ann," "Substitute," "You Rang," "Man With Money" and "Dancing In The Street" at Aeolian Hall, Studio 1, BBC, London for Saturday Club.
On the 17th, Keith becomes the second member of The Who to wed and, as with Roger, it is kept a secret from the press and the fans. He and his pregnant, 17 year-old bride Kim Kerrigan slink into the Willesden Register Office with Keith's mom, Kim's dad, The Who's tour manager Phil Robinson and John Entwistle. By Kit Lambert's order, no pictures are taken.
On the 18th, the injunction against Reaction releasing "Circles" or "Instant Party" is lifted and the label puts their 40,000 leftover copies in the shops.
On the morning of the 18th, The Who are filmed miming to "I Can't Explain," "Bald Headed Woman" and "Substitute" at Tower Pier, London for Dick Clark's ABC-TV U.S. program Where The Action Is. That evening they head out to Wembley's Studio One to perform "Substitute" and "Barbara Ann" on Ready, Steady, GO!, then zip off to Basildon to play the Locarno Ballroom.
Also on the 18th, publicist Keith Altman has an article in the NME called "Who are going 'round in Circles" that says that, after the now printed copies of "Substitute" have been sold, it will again be replaced, this time by a shorter version recorded for the American market. This does not happen in the U.K. and the shortened version, with "I try walking forward but my feet walk back" in place of "I look all white but my dad was black", is subsequently released only in the U.S., Canada, South Africa and Rhodesia.
And again on the 18th, The Birds with guitarist Ron Wood record two takes of Pete's "Run Run Run" but neither are released until 1999.
On the 19th, Dave Davies of The Kinks expresses his doubts about The Who's new single in Record Mirror: "Have you heard the Whoâs thing? I donât like it, do you? Pete Townshend said they did it because itâs commercial, but I donât like it at all. I suppose their fans will buy it, but I donât know what people see in it."
That evening The Who play Kings Hall in Stoke-On-Trent.
On the 20th, The Who are the cover feature in The Observer's Sunday Colour Supplement. Pete: "From valueless objects - a guitar, a microphone, a hackneyed pop tune, we abstract a new value. We take objects with one function and give them another. And the auto-destructive element - the way we destroy our instruments - adds immediacy to it all."
On the 21st, Chris Stamp directs a video of The Who miming to the U.S. version of "Substitute" at a film studio in Neal's Yard, Covent Garden. Re-edited to the British version, it appears in The Kids Are Alright and Who's Better Who's Best. That night's show at the Beachcomber Club in Preston is cancelled due to contractual difficulties.
There is a new show on the 23rd at the Tower Ballroom in Great Yarmouth. The Who's road manager, Neville Chesters, joins The Who onstage to sing "You Were On My Mind."
Also on the 23rd comes a "Pop Think-In" with Pete in Melody Maker. Pete declares he "always stands by Young Communist principles," but blasts the British Communist Party as "so badly run -- sort of making tea in dustbins like the Civil Defence." He has praise for Ray Davies and The Kinks' new single "Dedicated Follower of Fashion" and says about Keith Moon, "if I felt ageing, I could look at Keith and steal some of his youth."
On the 24th, The Who tape an appearance for Top Of The Pops miming to "Substitute" than head to the Starlite Ballroom in Crawley. On the 25th, they play the Corn Exchange in Hertford followed by St. George's Ballroom in Hinkley (26th), the Marine Ballroom on the Central Pier in Morecambe (27th).
On the same day, Paul Samwell-Smith tells the NME that Pete stole his guitar feedback technique from Jeff Beck when he saw his group Trident playing at the Richmond Athletic Grounds. Pete denies it.
On the 26th, Pete is interviewed at Caroline House by Penny Valentine for a special "Sound Of The Stars" flexidisc to be included in the premiere issue of Disc and Music Echo.
On the 31st, The Who record an appearance on Music Hall de France at d'Ailleurs, Issy-les-Moulineaux. They perform live versions of "Substitute," "Dancing In The Street," "Man With Money," "Barbara Ann," and "My Generation."
April 1966
New music releases: Aftermath - The Rolling Stones; Live! - Lou Rawls; The Shadow of Your Smile - Andy Williams; Soul & Inspiration - The Righteous Brothers
On the 1st, The Who and The Yardbirds appear together in a live French edition of Ready, Steady GO! called, appropriately, Ready, Steady, Allez! According to producer Vicki Wickham, both groups run out of the studio and into the alley at the end of the show. The cameras chase them only to catch the bands urinating against a wall.
The same night The Who perform at La Locomotive Club in Paris, compèred by Ronnie Bird who will soon release "Ne t'en fais pas pour Ronnie," a French-language re-write of "A Legal Matter." The show is broadcast on Radio Luxembourg. Another performance there follows the next night.
On the 2nd, an ad appears in the U.S. publication Billboard announcing the release of "Substitute" backed with "Waltz For A Pig" on the Atco label. This is the short version of "Substitute" with a re-recorded vocal in which the phrase "I look all white but my dad was black" is replaced with "I try walking forward but my feet walk back." Billboard says "Debut disk on Atco for the swinging group has the Liverpool-blues sound and big beat support for an exciting chart entry aimed at the teen market." Nevertheless, it fails to make the U.S. charts.
Also on the 2nd, the Brunswick release of "A Legal Matter" hits its U.K. chart peak at #28.
On the 3rd, The Who fly back to the U.K., playing the Town Hall in Chatham in Kent on the 4th.
Meanwhile, also on the 4th, a judge grants another interim injunction brought by The Who's former producer Shel Talmy preventing The Who from releasing any further recordings anywhere unless they are produced by Talmy and released by U.S. Decca/Brunswick. The Who's management New Action Ltd. agrees to try to reach a settlement upon the first adjournment.
Shortly after the above event, Pete writes a new song on the back of a copy of his affidavit in the Talmy case. Its name: "I Can See For Miles".
On the 7th, The Who tele-record an appearance miming "Substitute" for Top of the Pops. It airs a week later.
The next day The Who travel by van to Leeds for a meet 'n' greet at Vallances Records followed by a show at Queens Hall in Leeds. Photographer Hugh Vanes accompanies the band and photographs Pete carrying a tyre for the van.
The next morning (9th) Vanes photographs Pete having an elegant breakfast while perusing the latest NME...
...then shoots John and Keith sharing fags and brekkies at the diner The Boiling Kettle. That night The Who play the Pavilion Gardens Ballroom in Buxton.
Also on the 9th, "Substitute" enters the Dutch charts while "My Generation" reaches its peak at #13 in the Detroit, Michigan area. The following day "Substitute" peaks at #2 on Radio London's Fab 40.
On the 14th, The Who begin their first proper British theatre tour with two shows at the Gaumont Cinema in Southampton. They are the last act after Paul Dean & The Soul Savages, The Sound System, Hamilton, Jimmy Cliff, The Fruit Eating Bears, The Merseys and The Spencer Davis Group (who have the nation's #1 single at the time). Compèring the shows is future Myra Breckinridge director Mike Sarne. The Who's set at this time is "Barbara Ann," "My Generation," "I Can't Explain," "Substitute" and "Dancing In The Street."
John is interviewed in Melody Maker. The article is called "At last! Entwistle's silence is broken".
During this month, Pete receives his first record royalty cheque. He uses the money to buy a 1963 Lincoln Continental convertible and a 28-foot motorboat.
The tour continues (two shows per day) at the Fairfield Halls in Croydon (15th), the Odeon Cinema in Watford (16th - fans rush the stage and pull Roger to the floor), the Regal Cinema in Edmonton (17th), the Odeon Cinema in Derby (22nd), the Odeon Cinema in Rochester (23rd), and the Hippodrome in Birmingham (24th).
Between these dates The Who also manage to squeeze in regular shows at the Town Hall in Walsall (19th) and the Locarno Ballroom in Stevenage (21st).
On the 23rd, "A Legal Matter" enters the Dutch charts where it will peak at #22.
The same day, the first issue of the magazine Disc and Music Echo hits the stands. It includes the Sounds of The Stars disc containing a short interview with Pete. Also Record Mirror comes out with an interview with Kit Lambert who says The Who's legal matter is keeping them from recording another album.
On the 24th, John and driver Richard Cole pick up Keith at his house to head to the Birmingham gig. As they pull away, the vehicle is struck causing serious damage but leaving John and Keith uninjured.
On the 26th, The Who's first album is released in the U.S. on Decca. Retitled The Who Sings My Generation it features a different cover, drops "I'm a Man" for the Shel Talmy-produced "Instant Party," edits the instrumental break out of "The Kids Are Alright" and reverses the order of "A Legal Matter" and "The Ox." It is released in both mono and stereo although both are simply mono electronically processed as stereo. Billboard says: "the four boys from London have an ear-splitting, gut-busting and best-selling package in this program of blues-oriented rock numbers." It fails to reach the U.S. charts, but does get airplay on Detroit radio stations.
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On the 28th, a curious article appears in the Swedish tabloid Aftonbladet. The Swedish group The Namelosers, through their manager Jörgen Wikin, are offering Keith Moon 6,000 kronor a month to leave The Who and join their group. Keith is reportedly interested but wants 10,000 kroner. The tabloid reports that the manager will be travelling to London on May 15th to finalize the contract.
The Who continue the club circuit playing the Pavilion in Bath (25th), the Links International Club in Boreham Wood (26th), The Witchdoctor at the Savoy Room in Catford (28th), The Tiles Club in Oxford Street, London (29th - set cut in half after fans twice rush the stage) and the Corn Exchange in Chelmsford. Bluesology opens for The Who on the 26th and afterwards John has a bend 'n' bitch at the bar with the group's pianist, Reg Dwight, who can't convince Bluesology to let him sing. After changing his name to Elton John later in the decade he gets a lot more microphone time.
On the 30th, "Substitute" hits its peak at #5 on Sweden's Tio i Topp charts.
May 1966
New music releases: Pet Sounds - The Beach Boys; "Paint It, Black" - The Rolling Stones; Strangers In The Night - Frank Sinatra; "Paperback Writer" - The Beatles
On the 1st, The Who make their only appearance at one of the New Musical Express Poll Winners concerts at the Empire Pool in Wembley. The incredible line up for this concert also includes The Rolling Stones, The Yardbirds, The Small Faces, The Spencer Davis Group, Dusty Springfield, Herman's Hermits, Cliff Richard, Sounds Incorporated, The Alan Price Set, Crispian St. Peters, The Overlanders, The Seekers, Dave Dee, Dozy, Beaky, Mick and Tich, The Shadows, The Walker Brothers, Roy Orbison and, in their last concert appearance in the U.K., The Beatles. According to Alan Smith in New Musical Express' review, there was one band that stood out among these great talents: "I don't know that it was music; it was more like watching violence put to rhythm. But unquestionably, [The Who] stood out as the most remarkable appearance of the second half and I say this even though the Rolling Stones and The Beatles were to follow." The show is videotaped and The Who's performance is broadcast on ITV on the 8th. Rumors still circulate that a copy of this show exists but it has never gone public since its initial broadcast.
The violence continues offstage at The Who's next scheduled show. They were to have appeared on the 3rd at the Winter Gardens in Malvern but the show is cancelled and the disappointed audience is told that The Who could not make it due to a van break down. Some of the audience members aren't having it and go on a window-smashing rampage. They are correct to be disbelieving. The van breakdown is merely a cover story for the fact that Pete, John and Keith have collectively refused to share a stage with Roger. Again he is out of the band.
The 4th finds The Who on stage at the Town Hall in Stourbridge performing as a trio with Pete and John sharing lead vocals. Roger is kept out again on the 5th at the Town Hall in Kidderminster. After the show the 17-year old singer for the local band Listen approaches Pete and volunteers to take Roger's place as lead singer. Pete turns Robert Plant down.
Also on the 5th, Billboard reports that "My Generation" has reached #8 in the Malaysian charts.
On the 6th, Roger makes a temporary peace with Pete, John and Keith, rejoining the group for their first trek to North Ireland to play three dates beginning with the Top Hat Ballroom in Lisburn. He must have been happy to have re-joined the band for this trip as he runs into Bob Dylan who is performing on the same day at the ABC Cinema. Bob and Roger have tea and a chat between the acoustic and electric sets of his show.
On the 7th, The Who perform at the National Stadium in Dublin. Later newspaper reports say that the IRA leveled threats against The Who if they went on stage in their Union Jack jackets. The Who were reported to have already responded by having special jackets made from the Eire tricolour. However, Max Ker-Seymer, who was in the supporting band Peter Adler and The Next in Line, says there were never any threats made. The Who finish up Ireland with a show at the Arcadia Ballroom in Cork on the 8th.
Taking some time off, Pete presents Who manager Kit Lambert with a musical gift on the 10th, the day before Kit's 31st birthday. It is a 10-minute piece called "Gratis Amatis" that Pete put together with his friend Ray Tolliday and which he jokingly refers to as an opera. It sparks Kit's imagination. Why not a rock 'n roll opera? Kit sends Pete off to try to devise a story and songs for a full-length work.
On the 11th, The Who play the Corn Exchange in Bristol followed by the Pavilion in Worthing (12th). For the following two shows at the Wimbledon Palais (13th) and the Palais de Danse in Bury (14th) Roger is absent for reasons unknown and The Who are again a temporary trio.
Also on the 11th, "Substitute" enters the Swedish Kvällstoppen sales chart, peaking at #16.
On the 13th, The Who appear on the BBC Light Programme The Joe Loss Pop Show. Again a trio, Pete, John and Keith apologize for Roger's absence saying he has a sore throat. Pete sings "A Legal Matter," John sings the next two, "CC Rider" and "Dancing in the Street."
On the 13th, the Swedish newspaper Arbetet reports that negotiations with Keith to join the Swedish group The Namelosers have fallen through as Keith is already the third highest-paid drummer in Britain. On July 10th, the newspaper Götebirgstudbubgen confirms that Keith has no plans to leave The Who for Sweden. (thanks to Jan Forsgren for uncovering this story!)
On the 16th Dick Clark's U.S. TV show Where The Action Is shows film from March of The Who performing "I Can't Explain," and "Substitute." A kinescope of the latter broadcast later becomes a popular video bootleg item.
The Who were to have toured The Netherlands around this time but cannot because they are unable to obtain work permits. Keith keeps busy behind the scenes as he sneaks over to play drums for a "super-group" being assembled by The Yardbirds' guitarist Jeff Beck. On the 16th and 17th the group that consists of Beck, Moon, Jimmy Page, John Paul Jones and Nicky Hopkins records "Beck's Bolero." The other members of The Who know nothing about it at the time and it is Beck's understanding that Keith will quit The Who and join his group. When Keith fails to do so, this early version of The Jeff Beck Group falls apart.
Shel Talmy produces a recording by the group The Untamed of a song called "Kids Take Over." It is credited as a Pete composition although Pete has since denied it is his.
On the 19th, Pete turns 21. On the same day Keith meets up with Bruce Johnston of The Beach Boys who has arrived in London with an advance copy of the Pet Sounds album. Keith, being a huge Beach Boys fan, promises Bruce an appearance on the TV programme Ready Steady GO! Later that night Keith and Bruce meet up with John Lennon and Paul McCartney. The four play cards while listening to the album over and over. Keith doesn't care for it because it doesn't sound like typical surf music, but Lennon and especially McCartney are awed and intimidated by Brian Wilson's production and leave determined to top him.
The next day, as promised, Keith gets Bruce an interview on Ready Steady GO! but it causes him and John to miss the first half of The Who's set at The Corn Exchange in Newbury, Berkshire. Pete and Roger have been playing with the bassist and drummer from their opening act The Jimmy Brown Sound and are naturally furious at Keith. At the end of the show Keith, knocking over his drum set as usual, hits Pete in the leg with a falling cymbal. Pete turns and sends his guitar flying right into Keith's head.
Keith and John storm off determined that they are finally finished with The Who. They head over to Kit Lambert's house to tell him they're out. Pete goes over to Keith's the next day and tries to apologize. Keith is having none of it and for the time The Who have to continue with another drummer.
John comes back but The Who must carry on Keithless using their opening band's drummer to fill in at the Floral Hall in Southport (21st), the Locarno Ballroom in Blackburn (23rd), the Locarno Ballroom in Ashton-under-Lyne (26th) and Granby Halls in Leicester (27th).
On the 21st, Billboard reports about a hot new single in the Toronto area, a cover of "I Can't Explain" by the Edmonton group King-Beezz.
On the 25th, Reaction Records head Robert Stigwood tells the press that Keith is backing down on his threat to leave The Who. Keith returns on the 28th for The Who's performance at the South Pier in Blackpool. The opening acts are The Rockin' Vickers, The Birds and Oscar. Oscar is actually Paul Nicholas who will play Cousin Kevin nine years later in Tommy: The Movie.
On the 28th, Pete and Keith talk to Melody Maker about the incident of the 20th. According to Pete: "We were due on stage. Keith had gone out with somebody else and in the end we had to start playing without him. Finally Keith turned up...I swung out with my guitar, not really meaning to hit Keith. I lost my grip of the instrument and it just caught him on the side of the head." Keith is obviously dissatisfied with the explanation: "My eye is all black and blue, and I've had three stitches in my leg. Well, y'know, who needs it? If it happens again I'm leaving!"
Also on the 28th, Billboard reports from Milan that Radio Records has released the first record by The Geordies, "Shavada" backed with a cover of "My Generation."
On the 29th The Who play the Winter Gardens in Morecambe for two shows with supporting acts The Merseys, The Fruit-Eating Bears, Mike Berry and The Innocents, Philip Tait & The Stormsville Shakers, She Trinity and Oscar. Around this time Keith expands his drum kit from its single bass drum to a double bass drum, nine piece kit: the price of his return?
On the 30th Pete is in an auto accident on the M1 on his way back to London after the Morecambe gig. It is incorrectly reported in the Netherlands, Germany and France that Roger has been killed in the crash and Polydor is inundated with calls. That night The Who play at the Sincil Bank Football Ground in Lincoln for the Whit Monday Pop Gala Festival. The Kinks, the Small Faces, and the Yardbirds are also on the bill.
June 1966
New music releases: Yesterday and Today - The Beatles; "Sunny Afternoon" - The Kinks; "Sunny" - Bobby Hebb; "Lil' Red Riding Hood" - Sam the Sham & The Pharoahs
The Who fly into Arlanda Airport, Stockholm on the 1st. Pete is interviewed for a Swedish magazine at the airport. He tells them he is currently working on a musical called "Summer City".
On the evening of the 2nd, The Who appear at the Grona Lund Stadium in Stockholm before 11,000 fans. Along with their usual fare, they essay a cover of Stevie Wonder's "Uptight."
On the afternoon of the 3rd, The Who arrive at a TV studio in Stockholm to appear on the Popside program for Sverige Television. Coming onstage busting through a Union Jack paper hoop, they mime performances of "Daddy Rolling Stone," "It's Not True," "Bald Headed Woman," "The Kids Are Alright," "Substitute" and "My Generation" while standing on a ramp. The show is directed by Peter Goldmann, later to direct the promotional films for The Beatles' "Strawberry Fields Forever" and "Penny Lane." It airs on Swedish television on the 5th.
Somehow The Who squeeze in shows at two different venues after the television taping: The Liljekonvaljeholmen in Uppsala and the Kungsparken in Kungsor.
Also on the 3rd, The Eyes release their EP These Are The Eyes featuring several songs that copy The Who's sound and top it all with a parody of "My Generation" called "My Degeneration."
Steve Marriott of The Small Faces is interviewed in the Melody Maker of the 4th. On the subject of The Who he says, "A gas. I can't really understand their personal basis - the friendship basis - but I don't want to understand. Their music is great and always will be."
On the 4th, another two venues, The Berget in Soderhamn and the Hogbo Bruk in Sandviken and on the 5th another two, The Traffen in Nykoping and Idrottshuset in Orebro. Between shows, The Who stop at the home of Gunnel Larsson in Vrena to watch themselves on TV.
At the show in Orebro the police panic and pull the plug on The Who when the audience rushes the stage. Pete threatens the police and stagehands to get the power back on but after a part of the set the police cut The Who's power off permanently. John has a rare display of temper and rams his bass guitar through his amp so hard it takes two roadies to get it out.
On the 6th, these troublemakers head on to Denmark flying into Copenhagen. That night Keith and John go drinking at the Carousel Club and sit in for a set with The Tremeloes.
On the 7th, The Who play the Tivoli Hit House followed by a later show at Fyens Forum in Odense. At a press conference before the show at the Tivoli, John shows he is still in a bad mood. He says he hates Danish beer, Danish cigarettes and every Who song but one — "Substitute." On the 8th, The Who return to London.
On the 11th, Billboard lists "Substitute" as #2 in the Netherlands and #6 in South Africa. They stay in those positions on the next week's charts.
Clint Warwick, bassist for The Moody Blues, leaves the group retiring from show business. John applies for but fails to get the open spot that goes to Rod Clarke from Les Garcons.
Chris Stamp interviews Pete at his Wardour Street flat, filming it for Dick Clark's Where The Action Is. Part of this film appears in The Kids Are Alright where Pete speaks of the need for "power and volume."
On the 14th, The Who record preliminary versions of two new Pete compositions "Disguises" and a song from Pete's first rock opera Quads, "I'm A Boy." "Disguises" is rush mixed to be used the next day on the last episode of BBC-TV's A Whole Scene Going. Pete wears a handlebar mustache and John plays a tuba named "Gladys."
On the 15th, "Substitute" peaks at #13 on the German charts.
In separate issues this month, Record Mirror reports that The Fruit Eating Bears with Joey Molland, later in the group Badfinger, on guitar, will soon be issuing their first single with a song, "Call Me Lightning", given to them by Pete Townshend. Unfortunately for them, the Sixties edition of the Bears will fail to get any records released.
Bills have to be paid and guitars smashed so The Who start playing the English venues again. The 16th sees them at Hull University followed by the City Hall in Perth (17th), and the Market Hall in Carlisle (18th).
On the 18th, Record Mirror reports on a double bill of The Who and The Merseys at Shea Stadium for July 9th. The Who won't actually make it to Shea for another 16 years.
On the 20th, The Who return to the stage at the Gaytower Ballroom in Birmingham followed by the Winter Gardens in Malvern (21st). The latter show is filmed in color by CBS-TV for an hour-long special on British teenagers. The footage has yet to re-surface.
Following that is The Who's first performance at the Refectory at the University at Leeds (23rd) as part of a University Rag Ball along with The Alan Price Set, The Swingin' Blue Jeans and a John Mayall's Bluesbreakers that had just lost guitarist Eric Clapton to the new group Cream.
More college dates afterwards: the University of Salisbury (24th), the College Of Further Education in Chichester (25th) where The Who's van is stolen -- recovered the next day.
On the 25th, Billboard reports that "Substitute" is at #4 in Australia.
Also on the 25th, Record Mirror interviews the group The Settlers who had some trouble opening for The Who: "The Who behave like delinquent children. One of them shoved his guitar through some new acoustic tiles in the dressing room.â âAnd let off stink bombs in the room,â said Cindy [Kent]. âAnd squeezed aerosol shaving cream all over the piano keyboard.â âUnbelievably idiotic destructiveness,â said the aghast John [Fyffe]. âTheir noise onstage was so loud it hurt. Thatâs all it was. Sheer nonsense."
On the 26th The Who play the Britannia Pier Theatre in Great Yarmouth. The Who were to have been a regular act on Sundays in Great Yarmouth throughtout the summer but they were fired after this show when Keith throws his drumsticks into the audience and hits someone in the eye. Groups with more "family appeal" are substituted by their agent, Robert Stigwood.
On the 27th, Pete and co-manager Chris Stamp fly to New York City, the first trip by any member of The Who to America. Shortly after his arrival, Pete attends a luncheon for Herman's Hermits who are beginning their 1966 U.S. tour. A reporter from Datebook magazine gets an interview from an irritable Pete while he is photographed by Linda Eastman."I don't know why I'm here, at somebody else's luncheon...Two of your lousy record companies haven't been able to get us a hit in America. Without a hit record, we can't get a visa to perform." When a girl recognizes him and asks if Keith is there because her brother wanted Keith's drumsticks, Pete snarls "He's not here. And if he were, I'm quite sure he wouldn't give you his drumsticks."
Afterwards he and Stamp attend a meeting with attorney Allen Klein on a yacht in the Hudson River. Klein is then partnered with Andrew Loog Oldham, manager of The Rolling Stones, who is also on the yacht during the meeting, but remains on the other side of the craft, feigning disinterest. Klein wants to propose a scheme to get The Who out of the interim injunction brought by their ex-producer Shel Talmy that has blocked The Who from releasing new records. Klein leads Pete to understand that the Talmy troubles will end only if he fires Lambert and Stamp and lets Klein and Loog-Oldham run The Who. Pete instead gives Stamp authority to represent him in the negotiations and leaves to make a gig on the 29th at the University of Sheffield. Klein pays for Pete's first class ticket back home.
While in New York, Stamp, with the help of Klein, makes a deal that gets them around the Talmy injunction by having Decca Records cancel its contract with Talmy in exchange for signing The Who to U.S. Decca via their managers Lambert and Stamp. By so doing, Talmy now has no hold over The Who except for his contract to be their producer and The Who are free to release new music. The Who get a £17,000 advance, 10% royalties from their U.S. releases and the ability to act as free agents in the rest of the world. Klein's price: a piece of Pete's song publishing rights, a fact Pete doesn't discover until eleven years later.
Despite the first class accommodations, Pete arrives in London with jet lag that forces him to pull over to the side of the M1 and take a nap. That night's Who concert is cancelled. Support group Tony Rivers and The Castaways fill in.
July 1966
New music releases: The Best of The Beach Boys - The Beach Boys; "You Can't Hurry Love" - The Supremes; "Wouldn't It Be Nice" - The Beach Boys; Somewhere My Love - Ray Conniff and The Singers
Having missed the last show of June for a motorway sleepover, Pete misses the first show of July, as does the rest of the band. They are scheduled to play a "Beat Dance" at the Winter Garden in Eastbourne on the 1st but instead send a Robert Stigwood employee to read a telegram saying engine failure on their plane is to blame for their absence. Everyone gets a refund although there is no way to give one to three girls who won an evening with Keith in a competition.
The Who perform at the Technical College in Westminister (9th). This last show is filmed by the CBC and snippets of four songs and backstage interviews are later broadcast on their show Take 30 From London. This program still exists but has not yet been commercially released.
More legal news. On the 4th, the Daily News reports that Orbit Music Co. has brought an injunction against The Who performing for anyone but them based on a contract Pete and The Who's managers signed in November 1964. On the 8th, New Musical Express reports incorrectly that the Allen Klein deal to buy the Who's contract has gone through. Their report details what would have happened if it had: The Who's records were to be issued in America and Canada on MGM. Klein purchases Talmy's contract. Recording sessions were to be "supervised" by Kit Lambert and Oldham would be in charge of manufacturing and distributing their records in the U.K.
Also on the 8th, "Substitute" peaks at #2 in The Netherlands' Muziek Parade and #6 in Muziek Expres while "A Legal Matter" peaks at #21 and #22 respectively in the same charts.
The Who get to take a few days off as Keith becomes a papa. Amanda Moon is born to the secretly-married drummer and his wife Kim on the 12th. Keith, however, fails to bring his wife home from the hospital because he is on a three-day LSD trip.
Parental leave is over on the 14th as The Who play Liberal Hall in Yeovil, the Starlite Ballroom in Greenford (15th), the Civic Hall in Barnsley (16th), the Locarno Ballroom in Bristol (21st), the Central Pier in Morecambe (22nd), Spa Royal Hall in Bridlington (23rd), Queen's Ballroom in Wolverhampton (25th), Flamingo Ballroom in Redruth, Cornwall (27th), Queen's Hall in Barnstaple (28th) and the Tiles Club in London (29th). Some known supporting acts are Pythagoras Square and Fourth and a Fifth (15th), The Mandrakes (with Robert Palmer) and the 21st Century (23rd) and The Blue Aces (29th). For the show of the 21st, Keith brings house bricks onstage to use in the demolishing of his drum kit.
TRO, Pete's U.S. song publisher, gets word that some U.S. radio stations have begun playing "The Kids Are Alright" from the recent Decca LP The Who Sings My Generation. They pressure Decca to release the album track as a single and Billboard reports the release of "The Kids Are Alright"/"A Legal Matter" on the 16th. The single will peak at #85 in Cash Box and #106 in Billboard.
And now that U.S. Decca has re-established its contract with The Who, they send out a request for promotional material to publicize the new single. Manager Chris Stamp sets up The Who next to the Serpentine Lake in Hyde Park and shoots silent, black-and-white footage of them miming to the song. The edited footage with studio sound added is then sent to the U.S. intended for use on music TV programs but it is not known whether it actually airs.
Around the same time, Chris Stamp also shoots film of The Who running in London's trendy Carnaby Street.
Also on the 16th, Billboard reports that "Substitute" has peaked at #3 in New Zealand.
On the 29th, The Merseys release a single in Britain of "So Sad About Us," written for them by Pete who also produces (although Kit Lambert is listed as producer on the label). The B-side, "Love Will Continue," features John on French horn. It fails to chart.
On the 30th, Beach Boys fan Keith gives his public assessment of their new album Pet Sounds to New Musical Express: "I think Pet Sounds illustrates the way one man's mind works, that of Brian Wilson. There's nothing revolutionary in the album, I don't think. Perhaps the only revolution is in the group itself, the way they've changed with the album. They are not so much a vocal group these days. Vocals, as such, have almost disappeared with this album."
Later that evening The Who play the 6th annual National Jazz and Blues Festival in Windsor. The crowd is both drenched by a howling rainstorm and disappointed by the non-appearance of the scheduled Yardbirds. Despite this, The Who manage to rev up the crowd with a tremendously destructive show probably inspired by having their act partially stolen by The Move earlier in the day (they smashed television sets). Pete performs all this destruction while dressed in a tuxedo. Melody Maker later reports that The Who's act inspired a small number in the audience to perform some offstage destruction.
On the 31st, it's back into the IBC's Studio A for two days of recording and mixing of the A and B side of the new single, "I'm A Boy"/"In The City" plus a new recording of "Disguises." Manager Kit Lambert produces while Paul Clay engineers.
August 1966
New music releases: Revolver - The Beatles; Blonde on Blonde - Bob Dylan; "Eleanor Rigby" - The Beatles; "Reach Out I'll Be There" - Four Tops
On the 2nd, The Who go on vacation for two weeks. Keith, his wife Kim, John and his girlfriend Allison travel to Torremolinos in Spain. Newborn Mandy Moon is left behind with Keith's parents. Pete travels to Israel. Roger stays in London spending three days redecorating his apartment and the rest of the time fishing.
On the 12th, Brunswick issues the second of their spoiler Who singles. "The Kids Are Alright" backed with "The Ox" comes out in Europe, reaching only #41 in the U.K. charts but #8 in Sweden. Derek Johnson in New Musical Express declares it "isn't The Who at their distinctive best. Set at a hectic up-tempo pace, with a shuffle beat and a suggestion of the surf influence, it also has a shattering twang sound."
In the same issue New Musical Express reports that the proposed deal for The Who's contract with Andrew Loog Oldham and Allan Klein has collapsed.
On the 18th, The Who go back to work playing The Palace Ballroom on the Isle Of Man, the same ballroom Pete's father Cliff used to play ten years before. The opening act is Bob Miller and the Millermen.
On the 19th, The Who record performances of "I'm a Boy" and "It's Not True" for Ready Steady GO! at their television studio in Wembley. It airs that evening.
On the 20th, Billboard lists "The Kids Are Alright" as a "breakout hit" in Detroit.
On the 20th The Who play the Town Hall in Torquay followed by the Pier Ballroom in Hastings (21st), the Sherwood Rooms in Nottingham (23rd), the Orchid Ballroom in Purley (24th), the Dreamland Ballroom in Margate (25th) and the Royal Hall in Harrogate (26th).
On the 25th, the Radio Luxembourg Record Stars Book No. 5 is released with a feature on The Who.
On the 26th "I'm a Boy" backed with "In The City" is released in Europe. Reaction Records' ad for the single takes up the entire front cover of New Musical Express. Melody Maker's review says "Composer Townshend with producer Kit Lambert have gone to Spector-ish extremes, stirred with Brian Wilson, and topped the lot with pure Who. An exciting, deep, loud record with thundering bass and drums – and shattering guitar...an enormous hit." It goes to #2 in the official U.K. charts but reaches #1 for two weeks in the Melody Maker charts making it the de facto biggest U.K. single hit for The Who. U.S. Decca holds up its release in the States hoping for a U.S. tour to support the single.
Meanwhile on the 27th, Billboard reports The Who plan to come to the U.S. in early September to promote their U.S. single of "The Kids Are Alright" and that a tape of the group performing the tune was rushed to New York for promotion on various TV shows. In the same issue, "The Kids Are Alright" reaches its U.S. peak on the Billboard charts, "Bubbling Under" at #106.
The 30th begins two days of recording at IBC Studios and Pye No. 2 Studio in London. During the sessions The Who record The Regent's "Barbara Ann," The Everly Brothers' "Man with Money," Martha and the Vandellas' "Heatwave" and the theme to the then smash hit TV show "Batman." The tracks are intended for a new album tentatively titled Jigsaw Puzzle. Kit Lambert produces and Paul Clay engineers. Also around this time, Kit Lambert directs a promotional video, similar to the earlier "Substitute" video, of The Who performing "I'm A Boy."
September 1966
New music releases: "Knock on Wood" - Eddie Floyd; The Mamas & The Papas - The Mamas & The Papas; Bert Kampfert's Greatest Hits - Bert Kaempfert and His Orchestra; The Best of The Lettermen - The Lettermen
The Who hit the road to promote their new single "I'm A Boy." Thursday they are at the Locarno Ballroom in Coventry (1st), Friday at the Locarno Ballroom in Basildon (2nd) and Saturday at the Drill Hall in Grantham (3rd).
On the 3rd, Ronnie Lane of Mod band The Small Faces reviews "I'm A Boy" in Blind Date in Melody Maker: "I missed the beginning, can you put it on again? It's The Who, isn't it? I recognized the backing but it didn't sound like them vocally, although it does if you've heard the LP. Yeah! I like this. It's great. Must be Pete's. Can I hear it again? I don't think it's as commercial as some of their others. I can't hear what it's all about, but I don't want to say that, because I can't stand people who moan, 'I can't hear the words!' This needs something catchy, but there's some great sounds there."
The Who begin the next week on Tuesday at The Palais in Ilford, Essex (6th). Earlier in the day they record performances of "I'm A Boy" and "Heatwave" for Ready, Steady, GO!
Wednesday is spent at the Locarno Ballroom in Stevenage (7th) and Friday at the Pier Pavilion in Felixstowe (9th). The latter show and the car ride to it are filmed for the French television programme Seize Millions de Jeunes.
On the 10th, Melody Maker prints an article describing the August recording session. Disc magazine of the same day reports that The Who's next recording will be the new Pete composition "King Rabbit." Later that evening The Who play the Corn Exchange in Bedford and the next night at the Ultra Club in the Downs Hotel in Hassocks.
Also on the 10th, Brunswick's "spoiler" Who single "The Kids Are Alright" reaches its U.K. chart peak at #41.
On the 13th, The Who record a radio appearance for the BBC Light Programme Saturday Club at The Playhouse performing "I'm A Boy," "Disguises," "Heatwave" "So Sad About Us," and a cover of the Lovin' Spoonful's "On The Road Again." Speaking of being on the road, Pete announces on the show that the soon-commencing U.K. theatre tour will be cut short so that the group can make its first trip to America.
On the morning of the 15th, The Who pre-record a performance of "I'm A Boy" for that evening's Top of the Pops. If you're in Hanley that evening, you can see them live at the opening of The Who's British theatre tour at the Gaumont Theatre. Supporting them are fellow Polydor artists The Merseys, a new group called The Cream with Eric Clapton on guitar, Oscar (actually future "Cousin Kevin" Paul Nicholas) and comedian Max Wall. The following night's show, however, is the last one, taking place at the Odeon Cinema in Derby (with M.I.5 replacing The Cream).
The Who's managers, Kit Lambert and Chris Stamp, meanwhile, are busy setting up their own label, to be called Track Records and distributed by Polydor. The Who will ultimately be moved to the label and The Who are encouraged to look for new talent for signage.
"The mute Who speaks up about the others" is New Musical Express' title for an interview with John in their issue of the 16th. He says he considers Pete and Roger to be "just workmates" but says the band has settled its differences since he and Keith considered leaving The Who back in May.
Disc and Music Echo says The Who are halfway through recording their new album that will include the songs "Disguises," "Happy Jack" and "King Rabbit." In the same issue Pete says that he was the first guitarist to deliberately use guitar feedback and he is upset when he hears credit given to The Beatles or The Yardbirds. He also takes time to slam The Beach Boys' landmark album Pet Sounds. Despite his recent remarks (2011), at the time he didn't care for it calling it "too remote and way-out. It's written for a feminine audience."
Roger is interviewed in the Record Mirror of the 17th and says The Who have already recorded the tracks "So Sad About Us," "Heat Wave" and his favorite track "Disguises," all intended for The Who's forthcoming LP.
On the 20th, "I'm a Boy" enters the Kvällstoppen Swedish sales chart, peaking at #4.
On the 21st, Pete goes to the Newport Pagnell Court in Buckinghamshire over his automobile crash of May 30th. He is fined £25 with £26 costs for dangerous driving. That evening they again tape a performance of "I'm a Boy" for Top of the Pops. Photos are taken of them on stage for later promotion.
On the 23rd, The Who were to have left for a U.S. promotional tour. The trip, for which The Who had cancelled their British theatrical tour, is itself cancelled due to visa problems.
More articles on the 24th. Roger has a "Pop Think-In" in Melody Maker. He declares his respect for fast cars, The Beach Boys, John, Pete and The Beatles, his attraction to Mick Jagger and his lack of respect for Playboy bunnies, the Windsor Festival, Carnaby Street, pills, parents and "all films with birds."
Pete reviews that week's singles chart in Disc & Music Echo. He calls The Mindbenders' "Ashes To Ashes," "so nothing I can't remember it," Otis Reddings' "I Can't Turn You Loose," "the worst record in the chart," and the New Vaudeville Band's "Winchester Cathedral," "rubbish." Meanwhile, in the same issue, Keith answers readers' questions.
On the 24th, former Animal Chas Chandler lands in the U.K. with his new American discovery, guitarist Jimi Hendrix. Sometime during the next few days, according to John, Jimi gives a performance at a local club accompanied by John on bass. Perhaps he tells The Who's managers because, on the 27th, they attend a Hendrix performance at the Scotch of St. James Club. Chandler has heard about the Track Records' startup (Hendrix originally wanted to sign with Decca because The Who were on Decca in the U.S.). After hearing Hendrix play, Lambert and Stamp try to talk him into letting them be his managers but Chandler, naturally, refuses so they sign Hendrix as their first act for Track.
Also on the 24th, "I'm A Boy" enters the Dutch charts where it will peak at #5. "I'm a Boy" and "The Kids Are Alright" enter the Tio i Topp Swedish charts, the former peaking at #3, the latter at #2.
With the U.S. tour cancelled and no British shows lined up, The Who return to the studio for more LP work. During this period they record "Showbiz Sonata," an instrumental track credited to Keith Moon but with melody filched by John from a track off The Man From Interpol soundtrack album. It is later retitled "Cobwebs and Strange."
On the 30th, "I'm a Boy" hits its official U.K. chart peak at #2. Jim Reeves' "Distant Drums" keeps it from the #1 spot.
October 1966
New music releases: The Monkees - The Monkees; Parsley, Sage, Rosemary and Thyme - Simon & Garfunkel; "Good Vibrations" - The Beach Boys; The Best of Dean Martin - Dean Martin
On the 1st, The Who fill in for a kancelled Kinks gig at the Imperial Ballroom in Nelson.
The same day the band is on the cover of Disc and Music Echo with the headline "Why pop art is now just OLD HAT." Pete says The Who are pretty much finished with the pop-art clothing of a year before. His new thing is "writing musicals and operettas." He says the band's biggest ambition is to break in the U.S. and that Who fans there already consider them the third-biggest British band behind The Beatles and The Rolling Stones although Pete concedes The Who haven't made it to that position yet.
Meanwhile on the 1st, "I'm a Boy" reaches its official chart peak in the U.K. at #2.
On the 3rd, The Who go into CBS Recording Studios in London to record and mix Pete's "Don't Look Away" and John's first composition, "Whiskey Man," for the new album. At the end of the session Pete asks John what his other song will be for the album and John, having not given it any previous thought, remembers a discussion of funny animal names he had with Bill Wyman of The Rolling Stones in a nightclub the evening before. He says it will be a song about a spider named Boris. John rushes home and quickly composes the song. The next day "Boris the Spider" is recorded at Pye Studios, London along with Keith's composition, "I Need You (Like I Need a Hole in My Head)," a somewhat obscure attack on The Beatles who Keith believed were using code words to talk behind his back.
Later in the week The Who record "Run Run Run" and the version of "I'm A Boy" that will ultimately appear on Meaty Beaty Big and Bouncy in 1971. During the time of these sessions, Jimi Hendrix comes in to ask about equipment. Pete remembers him as "strangely dressed." Keith greets him with an immediate "Who let that savage in here?" Jimi asks Pete what amps he is using and tells his manager Chas Chandler to get him one of each recommendation.
On the 4th, "The Kids Are Alright" enters the Swedish Kvällstoppen sales charts where it will peak at #8.
On the 6th, the film of The Who's performance and backstage interviews shot at their 9 July show airs on the CBC-TV program Take 30.
Keith is interviewed about the new album in New Musical Express on the 7th. The article is called "Drummer Moon on zither, double track tuba, on Who lp."
On the same day, Oscar (a/k/a Paul Nichols) releases a 45 of a new Pete-composed song "Join My Gang." The song fails to chart.
On the 8th, Melody Maker declares "I'm a Boy" to be #1 on their charts. Inside is an interview with Who manager Kit Lambert.
Also on the 8th The Who play The Palais in Petersborough followed by the Pavilion in Bath (10th) a show that is filmed by CBS-TV for the show CBS Reports. It is not known whether this film ever aired.
On the 11th, "Bucket T" is recorded and mixed at IBC and Pye Studios. The recording is filmed by Peter Goldman and sold to Swedish television. Also filmed is an interview with Pete conducted by Inga-Lill Palm.
On the 12th, The Who head over the Channel to Amsterdam to pre-tape a mime job to "I'm A Boy" for the Nederland 2 TV show Waauw at the Bellevue Studios at the Leidseplein. That night they play the Club 192 in The Hague-Scheveningen.
On the 14th, The Who head back into IBC Studios to record a medley of "My Generation" and "Land of Hope And Glory" for their upcoming Ready Steady GO! TV special. They ultimately record a second pass combining "My Generation" with "Rule Britannia" that is used during the actual program. This day's recording remains unreleased until 1995.
That night The Who drive up to Leeds to perform at an all-night dance and barbeque at Queens Hall. Their performance, starting at midnight, sparks a riot.
On the 15th they play the Corn Exchange in Chelmsford. The same day John is interviewed in both Record Mirror and Disc & Music Echo. He's already complaining about being tagged as "the quiet one."
On the 18th, The Who record their first and only band-created television special at Wembley Studios for Ready Steady GO! as half the show (about 16 minutes) is turned over to the foursome. Only memories and publicity photographs remain of this show which involved The Who clowning around on set between numbers, performing "Batman" while wearing capes, sending up Cliff Richards' "Summer Holiday" in a mime sequence and smashing their instruments at the end. It was this final act which deeply upset British viewers on the show's airing on the 21st.
Ready Steady GO! fans write to Melody Maker to blast the show: "More a disaster than a happening." "I have rarely seen a group perform so much concentrated rubbish in such a short time." "It produced in me a feeling of complete nausea." "It took me years to save for my guitar, and seeing The Who holding theirs by the neck and smashing them on the floor and pushing them through amplifiers made me sick."
With that behind them, Roger, John and Keith run off to Copenhagen on the 19th. Pete misses the flight as well as the press conference held at the Star Club. While there Helle Hellman interviews John for the Danish Beat magazine. John says his hearing is going and he has already developed the habit of seeming to listen and respond to people he cannot hear.
With Pete finally in town, The Who record another mime job of "I'm A Boy," "Substitute" and "My Generation" for the Danish TV show Klar i Studiet on the morning of the 20th having to borrow instruments from the group The Tages.
That evening is a concert at Helev Hallen in Copenhagen. There is a riot during the show and afterwards, Keith swings from a pipe in his dressing room and pulls it down, flooding the backstage.
Back in Britain, Brian Jones of The Rolling Stones has only praise for The Who in New Musical Express. He calls them "unbelievably good" and adds that The Who, The Stones and The Beatles are the only British groups "to evolve something completely original in visual and musical production."
That night The Who continue their European tour with two shows at the Konserthallen in Liseberg, Gothenburg, Sweden followed by two shows on the 22nd, first at Gislöv Stjärna in Simrishamn, Sweden then at Jägersbo-Höör in Höör, Sweden. On the 23rd, two more shows, the first and afternoon show at MFF-Stadion in Malmö, Sweden followed by an evening show at the Fyens Forum in Odense, Denmark. The next day has them at the Folkparken in Halmstad, Sweden followed by the Club Nalen in Stockholm on the 25th, The latter show is recorded and still exists. The Who return to London the next day.
On the 28th, the lawsuit between The Who and their ex-producer Shel Talmy is settled out of court. Since the courts showed that they were going to side with Talmy, The Who's management ends the lawsuit by giving Talmy five percent of the royalties on all Who releases for the next five years (approximately three times what each member of The Who would get). Few would have believed then it would amount to much but, as it eventually includes the albums Tommy, Live At Leeds and Who's Next, the deal nets Talmy millions.
The same day, The Who fly over to Lyon, France to represent Great Britain at the British Trade Fair gala at the Palais d'Hiver de Lyon. Also representing with a performance are Screaming Lord Sutch and the Stormsville Shakers.
Billboard reports that "I'm a Boy" has reached #3 in the Netherlands.
Two days later (30th), The Who play The Sportspalast in Berlin. This disastrous show has The Who only performing for twelve minutes and afterwards they are thrown out of the Berlin Hilton for "bad behavior". According to Pete much later, this "bad behavior" is the first time that Keith demolishes a hotel room. Afterwards, Keith starts chatting up the local girls at the Sportspalast. Their dates show up, so Keith tells Who manager Chris Stamp and road manager Neville Chester to "talk to them" and runs off. Chris and Neville get beaten up in Keith's stead.
The Who then cancel an appearance on German TV's Beat Club to run back to London for more album recording. During this period they record the acoustic version of "Happy Jack" that remains unreleased until 1995 and the first bits of the mini-opera "A Quick One While He's Away."
November 1966
New music releases: Greatest Hits - The Temptations; "I'm A Believer" - The Monkees; "Snoopy vs. The Red Baron" - The Royal Guardsmen; "That's Life" - Frank Sinatra
Prior to the 5th, The Who record an acoustic version of "Happy Jack" (not released until 1995) and various sections of Pete's mini-opera "A Quick One While He's Away".
On the 5th, Record Mirror announces the formation of Track Records and says The Who will be the first act released on that label. They also say that The Who's new album will be titled "Jigsaw Puzzle."
The Who fly back to Germany to play three more dates of their German tour. The 5th sees them at the Messehalle in Saarbrüken, the 6th at the Kongresshalle in Cologne and the 7th at the Rheinhalle in Düsseldorf. The band flies immediately back to London after the last show.
On the 8th, The Who go into CBS Studios in London and record at least two takes of the backing track for their next single "Happy Jack". John and Keith then go to Regent Sound and record John's new composition, "I've Been Away," during a half-hour session while Roger and Pete are off at a pub. On the 10th, Roger records his vocals for "Happy Jack". It is at this time that Keith Moon is forced to lie on the floor of the studio so he won't add his off-key vocalising to the backing track. Keith impishly pops up just as the song concludes, causing Pete to proclaim "I saw ya!" that remains on the release version.
Two 45's come out on the 11th. The official one is The Who's first U.K. EP Ready Steady WHO that was supposed to be live tracks from The Who's recent television special but, for legal reasons, have studio tracks substituted. It goes all the way to #1 on the U.K. EP charts but isn't released in the U.S.
On the same day, Brunswick releases the last of its "spoiler" singles, "La La La Lies" backed with "The Good's Gone." It reaches #17 in Sweden but fails to chart in the U.K. Coincidentally, another group, the Wild Uncertainty, were to have released a cover of "La La La Lies" at this time, that Pete praised as being better than The Who's, but had to cancel it because of the Brunswick release.
On the 12th, The Who are filmed holding an impromptu outdoor 5-song concert at the Duke of York's Barracks in the Kings Road for the NBC-TV (U.S.) show Today. The session stars at 7am and continues to 10:30am. The Today show airs the film on the 15th.
Also on the 12th, Kit Lambert in Record Mirror says that The Who's next album and single will not be the first releases on Track Records because of "certain difficulties" and will be released on Reaction instead. On the same day Billboard reports that "I'm a Boy" has hit #4 in Norway.
Also that day, Billboard reports that two new Who EP's were released this week in France, The Kids Are Alright on Decca and I'm a Boy on Polydor.
Around the 12th of this month a San Jose, California garage band, Count Five, releases their first album Psychotic Reaction with covers of two Who songs, "My Generation" and "Out In The Street." They are believed to be America's first recorded Who covers and begin the long-lasting influence of The Who on the U.S. garage and punk rock sound.
With the recording of the new album and single finished, The Who fly to Switzerland to play in the snow, spending four days in Neuschnee, Grindelwald having publicity photos snapped. While there Keith buys a steam engine.
A Who fan club newsletter of this time gives a track listing for "Jigsaw Puzzle," probably as the album stood prior to the writing and recording of "A Quick One While He's Away." It is "I'm A Boy" (the version that ultimately ends up on Meaty Beaty Big and Bouncy), "Run Run Run", "Don't Look Away", "Circles", "I Need You", "Showbiz Sonata" (later retitled "Cobwebs and Strange"), "In The City", "Boris The Spider", "Whiskey Man", "See My Way", "Heat Wave" and "Barbara Ann".
The Coachmen, a band from Lincoln, Nebraska, release a 45 with an A-side cover of "My Generation."
On the 17th, Record Mirror reviews The Who's new album: "The Who's new LP is better than their last, although to be fair, their style has changed. The trend-setting 'pop art' sound of the 'My Generation' era has given way to a more subtle, almost Beach Boys approach, well vocally anyway. Some of the tracks are very unusual - like the drum showcase 'Cobwebs and Strange' written of course by Keith, while John's two songs 'Boris the Spider' and 'Whiskey Man' indicate that he has a bigger hand in the Who's individuality than one might think. Best track is the 'Quick One' saga, which sounds like 'Pet Sounds' LP squeezed into a long song. You get the idea that musically, the four members of the Who just don't agree, but are competent enough to knuckle under efficiently on one of the others' songs."
The Who return to the U.K. only to head up the road to Scotland with a tour starting at the City Hall of Perth (18th), followed by the Market Hall in Carlisle (19th). Pete's Rickenbacker is stolen after the latter show but is later recovered.
Meanwhile Melody Maker runs an interview with Keith and John on the 19th entitled "Who - finally reaching the sounds they all search for."
On the 24th, Disc & Music Echo has the headline "Who refuse new disc TV plugs". The Who say they will not be doing television appearances supporting their new single for fear of "TV over-exposure". In the same issue is a short Pete interview where he says his chief ambitions are to run a "good recording studio" and "write operettas and musicals."
Also on the 26th, Billboard puts The Napoleonic Wars mis-titled cover "I Can't Explain It" in their "Predicted to reach the HOT 100 Chart". It doesn't. They also report that "I'm a Boy" is at #8 in Denmark.
The month finishes with performances at The Pavilion in Worthing (24th), Spa Royal Hall in Bridlington (26th) and the Winter Gardens in Malvern (29th).
December 1966
New music releases: "For What It's Worth" - Buffalo Springfield; "Sugar Town" - Nancy Sinatra; "Hey Joe" - The Jimi Hendrix Experience; Here Where There Is Love - Dionne Warwick
On the 1st, "I'm a Boy" reaches its peak on the German single charts at #10.
On the 2nd the single "Happy Jack" backed with "I've Been Away" is released in the U.K. A problem at the Polydor printing plant causes a quick sell-out for the disc and a wait until the 9th for most fans. For promotional ads, The Who hire illustrator Ralph Steadman who draws The Who as intertwined snakes. In Disc & Music Echo, Penny Valentine says "Happy Jack" proves Pete is "definitely one of Britain's finest writers, with so much charm in his work he's a sort of modern day Hans Christian Andersen."
On the 3rd, The Who play their first gig of the month, an all-nighter at the Midnight City in Birmingham.
On the 8th, John attends the premiere of the Cliff Richard movie Finders, Keepers.
On the 9th, The Who's second album A Quick One has its British release. Chris Welch reviews it for Melody Maker and declares that, although he found the first album a "disappointment," the second disc "captures The Who's essence, humour, cynicism, nervous drive, violence and delicacy." Most reviews comment on the novelty of the multi-song mini-opera. "It's all very well bandying about words like freak-out and psychedelic, but when it comes to actually doing something different – well!" says Music Maker magazine. The album ultimately peaks at #4.
That night, The Who perform at the Assembly Rooms in Dumfries, Scotland and the next night two shows at the Empire Theatre in Durham.
On the 10th, Billboard runs a full-page ad for The Who's new single in the U.S., "I'm A Boy" backed with "In the City". Despite being their biggest U.K. hit and Who co-manager Chris Stamp flying to New York to coordinate promotion, "I'm A Boy" fails to appear on any of the U.S. singles charts.
On the 15th, The Who perform at the Locarno Ballroom in Streatham, South London. Making his first appearance behind the sound board is new hire Bobby Pridden. Bobby will give his name to the hero of Pete's Lifehouse, appear on the back cover of Odds and Sods and remain The Who's live soundman until his retirement in 2016.
The U.K. magazineBeat Instrumental releases its 1966 Reader's Survey. The Who are voted the number one live group and Keith Moon gets best drummer. In other rankings, Pete is 4th best songwriter and 9th best guitarist, "I'm a Boy" is 3rd best song arrangement, and John is 5th best bassist but places at number 2 for best brass or woodwind player. In the same issue's letter column a writer notes that all the drummers he sees live in Britain are currently doing some imitation of Moon.
Also this month, the Yugoslavian rock group Zlotni Akordi release their EP Moja Generacija. The title track is a phonetical English performance of "My Generation."
And back in the U.K., The Liverpool Five release their album Out of Sight, also featuring a cover of "My Generation".
On the 16th, The Who go into Ryemuse Sound Studios to record backing tracks for "Please Don't Touch" and "I'm a Boy" for use on the last episode of Ready, Steady GO! called appropriately Ready Steady GOES!. The vocal and mimed performance is videotaped at Studio One in Wembley on the 20th. The show, broadcast in London on the 23rd, is the last for the revolutionary pop music showcase.
On the 17th, the EP Ready Steady Who hits its peak at #1 in the British Top EP chart, one of The Who's only two official #1's in the U.K.
On the 19th, The Who assemble in costume as burglars at their managers' office in Caroline House in London for the shooting of the "Happy Jack" promotional video. The Monkees-style short is directed by Ready Steady GO! director Michael Lindsay-Hogg and premieres three nights later on BBC-1 TV.
On the 21st, The Who open boxer Billy Walker's new club The Upper Cut at Forest Gate Centre in London in front of a mostly celebrity audience. Their set is "Barbara Ann," "See My Way," "Substitute," "I'm A Boy," "Whiskey Man," "Happy Jack" and "My Generation."
Afterwards, Pete and Eric Clapton go out on the town together for the first time and check out the Blaises Club to hear Jimi Hendrix perform. They meet Jeff Beck coming out after Hendrix's first set shaking his head. "Is he that bad?" Pete and Eric ask. "No," says Beck, "he's that good." Pete and Eric go in and are completely blown away by Hendrix's guitar prowess. Both Eric and Pete later say they thought that night, "the game is over for us."
On the 24th, New Musical Express runs the article "Who's for a merry Xmas?" with silly Christmas comments from Pete, John and Keith. Music Maker magazine out this month has a photo and description of Pete's home recording equipment.
Also on the 24th, Billboard reports that "I'm A Boy" has hit #6 in the New Zealand charts.
In Disc and Music Echo, Pete blasts Brian Wilson and current pop in a stinging interview. "Brian Wilson lives in a world of flowers, butterflies and strawberry flavoured chewing gum... âGood Vibrations' was probably a good record but whoâs to know? You had to play it about ninety bloody times to even hear what they were singing about... Next year is going to be worse. Weâre going to have a batch of over-produced Beach Boys records and over-produced records in general."
On Christmas Day, "Happy Jack" reaches #1 on Radio London's Fab 40.
On the afternoon of the 29th, The Who stop by Studio 2 at the BBC's Television Centre to mime to "Happy Jack" for that night's Top of the Pops.
On the 30th, The Who stop by the Cheam Baths Hall for a performance.
On New Year's Eve, The Who headline a "Giant Freak-Out All-Night Rave" at The Roundhouse in London. It's a showcase of the new "psychedelic" sound and is promoted under the name "Psychodelphia." Pete drops acid before walking with his wife Karen to the Roundhouse. By the time The Who get on stage around 3am, Pete's trip is nearly over. Behind the acts are psychedelic patterns from a liquid crystal light projector created by Gustav Metzger whose auto-destructive art inspired The Who's instrument smashing. The Move also play but the truest proponents of the new style are an act then making a name at the UFO club, The Pink Floyd. The Who's set doesn't go well. The power goes out several times and when it is on, the strobe lights from the projector put The Who off-beat. Pete takes his frustrations out on the equipment terrifying the audience. Jon Piner described the scene in a letter to Melody Maker: "At the Roundhouse, Chalkfarm, on New Year's Eve, after a depressing Who performance, Pete went really wild. He smashed an old amp box and demolished what looked like a new one. Then waving his guitar over the audience's heads, making me and my bird flinch, he stomped off. I think the Who are too good to need all this."
Also on the 31st, Keith is interviewed in New Musical Express providing them with his best financial advice: "Good. I think you need a certain amount, to buy your basic needs. And the rest, spend it like dust!"
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Tales Behind The Label: Polydor Records
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[] |
[
""
] | null |
[
"Holly Conquer"
] |
2023-01-23T15:30:29+00:00
|
Polydor was founded over 100 years ago in Germany, in 1913. Like most labels at this time, they were involved with the full recording process. They were also connected to the Polyphon label, which had existed for a little longer and is a type of disc player invented in Leipzig, Germany.
|
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/polydor-records
|
Holly Conquer | January 23, 2023
|
||
6803
|
dbpedia
|
3
| 58
|
https://faroutmagazine.co.uk/roger-daltrey-bands-beyond-the-who/
|
en
|
Roger Daltrey named the bands that were "beyond" The Who
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[
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[
"Jordan Potter"
] |
2024-06-05T15:00:00+01:00
|
Roger Daltrey and his band The Who rose alongside titans like The Beatles during rock and roll's most important era in the 1960s.
|
en
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/roger-daltrey-bands-beyond-the-who/
|
Roger Daltrey on the two bands he felt were “beyond” The Who
Arguably, the 1960s was the most important period for rock ‘n’ roll. It was certainly the point at which the genre played its most important role in Western culture. Throughout the decade, bands cropped up all around the world, but the UK became a particularly vibrant epicentre, thanks to The Beatles, The Rolling Stones, The Kinks, The Who and their neighbours in the British invasion fleet.
As far as most listeners were concerned during this period, The Beatles and The Rolling Stones led the pack as the first two major British acts to enter the US charts. Both bands maintained hitmaking allure throughout the decade while pandering to the oblique and progressive demands of the psychedelic era. Bands like The Who and The Kinks surfed in their wake, building up vast fanbases with their nuanced approaches. For The Who, this meant deafening, destructive concerts and Pete Townshend’s famous rock operas.
Arguments over which band was better than the other are futile, but fans will enter into them all the same. In 2021, Paul McCartney alluded to the idea that The Beatles and Stones had strengths in different areas. However, concluded his appraisal by confirming which band he deems superior. “I’m not sure I should say it, but they are a blues cover band. That’s sort of what the Stones are,” the former Beatle said. “I think our net was cast a bit wider than theirs.”
Despite his provocative comment, McCartney respects The Stones wholeheartedly for their role as enduring showmen. “The Stones are a fantastic group,” he told Howard Stern around a year prior. “They are rooted in the blues. When they are writing stuff, it has to do with the blues. Whereas we had a little more influences. There’s a lot of differences, and I love The Stones, but The Beatles were better.”
The Beatles were certainly superior in terms of artistic scope as they ventured further from blues-rock roots and with greater success. However, within their field, no band could rival The Stones. “There’s obviously no competition,” Mick Jagger told Zane Lowe shortly after McCartney’s comments. “The Rolling Stones have been a big concert band in other decades and other eras when The Beatles never even did an arena tour. […] That’s the real big difference between these two bands. One band is, unbelievably, luckily, still playing in stadiums, and the other band doesn’t exist.”
The Who’s frontman, Roger Daltrey, also joined the conversation in 2021 after an interview prompt. “I know what [McCartney] means,” he told Music Radar, “The Stones have written some great songs, but they are in the blues. They are in that format. It’s like comparing cheese and apples. So they’re both very tasty, but the cheese does one thing, and the apple does another.”
Daltrey, one of the greatest rock singers of all time in his own right, concurred with Jagger’s point of longevity and showmanship. “I’ve always thought that you cannot take away the fact that Mick Jagger is still the number one rock and roll show,” he asserted. “The only other people I’d put up against him would be perhaps James Brown… maybe Jerry Lee in his day, or Little Richard, but Mick Jagger, you’ve got to take your hat off to.”
After praising Jagger as the “number one rock and roll performer,” Daltrey admitted that the Stones didn’t match the virtuosity of some of their contemporary musicians. “As a band, if you were outside a pub and you heard that music coming out of a pub some nights, you’d think, ‘Well, that’s a mediocre pub band.’ No disrespect. It can be very patchy, but that music can. It’s part of its charm. You have to see The Stones. I love them. I just think they’re great entertainment.”
While Daltrey couldn’t compare cheese to apples, he could say unequivocally where The Who ranks alongside these foodstuffs. “The Beatles were beyond beyond… and the Stones,” he mused. “We supported both of them in 1963 and ‘64. I’ll never forget that ‘64 one with The Beatles.” Daltrey doesn’t remember the gig for anything positive, though, since all he could hear were the screams emanating from the audience. “You couldn’t hear a note they played. What’s the point?” he added, laughing.
|
||||
6803
|
dbpedia
|
2
| 80
|
https://www.nme.com/news/music/raye-says-she-hasnt-been-allowed-to-release-her-debut-album-2981172
|
en
|
Polydor records respond after RAYE says she hasn’t “been allowed” to release her debut album
|
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[] |
[] |
[
""
] | null |
[
"Patrick Clarke"
] |
2021-06-30T13:20:22+00:00
|
Raye has expressed her frustration that she's yet to release her debut album, despite having been signed on a major label for years.
|
en
|
NME
|
https://www.nme.com/news/music/raye-says-she-hasnt-been-allowed-to-release-her-debut-album-2981172
|
RAYE has expressed her frustration that she’s yet to release her debut album, despite having been signed on a major label deal with Polydor for many years. The label have since responded.
READ MORE: Five things we learned from our In Conversation video chat with RAYE
The musician said on Twitter that she is “sick of being slept on,” and that she’s eager to put out her first full length LP.
“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,” she tweeted.
Advertisement
“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”
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“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 suppose 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”
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“I have been on a 4 ALBUM RECORD DEAL since 2014 !!! And haven’t been allowed to put out one album,” she continued. “ALL I CARE ABOUT is the music. Im sick of being slept on and I’m sick of being in pain about it this is not business to me this so personal.”
She added: “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.”
Now, her record label Polydor have responded. “We were saddened to read RAYE’s tweets last night and have reached out to her management team to discuss and offer our full support,” a spokesperson told NME.
Among the artists offering solidarity with RAYE is MNEK, who said: “v v tired of this industry clipping the wings of talented people of colour and driving them to LOSE CONFIDENCE in what got them here in the first place. it’s not cool, and something needs to give.”
“I’m so over it being remotely legal to do this to artists,” said Shura.
RAYE‘s first releases for Polydor were the 2016 singles ‘Distraction’, ‘Ambition’ (featuring Stormzy) and ‘I, U, Us’, and their parent EP ‘Second’.
She’s gone on to release three further EPs on the label, as well as the mini-album ‘Euphoric (Sad Songs)’ last November.
We have heard a taste of Raye’s long-awaited debut album, however. Earlier this month she shared the single ‘Call On Me’, dedicated to her sister.
In a recent interview with NME on the red carpet at the 2021 BRIT Awards last month, RAYE said she hopes to “mix genres” on her upcoming debut album.
“I’ve been signed for a very, very long time – since I was 17. I’m 23 now, so it’s been six years,” she explained to NME, echoing the sentiment of her recent tweets. “I’m ready to just drop [an album].”
|
|||||
6803
|
dbpedia
|
3
| 23
|
https://www.britannica.com/biography/Roger-Daltrey
|
en
|
Roger Daltrey | British singer
|
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[
"Roger Daltrey",
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[] | null |
Other articles where Roger Daltrey is discussed: the Who: May 19, 1945, London, England), Roger Daltrey (b. March 1, 1944, London), John Entwistle (b. October 9, 1944, London—d. June 27, 2002, Las Vegas, Nevada, U.S.), and Keith Moon (b. August 23, 1946, London—d. September 7, 1978, London). Moon was replaced by Kenney Jones (b. September 16, 1948, London).
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/biography/Roger-Daltrey
|
In the Who
May 19, 1945, London, England), Roger Daltrey (b. March 1, 1944, London), John Entwistle (b. October 9, 1944, London—d. June 27, 2002, Las Vegas, Nevada, U.S.), and Keith Moon (b. August 23, 1946, London—d. September 7, 1978, London). Moon was replaced by Kenney Jones (b. September 16, 1948, London).
Read More
|
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6803
|
dbpedia
|
2
| 38
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https://www.universalmusic.com/labels/
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en
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Our Labels & Brands
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2015-03-26T20:23:47+00:00
|
Universal Music Group is home to the most iconic and influential labels & brands in music.
|
en
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UMG
|
https://www.universalmusic.com/labels/
|
Universal Music Group, the world leader in music-based entertainment, leverages proprietary access and insights to develop innovative integrated brand opportunities globally with the potential to reach billions of engaged fans across digital media, events, name and likeness, sync & more.
For more information on how Universal Music Group for Brands can create authentic connections for your brand, please contact us here.
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6803
|
dbpedia
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3
| 1
|
https://www.thewho.com/roger-daltrey/
|
en
|
Roger Daltrey
|
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2012-08-25T00:01:51+00:00
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If any one member of The Who can be said to be the group’s founding member it is singer Roger Daltrey. Born in the West London suburb of Shepherd’s Bush on March 1, 1944, Roger first assembled the group that […]
|
The Who
|
https://www.thewho.com/roger-daltrey/
|
If any one member of The Who can be said to be the group’s founding member it is singer Roger Daltrey. Born in the West London suburb of Shepherd’s Bush on March 1, 1944, Roger first assembled the group that would become The Who in 1961 while at Acton County Grammar School, recruiting John Entwistle and subsequently agreeing to John’s proposal that Pete Townshend should join. In those days Roger, whose daytime job was working 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.
Roger’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 Eddie Cochran’s ‘Summertime Blues’ and Johnny Kidd & The Pirates’ ‘Shakin’ All Over’. When Pete Townshend became the group’s songwriter, Roger became the mouthpiece for his 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.
The Tommy era saw Roger mature enormously as a vocalist, and nowhere was this maturity more evident that on Who’s Next, whether on the melodies of the beautiful ‘Behind Blue Eyes’ and ‘The Song Is Over’ or, at the other extreme, the torturous scream that climaxes ‘Won’t Get Fooled Again’. On Quadrophenia, Pete’s second and more ambitious rock opera, Roger was able to bring all his newfound abilities to bear on rockers like ‘5.15’ or power ballads such as ‘Love Reign O’er Me’ which has since become a concert showcase for his outstanding vocals.
In this respect Roger became Tommy, the deaf dumb and blind boy of Pete’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 Roger 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 US CBS TV show C.S.I. – which uses Who songs as theme music – as five separate, differently made-up characters, one of them a middle-aged African-American woman. Other US TV appearances include Lois & Clarke (Superman), Midnight Caller, William Tell, Sliders and Highlander as well as Leprechauns for Celtic Leprechaun Ltd and The Bill, the long running UK 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.
Roger 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 UK’s then premier chart TV show, promoting the single ‘Giving It All Away’ which reached number five in the UK charts. It was a track from his first solo album Daltrey, released that same year, which he followed up with the albums that include Ride A Rock Horse (1975), One Of The Boys (1977), the soundtrack to McVicar (1980), Parting Should Be Painless (1984) and After The Fire (1985).
Roger has appeared on stage away from The Who on many occasions, and his 1994solo concert at New York’s Carnegie Hall, with The Juillard 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 The Lincoln Centre, 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 he has been a patron of the Teenage Cancer Trust, a charity that builds specialised wards for teenagers with cancer in the UK. That year Roger 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, and as a result Roger was given a Humanitarian Award in 2003 from Time magazine. The Teenage Cancer Trust shows during March and April have now become an established and eagerly awaited annual event at the Albert Hall. 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, 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. This was one of many awards that were bestowed on Roger and/or Pete Townshend for their contributions to music, among them the James Joyce Award from the Literary & Historical Society of University College, Dublin (2009), the Steiger Award (Germany) for excellence in music (2011) and an honorary degree from Middlesex University in recognition of his contributions to music (2012). 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, On March 24, 2011, Roger 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 Roger, with Pete Townshend at his side, launched Teen Cancer America. The charity is now established in the USA, with offices in Los Angeles and devoted Teen Cancer units being opened in hospitals all over the U.S.
Between November 2012 and March 2013, The Who toured an arena production of Quadrophenia & More in the US and UK with added shows in Paris and Amsterdam). Roger directed the staging and visuals of the show himself, reassuming his long standing responsibility for sequencing Who concerts and choosing which songs the group will play, a role he continued to play during The Who Hits 50! Tour of 2015-16.
In 2014 Roger recorded an album, Going Back Home with Wilko Johnson which, to everyone’s delight and surprise notched up a number 2 in the UK charts. In 2017 and 2018 he continued his solo touring in the US with members of The Who touring band including Simon Townshend. The summer of 2018 saw Roger, the band, plus a 45-piece orchestra perform The Who’s Tommy to sell-out audiences across the States whilst at the same time releasing his first solo album in 26 years, As Long As I Have You.
In the summer of 2018 Roger toured the US with members of The Who band (Simon Townshend, Frank Simes, Loren Gold, Jon Button and Scott Devours) performing The Who’s Tommy accompanied by some of the leading symphony orchestras in the US including the Boston Pops, the Detroit Symphony Orchestra and the Chicago Philharmonic, each conducted by Keith Levenson.
In October 2018 Roger’s long-awaited autobiography Thanks A Lot Mr Kibblewhite was published to great acclaim by Blink Publishing (UK) and Henry Holt (US). 2018 also saw the release of his first solo album in 26 years as well as a hugely successful orchestral solo tour of Tommy in the US. Roger also organised a benefit in LA for Teen Cancer America featuring Ed Sheeran, Van Morrison, Don Maclean, Jewel and Roger’s solo band that raised $2m for his charity.
2019 saw The Who on the road again with a 46-piece orchestra touring the US and playing at Wembley stadium in July. In June Roger 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 LA for Teen Cancer featuring The Who, Foo Fighters, Pink and Kenny Loggins that raised another $2m for the charity. A new Who album, WHO was released in December to massive critical acclaim, charting at no 2 in the US and no 3 in the UK. The same month saw them being the first artists to be honoured with a stone on the new Camden Music Walk Of Fame before the pandemic prevented The Who from doing their UK and US tours in 2020.
However busy he is with his solo work and charitable endeavours, the group he formed at the Sulgrave Road Youth Club in Shepherds Bush at the age of 16 will always be his first love. Even more than his colleagues, it has been Roger who has done his best to keep The Who’s flag flying during those periods when Pete felt the need to seek creative outlets elsewhere, and 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, Roger took the time to generously assemble a band to appear at the first British Who Convention, organised 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 Pete Townshend’s brother Simon, left the stage, Roger gazed over the sea of faces. “Thank you,” he said, genuinely moved by the occasion. “You’ve given us a wonderful life.”
|
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6803
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dbpedia
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2
| 96
|
https://rarerecordscollector.com/category/polydor/
|
en
|
Rare Record Collector
|
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Posts about Polydor written by r3c0rdc0113ct0r
|
en
|
https://s1.wp.com/i/favicon.ico
|
Rare Record Collector
|
https://rarerecordscollector.com/category/polydor/
|
Paul Gilbert worked at MacNeill Press Ltd in London in the heyday of vinyl albums, the early–mid 1970s.
RareRecordCollector.net has interviewed him for his recollections of working at MacNeill’s and also obtained some fascinating insights into the sounds, sights and smells of a commercial record sleeve print company…complete with a superb reminiscence of Led Zeppelin turning up one day…!
1. Paul, you joined MacNeill Press Ltd in 1972 as an apprentice. How old were you when you started? Can you remember the amount of your first pay check?
Yep, I was just 16, a fresh-faced boy from Surrey, not prepared for the harsh East End life! I started in June ‘72 on probation, on the day shift 8am-5pm. I signed my 5 year indenture papers on 7/7/72 with my late father and he said: “There you go boy, they own you for five years now!”. My weekly wage was £7 before tax.
To get to London Bridge on the tube from Morden was 50p return and 10p each way on the bus from North Cheam. One thing I would say is that the walk from London Bridge station was interesting! The area was alive despite the bomb sites, and the general dilapidation.
As you came out of the station and headed towards Bermondsey St, you went past Gonzalez Byass Sherry. They used to store huge barrels under the train arches and the air was about 80% proof! You then staggered off and on your right you had Tate and Lyle Sugar refinery, the air around here was sickly sweet. Walking up Bermondsey St there was a flag makers on the left with the Sarson’s Vinegar factory behind it. That too smelt awful. But to top everything were the tanners around the Leathermarket area, this area really smelt as they cured the hides in manure and shit! You could always smell the guys that worked there before you saw them, they had thick aprons on with wellington boots and their clothes and jeans were normally in tatters. All this was before you got into work!
Not the place to be walking around if you had a hangover!!
2. So, where was MacNeill Press situated and can you describe the building?
2 Newhams Row, 175 Bermondsey Street, London SE1. (see photo, MacNeills was the white building about 50 yards down on the left hand side).
The factory entrance was down Newhams Row on the left. As you went in we had a clocking-in machine on the right, stairs in front. The ground floor was the paper warehouse. The basement housed the letterpress machines that used to print and cut out the finished album sleeve shapes. We had Heidelberg, platens, cylinders and Miehle Vertical presses. On the 1st floor was the litho printing presses, which was where I worked. On the 2nd floor was the bindery, and the top floor was where the compositors were and where any hand finishing took place. Reception was over the road in a separate building with the offices.
The factory used to be an old sail loft. When I first started as an apprentice, I was told to clear out the attic. I found a load of thick needles they used to sew the sails with and the metal cupped gloves they used to push the needles through the canvas. One of the guys who worked there said his gran worked there sewing sails, but they could only do it for about 8-10 years because the work was so tough and caused arthritis in their hands.
3. Did you find any interesting record sleeve stuff in the attic, too?
Oh yes…Rolling Stones EP artwork and printing plates, Elvis artwork and plates, blocks for the presses, concert stuff from the 60s…we just threw it all out! It’s worth a fortune now! And we found loads of rats too, big problem back then.
4. Was it just record sleeves you printed or were there other commercial jobs too?
Yes, we also printed all the inserts for albums, words and books for operas, small posters, EP covers, some 45 sleeves (mainly for Warner Bros) and general items for the music industry.
5. MacNeill Press Limited was founded in 1946 and dissolved in 1995. Do you know how and when the company came to be owned by Polish family?
I understand they bought the name ‘off the shelf’ but as an apprentice you do not get to speak to ‘management’ types! Most of the staff were Polish WW2 veterans, ex-army or RAF and couldn’t get back to Poland because of the Iron Curtain. They wore their medals on Independence Day, 11th November. They had some amazing war stories! The owner’s son ran the place; Mr Maclejewski. His dad was in the RAF, a pilot in 308 squadron.
(Note: 308 Squadron was a Polish squadron of Hurricanes and then they converted to Spitfires in March 1941 flying out of RAF Northholt).
Bagington, end of 1940. Pilots of the early 308.
Front row P/O F. Szyszka (left); P/O Wandzilak; F/Lt Jasionowski; F/Lt Wiorkiewicz and P/O Kawnik; middle row: P/O Maclejewski; F/O Grudzinski; P/O Koczor; Sgt Kowala and unkown; back row: F/O Wielgus; unkown; Sgt Majchrzyk; unkown and unkown. Photo courtesy of Piotr Sikora.
6. Were there any other factories owned or run by MacNeill Press?
Not that I was aware of but the same Maclejewski family did own SFI (Sound For Industry) the flexi 45 single maker, it was in the building behind the print works. They made most of the flexi disks in magazines or promos. The reception and offices in the building over the road from the factory used to be some kind of debtors’ holding jail before they were sent to trial.
7. Why and when did you leave?
I came out of my apprentice ship in June 1977. In my last apprentice year I was on £23 a week and after that was on £35-£40 per week as a qualified printer. I heard there was a job at Bradbury Wilkinsons the stamp and banknote security printers in New Malden going and my mum and aunt worked there. So I applied and got the job. I started on £65 on day work, that then went up to £85 on double day shift, which was a huge increase in the 70s.
So I left MacNeills in September 1977. Mr Maclejewski asked me to his office and was not impressed that I was leaving as they had ‘invested’ in me! One of the only times he ever spoke to me.
As with most things back in the day it was the smells, sights and people that you remember the most and boy, did it smell! Who would think that Rick Stein has a flat and a restaurant in Bermondsey Street, how trendy is that!
I also remember kids trying to steal album covers from the factory and being chased away!
8. What were the working conditions like?
I was an Apprentice Lithographic Printer, which meant I did most things like make the tea, sweep the floor, ink in the plates, get the rolls and food, collect the printers’ winnings from the bookies (which was not clever as all the Dockers had hooks on their belts and used to try and get you and steal the money from you!)
I then went on the printing presses and ended up as a machine minder. The ‘top’ people in the factory were the two compositors, they always had clean overalls on and wore a tie. They were both Polish. One was called Carl, a very gentle old man (or he seemed it then). He once told me how he had seen all his family shot by the Russians and was then captured by the Germans but escaped.
There was around 30 people worked in the factory. The conditions were dreadful. Health and safety would have a field day today! The noise was deafening (I am very deaf now!) All the chemicals we used to clean the ink off the blankets are now banned and carcinogenic!
One was MEK, very nasty and you could pass out using it. (Methyl Ethyl Ketone, also known as Butanone is a colorless liquid solvent with an acetone-like odor. It is volatile and potentially explosive. It is an irritant, causing irritation to the eyes and nose. Its main uses are in the manufacture of a number of resins, waxes, and coatings, as well as a general industrial solvent for nitrocellulose coating, vinyl film, and smokeless powder manufacture)
I used to hand mix carbolic acid to etch printing plates, no gloves or goggles (I also used this to clean ink off my hands!). We used gum Arabic to gum up the printing plates that I had to mix up and sometimes it was like lumps of gum off the trees! I used to have to go over the road to collect plates and they had arc lights that were just two sticks of carbon with electricity going through them, the fittings did not have shields and if I close my eyes I can still see the arc!
The place was in a poor state of repair and if the lift broke, which it often did, they used to call in a Polish guy called Leon, who was a huge man about 5ft 4 tall and 5ft wide, his arms were massive. He would carry ¼ pallet loads of card up the stairs for the presses; he spoke very little English but was keen to tell me how many ‘Germanski’ he killed with his bare hands, making all the hand movements!
There were lots of rats, as big as cats some of them! They came in from the docks and were not scared of you at all. The rat catchers used to wear thick brass neck chains and wrist chains, because they said if they fell into an old barge where the rats were they would never get out alive and chains was all that would be left of them!
9. What were the social conditions like in the 1970s? Were there strikes? Power cuts? Oil crisis problems? 3 day weeks?
We were in the NGA union, so I think we did strike a few times but I can’t remember specifics. There were regular power cuts! Yep had my fuel vouchers. And there was the nuclear war warnings, shelters and the regular siren testing. When the ‘3 day week’ came in we worked 12 hour days for 3 days to keep up, and used to finish and go to the pub!
10. Can you name/describe the presses and talk us through the record sleeve printing process?
We had 4 x Solna 225 2 colour presses, 2 Solna 125 single colour presses, one Thompson Crown and one 1275 multilith. The album sleeves just fitted the Solna machine with very little margin for error. All the larger album sleeves like Yellow Brick Road (6 page double gatefold) were farmed out but still had the Printed by MacNeill’s line on the sleeve.
The process was not really any different from other types of printing except all the machines were set up for card printing (rather than paper), and we used to go through a lot of rubber blankets. If you had card that folded during the print run and you had a ‘cruncher’ that was the end of the blanket!
We’d start with receiving the proofs, plates and art work. Plates were fitted to the machines and set up as per the proofs. We could only print 2 colours at a time so cyan/black first then magenta/yellow. The customer/art consultant/designer or artist was then asked to pass the job and off we went. Some artwork used to come with security guards, the Roger Dean art work was always signed in and out to stop it going missing…! Sometimes a member of the band used to turn up. I know Led Zeppelin did once, in a limo but it was far too dirty and noisy for them!
Print runs were from 200 upwards. Albums like James Last (any one), Crazy Horses by the Osmond’s or Puppy Love seemed to be always on the presses. We did a lot of short run for the opera market too. Plus reprints sometimes of albums from the 1960’s. I remember Elvis and the Blue Hawaii Album being reprinted.
Once printed, the flat sheets went down to the letterpress to be cut and then up to the bindery to be folded and glued, where they were boxed up and sent out to the record companies Most of the finishing (folding and glueing) was done in house, but any covers that needed laminating were sent out to a place in Peckham..
11. Tell me more about Led Zeppelin turning up…
I think it was one or two of the band with the usual hangers-on/flunky types. They turned up in a limo in the afternoon, they were all smashed!
There was some arty person too. They were supposed to sign off the Houses Of The Holy sleeve but they didn’t like the colour of the sky on the inner gatefold picture. So, we overprinted a 5th colour to make the sky darker as we couldn’t get it how they wanted with standard 4 colour process.
12. Can you remember any other ‘famous’ sleeves that you worked on? Any of these:
http://rarerecordcollector.net/miscellaneous/am-amlh-43967-magma/ Yes
http://rarerecordcollector.net/miscellaneous/polydor-2383-212-pink-fairies/ Yes this was stuck up in the changing room.
http://rarerecordcollector.net/miscellaneous/chrysalis-chr1010-wild-turkey/ Yes.
http://rarerecordcollector.net/track-record/2406-112-golden-earring/ Yep remember this one as it was quite rude!
Rainbow Rising?
Yes, remember this one. I even used this cover as the basis for some art work I did on my course at the London College of Printing.
Any others…?
Yes, ‘Oh Lucky Man’ the film soundtrack by Alan Price was an absolute pig to print due to the amount of ink on the cover. Andy Warhol and the Velvet Underground, they were weird and one of them came in. I think Richie Havens did once too. Not sure if any of the Osmond’s turned up, but I vaguely remember something…but it’s a long time ago!
The Strawbs “Bursting At The Seams” was a nightmare job. It should have had a foil coating on the lettering but it stripped off on the press and we scrapped loads of these. Not many were ever gatefolded and glued. It was a massive pain and we had to work through the night on a reprint to get these out on time.
I did a Velvet Underground one too, and there was a slight problem with the press I was running and the spine ended up out of alignment. I got a bollocking for that one!
I was, and still am a soul man and the James Brown, Curtis Mayfield stuff was great plus we did most of the Stax record label artists. Most of the other guys were not into music but I was and I used to ask for the albums, this was a bit cheeky as I was the lowest of the low. But a great man at MacNeills called Bill Bonner, made sure I got them. I still have some of them albums like, Taking You There (Stax sampler album), William Bell, Phases of Reality, Mavis Staples, Jean Knight and the Dramatics, brilliant stuff!
Many thanks to Paul Gilbert, former record sleeve printer at MacNeill Press Ltd, 1972-1977.
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I LOVE YOU SO F***ING MUCH. THE FOURTH STUDIO. ALBUM OUT JULY 19TH.
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Roger Daltrey facts for kids
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Learn Roger Daltrey facts for kids
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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
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Polydor Records Complete Artist Roster
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List of Polydor Records artists, listed alphabetically with photos when available. This Polydor Records roster includes both past and present artists. Popular ...
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Ranker
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https://www.ranker.com/list/bands-and-musicians-on-polydor-records/reference
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List of Polydor Records artists, listed alphabetically with photos when available. This Polydor Records roster includes both past and present artists. Popular Polydor Records bands and artists are all listed here with information such as what genre the bands fall under and what albums they're known for. If you're looking for any of these Polydor Records band's full discographies then click on their name and you can find them here on Ranker. The artists and bands on this list might be pop, rap, rock, electronic or any other genre, but what they all have in common is that they were signed by Polydor Records.
Artists here include everything from John Lennon to Jimi Hendrix.
This page can help answer questions like, "Who are the best Polydor Records bands?" and "Which artists are signed by Polydor Records?"
If any musical artists are missing from this Polydor Records artists list, you can add them at the bottom of the list. {#nodes}
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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…
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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 “b*ggerring 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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Listen to music by Roger Daltrey on Apple Music. Find top songs and albums by Roger Daltrey including Don't Let the Sun Go Down On Me, After the Fire and more.
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https://open.spotify.com/artist/5odf7hjI7hyvAw66tmxhGF
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Listen to Roger Daltrey on Spotify. Artist · 152.2K monthly listeners.
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Roger Daltrey (with members of The Who Band) at Bob Hope Theatre | Stockton, California | 3/13/2018 (Concert Review + Photos)
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2018-03-14T00:00:00
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“…so for us, it was a very difficult time indeed. This song kind of sums it up, really quite well. Tonight, I’m going to dedicate this song to Rex Tillerson.” Roger Daltrey&…
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https://www.rocksubculture.com/wp-content/themes/news-pro/images/favicon.ico
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Jason DeBord's Rock Subculture Journal
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https://www.rocksubculture.com/2018/03/14/roger-daltrey-with-members-of-the-who-band-at-bob-hope-theatre-stockton-california-3-13-2018-concert-review-photos/
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“…so for us, it was a very difficult time indeed. This song kind of sums it up, really quite well. Tonight, I’m going to dedicate this song to Rex Tillerson.” Roger Daltrey’s intro to “Another Trick Day”, performing before a relatively intimate crowd at the Bob Hope Theatre in Stockton on Tuesday night, given that he is the front man for one of the bands most anyone would name as one of the greatest of all time. This was my first time seeing any incarnation of The Who live on stage, and I was struck by how much Daltrey seemed to enjoy it himself. A born performer with boundless energy and enthusiasm, he is also a storyteller, giving background, stories, contest and inspiration behind the music that he and The Who Band played for the crowd. And that crowd… one of the best ones I’ve stood among in some time, looking around, it would seem to almost be a religious experience for a lot of the people who turned out for the show.
Who: Roger Daltrey with members of The Who Band
Supporting: Leslie Mendelson
Venue: Bob Hope Theatre
Where: Stockton, California
Promoter: Richter Entertainment Group
When: March 13, 2018
Seating: (photo pass; all photos taken for this event using a pair of Fuji X-H1)
This show was put on by Richter Entertainment Group, a promoter who I shoot for with their annual Summer Concert Season at Ironstone Amphitheatre in Murphys. They are just beginning to roll out announcements for this year’s concert line-up and where to buy tickets can be found on the official REG website at www.richtergroup.net.
Leslie Mendelson
Leslie Mendelson is a singer/songwriter who began playing piano by ear at a young age. Her father is a jazz trumpet player who influenced her as she was born and raised on Long Island. She received a Grammy nomination in 2009 for her album Swan Feathers. The caliber of artists she has supported on tours around the world – like Roberta Flack, Bob Weir and Roger Daltrey – speaks to her talent.
She released her latest album, Love & Murder, last year, which represents her first new album in eight years.
This was my first exposure to her and her music, and I came away very impressed! She had a great personality to accompany her music. Joining her on stage was Steve McEwan. In addition to her own music, they also did a cover of Roy Orbison’s “Blue Bayou”.
Below are some photos of Leslie Mendelson performing on stage (scroll downward and photos will begin to appear – click any image to open a virtual lightroom with higher resolution versions of each photo):
Roger Daltrey with members of The Who Band
Members:
Roger Daltrey
Simon Townshend (guitar, backing vocals)
Frank Simes (lead guitar, musical director)
Jon Button (bass guitar)
John Corey (keyboards, backing vocals)
Loren Gold (keyboards, backing vocals)
Scott Devours (drums, percussion)
With a career spanning nearly six decades, Roger Daltrey is a legend in music, as a founding member and lead singer of The Who.
In addition to his work and hits with The Who, Daltrey embarked on a parallel solo career in 1973, crafting his own hits spanning eight studio albums.
Daltrey has achieved great commercial success and critical acclaim over the years, including a Lifetime Achievement Award from the Grammy Foundation and having been inducted into the Rock and Roll Hall of Fame in 1990.
Outside of music, Daltrey has worked as an actor and film producer.
Born in west London in the 40s, Daltrey made his first guitar and joined a band called the Detours, eventually becoming the lead guitarist after his father bought him a real guitar.
Daltrey attented Acton County Grammar School in a working class suburban neighborhood with Pete Townshend and John Entwistle. A self-described “school rebel”, Daltrey was kicked out of school for smoking tobacco.
While employed as a sheet metal working, Daltrey eventually began to perform in pubs and at weddings with Townsend and Entwistle. While the members of the band changed and changed roles, ultimately Townshend took on lead guitar, Daltrey lead vocals, Entwistle on bass and Keith Moon replaced Doug Sandom on drums.
After learning that another band was using the name the Detours, they changed their name to “the Who”, though for an interim period they also called themselves “the High Numbers”.
The rest is really quite a long history as the band made their mark not only on music but pop culture at large and abroad.
Particularly their song “My Generation” came to embody the feeling and soul of the 60s.
Among all of their landmark work, the band’s series of “rock opera” albums Tommy (their fourth, released in 1969), Who’s Next (their fifth, released in 1971) and Quadrophenia (their sixth, released in 1973) are perhaps the most innovative and well know from The Who.
Roger Daltrey played the lead role in the 1975 film adaptation of Tommy and received a Golden Globe nomination for “Best Acting Debut in a Motion Picture”.
The band have suspended their work for long stretches only to come back together again over the years. Of course, Keith Moon passed away in and 1978 and John Entwistle in 2002, leaving Daltrey and Townshed as the last remaining founding members.
Joining Roger Daltrey on this current tour is “No Plan B”, also known as the Roger Daltrey Band and as members of The Who Band, they feature an array of incredibly talented musicians including Simon Townshend (Pete Townshend’s younger brother) on guitar, Frank Simes on guitar, Jon Button on bass, Loren Gold on keyboards and Scott Devours on drums.
They truly put on a spectacular show with a sprawling set list. Really quite an opportunity to see this legend up close and go on a journey with him through decades of music that has had a lasting impact on both music and pop culture.
Even at age 74, he is still creating new works, with an announcement today that he will be releasing a new studio album – As Long As I Have You – on June 1st via Polydor/Republic Records. The new album is being produced by Dave Eringa and includes seven tracks with Pete Townshend on guitar. You can listen to the first single here and you can pre-order the album here: LINK
Set List:
Overture (The Who song)
Pinball Wizard (The Who song)
Who Are You (The Who song)
Another Tricky Day (The Who song)
Behind Blue Eyes (The Who song)
Giving It All Away (Leo Sayer cover)
Athena (The Who song)
I Can See for Miles (The Who song)
Days of Light
After the Fire
Dreaming From the Waist (The Who song)
Going Mobile (The Who song)
How Many Friends (The Who song)
The Real Me (The Who song)
Without Your Love
Baba O’Riley (The Who song)
Young Man Blues (Mose Allison cover)
Naked Eye (The Who song)
Always Heading Home
Below are some photos of Roger Daltrey with members of The Who Band performing on stage (scroll downward and photos will begin to appear – click any image to open a virtual lightroom with higher resolution versions of each photo). NOTE: Please do not repost any images – I have permission to publish in the context of this article only – thank you…
Jason DeBord
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British rock band CRAWLERS sign to Polydor Records
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[
"Jack Needham"
] |
2022-01-18T13:37:23+00:00
|
CRAWLERS have clocked up over 21 million streams on Spotify…
|
en
|
/wp-content/themes/mb/assets/img/icons/apple-touch-icon-57x57.png
|
Music Business Worldwide
|
https://www.musicbusinessworldwide.com/british-rock-band-crawlers-sign-to-polydor-records/
|
Liverpool, UK-based four-piece rock act CRAWLERS have signed to Polydor Records.
Billed as “one of the UK’s hottest and most exciting new bands,” by Polydor, CRAWLERS have clocked up over 21 million streams on Spotify.
They also currently have over 1.5 million monthly listeners on Spotify.
The band’s self-titled debut EP – released in October through Modern Sky/Lab Records – features Come Over (Again), which has amassed over 15.5 million streams on Spotify and 1 million views on YouTube.
The CRAWLERS debut UK tour in April has sold out, with the quartet playing to over 100,000 fans in their hometown.
CRAWLERS are Holly Minto (vocals and trumpet), Amy Woodall (lead guitar), Liv Kettle (bass guitar) and Harry Breen (drums).
They formed CRAWLERS while attending university, and are managed by Alfie Skelly and David Pichilingi at Modern Sky.
Polydor is a UK-based frontline label owned by Universal Music Group.
Artists signed to Polydor out of London include the likes of Celeste, HAIM, Lana Del Rey, Glass Animals, Holly Humberstone, Michael Kiwanuka and Sam Fender.
Fender is currently in the Top 5 of the UK’s Official Singles Chart with Seventeen Going Under, which peaked last week at No.3.
Last year Polydor signed ex-Little Mix artist Jesy Nelson as a solo act.
“Dreams have absolutely come true.”
CRAWLERS
CRAWLERS, said: “Dreams have absolutely come true, we have signed to Polydor. Looking forward to the years ahead among the amazing team and an incredible roster!”
“It’s been incredibly exciting watching [CRAWLERS] grow over the past year.”
Tom March, Polydor
Tom March, Co-president, Polydor, added: “We are so excited to welcome CRAWLERS to Polydor.
“It’s been incredibly exciting watching them grow over the past year.
“From selling out tours to their first releases connecting to audiences in a big way, and this is just the beginning for them.
“They are an incredibly impressive new band that have a clear vision from the start. I can’t wait to see what we can achieve together”
“In our new partnership, the sky is the limit on what we can achieve.”
Ben Mortimer, Polydor
Ben Mortimer, Co-president, Polydor, said: “Crawlers, alongside their great managers Alfie and Dave at Modern Sky, have done an incredible job building themselves to this point.
“With their brilliant music, and their ability to connect with their fans. They put so much thought into everything they do.
“In our new partnership, the sky is the limit on what we can achieve.”Music Business Worldwide
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https://dittomusic.com/en/blog/how-to-start-a-record-label
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en
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How to Start a Record Label in 2024
|
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Do you want to set up an independent record label? Our guide on how to start a record label covers everything about starting a label and signing artists in 2024
|
en
|
https://dittomusic.com/en/blog/how-to-start-a-record-label
|
Since the dawn of the professional recording business, landing a record deal at a major label has been viewed as the holy grail by many independent artists.
But not in 2024. It's never been easier to set up your own label, so weâre here to take you through everything there is to know about starting a record label.
How to start an independent record label
So you've decided to start an independent record label. Great! Just before we get into things, here's a quick rundown of what a label actually is and what is does.
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What is a record label?
Record labels are brands or companies responsible for producing, promoting and ultimately distributing the recordings of their signed or associated acts. They can be big or small, major or independent. Check out our tips on how to get signed to a record label for more info.
What does a record label do?
Within a labelâs set-up, various departments specialise in certain areas of the music life-cycle. This usually includes marketing, legal and music distribution departments - all collaborating to maximise record sales (both physical and digital) and enhance the visibility of the labelâs artists.
â
â
What are the major music labels?
The Big Three: Warner Music Group (WMG), Universal Music Group (UMG) and Sony Music Entertainment. Seen by many as the music industry 'bad guys', these three major labels hold the majority share of the record label market.
Securing a record deal at one of the Big Three used to be seen as the be-all and end-all of musical success, but with the growth of indies - not so much anymore.Â
Within the majors' umbrellas, you'll find smaller labels. For example, UMG's umbrella includes Island, Capitol and Polydor and Sony's features Columbia, RCA and Epic Records.
The rest of the market share is made up of independent label owners - like you! With this share increasing year on year, there's now more more opportunities than ever to make money as an independent record label.
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How to start your own record label
To start your own record label, you need to be determined, organised and have a good music industry network established.
On top of this, you'll need to have a good ear for music - signing artists that you truly believe match the label's ethos and who'll help take things to the next level. So without further ado, here are the key steps you need to follow to start running an efficient and independent record label.
1. Carry out market researchÂ
First of all, youâll wanna see what other labels are operating in your area and if there are any opportunity gaps in the market.
If youâre based somewhere that already has a number of renowned rock labels actively signing new artists, then you should consider what other genres are thriving within the scene and look to build your own roster from there.Â
Youâll also need to analyse how other labels are run, the potential costs associated with running things, and what niches you can look to appeal to.Â
The better your understanding of how other labels are doing things, the better you can run your own. Take forward the good, leave behind the bad.
â
â
2. Look for label funding
Being on top of your finances when setting up a record label is vital. Youâre not only impacting your career, but the careers of all of your artists too.Â
Plan out how much youâre going to need to properly set up your label, hire any staff members and how much it'll cost to effectively promote your artists.Â
Luckily, there's loads of funding available to record labels who need a helping hand getting their music projects off the ground. Our Music Funding Map is full of the latest opportunities around the world that can boost your budget.
â
â
Youâll also be able to set your label up on a budget with Ditto. Our Labels plans provide you with everything youâll need to manage multiple artists and access new revenue sources for your acts - all while staying fully independent.Â
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3. Choose a record label name
Your label name isnât always as important as you might think it is. Keep it simple and try out our band name generator for some label name inspiration
Our advice would be to look for available names on social media and check out URL options to make sure youâre not competing for traffic with anyone else.
Once you've done this, you can start testing your label name with sample logos and merch mock-ups. It'll all start feeling real once you've got your brand on a tote bag.
â
Tip: Check if your label name is available with Namechck, ICANN's Lookup tool and GOV.UK's Company name availability checker.
â
4. Define your label goals
With so many things to organise, it's important you stick to your plan and stay on track of your goals.
Lock in tangible goals for the year ahead and outline milestones that reflect your values and impact on the industry.
Do you want to hit 10,000 followers on your label's Instagram account, sell out a label event at a local venue, or push one of your artists onto the UK Top 40? Whatever your goals, make sure theyâre achievable and measurable. Thereâs never been any harm in setting optimistic goals, but make sure youâre not left disappointed and deflated if you donât reach them all right away.
â
Tip: Use our Record Label Business Plan Template to keep on track of your goals.
â
5. Create your record label brand
Now for the fun part. Building your label brand. This is where youâll be able to express your brand vibe through your music, artist merchandise, and online social media presence.
Your brand will visually represent your label so be as creative as you want. Just make sure youâre consistent in your brand messaging and appearance. Think of instantly recognisable labels like Dirty Hit and XL Recordings.
If you need some inspo, check out our list of the best AI artwork tools to get you started.
Once you've decided on your look, keep track of your label logo, fonts, colour scheme and design elements by organising them in folders. Trust us, you'll thank yourself later.
6. Identify your audience
Understanding your audience is an essential part of setting up your record label. There are countless labels out there, each with its own unique audience and following so donât be afraid to lean into a particularly niche space.Â
Once you understand what your audience likes, sign artists that appeal to them and build effective promotion strategies around these artists. Tailor your marketing efforts by defining their preferences, ways in which fans consume music, and learn more about their cultural interests. Tools like Soundcharts are really useful to help you understand these insights.
You can then run Facebook and Instagram ads to target potential label fans more specifically.
â
â
7. Build your label teamÂ
Another key consideration of setting up a record label is whether or not you want to run things yourself or build a team.Â
Do you already have the skills and network to set things up yourself? Or would it be better to partner up with someone like an existing music manager or promoter to split tasks with?Â
Starting off solo might be rewarding, but can sometimes prove to be too much to balance once your artist roster starts growing.
Bringing on board someone with their own music industry connections can definitely help with tasks and create more buzz around your label, but youâll also need to factor in lower payments due to splitting profits.
Just remember, whichever option you choose is entirely up to you and your personal goals for the label.
8. Sign your artists
Most A&R nowadays involves building relationships (both online and in-person) with artists. Keep up to date with whoâs regularly making it onto Spotify playlists and which artists are making noise on social media.
The cool thing about running an independent label is that you can take your own risks and put faith in the artists that you believe in. Start by signing a couple of artists that you see potential in and work closely with them to build both your label and their careers.
â
â
9. Promote your acts
Itâs no secret that online promotion is pivotal to success. Music marketing is bigger than ever and label owners need to know how to effectively promote their artist campaigns online in order to maximise streams and income.Â
â
Learn more about promoting your music:
- How to promote on Instagram
- How to promote on TikTok
- How to promote on Twitter
- How to promote on YouTube
â
10. Build an album campaign
Now youâve built your roster and started promoting everyone, you can begin working on your album release strategy.
Outline a realistic timeline with your artists, taking into account recording tasks, release dates and music marketing plan.Â
Timing is crucial with this. Make sure youâre giving yourself enough time to upload music to Spotify and the other streaming platforms.Â
â
Tip: Upload your artistâs music to Ditto at least 3-4 weeks before their release date.
â
Youâll need to continue promotional efforts post-release too, so make sure to update your artist campaigns with new timelines and media assets.Â
11. Distribute music with Ditto
When your artists are ready to share your tracks with the world, you'll need to pick a digital distributor for them. All of this is made simple with a Ditto Labels plan. Youâll not only be able to release unlimited music to every platform, but youâll be able to manage all of your artistâs royalties, arrange the necessary splits, and access record label extras. All from within your account.Â
â
â
With more artists choosing to avoid chasing major record deals, setting up an independent record label has never been as appealing or as straightforward.
You might not have access to the same levels of cash as the majors, but what you do have is a passionate community of independent artists at your side who can help you and your artists achieve global success and keep hold of your passion and creativity.
â
â
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https://www.facebook.com/polydorrecords/videos/welcome-to-polydors-store-the-home-of-your-favourite-artists-merch-vinyls-more-s/1018759695861110/
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Welcome to Polydor's store, the home of your favourite artists' merch, vinyls & more. Sign up to our mailing list to receive 20% off your next order....
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Welcome to Polydor's store, the home of your favourite artists' merch, vinyls & more. Sign up to our mailing list to receive 20% off your next order....
|
de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/polydorrecords/videos/welcome-to-polydors-store-the-home-of-your-favourite-artists-merch-vinyls-more-s/1018759695861110/
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https://www.hotpress.com/music/im-done-being-a-polite-pop-star-raye-blasts-her-label-for-delaying-debut-album-22859138
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en
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"I'm done being a polite pop star": Raye blasts her label for delaying debut album
|
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[
""
] | null |
[
"Lora Doyle"
] | null |
The pop singer shared with fans on Twitter that she has been waiting to release her debut album under Polydor Records since 2014.
|
Hotpress
|
https://www.hotpress.com/music/im-done-being-a-polite-pop-star-raye-blasts-her-label-for-delaying-debut-album-22859138
|
London-based singer-songwriter Raye has spoken out about the strains of working under her current label, who signed her to a four-album deal seven years ago and yet allegedly refuse to release her material.
The artists, real name Rachel Agatha Keen, wrote her frustrations to fans on Twitter last night, saying she's "sick of being slept on" due to her record label delaying the release of her debut album.
The pop singer claims to have "albums on albums of music sat in folders collecting dust," which she is now giving away to other "A-list artists" as she waits for her label to allow her to release her first LP.
"I’ve done everything they asked me, I switched genres, I worked 7 days a week, ask anyone in the music game, they know," Raye tweeted. "I’m done being a polite pop star. I want to make my album now, please that is all I want. 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."
"Sometimes we don’t speak out of fear, we stay silent," Raye added. "I’m really glad I spoke out today. Regardless of the consequences tomorrow, today you have made me feel heard."
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The British musician is signed to Polydor Records which operate as part of Universal Music Group, and is best known for her collaborations with David Guetta, Joel Corry and Jax Jones. Her songwriting skills have even earned her credits on Beyoncé's most recent album, The Lion King: The Gift.
The 'Natalie Don't' singer told fans on Twitter that the success of her latest single 'Call On Me,' will determine whether or not her label will give her the green light to release her debut album.
The singer, who boasts over 22 million listeners on Spotify, also revealed that she has not put out an album despite being on a four-album deal since 2014. She told fans she is "sick of being in pain about it this is not business to me this so personal".
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Artists have spoken out in solidarity with the singer, including Charli XCX who tweeted, "Tell them to pay everyone & scream at them till they release it. If u played nice then get mean coz u have hits & ur a great artist & they work for u not the other way around".
MNEK also shared his support for Raye, calling her "one of our country’s best PERIOD," while British-Japanese musician Rina Sawayama also offered words of comfort.
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Raye discussed the struggles she has faced working in the industry with Hot Press earlier this year.
“You know what’s sad is that I’ve met a lot of female producers who have stopped making music because they felt either totally dismissed or harassed, and it’s really awful,” Raye explains. “It’s a constant struggle for women, even in 2021. We’re doing a lot of incredible things in front of the camera. Women are levelled up as equals in the media, making it seem like all of these amazing changes are happening, but behind the scenes, it’s still so tough.”
Raye also spoke about the importance of songwriters getting better deals when signing to record labels.
"Imagine going to sessions all of the time and writing for weeks at a time; you have to hope that the artist eventually chooses the song, uses it as a single and that the track actually becomes successful. After that whole process, you have to wait a whole year for your first cheque to come through. It’s nuts.”
Watch the video for 'Call On Me' below:
|
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8999
|
dbpedia
|
0
| 14
|
https://wetcassettes.bandcamp.com/album/inseminoid-2
|
en
|
Wet Cassettes
|
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[] |
[] |
[
""
] | null |
[] |
2023-10-13T00:00:00+00:00
|
INSEMINOID 2 by INSEMINOID 2, released 13 October 2023
1. Act I: The Moribund Artifact
2. Act II: The Crew’s Decay
3. Act III: The End of the Horde
While our in-house horror synth masters, NIGHT GOSPEL, didn't have the time to put together an album this year, they did give their stamp of approval to TWO spooky tapes for you this Halloween. This, the first, is a fictional sequel to the 1981 Norman J. Warran film INSEMINOID, which was basically just a rip-off of ALIEN.
The band here channels their "Follow the Flock" era The Locust love and crafts Three Acts of disturbing sci-fi grindcore horror. Guitars that sound like lasers. Dual vocals shout across the corridor. Drums that race in and out as an alien finding their next victim. All with interludes with set-ups from an android narrator. Anywho, here's the synopsis for you nerds:
Deep within the desolate ruins of a remote research station on a lunar outpost, an unspeakable horror awakens. An ancient artifact triggers a vile infestation, unleashing alien organisms with an insatiable desire to reproduce.
As the crew of the USCSS Moribund explores the ruins, they unwittingly become vessels for the creatures' sinister breeding. Bodies are violated, grotesque hybrids emerge, and terror spreads like wildfire. Trust shatters, alliances crumble, and survival becomes a desperate struggle against an evolving nightmare.
Following a communication blackout and tormented by their infected comrades, the survivors battle their own sanity as the relentless horde adapts, growing stronger with every passing second. In a race against time, they must unravel the secrets of the ruins before they succumb to the ravenous abomination that lurks on board.
"Inseminoid 2" is chilling and visceral sci-fi horror, plunging deep into the abyss of human vulnerability as it confronts the unimaginable terror of an extraterrestrial force determined to consume their very souls and juicy buttholes.
WC-048
|
en
|
Wet Cassettes
|
https://wetcassettes.bandcamp.com/album/inseminoid-2
|
In shadows deep, a lunar outpost lies, Where ruins of the ancient wake and rise. An artifact disturbed, an evil stirs, Unleashing horrors, fertile thoughts in blur. Inseminoid's infestation takes hold, Alien beings, vile and uncontrolled. Their lust for breeding spreads a chilling fear, In violated bodies, life appears.
Trust fractures, alliances start to fray, Survivors grapple with their minds' decay. Visions grotesque, their sanity's demise, As hybrids spawn beneath the astral skies. Time slips away, a race against their fate, Unraveling secrets, but it might be too late.
|
|||||
8999
|
dbpedia
|
3
| 57
|
http://www.bsospirit.com/entrevistas/johnscott_e.php
|
en
|
Interview with John Scott
|
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With a career spanning over several decades, John Scott has proven to be a one-of-a-kind composer whose unparallel commitment to his true passion, music, has left us countless cherished memories. Last summer John Scott took a break from the preparations of his forthcoming film music concert with the Hollywood Symphony Orchestra in order to speak with us lengthy about his past, present and future life in films.
Join us in the first part of our interview to John Scott.
BSOSpirit (BS): According to your biography, your first assignment to score a motion picture was the horror movie A Study in Terror (1968). However, you seem to have had some previous experience composing for films like in All Night Long (1961) -an updated version of Shakespeare's Othello- as well as in the short film Fragment (1965), directed by your long time collaborator and friend Norman J. Warren. How do you remember these early experiences?
John Scott (JS): You are quite right. I had gained a certain amount of experience composing music for documentary films and one of those films Shellerama was produced by Dimitri De Grunwald. This is when I met Norman J Warren who worked for Dimitri as an assistant director. At that time Norman was working on his first film entitled Fragments. He asked me if I would like to compose the music for his film and I agreed. From that time Norman J Warren and I have remained very close friends.
By the way, I was more an actor in the film All Night Long. The film featured jazz musicians taking part. I got to write one piece which I was seen playing in the film, and I played all the saxophone solos which the star Keith Michell was seen to be playing. I also got to play with the great Dave Brubeck. However, at that time it was a dream of mine to write film scores.
BS: By the number of times you and Mr. Warren made pictures together, one might say you both were able to find the 'ideal partner'. How come you have not worked more frequently with other directors?
JS: All I can say is that I was a late starter in the field of film composing. I had always been a performer, at the time I met Norman Warren I was still known more as a performer than a composer. It was a couple of years later that I was forced to consider becoming a film composer. By that time most composers were teamed up with directors and I was still unknown. Of course I had composed music for documentaries and Norman and I had established a good relationship but we both had similar problems finding work.
It is always a case of "who you know" rather than "what you know"! I feel that, had we both had the good fortune, we would have worked well together. As it is we probably did some 10 films and all were very good experiences and very rewarding.
BS: Most of these pictures with Mr. Warren were part of the wave of British indie horror flicks that gained momentum in the 70's and early 80's. Interestingly, due to censorship restrictions in the UK, some pictures like Satan's Slave (1976) or Inseminoid (1981) were shot in two versions: one, let's say lighter, for domestic distribution and another one, perhaps tougher, for foreign markets. Were you ever asked to also write down different versions of your themes? If so, how was that experience?
JS: I cannot recall having been asked to write different versions of any film for Norman J. Warren, however Norman was a great editor as well as director and would have dealt with any such problem. We never had the luxury of recording two versions of anything.
BS: Now, turning again to the movie A Study in Terror (1968), if we are not wrong you were about 37 when you landed on it. As you've told us before, by that time you were already an accredited player who had, moreover, been often working on pictures with the likes of John Barry and Henry Mancini. What took you so long to finally get to move to the next level?
JS: As a playing musician I was always in demand. I enjoyed performing, and I also ran a jazz quintet. I wanted to do everything. People tended to regard me as a performer and, as such, I did not have a high profile as a composer. It was because of having worked on a documentary for Dimitri de Grunwald, as I've already said, that I was finally noticed by Herman Cohen who engaged me to compose music for his film A Study in Terror.
BS: The fact that an extended version of this former score was newly recorded by the Hollywood Symphony Orchestra a short time ago makes us think that this Sherlock Holmes vs. Jack the Ripper vehicle may have a special place in your heart. Is that so? How was it to be in command of a larger ensemble of musicians for the first time?
JS: Of course my first feature film must have a special place in my heart. It was a great thrill and a big move in my career. Nevertheless I had often worked with orchestras of the size of the Study in Terror orchestra which was 40 musicians. I believe the music for Shellerama, the documentary which brought me to the notice of Herman Cohen, was composed for an orchestra of approximately 40 musicians.
BS: Your production for the horror genre seems, nonetheless, to overall avoid recurring to the now-so-common dissonances and pulsing patterns of this type of films. Take, e.g. the case of Witchcraft (1992): here, instead of following the archetypal approach, you clearly took advantage of the entire orchestra to play over suspense, menace and even tenderness. Do you consciously try to stay away from the more conventional formulas or rather is it your musical upbringing that explains this circumstance?
JS: I have not consciously stayed away from dissonance in music. I love violent and dramatic music, but I have made a conscious effort not to copy what other people are writing. I now have confidence to know that I have my own musical language, so why resort to copying other styles?
Unfortunately, today the music industry makes a demand on composers to copy temp tracks and scores from successful films. I refuse to work under those conditions. I sincerely hope that things will change and composers will be allowed to be creative once more.
BS: If you were to rank your own scores, we are positive Antony & Cleopatra (1972) would be placed quite atop of the list. This is also the case for most film music enthusiasts who often find this one to be the utmost example of a thematically strong score with no few daunting moments. Drawing basically upon both, the astonishing 'Love Theme' and 'Cleopatra's Theme', you managed to create a dazzling score that virtually plays action and emotions in all possible ways. Where did this inspiration come from?
JS: I was honestly nervous composing the music for Antony and Cleopatra. I had a very short amount of time, probably a month, and it was a long film with a lot of different types of music. It was also the first time I had worked with a full symphony orchestra and large choir. I feel lucky that it turned out so well. After that I gained a lot of confidence.
Recently I composed a 45 minute work based on the original score, but incorporating 3 actors who delivered the Shakespeare text. I had the chance to rewrite and improve the orchestration, but found that I did not need to rewrite or improve, and so it remained the same. We performed it live in concert in Los Angeles and it was a great success.
BS: The re-recording you made back in 1992 with the Berlin Radio Symphony Orchestra and Voices was warmly greeted since it has certainly given many of us the opportunity to enjoy this instant classic with perfect sound quality. Originally it was the London Symphony Orchestra and Choirs that played your music. Why did you choose to go over recording this particular score once again and release a new album with more music?
JS: The recording you are talking about was recorded at different times. I could not afford to rerecord it at the same time. However, when it was released I thought I had recorded the whole score until someone told me that I had left one important cue out. I rerecorded the missing cue "The Egyptian Bacchanal" in Los Angeles and re-mastered the CD which we then re-issued. We also had a chance to improve the cover and artwork.
I am very happy that we were able to include the missing cue. It has since become very popular on concerts.
BS: The 80's saw you creating some of the biggest highlights in your career. One of people's all-time favourites -Greystoke: The Legend of Tarzan, Lord of the Apes (1984)- dates back to those days, but there¹s further quite a number of pictures you worked in that sport remarkable scores by John Scott: King Kong Lives (1986), Man on Fire (1987) and Shoot to Kill (1988), just to name a few. Was this a particular fruitful period in terms of the quality of the films you were offered to work in?
JS: This period was a fruitful period! It might have carried on but for the fact that my mother became ill with Alzheimer's disease. This meant that I had to leave Hollywood and return to London and look after her until she died. I do not regret this, it gave me the chance to think more about music outside of films.
I composed a number of works for chamber groups including my first string quartet, which is extremely important to me. When I finally returned to America my connections had been taken over by other composers and I did not like the kind of films that were being offered to me.
BS: If you don't mind, we'd like to spend a little bit more time speaking about some of the soundtracks of that period. Let's start with The Final Countdown (1980). A rousing score recently re-released on your own label, this is often talked to be the first major breakthrough of your career. It has a catchy and powerful militaristic main title that no single fan can forget. Is it true that some critics disapproved your music because they felt it sounded like the propaganda tunes used in your local recruiting office?
JS: I do not know about the remarks you mention. I do know that you cannot please everybody. There is always going to be somebody that disapproves. All I can do is try to do my best. It must also be true of any artist, that some things are more acceptable than others.
I enjoyed writing the score to The Final Countdown. It was a thrilling film to work on, and it was thrilling to spend some time on the aircraft carrier "USS Nimitz" and eat with the captain and meet the flyers of those incredible aircraft, and to actually have them put on a display for Kirk Douglas, Katherine Ross, Martin Sheen and myself. We composers do not get invited out that often. We just sit in our little room with a piano and manuscript paper and then, one day, we come to a recording studio and record the score. It's quite lonely sometimes.
BS: How come Rachel Portman was credited along you in 1982's film Experience Preferred ... But Not Essential? How did you manage to create a seamless experience to the listener having two different composers working at once?
JS: All I can tell you about Experience Preferred is that David Putnam, the producer of that film, liked Rachel Portman and wanted her to compose the score. I seem to remember providing some songs. This is very unusual for me, but I was working with a lyricist called Malcolm Hillier. We did a lot of commercials together and somehow or another some of our songs got into the film. I cannot remember if I contributed to the underscore or not.
BS: Yor, the Hunter from the Future's (1983) Kaa-Laa Dance provides an ethnically-flavoured, percussion-driven theme. How come you went on taking this approach at a time where similar pictures were following a radically different style?
JS: I think I have answered this question: Why should I do what other people are doing? I can only be myself.
The film was a bit embarrassing for me because after it had been finished and everybody was happy, they decided to go with an Italian pop song score. A lot of my music was left in but it made no sense to me. I used to get telephone calls from people asking why this music was there and had I really written this pop music score?
BS: The actual album to this score closes with a 20-minutes suite. It's virtually a showcase of all possible styles: from distinctively elegant melodies to some very fast-paced action cues; let alone not forget some surprisingly experimental efforts here and then. Why did you choose to make this arrangement for the album instead of keeping themes apart?
JS: You must be talking about an album put out by John Lasher on his own label "Southern Cross". I can only imagine that John Lasher decided to edit the sequence in that fashion. He did contact me to tell me that he intended to issue the album. The music was recorded in Rome and the orchestra had some difficulties.
I was told that because the orchestra was a large orchestra the musicians union insisted on some students being booked for the sessions. I warned the musicians that they should look at a couple of cues which were a little more difficult. When we came to record them the orchestra was technically inadequate and I refused to conduct until they were ready. I sat in the control room and waited until the orchestral manager called me. They played much better after that. If ever I get the chance I will rerecord the score.
BS: Greystoke: The Legend of Tarzan, Lord of the Apes is probably your best known American film. It displays a ravishing score of exquisite grace that you've often play in concert. The film production was somehow controversial when original screenwriter Robert Towne withdrew his name from the credits after having failed to direct the picture. Hugh Hudson, of Chariots of Fire fame, came to replace him. Did this turmoil affect you in any way? How come your name was attached to this production?
JS: You know so much more than I do! I did not know anything about Robert Towne's involvement, nor do I get into politics if I can avoid them.
When I was a playing musician I used to compose music for Hugh Hudson's commercials. I was hired to compose the Greystoke score because of Hudson's recommendation. It was an extremely difficult film to score and they had already had two attempts. One with a composer I will not mention and another score which was assembled out of classical music and specially recorded by the Royal Philharmonic Orchestra (RPO). The Royal Philharmonic manager suggested my name to Hudson who then recommended me to Warner Brothers. I had enjoyed an ongoing relationship with the RPO because of Jacques Cousteau. We used to record Cousteau¹s music with that orchestra.
BS: The fact that half the film (the jungle part) does hardly feature any dialogue must have been a great challenge for you as a musician. It was just your score plus sound effects that had to put the audience in the right mood! Was this a major reason for you to accept the project?
JS: The reason I accepted the assignment to compose the Greystoke score was because I was offered the chance to compose a satisfying score. The real bonus was being able to work with such a fine orchestra.
The first half of the film, with no intelligible dialogue, was only one of many challenges. I think the biggest challenge was that Hudson wanted a tragic score. When he briefed me he said he wanted an operatic score in the manner of Wagner's Tristan and Isolde. Warner Brothers wanted Superman in the Jungle. They were briefing me in exactly the opposite way to Hudson's brief.
I had to decide that Hudson was my boss. In fact, I did write a cue for when Tarzan becomes king after vanquishing the ape leader. After we played the cue with the picture the whole orchestra burst into applause. I was very happy until Hudson told me he did not want that effect. He made me rewrite the cue. This time it was more vicious and primitive, and Hudson was happy, and the Warner Brothers' executives were disappointed. I was really in a no win situation.
BS: Your music to A Shooting Party (1985) is indeed another major character in the movie. It has the refinement of the English School and, as such, it works very well in order to depict the lives of the privileged. Did you have to devote much time to study the work of the old English masters?
JS: The Shooting Party was one of the easiest scored I have ever composed. Somehow it just flowed out of me. No, I did not have to study the English School, in fact I think that the film itself, which is very English, inflicted its character on the music.
When people used to ask me how I composed music for Cousteau's underwater films I came to realize that it is the emotion that you have to get right, after that the visual aspect of the film has a way of colouring the music.
BS: The JOS album has further the added bonus of delivering your score to Hugh Hudson's 1965 documentary Birds and Planes. In spite of the obvious budgetary limitations, the outcome is pretty much interesting. How do you remember the early collaboration between you and Mr. Hudson?
JS: I used to think that Hugh Hudson had one of the finest eyes for detail on the screen. He used to spend hours getting the visuals right; in commercials one had the time to do that. He took this gift into everything he produced. He was equally exacting about the music. That suited me and I really admire most of our collaborations.
Birds and Planes was a stunning documentary. The idea behind it was to contrast all kinds of planes with all kinds of birds: helicopters with humming birds, gliders with condors, jet planes with frigate birds, cargo planes with pelicans. Get the idea? He gave me a free hand to compose the music for this film and I composed a score which was inspired by Hudson's imagery.
I used a very classical but unusual group of instruments: a string quartet, piano, and 4 string basses. The sombre quality of the basses and the percussive nature of the piano was my idea of the mechanical (soulless quality) of the machines, while the singing quality of the piano in the high register, and intimacy of the string quartet represented life and nature. This was a most gratifying commission, and it was just a 15 minute industrial documentary.
BS: John Guillermin's sequel to his very own 1976 remake of the classic King Kong movie had you facing the risk of being measured against your friend John Barry (who was in charge of the original film's score). Did this ever deter you from accepting the project? Was your friendship with this composer one of the reasons you were chosen for this assignment? To what extent were you asked to achieve certain continuity with the previous score?
JS: John Barry was a person with whom I developed a close relationship based on mutual respect. I started working with John Barry early in his career when he had a weekly TV series with his own group the "John Barry Seven". I was recognized as the top jazz flute exponent and saxophone player in England and he invited me to be a regular guest, playing my own brand of jazz, with his group.
At that time I had never considered the thought of composing as a career. Later I played on his first film Beat Girl and still later I played on his wonderful Lion in Winter and the James Bond scores. He always regarded me as a featured soloist within his written scores. When he recorded the King Kong film I was just starting to compose seriously.
It was after Greystoke that I was approached to compose the music for King Kong Lives. John Guillermin was the director and I met him in North Carolina where he was shooting King Kong Lives. We did not discuss John Barry and I was given the impression that he was looking for another kind of score, a more human score. His first King Kong was a remake of the original, this was an extension. He briefed me very carefully and very exactly as to what he wanted the music to do in his film. Luckily I did not have to copy or use any of John Barry's musical themes.
BS: Man on Fire is another brilliant film score by John Scott. To us, it features one of the most memorable main themes you've ever written. One of its strengths is how wisely it does balance high-powered action pieces with the more affectionate moments in the plot. The different renditions of the main theme (grandiose, trendy and subtle as in 'Reunion') are simply an unambiguous testimony to your skills as both composer and orchestrator. But there's quite more to this score. In particular we were wondering why didn't you make a more extensive use of the Latino-flavoured element as was the case with cues like "Starting the Search"?
JS: All I can say is that it has never been easy for me to compose a score for a film. Shooting Party was an exception. I compose many themes before I feel that I have found enough suitable material which might, or might not be a starting point. Gradually I allow the film to dictate to me how the music will help, and what it is going to say. In other words the music becomes an organic part of the film. I also truly feel that the function of music in films is to support and amplify the visual and emotion aspects. It should grow out of the film. Only at times should music dominate. I am of the opinion that the best film music is generally invisible because it is doing the right job by enhancing the visual experience without saying: "Hey! Listen to me, aren't I clever?"
Why did I not make more extensive use of the Latino-flavoured "Starting the Search"? I honestly don't know the answer to your question. Had it been suggested at the time I'm sure I would have considered it. In this case I was working very much on my own. The director was in Switzerland, the producer was in Los Angeles and I was in London.
BS: Luckily a score album was released by Varese Sarabande at the time the film premiered, but it's been long out of print. Indeed, it's become quite a rarity these days and whenever it gets auctioned on eBay it's virtually impossible to grab a copy below 100$. Is there a chance that JOS Records will ever re-release it again, perhaps with more music?
JS: I will look into the possibility of releasing Man on Fire on the JOS label. It is becoming increasingly more and more difficult to cover the cost of manufacture and recover the costs owing to the fact that regular record sources are being driven out of business because of World Wide Web practices and piracy.
BS: Have you seen the remake that Tony Scott directed a few years ago starring Denzel Washington? What do you think of Harry Gregson-Williams' music?
JS: No I have not seen Tony Scott's remake of Man on Fire, but I think that Harry Gregson-Williams is a very talented composer and, if he is allowed to be creative, we can expect some great scores from him in the future.
BS: Shoot to Kill was an adventure thriller movie where an FBI agent (Sidney Poitier's comeback after a 10 years break) was faced with the task of tracking a psychopathic killer across the mountains in New England. The score is a perfect blend of the more operatic qualities of some of your early output, on the one hand, and the jazzy tunes that you later developed in Lionheart (1990). Was your approach influenced by the fact that this was, so to say, an "outdoor film"?
JS: I remember in this film that Director Roger Spottiswoode was most keen on having a one theme score. I was not in total agreement, but I had to listen to my director and take notice.
Remembering my jazz roots and the fact that we were going to record this film in Los Angeles, the land of my jazz heroes, I decided to use jazz in the score. I settled on a certain jazz saxophone sound which had not been used, to my knowledge, for some time. I had the very best jazz musicians at my disposal and took advantage of that fact. It was very satisfying for me to go back to my roots and, even though the score is a one melody score, I was able to achieve variation through orchestration. The one time when I tried to introduce a new theme for a new element I was chastised by the director and had to rewrite the cue.
BS: We are sure you must be aware of the legion of film music enthusiasts that are longing to see this score definitely being released. It seems the announcement was made long time ago but still no specific deadline has been disclosed on the JOS site. What can you tell us about this?
JS: Would you believe me if I were to tell you that we have been trying to negotiate with the legal department of the film company, and it is very difficult. It is easier for the bootleggers to do things illegally. I do hope that we will get permission at a price that is sensible. This is the difficulty.
Nowadays the artwork has to be paid for, a license has to be paid for and then the company might say that we are not allowed to use the title or the names of the stars on our CD cover. After that the musicians have to be paid again, or the music has to be rerecorded. I personally would rather do a re-recording because then we can get a better performance without having to be in perfect synchronization with the film. As you know, the big record companies only issue big box office film soundtracks.
BS: Just to close the decade, you offered us what for many fans was seen as a surprising assignment for John Scott: Lionheart. Listening to you score, one has the feeling that here it was somehow the "Johnny Scott Quintet" coming back to work! Probably, one of the most intriguing aspects of your music lies in the way the main theme was divided into two parts that only came together once Van Damme's character found his inner strength. Did you have this approach very clear from the start?
JS: Lionheart was a film I have been criticized for accepting. Why should John Scott interest himself in composing for a kick boxing film? I have to say that the thought never occurred to me. I liked the emotion of the film. I really enjoyed the challenge of the development of the character. I enjoyed the variety - from urban city drugs to Foreign Legion - street fighting to big organized fixed fights. I loved the fact that there was an ethnic quality bestowed on the fights. I loved the idea that the ethnic quality was amplified and echoed through the musical score. Last but not least I purposely intended the theme to grow from nothing in a tentative way and gain strength as the main character matured and for that tentative theme to finally emerge as a mature theme complementing the mature spirit of Lionheart.
Follow us in the second part of this interview, to know more about John Scott's career from 90's and so on, as far as his collaboration with Jacques Cousteau.
On behalf of BSOSpirit we'd also like to express our gratitude to Mr. Otto Vavrin II for his valuable assistance in preparing and arranging this interview.
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A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.…
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Now she turned her attention back to the screen. She had the creature in focus. “Gary, are you and Kate in position?” “We are,” Gary replied through the open intercom. “As far as I can
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Inseminoid, page 8
Select Voice:
Brian (uk)
Emma (uk)
Amy (uk) Eric (us)
Ivy (us)
Joey (us)
Salli (us) Justin (us)
Jennifer (us)
Kimberly (us)
Kendra (us) Russell (au)
Nicole (au)
Now she turned her attention back to the screen. She had the creature in focus. “Gary, are you and Kate in position?”
“We are,” Gary replied through the open intercom.
“As far as I can determine, our friend is about thirty metres to your left as you enter the corridor. Don’t take any chances.”
Gary’s voice cut Holly off. “Mitch has joined us. He doesn’t want the creature killed. What do you say, Holly?”
“Mitch, are you there?”
“Holly, please, for the sake of science we must try to save this specimen. Think about the answers it can provide. Dead, it would be only as useful as a fossil.”
“Don’t take any chances. It’s already attacked Sandy. It’s not worth a human sacrifice.”
“Holly, give the tranquilizer gun a chance. Maybe we can get it back to the lab.”
Holly considered the request. “All right,” she relented. “But remember if it’s not practical use the laser. Gary, you’re the person in charge down there. If the tranq. is ineffective, go for the kill. Do you understand?”
“Right, Holly,” Gary acknowledged the instructions.
“Sharon and Mark, I want you there to back them up,” Holly said, still shouting down the intercom. “If they need help I’ll give the order from here and you go right in. Acknowledge, please.”
“We’re on our way.”
Holly looked at the digital time-piece set into the control panel. “One minute from now I’ll count to three and then I’ll remote the door open. Then it’s up to you.”
Karl entered the command centre, watching the screen over Holly’s shoulder. “Can you tell how bad Sandy’s hurt?”
“Look for yourself,” Holly said, putting a closeup of Sandy’s prone body on the alternate screen.
“There don’t seem to be any major external injuries visible. A gash along the forehead and what looks like a couple of bruises. But then for all we know, she could be dead. I shouldn’t have left her alone with the creature. It’s my fault it got free.”
Holly swung around and looked Karl hard in the eye. “On missions like these none of us can be in all places at all times. Sandy is a professional and she knows how to take care of herself. You are responsible only for yourself. There’s no time for self-incrimination or,” she paused and lowered her voice, “self-pity.”
She turned her attention to the digital counter. “Ten seconds.” She waited. “Three, two, one.” And the door slid open. The creature turned towards the three crew members.
Gary moved forward carefully with the tranquilizer gun held at waist level. “A little closer,” he mumbled to himself. “Don’t move. Take it easy, we’re not going to hurt you.”
The creature lunged at him. Gary let go with the first dart. That stunned it and it staggered backwards. Gary fired again and yet another time but the creature regained its balance. The tranquilizers were having no effect. Suddenly, it leaped on to Gary, knocking the instrument out of his hand. It picked up the 250-pound human with ease and tossed him on to Kate and Mitch, toppling them over. Kate’s laser slid along the floor out of reach. Then the Being ran forward.
Kate dived for the laser but she was caught by the creature’s claw. It flexed and opened a hole in her abdomen the size of a grapefruit. Horror covered her face and she brought her hands to her wound. Two claws came up and sliced through her eye sockets, sending blood squirting from the two gaping holes in her face. She went down with a horrific scream.
The creature went for Mitch but was suddenly distracted by Mark and Sharon running towards it from the other end of the corridor.
“Mitch, get down!” Mark shouted.
The professor kissed the ground and the back-up team fired their lasers into the creature. A roar went up from the Being which shook the entire corridor. The laser struck again. This time the creature toppled back on to the wounded Kate sprawled out in a pool of blood. There was a sudden stillness broken only by the gurgling of the fluid seeping from the creature’s wounds.
Mark and Sharon raced to their fallen comrades. Seconds later Karl entered the blood-spattered corridor. Mitch was trying to stand up. He was shaken but not injured. Karl saw this and passed him, coming upon Gary, who was bleeding slightly from the nose and the mouth but was coming back to consciousness. Gary waved him off and Karl moved the short distance to where Kate lay. Her intestines had been ripped through her stomach and were hanging over the lower part of her body. What remained of her eyeballs lay next to her on the floor.
“She gone?” Mark asked.
Karl found a trace of a pulse. “No, somehow she’s alive but she’s fading fast. Help me get her into the lab and on to a life-support machine. There’s nothing we can do for her here except keep her technically alive, and alert the hospital on the space station to be prepared for some major surgery when we head back.”
The two men lifted Kate’s near-lifeless body on to an examining bed. Karl immediately strapped electrodes to her chest to keep her heart pumping. Then he sprayed her open wound with disinfectant and with his laser knife sealed those arteries still dripping blood. But she’d lost a substantial amount already and Karl pulled her dog tags out of her shirt and looked for her blood type. Working as fast as he could he raced to his refrigerator, removed a quart of matching plasma and attached the appropriate tubes to her arm. Finally he wrapped a white bandage around her exposed eye sockets.
“I hope that holds her for a while,” he said, “at least until I can get a chance to do more than just a patchwork job. But for better or worse, it’ll have to do for the time being.”
Next he turned his attention to Sandy, who was still lying on the floor. But there was a strong pulse and he let out a sigh of relief. He motioned to Mark and Sharon. “Help me up with her. But be careful, she may have internal injuries.”
They followed his instructions. Sandy was lifted on to an examining table and Karl began his probe.
Holly rushed down to the lab as soon as the fighting had stopped. Until now she had stayed well in the background, letting her crew go about its desperate work.
“How is she?” Holly asked.
“Got to do some tests, but it seems she’s just out cold. Maybe a slight concussion.” Karl felt the top and back of Sandy’s skull.
“Thank God she’s all right. But Kate?”
Karl shook his head. “Kate, I’m afraid, is living on borrowed time. I’ve got her hooked up but how long she can hold out is anybody’s guess. She’s in pretty bad shape and even if she does live, she’ll need a double eye transplant if the nerves are still functional. If not she’ll be blind for the rest of her life. So many ifs.”
Holly sucked in her breath. “Oh God! Maybe it’s better to let her go now.”
“That’s not my decision,” said Karl. “You’re the commander.”
Holly shook her head. “No, no. Let’s give her a chance.”
He returned to his examination of Sandy, who was starting to come around. She opened her eyes. “What happened?”
“That’s what we’d like to know,” said Karl, deadly serious.
Sandy tried to sit up but a pain throbbed in her head and she lay back down. “Hell, that hurts.”
“Take it easy, kid. I’m going to give you a shot to ease the pain, it’ll help you sleep.”
“Okay.”
Karl gave her the injection. “You’ll feel tired in a couple of minutes but see if you can answer a few questions before you fall asleep.”
“I’ll try.”
“How did the creature get loose? Did you remove its bonds?”
“I wasn’t even near it. All I remember—and I swear this is the truth—is that I was cleaning up the lab and spilled something on my clothes. I took them off. Then I went over to the creature and turned on the light.”
“Why did you do that?” Holly was insistant. Doubt was evident in her voice.
“That’s all I can remember. I’m so tired now. Can I sleep? Please let me sleep.”
“The drug has taken effect,” Karl announced. “She won’t be able to talk again for at least twelve hours. Mark, will you wheel her into the infirmary. I’ll examine her there.”
“And what about the creature?” Mitch asked.
“It’s not going anywhere now. It can wait right where it is,” Holly told him. After the others had gone, she turned to Karl. “I have a few questions.”
“Shoot,” he said, now sponging Kate.
“I’m concerned about Sandy.”
“She’ll be okay,” Karl replied confidently.
“That’s not what I mean. What was that liquid all over her body? What did the creature do to her?”
Karl stroked his face and tried to come up with a reasonable response. “The substance looked like the saliva the creature produced while eating. What kinds of injuries Sandy sustained, I don’t know yet. I want to do a computer read-out of her body-functions and run a blood sample through the analyzer before I come to any conclusions. You know, she just might have been knocked over by the creature on its way out of the door and that’s where it ends. It seems to me that the thing was quite possibly in a real hurry.”
“And you figure she just fell down, hit her head and blacked out?”
Karl nodded. “It could have happened that way.”
But Holly wasn’t satisfied. “And the fact that she was naked when we found her?”
Karl shot her a questioning look. “She told us that she spilled something on her clothes and removed them. Just what are you driving at?”
“I don’t know myself,” said Holly. “Look, Karl, run through the tests and let me know what you find out. By the way, when do you think you’ll be able to get to do an autopsy on the creature?”
“Not before tomorrow. With Kate and Sandy, and getting the lab back in a semblance of order as my priorities, it may not be for a while.”
The laboratory was indeed a shambles. During the creature’s attempt to break out, some key data had been destroyed and a couple of pieces of valuable equipment damaged, though still repairable.
It was then that Mark returned. “You intend to keep the mission going?” the sub-commander queried in astonishment.
“Of course,” Holly replied quickly. “Any reason why I shouldn’t?” She didn’t like to be second-guessed. Especially by Mark. From the start he hadn’t concealed his resentment that she’d been given the command post over him.
“Yeah, I have a couple of reasons. First of all we don’t have the personnel available to do a creditable job any longer. Between the explosion and what’s happened today, well, we’re not equipped to handle emergencies. And we don’t know how many more of these creatures may still be out there.”
Holly wasn’t moved. “I reject both arguments. We’re staying. However, because we do have a shortage of personnel, we shall each be forced to take on additional duties. I’ll work that out tonight and let you know what they are tomorrow.” She turned her attention back to Karl. “Let me know as soon as you find something out about Sandy.”
CHAPTER
FIVE
Sharon was just finishing the repairs to the smashed lab door with Gary working next to her. Behind them was Kate, just as good as dead. And the strange creature from this strange lifeless world, a place with two suns but no heat.
“It’s crazy. This was supposed to be a simple archaeology expedition,” Gary remarked. “Instead it’s a disaster. I figured we’d dig up a few rocks and go back to the space station.”
“You never know what you’re going to find when you touch down in another world, Gary.”
“But to die like this? It’s such a waste.”
“Does it matter how we die? One thing science won’t ever be able to achieve is eternal life. If we’ve got to go, one way is as good as another.”
Gary turned to Sharon. “You are a damn hard person! Kate was your closest friend!”
“Gary, haven’t you learned yet we have no friends when we’re out here? We do our jobs. We eat, sleep, write reports and fuck. We gave up friends and families and all that other bullshit when we chose this life. Don’t ever think for a minute that Kate on that machine or Dean or Ricky or Gail in the freezer ever really expected to grow old in this business. And if you think you’ll ever collect your pension you’re fooling yourself.”
“I don’t see it that way. Sure it’s dangerous but that’s the kick of it. I’m not ready to cash in. It’s still exciting for me.”
“You’ll get over it,” Sharon promised him. “We all do.”
Mitch approached Holly slowly. She was deep in thought and he wondered whether he should disturb her.
“Commander, are you busy?” he finally said.
The words broke her trance and she turned around. “Oh Mitch, it’s you. I was thinking about what a hell of a couple of days it’s been.”
“Yes, it really has been hell,” he agreed.
“What is it?” Holly wasn’t one to beat about the bush. “What have you got on your mind?”
“Holly, words are useless to express the way I feel. I now see it was foolish to try to dope the creature. It was me who convinced you to use the tranquilizer gun. I’m sorry.”
“Mitch, I’m the commander. I made the decision. You only made the suggestion, which was your duty.”
“But if I hadn’t . . .”
She cut him off. “There are no ifs or buts. We took a risk. I knew what the chances were but you were right. The value to science of a being, adaptable to multiple atmosphere and still alive after God-knows-how-many years, would have been a remarkable achievement. We’re both scientists. When we mix the wrong chemicals we come up with a solution that could blow us to smithereens. We learn by our mistakes. This was a mistake but you know, if we had to try again I would probably make the same decision. How’s the work going?”
“I think we’ll have something before long. I feel we’re on the verge of breaking this new script.”
“Good! I’m glad to hear that.”
Mitch glanced at the radio. “Have you told Central Control about our situation yet?”
“Can’t,” said Holly. “Space station’s got its sun shield up and it’ll be at least a few days before we can re-establish radio communication with it.”
“Then we’re staying?”
Holly nodded and managed a weak smile. “We’re staying. After all we can’t go anywhere for a week at the earliest. We couldn’t get a shuttle down here before then. You’ll see, everything’ll be back to normal and this will just be a bad dream.”
Mark was in his cabin writing the day’s entry in his diary. A chronicle he intended to use against Holly on their return to Central Control. He wrote that he wouldn’t have left the creature unguarded and that Holly McKay made an error in judgement in deciding to tranquilize the creature; a mistake that cost one able-bodied crewmember her life. Mark was determined to prove Command had made a mistake in promoting Holly over him.
Dinner that night was respectfully subdued. Karl never showed up and, figuring he was still conducting tests on Sandy, Holly brought his meal to the infirmary. He was studying some graphs when she entered.
“Thanks a lot. I forgot all about eating.” A well-done steak was set before him. It wasn’t until he bit into it that he realised just how hungry he had become. He’d eaten little breakfast and nothing since.
“How is she?” Holly asked, motioning to the still-sleeping woman on the bed.
“Fine,” Karl reported. “I was right about the mild concussion but there’s been no brain damage. No broken bones—only a cracked rib and that, I’m pleased to report, is the extent of it.”
“Sounds like she got off pretty lucky,” Holly observed. “Better than Dean and Kate.”
“From the attack, yes,” he agreed. “But the tests turned up something else.”
Holly waited for the doctor to continue.
“Look at this,” he said, handing her a computer printout. Holly studied it and shot Karl a quizzical expression.
“Under the gestation column; tell me what it reads?”
“Two point one.”
Karl explained, “That means she’s two months and one day into a pregnancy.”
“That’s impossible,” Holly insisted with astonishment. “We all took our quarterly contraceptive injections at the same time. I remember Sandy getting hers. Could it be that it didn’t take?”
“Could be,” Karl said sceptically. He wasn’t totally convinced. “Those things have an effective rate of nearly a hundred per cent.”
“So it looks like she beat the odds?”
“I suppose so, although you know there is an antidote if taken within an hour of the injection. It neutralises the hormones entering her system.”
“Why would Sandy have done that?” asked the commander.
“I’m not saying she did, but sometimes people like to play dangerously. And then, in some women there’s an overwhelming desire to enter into motherhood. That’s one thing science hasn’t yet been able to totally conquer.”
Holly shook her head in disagreement. “If Sandy’s pregnant, it can only be through a malfunction of the contraceptive.”
Karl nodded. “You’re probably right. We’ll see what she has to say about it in the morning when she wakes up.”
Holly took a long hard look at Karl. His hair was dishevelled. His white coat still bore stains of Kate’s blood and there were dark bags under his eyes.
“Pack it in for the night. You look a mess.”
Karl managed a laugh.
“What’s so funny?” Holly asked.
“Just that Sandy said almost the same thing to me early this morning before everything fell apart. The whole thing seems like a bad dream, a nightmare.” Karl glanced at Sandy, still fast asleep. “She’s dead to the world till tomorrow. I’ll just check on Kate and then I promise to get some shut-eye.”
Holly returned to command while Karl moved slowly to the laboratory. He really was dead in his feet. The lab was dark when he got there. Only the green and red lights from the life-support machine glowed through the blackness. He went over to Kate’s unconscious body and stood over it for five long minutes. His mind jumped from image to image. He recalled the emergency operation he’d performed on her only a few hours earlier. It had been a slapdash job at the very best. But it was the best he was able to do being so vastly underequipped. Staring down at the woman, hearing only the machine-instigated forced breathing, the doctor wasn’t optimistic about her chances of staying alive long enough to reach the space-station hospital. At any moment infection could set in and he was afraid that opening her up again would be the final nail in the coffin.
by Larry Miller have rating 4 out of 5 / Based on32 votes
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Bad Dreams/Bloody Students Afterword
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Bad Dreams/Bloody Students Afterword I spent much of the 1980s affiliated to arts collectives, including Sheep Worrying Enterprises – a Somerset-based theatre-music-fanzine-whatever bunch for whom I wrote or co-wrote a bunch of plays – and the London listings magazine City Limits. With Neil Gaiman and Eugene Byrne, I was also responsible for the Peace and…
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The Kim Newman Web Site
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https://johnnyalucard.com/non-fiction/articles/bad-dreams-afterword/
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I spent much of the 1980s affiliated to arts collectives, including Sheep Worrying Enterprises – a Somerset-based theatre-music-fanzine-whatever bunch for whom I wrote or co-wrote a bunch of plays – and the London listings magazine City Limits. With Neil Gaiman and Eugene Byrne, I was also responsible for the Peace and Love Corporation, which provided humorous filler articles for girlie magazines like Knave and Fiesta and was a mainstay of the short-lived funny magazine The Truth. We would have liked to do one of those wildly successful trivial humour paperbacks, but no one was interested in publishing our projected laff-a-paragraph guaranteed hit How to Lose Friends and Irritate People – perhaps because none of us could draw (Neil can a bit, actually) and those things all had scratchy cartoons of dead cats or live penises in them. Aside from giving us a much-needed source of freelance income, the P&LCo (like Sheep Worrying) was a testing ground for ideas we’d develop later. Several of Neil’s comics arcs and novels echo a structure we’d used for a series of articles on various big topics (education, religion, etc) in which a naïve narrator (his name was Paul Lobkowitz) is accompanied on a journey by an ambiguous trickster know-it-all (Dr Sigmund von Doppelganger) who would teach him life lessons, essentially, by ripping him off. It’s possible (ahem) we were thinking of the relationship between Swamp Thing and John Constantine in the Alan Moore-Steve Bissette-John Totelben run on Swamp Thing. I first experimented with the Choose-Your-Own-Adventure format of my novel Life’s Lottery in a Penthouse piece co-written with Neil called ‘Sexual Pursuit’, about a hapless bloke trying to hook up in the singles hot-spots of Leamington Spa (mostly, it didn’t end well).
Though the bulk of the P&LCo stuff was written by Neil, Eugene and me, other folk who happened to be in the room when we were trying to be funny sometimes joined in. Stefan Jaworzyn, and prime mover of the band Skullflower, was a frequent contributor, as was the late Phil Nutman, British correspondent of Fangoria magazine. In a roundabout way, the novels collected here are Phil’s fault. I met Stefan at Sussex University at an all-night screening of horror films in 1978 and ran into him again in 1984 at the Scala Cinema, where he later co-curated the Shock Around the Clock festivals. I first agreed to work with Neil on what became our little-known book of science fiction quotations Ghastly Beyond Belief when Jo Fletcher introduced us at a British Fantasy Society pub meeting in 1983 (I think she was trying to get rid of him). Neil, Stefan and I were at the Scala for a launch party for a book about film posters in October 1984 and met Phil there. Some of us watched The Projected Man that afternoon, and went on to the press screening of The Last Starfighter in the evening. This was the era of VHS, and we’d often get together in the tiny room I had in a hippie flat in Muswell Hill for marathon-length overnight viewing sessions. I had started reviewing films for City Limits and the Monthly Film Bulletin, and occasionally Venue in Bristol, where Eugene was an editor. Anne Billson was often sent by Time Out to cover the same films, and we all met her about the same time. Stephen Jones and Dave Reeder founded the important ‘80s film fanzine Shock Xpress, which Stefan took over … and we all wrote for that, along with Shock Around the Clock co-chairman Alan Jones. Clive Barker’s first Books of Blood made a splash in the genre and he got started on doing all the things he’s done, in theatre, film, literature and painting. Clive lived in Crouch End, in the street next to the one I moved to in 1988. Peter Straub had once lived there too. A weird fact: Anno Dracula, the Books of Blood and Ghost Story were all written within a circle a hundred yards or so across.
Phil was filling the pages of Fangoria by interviewing British filmmakers who specialised in horror. There wasn’t much actual British horror cinema produced in the 1980s, though Clive sold the screenplays that became Underworld and Rawhead Rex (which Neil and I nearly got to work on when Clive momentarily blanched at one more set of producers’ notes) and was persuaded by the experience to direct Hellraiser himself. One of Phil’s interviewees was the genial Norman J. Warren, director of Satan’s Slave, Prey and Terror. He had recently made Inseminoid for American-based producer Richard Gordon – a lively Alien knock-off shot in Chiselhurt Caves which prompted Alan Jones to wonder whether ‘chainsaws would feature so heavily in future space programmes’. Phil reported back to the P&LCo folk that Norman was looking for original script ideas he could take to Richard … and so we set out to come up with a whole slate of them, in the hope that one would rise to the top. The four of us sat in that tiny room and hashed out four different stories in different sub-genres, trying (and probably failing) to think within the sort of budget available. Our brief was fairly loose, though I believe Norman said it would be helpful if one or two of the lead actors were American – Inseminoid had gone that route, probably because Alien had.
Each of us took away a set of notes to write up. Neil’s was Remember Remember, a holiday-themed slasher movie about Guy Fawkes Night. We must have heard of V for Vendetta, which had begun in the British comic Warrior but was curtailed mid-story with the title’s cancellation – but couldn’t have foreseen that the Guy Fawkes mask would ever catch on. Phil worked on Hell Fire, a scrambling of the plots of The Maltese Falcon and Night of the Demon which I eventually reworked as a short story ‘Mother Hen’ (reprinted in the appendix of the Titan edition of The Quorum) – though I didn’t have a copy of the outline to hand when I wrote it up, and only remembered the original concept. Stefan got Bloody Students, our shot at a ‘virus outbreak’ story along the lines of George Romero’s The Crazies or David Cronenberg’s Rabid. Stefan and I had been at university together, and enjoyed the idea of staging mutant attacks and battles on our old campus. Stefan came up with the tag-line ‘Bloody Students …first, they cut their grants, then they cut their throats!’ This was before student loans, when we literally didn’t know how well off we were.
Then there was Bad Dreams, which I was in charge of.
Our first thought for this was to revive a type of horror/crime film that hadn’t been done lately, in which the menace is a semi-supernatural crime boss like Dr Mabuse or Fu Manchu. After talking that through, we came to think it might be a hard sell – though we had hit on the title, which we were rather pleased with since it was a commonplace expression that hadn’t been used as a horror film title before. Given the recent success of A Nightmare on Elm St, we switched our master crook for an immortal vampire type who could manipulate reality (Neil and I were – and still are – great admirers of Philip K. Dick, which probably shows) to persecute our (American) journalist heroine. I suppose the Cenobites of Hellraiser have a similar m.o., but it should be obvious we were more influenced by Clive – The Damnation Game had come out – than he could have been by us, though Neil has suggested that the Cenobites were loosely based on the Peace & Love Corporation. The character of Clive Broome in Bad Dreams was called Clive Harker in the original outline; we played with the names of other friends too. The heroine is named Anne Nielsen in tribute to Anne Billson, who – in retrospect – we should have asked to join in as writer (I later worked with her on a play, The Hallowe’en Sessions). She later wrote the novelisation of Dream Demon, the British Nightmare on Elm Street ripoff which did get made. Norman and Richard quite liked our ideas, especially Bad Dreams and Bloody Students, but no development money was forthcoming and so the P&L Co film projects fizzled out. In 1987, Norman made Bloody New Year instead. I later learned that Slimer, a wonderfully lurid paperback co-written by our friends John Brosnan and Leroy Kettle under the pseudonym Harry Adam Knight, had also started out as a pitch for a Warren-Gordon film; Slimer had the distinction of eventually being turned into a movie, the direct-to-video quickie Proteus. It was the beginning of great things for Harry – who delivered a masterpiece in The Fungus (now reissued and an essential read) and founded a genetic dinosaur franchise in Carnosaur (adapted as a series of films by Roger Corman).
All the while, I was working on my own projects. I’d written a novella-length draft of my first novel The Night Mayor, the opening chapters of Jago (a stab at a big thick horror book along the lines of Ghost Story or ‘Salem’s Lot) and pages of notes for a projected trilogy that (after a lot of changes) became the Anno Dracula series. Neil and I talked about co-writing a disgusting horror paperback (there were lots of those about) called The Creeps, about mutants in the tunnels under London (where Neil would later set the mostly mutant-free Neverwhere). We also pondered a killer badger book called The Set. With Eugene, we worked on a computer game scenario and an unrelated novel both called Neutrino Junction – both sadly uncompleted. A year or so after we had outlined our film ideas and nothing was happening with them, I was at a loose end and decided to write Bad Dreams as a novel. I hammered out a first draft on an IBM electric typewriter. This didn’t sell until after I’d placed The Night Mayor with Simon & Schuster in 1989; the final version benefited greatly from the input of my agent Antony Harwood and editor Maureen Waller. The ‘Entr’Acte’ section was written well after the bulk of the book, very close to its 1990 publication – in the middle of the night because I was jet-lagged after my first trip to America. It’s one of my favourite sequences in the novel. There are elements in the book that feel to me like they came from Neil, Stefan or Phil – a lot of Neil’s stories feature protagonists with remote or monstrous parents, for instance. Neil also did all the research (rather more than we needed, really – but he made a convincing case for it) into seamy Soho clubs, with full credit to Roz Kaveney for getting him past fearsome door security. Stefan went along one night, but couldn’t stop laughing which probably ruined the mood.
Other elements came from Norman’s briefing: making Anne an American in London wasn’t something I’d naturally have done – authentic American Lisa Tuttle kindly read the manuscript and gave feedback about this side of things. Dream Demon and Hellraiser have American heroines, so Norman might well have been on to something. While we were outlining, we talked a bit about who we’d like to see cast. I remember us thinking of Rosanna Arquette or Linda Hamilton, both doing interesting things in small-scale films like Baby, It’s You or The Terminator about then … though we also liked the idea of casting Sandra Bernhard and Amanda Plummer as the Nielsen sisters. One actor we wanted for the main villain roles in all our pitches was Richard Lynch, who had a very distinctive look – on an acid trip in 1967, he set fire to himself and his combination of scarred skin and handsome bone structure that got him a lot of sinister parts. He’s remarkable as the alien hermaphrodite messiah in Larry Cohen’s God Told Me To, but was most visible at the time we were working on these ideas as a Russian baddie in the Chuck Norris classic Invasion USA. Skinner, of Bad Dreams, and Lynch, of Bloody Students, are both tailor-made Richard Lynch parts. I think we wrote him into the other two stories as well. Ironically, in 1988, after I’d written the first draft of the novel, a film called Bad Dreams was produced in America … not only was it a Nightmare on Elm Street ripoff, but it cast Richard Lynch as the ghostly menace. It went straight to video in the UK, and didn’t have a high enough profile to persuade me to change the title. As a teenager, I had read How to Write a Novel, a very useful book of practical advice by John Braine which I mostly ignored … one thing that stuck in my mind was that Braine said he would reject out of hand any book that used a title which was a quote from Hamlet or Macbeth, prompting me to nod sagely and vow never to do that. Though it sounds like a commonplace, the phrase ‘bad dreams’ is actually a quote from Hamlet … ‘O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams.’ So, in a nutshell, two permanent additions to the English language in one throwaway line.
With some trepidation, I showed my first draft to Neil, Phil and Stefan – who were supportive and gave helpful advice. The whole ‘Broadway play’ sequence, which would have been difficult to do on film, was not in the outline and so was new to them; Neil made a key suggestion about the use of Martin Landau as a face for the monster, riffing on the way he would peel off masks each week in Mission: Imposssible. Phil and Lisa both made me go back over Anne’s character and work a bit harder on making her distinctive … which eventually led to her reappearing in my novel The Quorum, which grew out of this period in my life and the milieu the P&LCo were hanging about in.
Having done it once, I was sort of impelled to give it another go – turning the nugget of Hell Fire into ‘Mother Hen’, which Steve Jones published in Fantasy Tales. Then, at a point when I was blocked on other things, it occurred to me that it wouldn’t hurt to have another novel-length manuscript to show around. I set out to write Bloody Students inside a week, the way Roger Corman made The Little Shop of Horrors when he had a spare three days’ shooting. The downside was that I didn’t have a copy of the full outline, so I had to reconstruct it from memory and a few notes. I diverged greatly from the more controlled movie we had envisioned. My feeling was that doing a book this fast would mean tapping into the energy and verve of B Corman’s pictures. I was also hoping to write something in the wild spirit of Harry Adam Knight. If it didn’t sell, I’d only lost a week. As it happens, it sold twice – Malcolm Edwards at HarperCollins bought it, on a recommendation from Mike Dickinson, but the bottom dropped out of the pulp paperback horror market and they returned the book to me, though a nice, lurid cover had already been created. Eventually, after my early novels had found a place at Simon & Schuster, Martin Fletcher – my editor on Anno Dracula, The Quorum and Life’s Lottery – bought Bloody Students, though he asked for a new title. I chose Orgy of the Blood Parasites, working title for David Cronenberg’s 1974 breakthrough film Shivers. Having moved from IBM typewriter to AMSTRAD word processor, I put the book through a second draft, adding several more days to the schedule (and increasing the body count) but not really tidying it up much. By then, I had started a parallel career writing as Jack Yeovil for Games Workshop, in the Warhammer Fantasy and Dark Future series, and it made sense to issue Orgy as a Jack Yeovil joint.
I’m happy these two books are available again, especially in this double bill edition. Technically, they were first published in the 1990s … but they were (mostly) written in the ’80s, before we got even slightly respectable. Reading them, I’m reminded of marathon video-watching, funny articles for porn mags, lively meals in cheap restaurants, the heights and lows of 1980s cinema, barbeques at Steve and Jo’s in Wembley, Sussex University in the 1970s and North London in the 1980s, long-gone magazines that didn’t die well, random introductions in pubs that changed the courses of lives, regular cinemas showing double bills like My Bloody Valentine and The Funhouse, gone-too-soon talents like Phil and Rob Holdstock and John Brosnan, the March for Jobs and Miners’ Strike fund-raisers, Neil and Clive with their original accents, sleeping on floors between sessions at the typewriter, watching reruns of Bilko and The Avengers when inspiration flagged, struggling with these computer things that would never catch on, writing a musical (the last great Sheep Worrying production) in two afternoons (break-out hit: ‘I’m Too Fat to Rock’), meetings with ripoff merchants, video nasties (frankly, that’s what these books would have been if filmed in 1986 – and proud of it), FantasyCons in Birmingham and Shock Around the Clock in King’s Cross, Margaret Thatcher going on and on and on, Captain Sensible singing ‘Happy Talk’, Betty Blue and Blue Velvet, and the thing that was said in the place where we went that time.
Kim Newman, thirty years later …
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Project 'Gemini' (2022) Review
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2022-02-10T00:00:00
|
Project 'Gemini' is a space mission sent to terraform a distant planet. However, the mission encounters something unknown that has its own plan for the planet.
|
en
|
Voices From The Balcony
|
https://www.voicesfromthebalcony.com/2022/02/10/project-gemini-2022-review/
|
Jim Morazzini
Project ‘Gemini’, Звёздный разум or Proekt ‘Gemini’ if you prefer, is the latest genre film to come out of Russia. I’ve reviewed several Russian science fiction films from Attraction to Sputnik to The Blackout with very mixed results. The trailer, and the fact that Well Go USA had picked it up for US and Canadian release, convinced me to give it a look.
Three years after a deadly virus has destroyed much of Earth’s plant life, humanity’s fate rests on a pair of alien artifacts uncovered by scientists and kept secret until now. A revolutionary engine that makes deep space travel feasible, and an orb that may have been the seed that brought life to Earth. With this, they plan to create a new home for mankind.
Steve (Egor Koreshkov, Jetlag), David (Dmitriy Frid, The Balkan Line) and Leona (Martinez Lisa) are among the crew of the expedition sent to the planet dubbed Tess. But something goes wrong during the jump, and they emerge in an unknown part of the galaxy. There is however, a nearby planet that’s an even better subject for terraforming than Tess was.
Project ‘Gemini’ apparently had a difficult road to the screen, with much of the footage shot in 2016 in English with an eye on the international market. That was followed by reshoots, redubs into Russian and then, in the case of the version I saw, back into English. That may explain why, despite using experienced American voice actors, the dialogue frequently sounds melodramatic and overdone.
It also makes it impossible to know just how much of Project ‘Gemini’ is the work of credited director Serik Beyseu and writers Natalya Lebedeva (Never Say Goodbye) and Dmitriy Zhigalov (Beyond the Edge, Abigail). Regardless of who shot what, Project ‘Gemini’ does feature some excellent effects, which helped take my mind off the dialogue and dress up a somewhat predictable plot. Are the various accidents actually accidents? If not is it an alien presence or a human saboteur that’s behind them?
Eventually, most of the cast end up trapped on the planet’s surface, fighting among themselves while an alien tries to kill them all off. If it all sounds familiar, it is. Project ‘Gemini’ incorporates bits and pieces from various films in the Alien franchise, especially Prometheus, along with several knockoffs from everyone from Roger Corman to Norman J. Warren’s Inseminoid and multiple Italian productions. If Klaus Kinski was still alive I’d almost expect to see his character from Creature/Titan Find turn up, Hans would fit right in.
The result of all this is actually a fairly amusing film, that while it isn’t particularly coherent, at least has a lot going on. We can only speculate about what Project ‘Gemini’ would have been like without all of the post-production tinkering. But what we get is better than it has any right to be, given the choppy editing and plot threads picked up and then dropped. Or maybe, as with Shocking Dark, that’s what makes it so entertaining.
I do wish we had seen more of the alien itself. When we finally do get a look at it, it’s fairly reminiscent of one of Alien’s xenomorphs, but not badly done. And the various Kazakhstani caves and desert locations make a good stand-in for an alien planet. On the other hand, I have to wonder who had the idea of putting what looks like quilting in the spaceship’s corridor.
Well Go USA will release Project ‘Gemini’ to Digital and Blu-ray in the US and Canada on March 15. You can check their website for more details. The UK will get it on March 28th and in Australia Eagle Entertainment will release it on April 13th.
Where to watch Project Gemini
|
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8999
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dbpedia
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http://horror-movie-a-day.blogspot.com/2011/10/beyond-door.html
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en
|
Horror Movie A Day: Beyond The Door (1974)
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OCTOBER 1, 2011 GENRE: ITALIAN , POSSESSION
SOURCE: THEATRICAL (REVIVAL SCREENING) When Phil and the New Bev parted ways earlier this year...
|
http://horror-movie-a-day.blogspot.com/favicon.ico
|
http://horror-movie-a-day.blogspot.com/2011/10/beyond-door.html
|
While past festivals have included a top tier Italian horror title (Gates of Hell, Zombie, etc), the decision was made to make this year's lineup entirely "rare", in that none of the movies have shown theatrically in the area for the past 4-5 years (as opposed to something like Zombie, which shows quite a bit - and for good reason). In fact I had never even heard of Beyond The Door, and knew nothing about it other than the fact that it was an Exorcist ripoff.
It didn't take long for me to fall in love with the movie. After a strange opening involving a bearded dude and a car crash, we cut to a family on a shopping trip in San Francisco. Now, normally this would not be very interesting to anyone, let alone me, but this being an Italian horror movie from the 70s, there's actually a lot to love. For starters, the children of the family both swear without much concern from the parents, even though they seem to be about 5-8 years old. Also, the little boy drinks pea soup from a can with a straw poked into it, and gleefully litters when he is done. Perfect.
Obviously the pea soup thing is just a direct reference to Exorcist, but director Ovidio G. Assonitis really goes the extra mile to prove it's more than that. In addition to using it for what it's for (possessed women to spit at concerned friends), the kid constantly has cans of it around, even apparently putting one on his nightstand the way most folks place a glass of water down there. He even has a giant painting of it above his bed! The obsession is never explained or even mentioned, I think, making it all the more charmingly ridiculous.
I also enjoyed that the mean-spirited profanity apparently came from their dad. At one point the little girl mutters "Christ, what now..." when he knocks at their bedroom door, and after he comes in and addresses the issue (the little boy has a bruise), he asks his daughter why she is such an idiot. Later the mom slaps her around a bit, shortly before kissing the boy full on the mouth (I think she's possessed by this point so it's kind of OK). I'm so used to seeing movies where just one person in the family is messed up; it's quite refreshing to see one where I couldn't even tell which one was possessed at first because they were all so goddamn awful (read: awesome).
Then of course there are the usual silly moments, like when the mom asks the dad about baby names and suggests "Steve" (not "Steven"), to which the dad asks why it matters. Or when the little girl asks the dad to promise not to leave them alone with the mom anymore, a request that is immediately followed by a cut to the next scene, in which the dad is outside, sans the kids. Plus numerous other instances where they swear for no reason. I just hope that their dialogue was what was intended; as with most Italian productions, it features a mix of English and Italian speaking actors, all of whom use their native tongue. So while the parents were speaking English, the kids were clearly dubbed from Italian, which makes me wonder if some producer didn't see the value in foul mouthed children and change it from originally normal sweet-natured dialogue.
And thus it's a shame when they exit the film (sent off to be safe), as it loses much of its comedic value. It's not a particularly exciting film, with a low body count and, as with Exorcist, a slow build toward the full on possession sequences. But it's also needlessly convoluted, as the whole movie is just a long term ploy between the Antichrist and some guy who made a deal with the devil in order to extend his life, or something. I even went home and read the Wikipedia entry trying to make sense of the final five minutes or so, and while I get the gist, there were still some things I don't comprehend at all, such as the old fortune teller lady who lives on a boat.
Also, I watched another 8-9 movies in between seeing it and writing my review. I think the brain can only retain specific information about 2-3 movies before it makes room for the next one, so maybe it would make total sense if I thought about it for a bit while it was still fresh in my brain, but alas. Luckily I've already HMADed all but one of the other films from the all nighter, so for my thoughts on Creature From The Black Lagoon (which showed in 3D! Very cool, even if I went a bit cross eyed), Brain Damage (the secret movie, which went over quite well), Pit And The Pendulum (which I slept through), and Inseminoid (a crowd pleaser, but the place was only about half full by then, with lots of sleepers), just check out those reviews. The only other one was Hell Night, which I had seen in high school but couldn't remember much about it. They also had several trailer reels, tied to the theme of the movie that played after (so for this, we got a lot of Exorcist/Rosemary's Baby wannabes), a Bugs Bunny cartoon, and a very weird interview with Bela Lugosi which ends when he out of nowhere tells the reporter "I'm coming." and then makes a weird face until she runs away. I haven't the slightest clue if it was a skit of some sort, or a legit interview that went astray, and I don't want to know. It was glorious as is.
All in all, I think they did a great job of carrying on Phil's tradition, and the sell out crowd means that it will probably continue. And I'll be there, with my little cooler of cold coffee drinks, trail mix and a Papa John's pizza, plus a bottle of eye drops for my contacts, dried from all of the occasional dozing (I didn't remain awake for the entirety of any movie, but for this I was only out for a brief period in the early part of the film and thus didn't miss much).
What say you?
|
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8999
|
dbpedia
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0
| 18
|
https://www.cede.com/en/movies/%3Fview%3Ddetail%26branch_sub%3D0%26branch%3D2%26aid%3D10012603
|
en
|
Inseminoid (1981)
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https://en.wikipedia.org/wiki/Inseminoid
|
en
|
Inseminoid
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2005-06-12T08:47:08+00:00
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en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Inseminoid
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1981 film by Norman J. Warren
InseminoidDirected byNorman J. WarrenWritten byNick Maley
Gloria MaleyProduced byRichard Gordon
David SpeechleyStarringRobin Clarke
Jennifer Ashley
Stephanie Beacham
Steven Grives
Barrie Houghton
Rosalind Lloyd
Victoria Tennant
Trevor Thomas
Heather Wright
David Baxt
Judy GeesonCinematographyJohn MetcalfeEdited byPeter BoyleMusic byJohn Scott
Production
company
Jupiter Film Productions[1]
Distributed byButcher's Film Service (UK)
Release dates
Running time
93 minutesCountryUnited Kingdom[1]LanguageEnglishBudget£1 millionBox officeUS$1.5 million[2]
Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren and starring Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and scientists who are excavating the ruins of an ancient civilisation on a distant planet. One of the women in the team (Geeson) is impregnated by an alien creature and taken over by a mysterious intelligence, driving her to murder her colleagues one by one and feed on them.
Inseminoid was written by Nick and Gloria Maley, a married couple who had been part of the special effects team on Warren's earlier film Satan's Slave. Filmed between May and June 1980 on a budget of £1 million, half of which was supplied by the Shaw Brothers, it was shot mostly on location at Chislehurst Caves in Kent as well as on the island of Gozo in Malta, combined with a week's filming at Lee International Studios in London. Composer John Scott completed the film's electronic musical score over recording sessions that lasted many hours.
Despite a good box office response in the UK and abroad, Inseminoid failed to impress most commentators, who criticised the effects and production design. The overall quality of the acting was also poorly received, although Geeson's performance was praised. Criticism was also directed at the premise involving an alien insemination, which some commentators viewed as a weak imitation of Alien (1979). Both Warren and 20th Century Fox, distributor of Alien, rejected claims that Inseminoid was influenced by this film.
Plot
[edit]
On a freezing planet, a team of 12 Xeno Project archaeologists and scientists are excavating the ruins of an ancient civilisation. They discover a cave system containing wall markings and crystals of unknown origin. During a survey, a mysterious explosion cripples photographer Dean White and injures Ricky Williams. Deciphering the wall markings, exolinguist Mitch theorises that the civilisation was built on a concept of dualism: the planet orbits a binary star and seems to have been ruled by twins. Medical assistant Sharon discovers that the crystals are surrounded by an energy field and suggests that the civilisation was controlled by a form of chemical intelligence.
A crystal sample begins to pulsate, causing the intelligence to take control of Ricky through a wound on his arm. In his delusional state, he is compelled to leave the team's base and go back into the caves. He throws Gail into a pile of twisted metal, damaging her environmental suit and trapping her foot. Desperate to free herself, Gail removes her helmet and tries to amputate her foot with a chainsaw, but instead freezes to death in the planet's toxic atmosphere. Documentation officer Kate Carson shoots Ricky with a harpoon gun before he opens the airlock and evacuates all of the base's air.
Ricky and Gail are buried outside the base. Later, Mitch and Sandy return to the caves to collect more crystals. A monstrous alien creature appears and dismembers Mitch, then rapes Sandy with a transparent tubular phallus pumping green liquid. Sandy is taken back to base and treated by the team's doctor, Karl, who discovers that the attack has triggered an accelerated pregnancy. When further underground explosions block off the caves, the survivors are left with nothing to do but wait for Xeno to pick them up.
The intelligence takes over Sandy, giving her superhuman strength. She stabs Barbra to death with a pair of scissors and mutilates Dean and the remains of Mitch, drinking their blood. The rest of the team take refuge in the control room as Sandy uses explosives to blow up the base transmitter. After Sandy appears to return to her normal self, Karl, Sharon and Commander Holly McKay try to sedate her. However, Sandy reverts to her violent state, killing Karl and Holly and disembowelling their corpses.
Mark radios Sandy from the control room to distract her while Kate and Gary arm themselves with chainsaws from a storage room. Sandy uncovers the ruse and harpoons Gary outside the airlock, breathing the atmosphere to no ill effect as she feeds on his flesh. She then re-enters the base and gives birth to hybrid twins. Mark stumbles across the newborns and leaves them with Sharon as Sandy blows up the door to the control room and smashes the equipment inside. Sandy uses another explosive charge to wound Kate, then kills her. Finally, Mark overpowers Sandy and strangles her to death with a length of cable. He returns to Sharon to find one of the twins drinking from her torn-out throat, then comes face to face with its sibling.
Twenty-eight days later, a Xeno shuttle lands on the planet to investigate the loss of contact with the team. With the base in ruins and its occupants either dead or missing, commandos Corin and Roy abandon the search for survivors and shuttle pilot Jeff radios Xeno for clearance to return. The final shots reveal that the twins have stowed away inside a storage compartment on board the shuttle.
Cast
[edit]
Judy Geeson as Sandy
Robin Clarke as Mark
Jennifer Ashley as Holly McKay
Stephanie Beacham as Kate Carson
Steven Grives as Gary
Barrie Houghton as Karl
Rosalind Lloyd as Gail
Victoria Tennant as Barbra
Trevor Thomas as Mitch
Heather Wright as Sharon
David Baxt as Ricky Williams
Dominic Jephcott as Dean White
John Segal as Jeff
Kevin O'Shea as Corin
Robert Pugh as Roy
Production
[edit]
After making Satan's Slave (1976), Prey (1977) and Terror (1978), Norman J. Warren was to have directed a film called Gargoyles.[3] After this production collapsed without a finished script, Warren and producer Richard Gordon accepted a story idea from the husband-and-wife duo of Nick and Gloria Maley, who had been members of the special effects unit on Satan's Slave.[4] The Maleys wrote the film both as an amalgam of their favourite science-fiction ideas and to showcase their effects work.[4][5] Their script, which indicated that the film is set two decades in the future in a militaristic universe, was provisionally titled Doomseeds; this was changed to Inseminoid to avoid confusion with the 1977 film Demon Seed.[3][6]
Gordon cast American actors Robin Clarke and Jennifer Ashley as Mark and Holly while on business in Hollywood.[5] Clarke had recently played a supporting role in The Formula; Ashley had appeared in a number of independent films.[3] Beacham, who had two young children at the time, accepted the role of Kate Carson to support her family, recalling in a 2003 interview: "I had to choose between a play that I really, really wanted to do, which would have paid me £65 a week, and this script for a film called Inseminoid. Hey! No choice. Two pink babies asleep upstairs! No choice!"[7]
The Shaw Brothers agreed to supply half of the proposed £1 million budget and became partners in the production, with elder brother Run Run Shaw credited as presenter in the opening titles.[5] Nick Maley reprised his effects role to build the puppets of the alien twins.[4]
Filming
[edit]
Inseminoid was shot on 35 mm Eastman Kodak film with anamorphic lenses. Warren remembered that this format produced an "incredibly sharp image and what I would term as the 'American' look."[3] Principal photography began on 12 May 1980 with a crew of 75. The production spent three weeks filming in Chislehurst Caves in Kent, which served as the tunnels of the underground complex. This was followed by one week's studio filming at Lee International Studios (the future Fountain Studios) in Wembley Park, London. A fifth week was devoted to effects and linking shots, completed by the second unit at Film House on London's Wardour Street. The crew then travelled to the island of Gozo in Malta for a supplemental location shoot lasting two days, during which they filmed the long shots set on the planet's surface. The strong Mediterranean sun ensured good lighting.[3]
Warren said that given Inseminoid's low budget, filming the underground scenes in actual caves produced a more realistic result than any potential studio option.[3] However, the cold, damp and airless conditions inside the caves, compounded by the uneven terrain, caused numerous minor injuries among the cast and crew as well as damage to filming equipment. Shooting often ran for 12 hours at a time and some of those present developed intense feelings of claustrophobia in the confined space. Gordon felt that these uncomfortable working conditions made the actors' performances more credible: "I think all this paid off in terms of what we got on the screen for the budget, but the circumstances were very difficult."[5] Due to the lack of space, the crew were forced to set up their production office, as well as the dressing and make-up rooms, in a car park some distance from the caves. As filming started to fall behind schedule, Warren was forced to cut some of the scenes of Ricky's rampage inside the caves: "Three pages of script, which I had to condense into one shot. Having to make such an enormous compromise was not a happy choice for me, but it was the only way of getting us back on schedule." The shoot ultimately overran by two days.[3]
As filming progressed, the working relationship between Warren and Clarke broke down. According to Warren, Clarke often refused to follow instructions, opting instead to give his own interpretation of the script to a point where every scene featuring him became "an uphill struggle" to film. Warren remembered that during preparations for a fight scene, he lost his temper with Clarke: "Robin kept on ranting and raving about his ideas to the point where I couldn't take it any more. So I screamed at him to shut up and keep quiet. I told him I was the director and we would do the scene the way I said. He was shocked, he just stopped dead, and from that point on he hardly said a word."[3] Warren's rapports with the rest of the cast were positive. He described Geeson as "an absolute dream to work with" and praised her performance, arguing that it avoided being unintentionally comic.[3] Gordon was similarly impressed, saying that Geeson fully embraced the role of Sandy and did not complain that it demeaned her as an actress.[5] Warren also had memories of Beacham's "very professional" performance, recalling that "with tongue firmly in cheek, she would often wind me up by asking what her motivation was for a particular action, just as I about to call 'Action!', knowing full well that my answer would be, 'Because it's in the script'."[8]
Post-production
[edit]
The film was brightened during post-production following concerns that it would be harder to sell to television broadcasters if it appeared too dimly lit.[3] Cuts were made to some of the more graphic shots of Sandy giving birth to ensure that the film would not be rejected by the British Board of Film Censors (BBFC).[9] According to Warren, editor Peter Boyle "had a natural feel for the material and managed to create just the right pace and rhythm throughout the film."[3] The title sequence was produced by Oxford Scientific Films.[10]
Music
[edit]
As Inseminoid's low budget precluded hiring an orchestra, Warren and composer John Scott agreed that the film should have an electronic score. The recording involved many hours of multi-tracking and overdubbing. Warren described the completed soundtrack as an "amazing achievement", noting that electronic scores were still "quite experimental" at the time.[3] The soundtrack was released as an LP record in 1982.[11]
InseminoidSoundtrack album by Released1982GenreElectronicLength34:50LabelCitadel Records[11]
Release
[edit]
The BBFC first certified the film X, and then 18; in 2005, it reduced this to 15.[4][12] The Motion Picture Association of America gave the film an R rating for "profanity, nudity, violence, rape and gore".[13]
In Germany, cinemas began showing the film in January 1981 under the title Samen des Bösen (English: Seeds of Evil). In the UK, the film premiered on 22 March in the Midlands, subsequently opening at 65 cinemas in the region. It reached London in October.[3] The film was commercially successful, reaching number five at the UK box office and number seven in France.[3][9] Inseminoid was also one of the first films to have a VHS release not long after its initial cinema run, and in November 1981 peaked at number seven in the UK video charts. It was re-released on VHS in 1992 and 1998.[3]
In the UK, the film's promotion included a regional mailshot consisting of a circular that showed a screaming Geeson in character as Sandy with the tagline "Warning! An Horrific Alien Birth! A Violent Nightmare in Blood! Inseminoid at a Cinema Near You Soon!" Warren regretted this move, commenting: "The problem with mail drops is that you have no way of knowing who lives in the house, or who will see it first. It could be a pregnant woman, and old lady, or even worse, a young child. So it was not such a good idea."[3]
To Warren's displeasure, foreign distributor Almi renamed the film Horror Planet for its North American release. This was later changed back to Inseminoid.[5][9]
Reception
[edit]
Inseminoid was nominated for the Fantasporto award for best film and won the Fantafestival award for best special effects.[15] Roger Corman congratulated Warren on the film and considered hiring him as a director.[4] However, Inseminoid failed to impress members of the British Academy of Film and Television Arts, who according to Warren, dismissed it as "'commercial rubbish! ... Not the sort of thing the Academy should be showing ... And certainly not the kind of film the British film industry should be making.'"[3] He also remembered that it was not well liked by female audiences: "It seems it is quite common for pregnant women to have nightmares about giving birth to some kind of monster. Of course, all their complaints and their letters which were printed in the local papers only helped to increase the queue at the box office."[3]
Alan Jones of Starburst magazine expressed a preference for the British members of the cast, calling Geeson "absolutely first-rate" but criticising the "weak performances from the token Americans", Robin Clarke and Jennifer Ashley. Praising the film's cost-effective production values, he stated that its depictions of violence carried Warren's "particular trademark". He added that Inseminoid is "not faultless by any means", citing a predictable and often "ridiculous" plot as one of the film's failings. However, he concluded that it met audience expectations for a science fiction B movie, describing it as "far less routine and far more enjoyable than I had expected."[4]
In the US, Inseminoid made the Los Angeles Times top ten list.[3] Reviews elsewhere were more negative. Edward Jones of Virginia's The Free Lance–Star praised the "novel touch" of casting an expectant mother as the villain but added that "in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach." He summed up the film as "no more than a mix of everything-you've-ever-seen-in-a-horror-movie-and-didn't-particularly-want-to-see-again."[16] In a review for the Boca Raton News, Skip Sheffield branded the film "horrible" and "cheapo", advising readers to "imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet." He also argued that the graphic violence is not suspenseful, punning on the name Run Run Shaw in his conclusion that "Horror Planet is a film to run, run away from – fast."[13]
AllMovie rates the film one star out of five. Reviewer Cavett Binion calls Geeson's performance "more than a bit uncomfortable to watch", describes the rape scene as "surreal and truly disgusting" and considers the choice of title "sleazy".[17] Douglas Pratt writes that the film features poor acting and production design with "some gooey gore shots but few other thrills". He concedes that the film "goes through the motions properly, however, so fans will probably find it worth passing the time."[18]
Warren rejected the notion that Inseminoid is comparable to a "video nasty".[9] On the film's supposed cult status, he said: "If Inseminoid has become some form of cult movie, then I am very pleased and, indeed, very flattered."[3] He added that if he were to re-make the film, he would demand a longer shooting schedule and reduce the lighting to heighten the suspense.[3]
Interpretation
[edit]
Inseminoid has been criticised as a perceived imitation,[14][19] "knock-off"[20] or "rip-off"[13][17][18] of the 1979 science-fiction horror film Alien. Peter Wright, a film historian and lecturer at the University of Liverpool, believes that the "atmospheric" cave sequences and the mess hall scene preceding Ricky's madness may have been inspired by Ridley Scott's film, comparing the former to the sequences set on the desolate planetoid and the latter to the violent reveal of the alien "chestburster".[10] Wright considers the Alien connection potentially "exploitative";[21] to Barry Langford of the University of London, it underlines UK cinema's dependence on its US counterpart.[22] Alan Jones argues that "any similarity between Inseminoid and Alien is totally intentional. Except here is the basic idea contained in Alien taken to its sleaziest extreme." He finds one such parallel in the character of Kate (Stephanie Beacham), whom he likens to Ellen Ripley (Sigourney Weaver). However, he also regards Contamination (1980) and Scared to Death (1981) as less effective imitations of Scott.[4] Edward Jones argues that the plot of Inseminoid also borrows from the novel Dracula (1897), the TV series The Bionic Woman (1976–78) and the films The Thing from Another World (1951) and Night of the Living Dead (1968).[16]
Though he acknowledged its similarities to Alien, Warren denied claims that Inseminoid was made as an imitation, pointing out that the script for his film was completed months before Alien was released in the UK. He also said that representatives of 20th Century Fox, which distributed Alien, were shown the completed Inseminoid and that even they discounted the possibility: "... in fact, the head of Fox sent us a very nice letter saying how much he enjoyed the film and wished us luck with the release ... I find it flattering that anyone can compare Alien, which cost in the region of $30 million, with Inseminoid, which cost less than £1 million. We must have done something right."[3]
Various commentators have discussed Inseminoid's depiction of sexual reproduction, female sexuality, conflict between male and female gender roles, pregnancy, new motherhood and Otherness. Wright interprets Sandy's transformation as a "direct manifestation of masculine anxiety regarding female reproductive capacity". He argues that the film's horror is internalised within the seed of the alien being, which renders Sandy "woman-as-other" or "abject "Other". This is in contrast with Alien, which revolves around the transfer of "fear of woman" to "alien other". Wright argues that Inseminoid is reminiscent of Demon Seed (1977), in which a woman is raped and impregnated by an artificially-intelligent computer: "in both films, women are framed as 'Other' by their sexual congress with more conventional iconic others: the machine and the alien." In all of these films, pregnancy is depicted as a source of horror; in Inseminoid specifically, this is conveyed by the "uterine and cervical" title sequence, which to Wright suggests "entering the realm of the monstrous womb ... the titling reveals a microscopic insect resident in the body of a larger organism."[10]
Wright argues that the distorted representation of the womb reveals similarities to David Cronenberg's The Brood (1979), in which a woman gives birth to deformed offspring through parthenogenesis. Analysing the rape sequence itself, in which Karl uses a syringe to inject Sandy with an unknown substance, Wright makes a connection to dialogue in other scenes implying that the women on the archaeological team are regularly given contraceptive injections. Sandy's impregnation, conflicting with the suppression of fertilisation represented by Karl's hypodermic (and phallic) needle, reveals "coherent sexism": it "attacks the very notion of female sexual freedom, while suggesting, paradoxically, that contraception is the responsibility of women." Sandy's accelerated pregnancy and regression to the level of a savage add to her depiction as an abject Other or object of "male paranoia".[10]
During the fight between Sandy and Gary, Sandy waits until Gary has half-suffocated before killing him. Wright suggests that this sequence is reassuring from a male perspective as it suggests that no woman – not even one with unnatural strength – is strong enough to kill a man in cold blood. That Sandy is ultimately killed by a man (Mark) makes her an aid in the re-empowerment of the male sex, although her offspring are quick to avenge their mother.[10] Comparing the plot of Inseminoid to religious scripture, Christopher Partridge of Lancaster University refers to the twins as "essentially space Nephilim, technological demons with appetites and habits reminiscent of the mythic forebears."[24]
The film's sexual references continue into the epilogue, which shows the arrival of rescuers Jeff, Corin and Roy. In an allusion to the menstrual cycle, the characters state that 28 days have passed since Xeno lost contact with the team. The deaths of the archaeologists are attributed to an "internal disturbance of some kind", which Wright describes as "an ironic phrase which encapsulates the film's vision of pregnancy as an irruption of Otherness from within."[10]
On the subject of Larry Miller's novelisation, which he calls "imaginative and misogynistic", Wright notes a number of scenes that are absent from the film and distort the female form, causing revulsion in the reader. Miller has Sandy grow sores ooze pus from her nipples, which Wright likens to a new mother producing colostrum. Sandy accepts these unnatural changes with fascination.[10]
See also
[edit]
Film portal
Science fiction portal
Horror portal
List of British films of 1981
List of horror films of 1981
List of films featuring extraterrestrials
List of films set in the future
List of monster movies
Reproduction and pregnancy in speculative fiction
References
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Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Satan's Slave Blu-ray review
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introduction
My first encounter with the work of low-budget British horror specialist Norman J. Warren was probably also the reason I didn't seek out any of his other films. Herein lies a lesson about the importance of not judging any filmmaker on the basis a single feature. The film in question was his 1981 science fiction-horror Inseminoid, which I was initially drawn to by VHS rental cover artwork that I doubt would make it onto the shelves today. It featured the image of a naked woman with her legs spread being approached by an alien creature. It was framed at an angle that avoided testing Britain's obscenity laws, but was still creepily suggestive of inter-species sex and perhaps even alien rape. What drew me to it was a sort of "oh surely it can't be" disbelief that a post-video nasty release could contain such a scene, coupled with a perverse curiosity to see if it did. It did. Sort of. But the film itself had me giggling and groaning in equal measure. It's since developed a bit of a cult following, but it's safe to say that I wasn't a fan.
Thus the prospect of a box set full of films by the man who made Inseminoid â a set that also included Inseminoid â did not exactly thrill me. Having returned to reviewing after an expended break, however, it was deemed by those in editorial authority that I was the logical choice to cover this set, for no other reason than I've always been sympathetic to the pleasures of made-on-the-cheap horror. And the cinema of Norman J. Warren certainly qualifies. Hearing him talk on the commentary tracks in this set about the sometimes insanely low budgets he had to work with gave me a good deal of respect for him and his ability to deliver films that rarely look as cheap as they apparently were to make. Watching these films I began to wonder if Warren worked by finding a decent location to which he is granted access and then asked his scriptwriter to come up with a story that can make use of it. The special features confirm that this was never the case. Warren was just great at finding the required settings and getting access to them for free. That he liberally borrows from â or should that be is influenced by â a range of genre classics is something he's not always shy of admitting. To my surprise, this sometimes gives rise to far better movies than I had anticipated.
What comes across in spades in this set is that Warren is one of the nicest guys ever to stand behind a movie camera and that he loves what he does and enjoys talking about it. It's partly this that has enabled Indicator to gather such an insane number of special features for this release, but does also mean that there is some repetition, with some of the stories being told multiple times across several extras and even discs. And there's a huge amount to watch and listen to here. If you want to watch all five films and all of the extras in a box-set bash, I'd take a week off work and get a big supply of snacks. If I'd have been able to do this, I'm sure this review wouldn't have swallowed up all of my spare time for the past four weeks. The original plan was to do what we refer to here as a capsule review of each film (four paragraphs max, five if they're short) to save time and screen space, but I ended up treating each film and its associated special features as a stand-alone disc. Which in a sense they all are.
I'll admit now that I'm still in the process of finishing four of the reviews and have had to go back a re-watch them to refresh my memory and give each one the second (or third) chance it deserves. But the release date is upon us and we're starting to get a reputation for delivering reviews late, so we've decided that instead of holding off until I finish the whole thing, we'd post the review in single-film sections as each is completed. To that end, I will be finishing them off and posting them in chronological order, which means we kick off withâ¦
Satan's Slave
You see this is what I meant when I said it's important to see more than one film by any director. I went in expecting little. I came out with a beaming smile on my face. Not because Satan's Slave is a cheerful film with an upbeat musical climax, but because it surprised the hell out of me and completely turned me around on the director who was later to give us Inseminoid. It even made me start looking forward to revisiting that film, but we'll get to that later. What surprised me the most about Satan's Slave, given that subtlety is not Inseminoid's star quality and that Satan's Slave is not the coyest of titles, is the level of restraint in both its handling and performances. The expected sudden bursts of violence and female nudity aside, it's a remarkably low-key affair that credits its audience with having the patience and intelligence not to see this as a failing. Because it isn't. No sir.
It begins with a satanic ritual in which a young woman is stripped nude, held down, has what sounds like an orgasmic experience and is then ritually killed, all under the direction of an unidentified man in robes wearing the sort of goat head mask that wouldn't have looked out of place in Hammer's The Devil Rides Out. The same goes for the opening titles, as it happens. Cut to a young man wining and dining a girl in a well-to-do house late one evening. She's tired from the drinking and it's late, so she accepts the young man's offer to stay the night. She clearly likes him and doesn't resist his kisses, but when he tries to force himself on her in the bedroom she loudly protests and fights the over-privileged bastard off. Good for her. He throws her clothes at her, tells her to leave and starts laughing, but as she opens the front door, her would-be rapist appears from nowhere and slams the door against her head. Just to make sure, the man then stabs his victim repeatedly with a knife, and is just surveying his work when a car pulls into the drive. Unsure what to do, he drags the mat on which the body has fallen across the floor. He doesn't get far, and when the door opens a woman enters, realises that there is blood on the door, turns to face the cowering figure and his victim andâ¦
â¦and we cut to the next scene. Some will doubtless question the editing here, but I thought this was inspired. It's completely unexpected and leaves us with a host of questions we know won't be answered until later in the film. Some of them never are. Even after the film had concluded I was still smiling at the sheer creative balls of this edit.
We then meet two new characters in the shape of Catherine Yorke (Candace Glendenning) and her boyfriend John (Michael Craze) when they wake up in their glumly decorated London flat. Catherine's up early so that she can get ready for a trip to visit an uncle she didn't previously realise that she had. She'll be away for her birthday, which disappoints John, but he promises to take her out for a meal when she gets back (what a guy) and gives her a bracelet that once belonged to his mother as a present. I presume his mother died and he didn't just steal it from her. Some clunky exposition aside, this whole scene has a pleasingly naturalistic feel. Even Catherine's portentous revelation that she's been having premonitions is somehow painlessly shoehorned in. That, we can assume, will be important later. It's a similarly low-key story with Catherine's parents, Malcolm (James Bree) and Elizabeth (Celia Hewitt), with whom she is travelling. Both actors are clearly at ease in their roles and their exchanges have a nicely conversational authenticity. This was already feeling like a cut above the average micro-budget 70s British horror film.
The three drive to Uncle Alexander's in their Bentley, get lost on country roads (oh, I've been there), and just as they approach Alexander's isolated house, Malcolm is stricken with a sudden and agonising headache and crashes into a tree in Alexander's drive. Mother's okay, Malcolm assures his daughter (she's clearly dead) and urgently suggests that Catherine heads to the house to call an ambulance. She's halfway there when the car explodes. Alexander (Michael Gough) arrives to take care of the distraught Catherine, and with the assistance of his secretary Frances (Barbara Kellerman) and his adult son Stephen (Martin Potter), he calms her down (this is achieved with unconvincing speed, but I'll live with the shortcut) and gives her a couple of sedatives and a bed to rest in for the night.
If this sounds more like a drama than a horror film then there are a couple of things that I should probably mention. The first is that Stephen is instantly recognisable as the young man who murdered the girl at the start of the film, which raises instant concerns for Catherine's safety despite the seemingly real concern he expresses for his cousin's wellbeing. The second⦠well, the second one's tricky, and I'm tempted to suggest you hop ahead to the next paragraph if you don't know your British horror actors, as what seemed obvious to me may come as a surprise to some, and may well be intended as such. Michael Gough, you see, had one of the most distinctive voices in British cinema, and anyone familiar with his work will quickly realise that it's him behind the goat-head mask in the opening scene. But I'm not sure if we're meant to work that out or not. As a result, I'm also unsure whether we're supposed to believe at this point that Alexander really is a kindly old uncle with Catherine's best interests at heart or be aware that he's the head of a devilish cult that sacrifices young women and be fearful of his intentions towards his niece from the off. Personally, I lean towards the latter, as if director Warren had really wanted to disguise Gough's identity earlier, he probably wouldn't have had him say anything at all. Then again, I'm not in a position to say from a 2019 position how instantly recognisable Gough's voice would have been back in 1976. Answers on an electronic postcard please.
Either way, we know something's not right here and that Catherine's life is potentially in danger while cousin Stephen has his watchful eye on her. At one point he takes her to a spot in the woods where her gift for second sight prompts her to have a vision of an event from the distant past, one in which a women is stripped naked and then branded and whipped by the sort of dangerous religious nutballs who once claimed that women who spoke their minds were consorting with the Devil. And he leaves her there, heads back to the house and settles down with a good book. At this stage I was still uncertain what Stephen was up to. We know by now that he's been sleeping with Frances and that she's getting pissed off that he no longer seems interested in her. She's especially narked that he seems to now fancy Catherine. Is that why she steals a key from Alexander's keyring and goes digging the desk in his office for document that we never get to see? And it does start to look as if Stephen has a serious thing for his cousin, and even that she might be starting to fancy him.
Given that this was Warren's first horror feature, the fact that he doesn't feel the need to accelerate the pace and start throwing incidents at us every couple of minutes is a testament to his judgement, his directorial skills and his clear understanding of the workings of a genre he remains a fan of to this day. While the full extent of the mystery is most effectively kept under wraps until the time is right, the title and the opening sequence clue us in from the start to the fact that it involves the occult. And when the forces of darkness are harnessed here, the scenes are convincingly handled, notably when the effects of a destructive hex are made painfully clear through a combination of performance, camerawork and the disturbing abstractions of John Scott's atmospheric score. Here the film briefly did something that I've seen The Omen rightly credited for by making the theoretically absurd seem somehow plausible. That's how it becomes scary.
The film is nicely cast and the performances are far stronger than we've come to expect from low-budget horror. I'll give a special shout to Barbara Kellerman as Frances and particularly Michael Gough as Uncle Alexander, a man whose unspecified but subtly sinister intent hovers unsettlingly behind a mask of gentlemanly politeness. Some have unkindly suggested that Martin Potter is a little one-note as Stephen, but for me he nails the delivery and body language of someone who is wrestling inner demons, and at times he proved sympathetic enough for me to almost forget that he brutally murdered that poor girl at the start of the film. Almost. Indeed, there were moments when he starts really falling for Catherine when I was reminded a little of George Romero's Martin, whose title character's murderous impulses recede when he stops preying on women and starts having a fulfilling relationship with one instead.
Warren's command of pacing and blend of handheld camera, formally framed shots and smoothly executed tracks, coupled with cinematographer Les Young's moody lighting and John Scott's score, builds an atmosphere that owes as much to the British folk horror works of the day as it does to prime period Hammer. Yes, there is nudity and yes there is gore, but both are reasonably rationed and made to at least feel as if they are justified in narrative terms. The slow-build approach means that the most violent scenes don't come until later, but when they do, they deliver and include one that over 40 years after it was shot made me yelp and leap out of my seat in horror. The twists are well timed and we are more than once effectively wrong-footed, and the makeup effects bely the film's preposterously small budget. I'm happy to admit that I never expected to enjoy this film as much as I did. Nice one, Norman.
the two versions
When you opt to play the film you're given the option to watch the original UK cut or the one prepared for international release. My review is based on the former, as this is the version that Warren prefers. There's actually only one difference between the two versions, and that's how the early scene where Stephen attempts to force himself on his female guest plays out. In the UK cut there's a struggle and some nudity and the girl breaks free.
In the export version the whole thing is more protracted and censor-baiting. Here Stephen suffocates the girl into unconsciousness with a pillow, then gags her, ties her down and cuts her clothes off with scissors, which he then runs over her body as if musing what injury to inflict on her. It gets worse. During the course of what amounts to a torture scene, he toys with the idea of cutting off one of her nipples, then runs the scissors down her body to, well, you can guess. It's then the girl breaks free. It's an unpleasant sequence that wanders into the seedier side of giallo cinema and came about after Warren was assured that it would bolster international sales (it did, apparently). I was somewhat relieved to hear that Warren himself dislikes this sequence and considers it distasteful and a bad fit for his film.
It's worth noting that the UK version of the film suffered a number of BBFC-imposed cuts, but the censored material has all been reinstated for this release. Hoorah.
sound and vision
Framed in is original aspecty ratio of 2.35:1, the 1080p transfer here is not without its issues, with the colour in particular often some way from naturalistic on artificially lit interior scenes, though exteriors and daylight lit interiors (when people are looking out of windows, for instance) tend to fare far better. At its best, the image is in very good shape, with nicely defined detail and well-balanced contrast, and while there is some slight flicker in places it's rarely distracting. On some darker scenes the shadows are strong enough to suck in a little detail, but this is never a big issue. The biggest casualty is the above-detailed scene in which Stephen attempts to sexually assault his guest â on his commentary, Warren reveals that he was only able to track down a single copy of the film that included the original British cut of that scene, and this displays some very visible damage. The longer export version is in far better shape.
The DTS-HD Master Audio 1.0 mono soundtrack has fared less well than the picture and contains a fair few pops and some background fluff. There's also a slightly crispy treble bias to the dialogue and sound effects, but there's never a problem following what anyone is saying.
There are, of course, optional English subtitles for the deaf and hearing impaired.
extra features
Audio Commentary with Norman J. Warren and David McGillivray
Director Norman J. Warren and screenwriter David MacGillivray make for entertainingly odd couple pairing here, with Warren's energetic enthusiasm amusingly offset by MacGillivray's air of world-weary cynicism. MacGillivray admits up front to not having seen the film since it was made, and reveals that it was on TV a few weeks previously and that "I watched the first ten minutes and then I couldn't bear any more." As it goes on, however, he warms to a film that he realises is better than he remembers and is repeatedly caught out by some of the stories Warren tells him about the shoot. Some of the topics covered are repeated elsewhere, but the casually conversational nature of the banter here makes it the best place to hear it all first, and there is plenty that is unique to this extra. I thoroughly enjoyed this. The two are reunited on the Terror disc.
Audio Commentary with Norman J. Warren and John Scott
In this second commentary, Warren is teamed with composer John Scott, and whilst Scott provides some useful information on the composition and recording of the score, much of what Warren has to say about the film is a rerun of his comments on the previous commentary or his interviews elsewhere in this set. Well worth a listen, but not as entertaining or revealing as the above.
Before the Blood (28:42)
The first part of an interview conducted specifically for this release with director Norman J. Warren focuses on his early life and career. As I said in my introduction, Warren is a hugely likeable and enthusiastic talker, and his recollections of how he fell in love with film and got started in the business are full of engaging anecdotes. My favourite involves how he landed an absolutely killer cast of future stars for his first feature, Carol, which tragically never got made â this alone would have made that a cult film. To my genuine astonishment, he was also one of the editors on William Burroughs' and Antony Balch's experimental works Towers Open Fire and The Cut-Ups, films that fellow reviewer Lord Summerisle has written about in considerable detail here. He also covers forming his own production company and making a glamour film for a client who liked the result but never came back for more.
All You Need is Blood (13:46)
Oh, this is a bit of a treat, a making-of featurette shot at the time of the film's production, but with newly added titles and captions (they're just too sharp and stable to have been optically added at the time). It includes footage of the shoot and interviews with the likes of screenwriter David McGillivray and actor Michael Gough, plus some narration from Warren, who introduces us to some of the crew. Lots on makeup and makeup effects here.
All You Need is Blood Outtakes (32:42)
A slightly misleading title, as this is not so much outtakes â much of the footage here is included in the featurette â as the raw footage from which the above was created. There's some interesting stuff here, my favourite being the shot of a barebones crew filming the tail end of a deadly dive from a tower block whilst a woman pushing a pram stops close to them to presumably wonder what the hell is going on.
Creating Satan (30:14)
A making-of featurette shot for what looks like an earlier Anchor Bay DVD, this is another welcome inclusion. It's built around interviews with producer-cinematographer Les Young, director Norman J. Warren, writer David MacGillivray and actor Martin Potter, who all have engaging recollections of the funding, making and distribution of the film, some of which is repeated elsewhere in this disc but often from a different perspective. There are also contributions from associate producer Moira Young on being pushed by her husband to take the place of an absent actress who was due to play the nude sacrificial victim in the opening scene, and film sales and distribution man Ken Dowling on the film's double-bill teaming with Curtis Harrington's Ruby.
Devilish Music (13:05)
In what also looks like an extra from the Anchor Bay DVD, composer John Scott talks about his early friendship with Norman J. Warren and provides some interesting specifics of composing and performing the score on a budget that only allowed for 7 musicians. Particularly engaging are the stories of how he and his colleagues collaborated and how they used experimentation to cover up for the instruments they lacked.
Deleted Scenes
The two edited sequences here are both lacking a soundtrack (the magnetic tapes have disintegrated) and are both from the monochrome work print used to edit the film â colour work prints were too expensive back then for a low-budget production such as this. On Dream Sequence (2:12) Warren's brief intro gives way to score music. Tea Party (3:05) includes some information from Warren on why the sequence was shot and why it was eventually cut, then plays out in silence. Since this is a dialogue-heavy scene (one of the reasons it was cut in the first place), there's not much to hold you after Warren has said his piece.
Censoring 'Satan's Slave' (15:51)
A really useful run-though of the cuts to the film requested by the BBFC in order to get it an X certificate. Each scene is shown first in its X certificate version, then run side-by-side (or whatever its vertical equivalent is called) with the uncut version for comparison. You should steer clear of this before watching the film for the first time to avoid spoilers â even listing the scenes in question would give the game away.
Trailers
Two theatrical trailers have been included. The 'U' Theatrical Trailer (2:08) is a ramshackle affair in which the music comes and goes in a heartbeat and that includes some spoilers if you're paying attention. The 'R' Theatrical Trailer (3:10) is essentially the same, but with added nudity and violence and a lot more spoilers, including the bloody ending!
Image Gallery
56 slides of promotional stills, press book pages, posters and video covers. Some nudity, some violence and some spoilers.
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Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Satan's Slave Blu-ray review
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introduction
My first encounter with the work of low-budget British horror specialist Norman J. Warren was probably also the reason I didn't seek out any of his other films. Herein lies a lesson about the importance of not judging any filmmaker on the basis a single feature. The film in question was his 1981 science fiction-horror Inseminoid, which I was initially drawn to by VHS rental cover artwork that I doubt would make it onto the shelves today. It featured the image of a naked woman with her legs spread being approached by an alien creature. It was framed at an angle that avoided testing Britain's obscenity laws, but was still creepily suggestive of inter-species sex and perhaps even alien rape. What drew me to it was a sort of "oh surely it can't be" disbelief that a post-video nasty release could contain such a scene, coupled with a perverse curiosity to see if it did. It did. Sort of. But the film itself had me giggling and groaning in equal measure. It's since developed a bit of a cult following, but it's safe to say that I wasn't a fan.
Thus the prospect of a box set full of films by the man who made Inseminoid â a set that also included Inseminoid â did not exactly thrill me. Having returned to reviewing after an expended break, however, it was deemed by those in editorial authority that I was the logical choice to cover this set, for no other reason than I've always been sympathetic to the pleasures of made-on-the-cheap horror. And the cinema of Norman J. Warren certainly qualifies. Hearing him talk on the commentary tracks in this set about the sometimes insanely low budgets he had to work with gave me a good deal of respect for him and his ability to deliver films that rarely look as cheap as they apparently were to make. Watching these films I began to wonder if Warren worked by finding a decent location to which he is granted access and then asked his scriptwriter to come up with a story that can make use of it. The special features confirm that this was never the case. Warren was just great at finding the required settings and getting access to them for free. That he liberally borrows from â or should that be is influenced by â a range of genre classics is something he's not always shy of admitting. To my surprise, this sometimes gives rise to far better movies than I had anticipated.
What comes across in spades in this set is that Warren is one of the nicest guys ever to stand behind a movie camera and that he loves what he does and enjoys talking about it. It's partly this that has enabled Indicator to gather such an insane number of special features for this release, but does also mean that there is some repetition, with some of the stories being told multiple times across several extras and even discs. And there's a huge amount to watch and listen to here. If you want to watch all five films and all of the extras in a box-set bash, I'd take a week off work and get a big supply of snacks. If I'd have been able to do this, I'm sure this review wouldn't have swallowed up all of my spare time for the past four weeks. The original plan was to do what we refer to here as a capsule review of each film (four paragraphs max, five if they're short) to save time and screen space, but I ended up treating each film and its associated special features as a stand-alone disc. Which in a sense they all are.
I'll admit now that I'm still in the process of finishing four of the reviews and have had to go back a re-watch them to refresh my memory and give each one the second (or third) chance it deserves. But the release date is upon us and we're starting to get a reputation for delivering reviews late, so we've decided that instead of holding off until I finish the whole thing, we'd post the review in single-film sections as each is completed. To that end, I will be finishing them off and posting them in chronological order, which means we kick off withâ¦
Satan's Slave
You see this is what I meant when I said it's important to see more than one film by any director. I went in expecting little. I came out with a beaming smile on my face. Not because Satan's Slave is a cheerful film with an upbeat musical climax, but because it surprised the hell out of me and completely turned me around on the director who was later to give us Inseminoid. It even made me start looking forward to revisiting that film, but we'll get to that later. What surprised me the most about Satan's Slave, given that subtlety is not Inseminoid's star quality and that Satan's Slave is not the coyest of titles, is the level of restraint in both its handling and performances. The expected sudden bursts of violence and female nudity aside, it's a remarkably low-key affair that credits its audience with having the patience and intelligence not to see this as a failing. Because it isn't. No sir.
It begins with a satanic ritual in which a young woman is stripped nude, held down, has what sounds like an orgasmic experience and is then ritually killed, all under the direction of an unidentified man in robes wearing the sort of goat head mask that wouldn't have looked out of place in Hammer's The Devil Rides Out. The same goes for the opening titles, as it happens. Cut to a young man wining and dining a girl in a well-to-do house late one evening. She's tired from the drinking and it's late, so she accepts the young man's offer to stay the night. She clearly likes him and doesn't resist his kisses, but when he tries to force himself on her in the bedroom she loudly protests and fights the over-privileged bastard off. Good for her. He throws her clothes at her, tells her to leave and starts laughing, but as she opens the front door, her would-be rapist appears from nowhere and slams the door against her head. Just to make sure, the man then stabs his victim repeatedly with a knife, and is just surveying his work when a car pulls into the drive. Unsure what to do, he drags the mat on which the body has fallen across the floor. He doesn't get far, and when the door opens a woman enters, realises that there is blood on the door, turns to face the cowering figure and his victim andâ¦
â¦and we cut to the next scene. Some will doubtless question the editing here, but I thought this was inspired. It's completely unexpected and leaves us with a host of questions we know won't be answered until later in the film. Some of them never are. Even after the film had concluded I was still smiling at the sheer creative balls of this edit.
We then meet two new characters in the shape of Catherine Yorke (Candace Glendenning) and her boyfriend John (Michael Craze) when they wake up in their glumly decorated London flat. Catherine's up early so that she can get ready for a trip to visit an uncle she didn't previously realise that she had. She'll be away for her birthday, which disappoints John, but he promises to take her out for a meal when she gets back (what a guy) and gives her a bracelet that once belonged to his mother as a present. I presume his mother died and he didn't just steal it from her. Some clunky exposition aside, this whole scene has a pleasingly naturalistic feel. Even Catherine's portentous revelation that she's been having premonitions is somehow painlessly shoehorned in. That, we can assume, will be important later. It's a similarly low-key story with Catherine's parents, Malcolm (James Bree) and Elizabeth (Celia Hewitt), with whom she is travelling. Both actors are clearly at ease in their roles and their exchanges have a nicely conversational authenticity. This was already feeling like a cut above the average micro-budget 70s British horror film.
The three drive to Uncle Alexander's in their Bentley, get lost on country roads (oh, I've been there), and just as they approach Alexander's isolated house, Malcolm is stricken with a sudden and agonising headache and crashes into a tree in Alexander's drive. Mother's okay, Malcolm assures his daughter (she's clearly dead) and urgently suggests that Catherine heads to the house to call an ambulance. She's halfway there when the car explodes. Alexander (Michael Gough) arrives to take care of the distraught Catherine, and with the assistance of his secretary Frances (Barbara Kellerman) and his adult son Stephen (Martin Potter), he calms her down (this is achieved with unconvincing speed, but I'll live with the shortcut) and gives her a couple of sedatives and a bed to rest in for the night.
If this sounds more like a drama than a horror film then there are a couple of things that I should probably mention. The first is that Stephen is instantly recognisable as the young man who murdered the girl at the start of the film, which raises instant concerns for Catherine's safety despite the seemingly real concern he expresses for his cousin's wellbeing. The second⦠well, the second one's tricky, and I'm tempted to suggest you hop ahead to the next paragraph if you don't know your British horror actors, as what seemed obvious to me may come as a surprise to some, and may well be intended as such. Michael Gough, you see, had one of the most distinctive voices in British cinema, and anyone familiar with his work will quickly realise that it's him behind the goat-head mask in the opening scene. But I'm not sure if we're meant to work that out or not. As a result, I'm also unsure whether we're supposed to believe at this point that Alexander really is a kindly old uncle with Catherine's best interests at heart or be aware that he's the head of a devilish cult that sacrifices young women and be fearful of his intentions towards his niece from the off. Personally, I lean towards the latter, as if director Warren had really wanted to disguise Gough's identity earlier, he probably wouldn't have had him say anything at all. Then again, I'm not in a position to say from a 2019 position how instantly recognisable Gough's voice would have been back in 1976. Answers on an electronic postcard please.
Either way, we know something's not right here and that Catherine's life is potentially in danger while cousin Stephen has his watchful eye on her. At one point he takes her to a spot in the woods where her gift for second sight prompts her to have a vision of an event from the distant past, one in which a women is stripped naked and then branded and whipped by the sort of dangerous religious nutballs who once claimed that women who spoke their minds were consorting with the Devil. And he leaves her there, heads back to the house and settles down with a good book. At this stage I was still uncertain what Stephen was up to. We know by now that he's been sleeping with Frances and that she's getting pissed off that he no longer seems interested in her. She's especially narked that he seems to now fancy Catherine. Is that why she steals a key from Alexander's keyring and goes digging the desk in his office for document that we never get to see? And it does start to look as if Stephen has a serious thing for his cousin, and even that she might be starting to fancy him.
Given that this was Warren's first horror feature, the fact that he doesn't feel the need to accelerate the pace and start throwing incidents at us every couple of minutes is a testament to his judgement, his directorial skills and his clear understanding of the workings of a genre he remains a fan of to this day. While the full extent of the mystery is most effectively kept under wraps until the time is right, the title and the opening sequence clue us in from the start to the fact that it involves the occult. And when the forces of darkness are harnessed here, the scenes are convincingly handled, notably when the effects of a destructive hex are made painfully clear through a combination of performance, camerawork and the disturbing abstractions of John Scott's atmospheric score. Here the film briefly did something that I've seen The Omen rightly credited for by making the theoretically absurd seem somehow plausible. That's how it becomes scary.
The film is nicely cast and the performances are far stronger than we've come to expect from low-budget horror. I'll give a special shout to Barbara Kellerman as Frances and particularly Michael Gough as Uncle Alexander, a man whose unspecified but subtly sinister intent hovers unsettlingly behind a mask of gentlemanly politeness. Some have unkindly suggested that Martin Potter is a little one-note as Stephen, but for me he nails the delivery and body language of someone who is wrestling inner demons, and at times he proved sympathetic enough for me to almost forget that he brutally murdered that poor girl at the start of the film. Almost. Indeed, there were moments when he starts really falling for Catherine when I was reminded a little of George Romero's Martin, whose title character's murderous impulses recede when he stops preying on women and starts having a fulfilling relationship with one instead.
Warren's command of pacing and blend of handheld camera, formally framed shots and smoothly executed tracks, coupled with cinematographer Les Young's moody lighting and John Scott's score, builds an atmosphere that owes as much to the British folk horror works of the day as it does to prime period Hammer. Yes, there is nudity and yes there is gore, but both are reasonably rationed and made to at least feel as if they are justified in narrative terms. The slow-build approach means that the most violent scenes don't come until later, but when they do, they deliver and include one that over 40 years after it was shot made me yelp and leap out of my seat in horror. The twists are well timed and we are more than once effectively wrong-footed, and the makeup effects bely the film's preposterously small budget. I'm happy to admit that I never expected to enjoy this film as much as I did. Nice one, Norman.
the two versions
When you opt to play the film you're given the option to watch the original UK cut or the one prepared for international release. My review is based on the former, as this is the version that Warren prefers. There's actually only one difference between the two versions, and that's how the early scene where Stephen attempts to force himself on his female guest plays out. In the UK cut there's a struggle and some nudity and the girl breaks free.
In the export version the whole thing is more protracted and censor-baiting. Here Stephen suffocates the girl into unconsciousness with a pillow, then gags her, ties her down and cuts her clothes off with scissors, which he then runs over her body as if musing what injury to inflict on her. It gets worse. During the course of what amounts to a torture scene, he toys with the idea of cutting off one of her nipples, then runs the scissors down her body to, well, you can guess. It's then the girl breaks free. It's an unpleasant sequence that wanders into the seedier side of giallo cinema and came about after Warren was assured that it would bolster international sales (it did, apparently). I was somewhat relieved to hear that Warren himself dislikes this sequence and considers it distasteful and a bad fit for his film.
It's worth noting that the UK version of the film suffered a number of BBFC-imposed cuts, but the censored material has all been reinstated for this release. Hoorah.
sound and vision
Framed in is original aspecty ratio of 2.35:1, the 1080p transfer here is not without its issues, with the colour in particular often some way from naturalistic on artificially lit interior scenes, though exteriors and daylight lit interiors (when people are looking out of windows, for instance) tend to fare far better. At its best, the image is in very good shape, with nicely defined detail and well-balanced contrast, and while there is some slight flicker in places it's rarely distracting. On some darker scenes the shadows are strong enough to suck in a little detail, but this is never a big issue. The biggest casualty is the above-detailed scene in which Stephen attempts to sexually assault his guest â on his commentary, Warren reveals that he was only able to track down a single copy of the film that included the original British cut of that scene, and this displays some very visible damage. The longer export version is in far better shape.
The DTS-HD Master Audio 1.0 mono soundtrack has fared less well than the picture and contains a fair few pops and some background fluff. There's also a slightly crispy treble bias to the dialogue and sound effects, but there's never a problem following what anyone is saying.
There are, of course, optional English subtitles for the deaf and hearing impaired.
extra features
Audio Commentary with Norman J. Warren and David McGillivray
Director Norman J. Warren and screenwriter David MacGillivray make for entertainingly odd couple pairing here, with Warren's energetic enthusiasm amusingly offset by MacGillivray's air of world-weary cynicism. MacGillivray admits up front to not having seen the film since it was made, and reveals that it was on TV a few weeks previously and that "I watched the first ten minutes and then I couldn't bear any more." As it goes on, however, he warms to a film that he realises is better than he remembers and is repeatedly caught out by some of the stories Warren tells him about the shoot. Some of the topics covered are repeated elsewhere, but the casually conversational nature of the banter here makes it the best place to hear it all first, and there is plenty that is unique to this extra. I thoroughly enjoyed this. The two are reunited on the Terror disc.
Audio Commentary with Norman J. Warren and John Scott
In this second commentary, Warren is teamed with composer John Scott, and whilst Scott provides some useful information on the composition and recording of the score, much of what Warren has to say about the film is a rerun of his comments on the previous commentary or his interviews elsewhere in this set. Well worth a listen, but not as entertaining or revealing as the above.
Before the Blood (28:42)
The first part of an interview conducted specifically for this release with director Norman J. Warren focuses on his early life and career. As I said in my introduction, Warren is a hugely likeable and enthusiastic talker, and his recollections of how he fell in love with film and got started in the business are full of engaging anecdotes. My favourite involves how he landed an absolutely killer cast of future stars for his first feature, Carol, which tragically never got made â this alone would have made that a cult film. To my genuine astonishment, he was also one of the editors on William Burroughs' and Antony Balch's experimental works Towers Open Fire and The Cut-Ups, films that fellow reviewer Lord Summerisle has written about in considerable detail here. He also covers forming his own production company and making a glamour film for a client who liked the result but never came back for more.
All You Need is Blood (13:46)
Oh, this is a bit of a treat, a making-of featurette shot at the time of the film's production, but with newly added titles and captions (they're just too sharp and stable to have been optically added at the time). It includes footage of the shoot and interviews with the likes of screenwriter David McGillivray and actor Michael Gough, plus some narration from Warren, who introduces us to some of the crew. Lots on makeup and makeup effects here.
All You Need is Blood Outtakes (32:42)
A slightly misleading title, as this is not so much outtakes â much of the footage here is included in the featurette â as the raw footage from which the above was created. There's some interesting stuff here, my favourite being the shot of a barebones crew filming the tail end of a deadly dive from a tower block whilst a woman pushing a pram stops close to them to presumably wonder what the hell is going on.
Creating Satan (30:14)
A making-of featurette shot for what looks like an earlier Anchor Bay DVD, this is another welcome inclusion. It's built around interviews with producer-cinematographer Les Young, director Norman J. Warren, writer David MacGillivray and actor Martin Potter, who all have engaging recollections of the funding, making and distribution of the film, some of which is repeated elsewhere in this disc but often from a different perspective. There are also contributions from associate producer Moira Young on being pushed by her husband to take the place of an absent actress who was due to play the nude sacrificial victim in the opening scene, and film sales and distribution man Ken Dowling on the film's double-bill teaming with Curtis Harrington's Ruby.
Devilish Music (13:05)
In what also looks like an extra from the Anchor Bay DVD, composer John Scott talks about his early friendship with Norman J. Warren and provides some interesting specifics of composing and performing the score on a budget that only allowed for 7 musicians. Particularly engaging are the stories of how he and his colleagues collaborated and how they used experimentation to cover up for the instruments they lacked.
Deleted Scenes
The two edited sequences here are both lacking a soundtrack (the magnetic tapes have disintegrated) and are both from the monochrome work print used to edit the film â colour work prints were too expensive back then for a low-budget production such as this. On Dream Sequence (2:12) Warren's brief intro gives way to score music. Tea Party (3:05) includes some information from Warren on why the sequence was shot and why it was eventually cut, then plays out in silence. Since this is a dialogue-heavy scene (one of the reasons it was cut in the first place), there's not much to hold you after Warren has said his piece.
Censoring 'Satan's Slave' (15:51)
A really useful run-though of the cuts to the film requested by the BBFC in order to get it an X certificate. Each scene is shown first in its X certificate version, then run side-by-side (or whatever its vertical equivalent is called) with the uncut version for comparison. You should steer clear of this before watching the film for the first time to avoid spoilers â even listing the scenes in question would give the game away.
Trailers
Two theatrical trailers have been included. The 'U' Theatrical Trailer (2:08) is a ramshackle affair in which the music comes and goes in a heartbeat and that includes some spoilers if you're paying attention. The 'R' Theatrical Trailer (3:10) is essentially the same, but with added nudity and violence and a lot more spoilers, including the bloody ending!
Image Gallery
56 slides of promotional stills, press book pages, posters and video covers. Some nudity, some violence and some spoilers.
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Inseminoid (1981)
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Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren. It stars Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and...
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Hammer horror Wiki
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https://hammerhouseofhorror.fandom.com/wiki/Inseminoid_(1981)
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Inseminoid (titled Horror Planet in the United States) is a 1981 British science fiction horror film directed by Norman J. Warren. It stars Judy Geeson, Robin Clarke and Stephanie Beacham, along with Victoria Tennant in one of her early film roles. The plot concerns a team of archaeologists and scientists who are excavating the ruins of an ancient civilization on a distant planet. One of the women in the team (Geeson) is impregnated by an alien creature and taken over by a mysterious intelligence, driving her to murder her colleagues one by one and feed on them.
Inseminoid was written by Nick and Gloria Maley, a married couple who had been part of the special effects team on Warren's earlier film Satan's Slave. Filmed between May and June 1980 on a budget of £1 million, half of which was supplied by the Shaw Brothers, it was shot mostly on location at Chislehurst Caves in Kent as well as on the island of Gozo in Malta, combined with a week's filming at Lee International Studios in London. Composer John Scott completed the film's electronic musical score over recording sessions that lasted many hours.
Despite a good box office response in the UK and abroad, Inseminoid failed to impress most commentators, who criticized the effects and production design. The overall quality of the acting was also poorly received, although Geeson's performance was praised. Criticism was also directed at the premise involving an alien insemination, which some commentators viewed as a weak imitation of Alien (1979). Both Warren and 20th Century Fox, distributor of Alien, rejected claims that Inseminoid was influenced by this film.
Academic criticism of Inseminoid has concentrated on the film's depiction of the female sex, and female sexualities, in the context of corruption by an alien source. Commentators have noted that as well as portraying Sandy as an abject Other, the film presents a battle of the sexes as Sandy kills her former friends. The film was novelized by Larry Miller and released on VHS to strong sales.
Plot[]
On a freezing planet, a team of 12 Xeno Project archaeologists and scientists are excavating the ruins of an ancient civilization. They discover a cave system containing wall markings and crystals of unknown origin. During a survey, a mysterious explosion cripples photographer Dean White and injures Ricky Williams. Deciphering the wall markings, exolinguist Mitch theorises that the civilization was built on a concept of dualism: the planet orbits a binary star and seems to have been ruled by twins. Medical assistant Sharon discovers that the crystals are surrounded by an energy field and suggests that the civilization was controlled by a form of chemical intelligence.
A crystal sample begins to pulsate, causing the intelligence to take control of Ricky through a wound on his arm. In his delusional state, he is compelled to leave the team's base and go back into the caves. He throws Gail into a pile of twisted metal, damaging her environmental suit and trapping her foot. Desperate to free herself, Gail removes her helmet and tries to amputate her foot with a chainsaw, but instead freezes to death in the planet's toxic atmosphere. Documentation officer Kate Carson shoots Ricky with a harpoon gun before he opens the airlock and evacuates all of the base's air.
Ricky and Gail are buried outside the base. Later, Mitch and Sandy return to the caves to collect more crystals. A monstrous alien creature appears and dismembers Mitch, then rapes Sandy with a transparent tubular phallus pumping green liquid. Sandy is taken back to base and treated by the team's doctor, Karl, who discovers that the attack has triggered an accelerated pregnancy. When further underground explosions block off the caves, the survivors are left with nothing to do but wait for Xeno to pick them up.
The intelligence takes over Sandy, giving her superhuman strength. She stabs Barbra to death with a pair of scissors and mutilates Dean and the remains of Mitch, drinking their blood. The rest of the team take refuge in the control room as Sandy uses explosives to blow up the base transmitter. After Sandy appears to return to her normal self, Karl, Sharon and Commander Holly McKay try to sedate her. However, Sandy reverts to her violent state, killing Karl and Holly and disembowelling their corpses.
Mark radios Sandy from the control room to distract her while Kate and Gary arm themselves with chainsaws from a storage room. Sandy uncovers the ruse and harpoons Gary outside the airlock, breathing the atmosphere to no ill effect as she feeds on his flesh. She then re-enters the base and gives birth to hybrid twins. Mark stumbles across the newborns and leaves them with Sharon as Sandy blows up the door to the control room and smashes the equipment inside. Sandy uses another explosive charge to wound Kate, then kills her. Finally, Mark overpowers Sandy and strangles her to death with a length of cable. He returns to Sharon to find one of the twins drinking from her torn-out throat, then comes face to face with its sibling.
Twenty-eight days later, a Xeno shuttle lands on the planet to investigate the loss of contact with the team. With the base in ruins and its occupants either dead or missing, commandos Corin and Roy abandon the search for survivors and shuttle pilot Jeff radios Xeno for clearance to return. The final shots reveal that the twins have stowed away inside a storage compartment on board the shuttle.
Cast[]
Judy Geeson as Sandy
Robin Clarke as Mark
Jennifer Ashley as Holly McKay
Stephanie Beacham as Kate Carson
Steven Grives as Gary
Barrie Houghton as Karl
Rosalind Lloyd as Gail
Victoria Tennant as Barbra
Trevor Thomas as Mitch
Heather Wright as Sharon
David Baxt as Ricky Williams
Dominic Jephcott as Dean White
John Segal as Jeff
Kevin O'Shea as Corin
Robert Pugh as Roy
Crew/Stats[]
Directed by Norman J. Warren
Written by Nick and Gloria Maley
Produced by Richard Gordon, David Speechley
Cinematography: John Metcalfe
Edited by Peter Boyle
Music by John Scott
Production company: Jupiter Film Productions, Shaw Brothers, Embassy Home Entertainment
Distributed by Butcher's Film Service
Release date: March 23, 1981
Running time: 93 minutes
Country: United Kingdom
Language: English
Budget: £1 million
Production[]
After making Satan's Slave (1976), Prey (1977) and Terror (1978), Norman J. Warren was to have directed a film called Gargoyles. After this production collapsed without a finished script, Warren and producer Richard Gordon accepted a story idea from the husband-and-wife duo of Nick and Gloria Maley, who had been members of the special effects unit on Satan's Slave. The Maleys wrote the film both as an amalgam of their favorite science-fiction ideas and to showcase their effects work. Their script, which indicated that the film is set two decades in the future in a militaristic universe, was provisionally titled Doomseeds; this was changed to Inseminoid to avoid confusion with the 1977 film Demon Seed.
Gordon cast American actors Robin Clarke and Jennifer Ashley as Mark and Holly while on business in Hollywood. Clarke had recently played a supporting role in The Formula; Ashley had appeared in a number of independent films. Beacham, who had two young children at the time, accepted the role of Kate Carson to support her family, recalling in a 2003 interview: "I had to choose between a play that I really, really wanted to do, which would have paid me £65 a week, and this script for a film called Inseminoid. Hey! No choice. Two pink babies asleep upstairs! No choice!"
Filming[]
The Shaw Brothers agreed to supply half of the proposed £1 million budget and became partners in the production, with elder brother Run Run Shaw credited as presenter in the opening titles. Nick Maley reprised his effects role to build the puppets of the alien twins. Principal photography began on May 12, 1980 with a crew of 75. The production spent three weeks filming in Chislehurst Caves in Kent, which served as the tunnels of the underground complex. This was followed by one week's studio filming at Lee International Studios in Wembley Park, London. A fifth week was devoted to effects and linking shots, completed by the second unit at Film House on London's Wardour Street. The crew then travelled to the island of Gozo in Malta for a supplemental location shoot lasting two days, during which they filmed the long shots set on the planet's surface. The strong Mediterranean sun ensured good lighting.
Warren said that given Inseminoid's low budget, filming the underground scenes in actual caves produced a more realistic result than any potential studio option. However, the cold, damp and airless conditions inside the caves, compounded by the uneven terrain, caused numerous minor injuries among the cast and crew as well as damage to filming equipment. Shooting often ran for 12 hours at a time and some of those present developed intense feelings of claustrophobia in the confined space. Gordon felt that these uncomfortable working conditions made the actors' performances more credible: "I think all this paid off in terms of what we got on the screen for the budget, but the circumstances were very difficult." Due to the lack of space, the crew were forced to set up their production office, as well as the dressing and make-up rooms, in a car park some distance from the caves. As filming started to fall behind schedule, Warren was forced to cut some of the scenes of Ricky's rampage inside the caves: "Three pages of script, which I had to condense into one shot. Having to make such an enormous compromise was not a happy choice for me, but it was the only way of getting us back on schedule." The shoot ultimately overran by two days.
As filming progressed, the working relationship between Warren and Clarke broke down. According to Warren, Clarke often refused to follow instructions, opting instead to give his own interpretation of the script to a point where every scene featuring him became "an uphill struggle" to film. Warren remembered that during preparations for a fight scene, he lost his temper with Clarke: "Robin kept on ranting and raving about his ideas to the point where I couldn't take it any more. So I screamed at him to shut up and keep quiet. I told him I was the director and we would do the scene the way I said. He was shocked, he just stopped dead, and from that point on he hardly said a word." Warren's rapports with the rest of the cast were positive. He described Geeson as "an absolute dream to work with" and praised her performance, arguing that it avoided being unintentionally comic. Gordon was similarly impressed, saying that Geeson fully embraced the role of Sandy and did not complain that it demeaned her as an actress. Warren also had memories of Beacham's "very professional" performance, recalling that "with tongue firmly in cheek, she would often wind me up by asking what her motivation was for a particular action, just as I about to call 'Action!', knowing full well that my answer would be, 'Because it's in the script'."
Inseminoid was shot on 35 mm Eastman Kodak film with anamorphic lenses. Warren remembered that this format produced an "incredibly sharp image and what I would term as the 'American' look." The film was brightened during post-production following concerns that it would be harder to sell to television broadcasters if it appeared too dimly lit. Cuts were made to some of the more graphic shots of Sandy giving birth to ensure that the film would not be rejected by the British Board of Film Censors (BBFC). According to Warren, editor Peter Boyle "had a natural feel for the material and managed to create just the right pace and rhythm throughout the film." The title sequence was produced by Oxford Scientific Films.
Distribution[]
In Germany, cinemas began showing the film in January 1981 under the title Samen des Bösen (English: Seeds of Evil). In the UK, the film premiered on March 22nd, in the Midlands, subsequently opening at 65 cinemas in the region. It reached London in October. The film was commercially successful, reaching number five at the UK box office and number seven in France. Inseminoid was also one of the first films to have a VHS release not long after its initial cinema run, and in November 1981 peaked at number seven in the UK video charts. It was re-released on VHS in 1992 and 1998.
In the UK, the film's promotion included a regional mailshot consisting of a circular that showed a screaming Geeson in character as Sandy with the tagline "Warning! An Horrific Alien Birth! A Violent Nightmare in Blood! Inseminoid at a Cinema Near You Soon!" Warren regretted this move, commenting: "The problem with mail drops is that you have no way of knowing who lives in the house, or who will see it first. It could be a pregnant woman, and old lady, or even worse, a young child. So it was not such a good idea." The BBFC originally certified the film X, and later 18; in 2005, it reduced the rating to 15.
To Warren's displeasure, foreign distributor Almi renamed the film Horror Planet for its North American release. This was later changed back to Inseminoid. The Motion Picture Association of America gave the film an R rating for "profanity, nudity, violence, rape and gore".
Critical Response[]
Inseminoid was nominated for the Fantasporto award for best film and won the Fantafestival award for best special effects. Roger Corman congratulated Warren on the film and considered hiring him as a director.[3] However, Inseminoid failed to impress members of the British Academy of Film and Television Arts, who according to Warren, dismissed it as "'commercial rubbish! ... Not the sort of thing the Academy should be showing ... And certainly not the kind of film the British film industry should be making.'" He also remembered that it was not well liked by female audiences: "It seems it is quite common for pregnant women to have nightmares about giving birth to some kind of monster. Of course, all their complaints and their letters which were printed in the local papers only helped to increase the queue at the box office."
Alan Jones of Starburst magazine expressed a preference for the British members of the cast, calling Geeson "absolutely first-rate" but criticising the "weak performances from the token Americans", Robin Clarke and Jennifer Ashley. Praising the film's cost-effective production values, he stated that its depictions of violence carried Warren's "particular trademark". He added that Inseminoid is "not faultless by any means", citing a predictable and often "ridiculous" plot as one of the film's failings. However, he concluded that it met audience expectations for a science fiction B movie, describing it as "far less routine and far more enjoyable than I had expected."
In the US, Inseminoid made the Los Angeles Times top ten list. Reviews elsewhere were more negative. Edward Jones of Virginia's The Free Lance–Star praised the "novel touch" of casting an expectant mother as the villain but added that "in what has to be a new low, even for extraterrestrial-horror films, all the men end up punching this pregnant woman in the stomach." He summed up the film as "no more than a mix of everything-you've-ever-seen-in-a-horror-movie-and-didn't-particularly-want-to-see-again." In a review for the Boca Raton News, Skip Sheffield branded the film "horrible" and "cheapo", advising readers to "imagine Alien without the fantastic sets, convincing special effects and literate dialogue, and you have a picture of Horror Planet." He also argued that the graphic violence is not suspenseful, punning on the name Run Run Shaw in his conclusion that "Horror Planet is a film to run, run away from – fast."
AllMovie rates the film one star out of five. Reviewer Cavett Binion calls Geeson's performance "more than a bit uncomfortable to watch", describes the rape scene as "surreal and truly disgusting" and considers the choice of title "sleazy". Douglas Pratt writes that the film features poor acting and production design with "some gooey gore shots but few other thrills". He concedes that the film "goes through the motions properly, however, so fans will probably find it worth passing the time."
Warren rejected the notion that Inseminoid is comparable to a "video nasty". On the film's supposed cult status, he said: "If Inseminoid has become some form of cult movie, then I am very pleased and, indeed, very flattered." He added that if he were to re-make the film, he would demand a longer shooting schedule and reduce the lighting to heighten the suspense.
At just 12 minutes in, there's action in those outer space mine shafts, with the first victim in this sci-fi horror tale kick-starting every cliché and already-stolen Alien plot point in the book ... What follows is simply a stage for gloriously awful dialogue spouted out of amateur actors, whose deaths are more a result of pure idiocy in their dumb-as-nails characters than any kind of suspenseful horror plotting. – Jeremy Wheeler, AllMovie
Interpretation[]
Inseminoid has been criticized as a perceived imitation, "knock-off" or "rip-off" of the 1979 science-fiction horror film Alien. Peter Wright, a film historian and lecturer at the University of Liverpool, believes that the "atmospheric" cave sequences and the mess hall scene preceding Ricky's madness may have been inspired by Ridley Scott's film, comparing the former to the sequences set on the desolate planetoid and the latter to the violent reveal of the alien "chestburster". Wright considers the Alien connection potentially "exploitative"; to Barry Langford of the University of London, it underlines UK cinema's dependence on its US counterpart. Alan Jones argues that "any similarity between Inseminoid and Alien is totally intentional. Except here is the basic idea contained in Alien taken to its sleaziest extreme." He finds one such parallel in the character of Kate (Stephanie Beacham), whom he likens to Ellen Ripley (Sigourney Weaver). However, he also regards Contamination (1980) and Scared to Death (1981) as less effective imitations of Scott. Edward Jones argues that the plot of Inseminoid also borrows from the novel Dracula (1897), the TV series The Bionic Woman (1976–78) and the films The Thing from Another World (1951) and Night of the Living Dead (1968).
Though he acknowledged its similarities to Alien, Warren denied claims that Inseminoid was made as an imitation, pointing out that the script for his film was completed months before Alien was released in the UK. He also said that representatives of 20th Century Fox, which distributed Alien, were shown the completed Inseminoid and that even they discounted the possibility: "... in fact, the head of Fox sent us a very nice letter saying how much he enjoyed the film and wished us luck with the release ... I find it flattering that anyone can compare Alien, which cost in the region of $30 million, with Inseminoid, which cost less than £1 million. We must have done something right."
Various commentators have discussed Inseminoid's depiction of sexual reproduction, female sexuality, conflict between male and female gender roles, pregnancy, new motherhood and Otherness. Wright interprets Sandy's transformation as a "direct manifestation of masculine anxiety regarding female reproductive capacity". He argues that the film's horror is internalised within the seed of the alien being, which renders Sandy "woman-as-other" or "abject "Other". This is in contrast with Alien, which revolves around the transfer of "fear of woman" to "alien other". Wright argues that Inseminoid is reminiscent of Demon Seed (1977), in which a woman is raped and impregnated by an artificially-intelligent computer: "in both films, women are framed as 'Other' by their sexual congress with more conventional iconic others: the machine and the alien." In all of these films, pregnancy is depicted as a source of horror; in Inseminoid specifically, this is conveyed by the "uterine and cervical" title sequence, which to Wright suggests "entering the realm of the monstrous womb ... the titling reveals a microscopic insect resident in the body of a larger organism."
Wright argues that the distorted representation of the womb reveals similarities to David Cronenberg's The Brood (1979), in which a woman gives birth to deformed offspring through parthenogenesis. Analysing the rape sequence itself, in which Karl uses a syringe to inject Sandy with an unknown substance, Wright makes a connection to dialogue in other scenes implying that the women on the archaeological team are regularly given contraceptive injections. Sandy's impregnation, conflicting with the suppression of fertilisation represented by Karl's hypodermic (and phallic) needle, reveals "coherent sexism": it "attacks the very notion of female sexual freedom, while suggesting, paradoxically, that contraception is the responsibility of women." Sandy's accelerated pregnancy and regression to the level of a savage add to her depiction as an abject Other or object of "male paranoia".
During the fight between Sandy and Gary, Sandy waits until Gary has half-suffocated before killing him. Wright suggests that this sequence is reassuring from a male perspective as it suggests that no woman – not even one with unnatural strength – is strong enough to kill a man in cold blood. That Sandy is ultimately killed by a man (Mark) makes her an aid in the re-empowerment of the male sex, although her offspring are quick to avenge their mother. Comparing the plot of Inseminoid to religious scripture, Christopher Partridge of Lancaster University refers to the twins as "essentially space Nephilim, technological demons with appetites and habits reminiscent of the mythic forebears."
The film's sexual references continue into the epilogue, which shows the arrival of rescuers Jeff, Corin and Roy. In an allusion to the menstrual cycle, the characters state that 28 days have passed since Xeno lost contact with the team. The deaths of the archaeologists are attributed to an "internal disturbance of some kind", which Wright describes as "an ironic phrase which encapsulates the film's vision of pregnancy as an irruption of Otherness from within."
On the subject of Larry Miller's novelization, which he calls "imaginative and misogynistic", Wright notes a number of scenes that are absent from the film and distort the female form, causing revulsion in the reader. Miller has Sandy grow sores ooze pus from her nipples, which Wright likens to a new mother producing colostrum. Sandy accepts these unnatural changes with fascination.
In both [Alien and Inseminoid], conventional sexuality is restored. In Alien, Ripley undresses at the end and displays herself as pleasurable to the audience; similarly, Inseminoid asserts the durability of established gender roles, despite the survival of the twins. However, unlike Alien, Inseminoid retains its power to disturb, as Sandy's words to Mark resound long after the final frame ... The generative mother has spoken, reinforced her eternal presence, and departed to haunt the dreams of men. – Peter Wright
Sandy (Judy Geeson) is impregnated. Peter Wright believes that this scene displays conflicting attitudes to reproduction: while the alien phallus promotes fertilization, Karl injecting Sandy's arm with a phallic hypodermic needle suppresses it. In a 1997 interview, Warren said that the phallus was intended to be "some kind of artificial insemination equipment" rather than a penis, adding that for censorship reasons, the impregnation scene was shot "very impressionistically, to be like a dream": "I know that if we had shot it straight, it would have played like a rape scene and been cut out. So it has this sort of abstract quality to it that the censors didn't mind."
Availability[]
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https://www.jiosaavn.com/song/inseminoid-main-title/RAIRBD8Dc2U
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Song Download from Poltergeist: Classic Horror Film Themes Vol. 3 (1980
|
[
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[] |
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[
"Listen to Inseminoid: Main Title Song Online",
"Inseminoid: Main Title Song MP3 by John Scott",
"Download Inseminoid: Main Title Song from Poltergeist: Classic Horror Film Themes Vol. 3 (1980-1982)",
"Stream Bollywood Music Online",
"Hindi Music Download"
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Inseminoid: Main Title song by John Scott now on JioSaavn. English music album Poltergeist: Classic Horror Film Themes Vol. 3 (1980-1982). Download song or listen online free, only on JioSaavn.
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https://staticweb6.jiosaavn.com/web6/jioindw/dist/1723647229/_i/favicon.ico
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JioSaavn
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https://www.jiosaavn.com/song/inseminoid-main-title/RAIRBD8Dc2U
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About Inseminoid: Main Title
Listen to Inseminoid: Main Title online. Inseminoid: Main Title is an English language song and is sung by John Scott. Inseminoid: Main Title, from the album Poltergeist: Classic Horror Film Themes Vol. 3 (1980-1982), was released in the year 2022. The duration of the song is 3:54. Download English songs online from JioSaavn.
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http://horror-movie-a-day.blogspot.com/2011/10/beyond-door.html
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Horror Movie A Day: Beyond The Door (1974)
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OCTOBER 1, 2011 GENRE: ITALIAN , POSSESSION
SOURCE: THEATRICAL (REVIVAL SCREENING) When Phil and the New Bev parted ways earlier this year...
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http://horror-movie-a-day.blogspot.com/2011/10/beyond-door.html
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While past festivals have included a top tier Italian horror title (Gates of Hell, Zombie, etc), the decision was made to make this year's lineup entirely "rare", in that none of the movies have shown theatrically in the area for the past 4-5 years (as opposed to something like Zombie, which shows quite a bit - and for good reason). In fact I had never even heard of Beyond The Door, and knew nothing about it other than the fact that it was an Exorcist ripoff.
It didn't take long for me to fall in love with the movie. After a strange opening involving a bearded dude and a car crash, we cut to a family on a shopping trip in San Francisco. Now, normally this would not be very interesting to anyone, let alone me, but this being an Italian horror movie from the 70s, there's actually a lot to love. For starters, the children of the family both swear without much concern from the parents, even though they seem to be about 5-8 years old. Also, the little boy drinks pea soup from a can with a straw poked into it, and gleefully litters when he is done. Perfect.
Obviously the pea soup thing is just a direct reference to Exorcist, but director Ovidio G. Assonitis really goes the extra mile to prove it's more than that. In addition to using it for what it's for (possessed women to spit at concerned friends), the kid constantly has cans of it around, even apparently putting one on his nightstand the way most folks place a glass of water down there. He even has a giant painting of it above his bed! The obsession is never explained or even mentioned, I think, making it all the more charmingly ridiculous.
I also enjoyed that the mean-spirited profanity apparently came from their dad. At one point the little girl mutters "Christ, what now..." when he knocks at their bedroom door, and after he comes in and addresses the issue (the little boy has a bruise), he asks his daughter why she is such an idiot. Later the mom slaps her around a bit, shortly before kissing the boy full on the mouth (I think she's possessed by this point so it's kind of OK). I'm so used to seeing movies where just one person in the family is messed up; it's quite refreshing to see one where I couldn't even tell which one was possessed at first because they were all so goddamn awful (read: awesome).
Then of course there are the usual silly moments, like when the mom asks the dad about baby names and suggests "Steve" (not "Steven"), to which the dad asks why it matters. Or when the little girl asks the dad to promise not to leave them alone with the mom anymore, a request that is immediately followed by a cut to the next scene, in which the dad is outside, sans the kids. Plus numerous other instances where they swear for no reason. I just hope that their dialogue was what was intended; as with most Italian productions, it features a mix of English and Italian speaking actors, all of whom use their native tongue. So while the parents were speaking English, the kids were clearly dubbed from Italian, which makes me wonder if some producer didn't see the value in foul mouthed children and change it from originally normal sweet-natured dialogue.
And thus it's a shame when they exit the film (sent off to be safe), as it loses much of its comedic value. It's not a particularly exciting film, with a low body count and, as with Exorcist, a slow build toward the full on possession sequences. But it's also needlessly convoluted, as the whole movie is just a long term ploy between the Antichrist and some guy who made a deal with the devil in order to extend his life, or something. I even went home and read the Wikipedia entry trying to make sense of the final five minutes or so, and while I get the gist, there were still some things I don't comprehend at all, such as the old fortune teller lady who lives on a boat.
Also, I watched another 8-9 movies in between seeing it and writing my review. I think the brain can only retain specific information about 2-3 movies before it makes room for the next one, so maybe it would make total sense if I thought about it for a bit while it was still fresh in my brain, but alas. Luckily I've already HMADed all but one of the other films from the all nighter, so for my thoughts on Creature From The Black Lagoon (which showed in 3D! Very cool, even if I went a bit cross eyed), Brain Damage (the secret movie, which went over quite well), Pit And The Pendulum (which I slept through), and Inseminoid (a crowd pleaser, but the place was only about half full by then, with lots of sleepers), just check out those reviews. The only other one was Hell Night, which I had seen in high school but couldn't remember much about it. They also had several trailer reels, tied to the theme of the movie that played after (so for this, we got a lot of Exorcist/Rosemary's Baby wannabes), a Bugs Bunny cartoon, and a very weird interview with Bela Lugosi which ends when he out of nowhere tells the reporter "I'm coming." and then makes a weird face until she runs away. I haven't the slightest clue if it was a skit of some sort, or a legit interview that went astray, and I don't want to know. It was glorious as is.
All in all, I think they did a great job of carrying on Phil's tradition, and the sell out crowd means that it will probably continue. And I'll be there, with my little cooler of cold coffee drinks, trail mix and a Papa John's pizza, plus a bottle of eye drops for my contacts, dried from all of the occasional dozing (I didn't remain awake for the entirety of any movie, but for this I was only out for a brief period in the early part of the film and thus didn't miss much).
What say you?
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https://blueprintreview.co.uk/2019/07/bloody-terror-the-shocking-cinema-of-norman-j-warren-1976-1987/
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Bloody Terror: The Shocking Cinema of Norman J. Warren, 1976-1987
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2019-07-30T10:10:24+00:00
|
Scott Gilliland reviews the new box set on genre filmmaker Norman J. Warren's 5 films released from 1976 - 1987 released by Indicator
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en
|
Blueprint: Review
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https://blueprintreview.co.uk/2019/07/bloody-terror-the-shocking-cinema-of-norman-j-warren-1976-1987/
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One of British genre cinema’s most important and distinctive independent filmmakers, Norman J Warren made a series of horror films which were at the forefront of a new wave in British horror during the 1970s. Reflecting a period of permissiveness and fearlessness, Warren’s distinctive stylings are far removed from the Gothic conventions of Hammer Films, deliberately upped the ante in terms of sex, violence and gore to create a new breed of horror that was designed to shock for shock’s sake.
Indicator has released a monster of a boxset of the five horror films Warren released during this time with well north of 10 hours worth of featurettes to get through including extensive interviews with Warren himself that are spread throughout the discs that go through his entire career. Also included are an abundance of interviews with cast and crew from the five films that detail how the shoots went.
SATAN’S SLAVE
Director: Norman J. Warren
Screenplay: David McGillivray
Starring: Michael Gough, Martin Potter, Candace Glendenning
Year: 1976
Duration: 90 mins
Country: UK
BBFC Certification: 18
Norman J. Warren’s first foray into the horror genre was in 1976’s Satan’s Slave where our protagonist Catherine (Candace Glendenning) has come to visit the stately home of her Uncle Alexander (Michael Gough) and cousin Stephen (Martin Potter) after the death of her parents. Unbeknownst to Catherine her family are deeply involved with a satanic cult who have a par chant for sacrificing women. Catherine soon starts having strange visions of rituals and witches, is the cult trying to recruit her? If so for which purpose?
Fans of Warren will know his directorial history of venturing down the exploitative path with his films and without a doubt, he is able to use these past skills to create a film with just the right amount of sleaze and horror to entertain. Although Warren was known for being exploitative he was also known for being a director that could get the most out of his limited budgets and while the budget is seemingly wafer thing (not a surprising thing to know considering the state of British horror films at this time) he does an excellent job with what he has and as with the other five films in this box set you will learn he was able to cast his films perfectly.
By casting Satan’s Slave with talented actors who did not need much direction, Warren is able to create this surreal supernatural world that keeps us entertained for the entire duration of the film. As mentioned the cast is strong her and were American horror films of the same ilk went awry with their films is that they cast actors just out or still in film school who were not entirely polished and confident enough to carry a performance. Glendinning is a great lead and is able to do a lot of the carrying of the film while Gough is able to plan a very convincing antagonist instead of going too far with the role and playing it a bit too comedically. Having the cast believe what is happening is happening is rule one for an effective horror film and this happens her (and to be fair in all of Warren’s horror films)
The film is not without its faults however, there are periods of unoriginality, but with the glut of supernatural and satanic cult films released around this time, it was to be expected that some portions of those films would be lifted into this piece. But, the faults do not outweigh the pros with Satan’s Slave and with the better than expected atmosphere and death scenes you will be set for a great watch.
Extras Include
2K restoration, newly supervised and approved by director Norman J Warren
Original mono audio
Two presentations of the film: the director’s cut (89 mins); and the export version (90 mins)
Audio commentary with Warren and screenwriter David McGillivray (2004)
Audio commentary with Warren and composer John Scott (2019)
Before the Blood (2019, 29 mins): Warren recalls his earliest experiences in the film industry
All You Need Is Blood (1976, 13 mins): vintage ‘making of’ documentary, presented in High Definition for the first time
All You Need Is Blood Outtakes (1976, 33 mins): rare and previously unseen footage shot on location
Creating Satan (2004, 30 mins): archival documentary featuring interviews with Warren, McGillivray, actor Martin Potter, and others
Devilish Music (2004, 13 mins): archival interview with John Scott
Two deleted scenes with commentary by Warren
Censoring ‘Satan’s Slave’ (2019, 16 mins): video demonstration of the cuts imposed by the British Board of Film Censors in 1976
Original ‘U’ certificate theatrical trailer
Original ‘R’-rated theatrical trailer
Image gallery: promotional and publicity material
New and improved English subtitles for the deaf and hard-of-hearing
UK premiere on Blu-ray
EXTRAS THOUGHTS
Again this will get mentioned often in this review, but Warren enjoys talking about his films and that positivity and strong personality ring through in the commentaries with screenwriter David McGillivray and composer John Scott (yes two separate commentaries). I viewed the commentary with Warren and Scott to be akin to commentaries with John Carpenter and Kurt Russell, just two friends catching up and chatting about the film they enjoyed making.
There are two cuts of the film, happily, neither are the BBFC enforced cut, and though there is an interesting featurette regarding the cuts imposed on the filmmakers with video demonstrations on what was done. I enjoyed this little featurette as it is rare that you get to properly see the changes as usually the changes are just added back into the film so you have to remember. More films should do that in my opinion.
The disc is choked full of featurettes which make for a great watch. It is mostly a talking headpiece, however, it was a pleasant surprise to see so many people talking about the film who had different roles in the feature. Usually, these are left for just the Director, producers and cast, but we get a full range of the crew who all have their own unique memories of the production.
Overall this disc is packed with goodies that will keep you entertained for a fair few hours!
PREY
Director: Norman J. Warren
Screenplay: Max Cuff
Starring: Barry Stokes, Sally Faulkner, Glory Annen
Year: 1977
Duration: 85 mins
Country: UK
BBFC Certification: 18
As Satan’s Slave had strong Rosemary’s Baby vibes, Prey has some slight vibes of The Man Who Fell To Earth mixed with D.H. Lawrence’s novella The Fox. Prey’s story is a pretty simple one, an alien (Barry Stokes) lands in the English countryside and animates itself into a man. Portraying itself as an injured wanderer the creature finds itself on the property of a private lesbian couple(Sally Faulkner and Glory Annen). The younger of the two welcomes him to the home to get healed up and becomes fascinated by his oddness. The older partner is dubious of this unwelcome guest, but both are unaware of the creature’s true intentions.
The trick to making Prey work as well as it does is that it required all three of the main cast to be at their best and that is a happy success with the film, if this trio does not work well off each other then the entire premise of the film falls apart pretty quickly. Stokes is the standout, but that is mostly due to his character having so much to do throughout the film. Perhaps it is due to his two counterparts being female, but he exudes a chilling dominance over them as the film goes on. I feel this is due to the alien adapting to being human and becoming more confident in its own façade.
Happily this isn’t a standard slasher film that many would have expected, yes it does have it’s quite a low budget gory moments, but for the most part, this is a tense thriller. The credit of this has to go to Warren who realised that this film had to be a slow burn. Too many horror films at the time went straight to the horror and never let off the accelerator, whereas, being able to see these characters grow and take turns in having dominance on each other was interesting. It allows the viewer to learn about them and try to feel more emotion to that character. Warren would continue his allowance of character development even into Inseminoid.
In comparison to the other death scenes in the box set, there is one in Prey that just feels so real and raw that it almost takes you out of the film purely because you are not expecting it from a film with such small a budget. It is said that the film was produced at a breakneck speed of 10 days and while there are times this is clearly evident, it is very admirable that they were able to make what they did in such a time frame.
Extras
2K restoration, newly supervised and approved by director Norman J Warren
Original mono audio
Audio commentary with Warren and film historian Jonathan Rigby (2004)
The BEHP Interview with Norman J Warren – Part One (2018, 60 mins): archival video recording, made as part of the British Entertainment History Project, featuring Warren in conversation with Martin Sheffield
Keep on Running (2004, 28 mins): archival documentary on the making of Prey, featuring interviews with Warren, actor Sally Faulkner, producer Terry Marcel, and others
On-set Footage (1977, 3 mins): rare behind-the-scenes footage with commentary by Warren
The Bridge (1955–57, 7 mins): rare footage from Warren’s ambitious early film project about a pilot on a mission to locate a bridge in Germany during World War II, with optional director’s commentary
Making ‘The Bridge’ (1957, 2 mins): rare and previously unseen footage with commentary by Warren
Carol (1962, 3 mins): mute test footage from Warren’s unrealised feature about teenage pregnancy and backstreet abortion, featuring Georgina Hale and Michael Craze, with optional director’s commentary
Drinkin Time (1963, 3 mins): silent comedy short directed by Warren
‘Drinkin Time’ Introduction by Norman J Warren (2019, 4 mins)
Whipper Snappers (c1977, 1 min): toy advertisement directed by Warren
‘Whipper Snappers’ Introduction by Norman J Warren (2019, 4 mins)
Original theatrical trailer
Image gallery: promotional and publicity material
New and improved English subtitles for the deaf and hard-of-hearing
UK premiere on Blu-ray
EXTRAS THOUGHTS
Warren and film historian Jonathan Rigby share commentary duties for this release, where Warren is able to explain in a bit more detail about how short the turnaround was for pre-production and production itself. Warren provides ample tidbits to keep the viewer interested throughout.
Prey contains one of Bloody Terrors bare discs for features, (though that isn’t saying much as there is still well north of two hours’ worth of features here to devour. We get the first part of the British Entertainment History Projects interview with Warren that delves into his life and works up to 1975. It is a very interesting interview to learn how people worked themselves up to the ladder in the British film industry during that era. We then are given an archival documentary that goes over the making of Prey, it is sad that there wasn’t more time with Sally Faulkner as she was quite entertaining!
For the rest of the extras, we are provided with a few short films and advertisements that Warren directed, along with introductions. It is sometimes good to see a director now so well-known with horror and exploitation to have done other things.
TERROR
Director: Norman J. Warren
Screenplay: David McGillivray
Starring: John Nolan, Carolyn Courage, James Aubrey, Sarah Keller
Year: 1978
Duration: 84 mins
Country: UK
BBFC Certification: 18
Film Producer James Garrick (John Nolan) delves into his family history for a story for his latest horror film about a witch who cursed his family who burned her at the stake. During the wrap party of the film, things start to go wrong for the attending cast and crew, was the curse real or are someone taking advantage of it to get some vengeance on their colleagues?
There is a lot of fun to be had here, but in comparison to the others in the box set Terror is probably the weakest. The premise is as solid as it can be, especially considering that Warren and McGillivray wanted to step away from the Hammer Horror aspect of their previous work as they did in Prey. Sadly, the plot starts to unravel after the opening scenes as some aspects of the film simply do not link well together. It is rather convenient that a group of actresses live in a hostel together nearby to the studio that can allow them to be attacked for example.
Another slight disappointment is that unlike Prey, Inseminoid and Bloody New Year, we do not get enough time with this cast to learn about them to gain that emotional attachment to them. This sadly falls on McGillivray’s script as the plot jumps far too many times from one location to another. If the film had settled in Garrick’s home and the film studio there would be far fewer issues. But these jumps and subplots begin to lose the viewer despite the work from the more than capable cast.
The influence from Suspiria is a bit too evident for some tastes with Warren enjoying perhaps too much how he can create a lower budget homage to it and Dario Argento’s Inferno. It is clearly evident and openly admitted that for Terror they tried to go more along with the visuals than the plot and it just didn’t work as well as they hoped here sadly. It is especially disappointing knowing that this duo can write well and develop interesting, sympathetic characters that an audience can rally behind.
Despite this, there is a lot to love throughout the film. Warren’s direction works to his usual high quality and it is able to keep away from the Hammer Horror vibe to great success. The death scenes, as expected if trying to follow Argento’s lead are gory and brutal. It is just a shame that something is just missing in the film as it could have been something truly wonderful, rather than just a fun horror jaunt that it turns out to be.
Extras Include
2K restoration, newly supervised and approved by director Norman J Warren
Original mono audio
Audio commentary with Warren and screenwriter David McGillivray (2004)
The Early Years (2019, 17 mins): Warren recalls his first films as director
Bloody Good Fun (2004, 41 mins): archival documentary on the making of Terror featuring interviews with Warren, McGillivray, actors Carolyn Courage, Mary Maude, James Aubrey and Elaine Ives-Cameron, and others
Tales of Terror (2019, 13 mins): actor John Nolan reflects on Terror’s production
Norman J Warren: A Sort of Autobiography (2004, 28 mins): archival interview with the director
Four extended scenes, with introductions by Warren
Norman J Warren Presents Horrorshow (2008, 33 mins): anthology film of five horror tales, hosted by Warren
Daddy Cross (2011, 2 mins): trailer for a 1978 ‘lost film’, with voice-over by Warren
Original theatrical trailer
French theatrical trailer
TV spot
Radio spot
Image gallery: promotional and publicity material
New and improved English subtitles for the deaf and hard-of-hearing
UK premiere on Blu-ray
EXTRAS THOUGHTS
Luckily for us, we have received the better Warren and screenwriter David McGillivary commentary in comparison to the phone interview that was not scene-specific from previous reissues. Having the duo talk about the film and be specific to certain parts as it is playing is a far more enjoyable experience.
If you were wanting a few extras’ relating to the film then sadly you are out of luck as we only get two featurettes regarding the film with archival footage and talking-head interviews with a large portion of the cast and crew. There are lots of great bites of information present here and it is great to see the team remember the film so fondly.
The next featurette about Warrens early years as a filmmaker as he discusses his short films and what it was like to try and produce such content in 1960’s England. We also get a lengthy featurette of Warren reminiscing on his childhood and general love of film. For fans of his work, these really are must watch.
For the rest of the disc, we get the Norman J. Warren Presents Horrorshow which is an accumulation of multiple horror short films with introductions from Warren himself. It is a great idea to get some of these added to the release as it isn’t necessarily something you would expect from a box set feature-length director. Horror shorts are always welcome in my world so to see this is quite refreshing.
Inseminoid
Director: Norman J. Warren
Screenplay: Nick and Gloria Maley
Starring: Robin Clarke, Jennifer Ashley, Judy Geeson, Stephanie Beacham
Year: 1981
Duration: 91 mins
Country: UK
BBFC Certification: 18
An archaeological team are on an expedition on a distant planet after discovering remnants of an ancient civilisation an accident occurs from within the underground caverns. The crew save the two members of the team, despite everything not being as it seems with the rescued Ricky, the expedition continues until crew member Sandy is captured by something within the cavernous structure. Like Ricky, she seems different, but is it too late for the crew to escape?
Inseminoid has the case of being released too soon after Alien due to having a character impregnated. While there is an impregnated character the similarities with Alien start and end with the opening scene. In Alien we see some of the crew enter an alien spaceship and one of the team is attacked by a face-hugger alien and obviously impregnated by said face hugger. In Inseminoid the team are Archaeologists purposely exploring the underground cavern of an alien planet. It would be far more pertinent to compare Inseminoid with The Thing or other films in which there is a large cast who will continually have large portions of dialogue to relay to each other.
The fact that there is such a large cast for this film is a plus, but yet also a negative. On some occasions, you do lose track of who is who regarding the male characters as there are just so many of them for a small film. The plus is that everyone who was cast put everything into their role and you will not find anyone phoning it in. Judy Geeson playing the unlucky Sandy has the difficult task of playing the role of someone not in control of herself, but to also appear like she could dominate others in a physical way. She is obviously having a lot of fun in the role as she flip flops from normal Sandy to out of control Sandy.
The film does occasionally fall apart with instances of a lot of the team not being able to save a stricken crew member mere yards away from their hatch as she tries and fails to reconnect the oxygen tubes to her spacesuit. That is a minor complaint however as the film is as fun as you imagine, especially when you go into the film knowing that budgets were not the highest for British horror films in the early 1980s. This is shown in some of the sets like the computer room which is just a room covered in black drapes with some screens in it to show the technical side.
The film is a blast with a very solid script that goes along at a good pace enhanced by the synth-heavy score from John Scott. Worth a watch just to dispel the poorly labelled Alien rip off tag alone. This is a film standing in its own right.
Extras include
2K restoration, newly supervised and approved by director Norman J Warren
Original mono audio
Audio commentary with Warren and assistant director Gary White (2004)
The BEHP Interview with Norman J Warren – Part Two (2018, 67 mins): archival video recording, made as part of the British Entertainment History Project, featuring Warren in conversation with Martin Sheffield
Norman J Warren at the Manchester Festival of Fantastic Films (2011, 62 mins): an archival video recording of the director in conversation with horror author John Llewellyn Probert
Subterranean Universe (2004, 45 mins): an archival documentary on the making of Inseminoid, featuring interviews with Warren, actors Stephanie Beacham, David Baxt and Barry Houghton, and others
Alien Encounter (2019, 6 mins): actor Trevor Thomas recalls playing the part of Mitch
Electronic Approach (2004, 13 mins): an archival interview with composer John Scott
Original theatrical trailers
Horror Planet teaser trailer
TV spot
Image gallery: promotional and publicity material
New and improved English subtitles for the deaf and hard-of-hearing
World premiere on Blu-ray
EXTRAS THOUGHTS
The audio commentary is one of the better I have heard due to there being a duo there with Warren and the AD Gary White. Luckily Warren is ready-made for commentaries with his ease at bringing up topics. Usually with commentaries, you can tell the person is reading their plot points. For the production design fan, it is a must of a listen.
The abundance of interviews packed into the features is plentiful with two conversations with Warren lasting over two hours. Warren provides a great insight into the film and quite happily he doesn’t broach on all of the topics that are mentioned in the commentary. In Subterranean Universe and Alien Encounter, we are treated to over 45 minutes with an interview with the cast who chat about Warren’s techniques and extra information with a good bit of humour in both.
We get part two of the British Entertainment History project interview that covers his life and career from Satan’s Slave until 2018, an utterly fascinating look at a British genre filmmaker. Knowing how low the budgets were for all of his films we find out information on just how they were able to stretch that budget as well as they did. If you did not have your fill of that hour-plus long interview, Indicator has provided another from the Manchester Fantastic Film Festival.
Bloody New Year
Director: Norman J. Warren
Screenplay: Frazer Pearce
Starring: Suzy Aitchison, Nikki Brooks, Daniel James, Colin Heywood, Catherine Roman
Year: 1987
Duration: 93 mins
Country: UK
BBFC Certification: 18
A group of English friends save an American tourist from an attack from a few local carnival employees. While escaping the troublesome crew they escape on one of their boats and find themselves stuck on the nearby island that had the opening scene introduces us to. When the group enter the hotel to take shelter for the night they find that everything is still mysteriously decorated for New Years in 1959. The five “guests” find out that they are not exactly alone in the abandoned hotel.
Bloody New Year is peak Warren with great casting and a surreal story. Sadly for Bloody New Year, it does tend to get confused as to what genre it is in. While Warren is an expert at meshing multiple genres to make his films work it feels that there are too many different types of horror films trying to come out of this one. In some instances it is a ghost house, then it is a science fiction, then a possession-based film and then almost a revenge film. There is just too much going on to keep the flow of the film going. But, for some reason, it works in that classic 80’s horror style.
Despite the plot being a bit wayward the film is very enjoyable as you can never truly predict the next death with some actually causing surprise. The effects in the film are also impressive, considering that Warren always had to work with terribly low budgets, though on occasion that high level does slip, with a scene where two members of the shipwrecked group hearing laughing all around them, while the camera just pans around to nothing in the field they are in due to the ghosts being invisible at this time.
Warren has always been excellent in his casting as that then allows him to be experimental with his filmmaking, sadly here there are a few poor performances and that may be due to the group being younger than what he usually casts. It doesn’t help that when some of the characters die and are reanimated to attack their friends that the dead character doesn’t seem to remember if they are playing a zombie or someone possessed. It may sound as if I am being negative, but I enjoyed the film for the fun that it was… Though I would love to know how one of the carnival gang was able to jump through a first-floor window INTO the hotel!
Indicator have done their best with the restoration work but with the only print remaining of the film being an old 35mm print there was just a bit too much work to be done to make it pristine, but the damages done are not distracting enough to take you out of the film. Again the work carried out is exceptional considering the circumstances.
Bloody New Year has a great premise with even better than expected death scenes that make for a truly great horror film.
Extras include:
2K restoration, newly supervised and approved by director Norman J Warren
Original mono audio
Audio commentary with Warren and film historian Jo Botting (2019)
Norman’s Wisdom (2019, 29 mins): Warren discusses some of the lesser-known areas of his career, including his work in television and documentaries
New Blood (2019, 16 mins): actor Catherine Roman warmly remembers her first film role
The Art of Blood (2019, 15 mins): screenwriter and set dresser Frazer Pearce relates the production history of Bloody New Year
Fights, Camera, Action! (2019, 11 mins): actor and stuntman Steve Emerson recalls his work with Warren on Terror and Bloody New Year
Working with Warren (2019, 10 mins): an interview with filmmaker and Warren collaborator Yixi Sun
Turn Off Your Bloody Phone: Norman J Warren and the Ghost (2013, 1 min): short produced for FrightFest, starring Warren, Sun, and David McGillivray
Original trailer
Image gallery: promotional and publicity material
New and improved English subtitles for the deaf and hard-of-hearing
UK premiere on Blu-ray
EXTRAS THOUGHTS
Joining Warren on this commentary is the BFI’s Jo Botting who is able to keep Warren focused in an entertaining way throughout. It is another great commentary track from Warren who just loves getting to talk about the films he made, and rightfully so!
We get the last of Warren’s interview session where he talks about his other work, again, another great little featurette that makes you just fall in love with the passion that he has for filmmaking. Catherine Roman talks about being in her first feature film and the trials and tribulations of learning on the job in such a film.
Sadly there are not too many other extras on this disc, but considering the number of hours of featurettes we have been provided in the previous four, it is hard to think negatively about it.
Overall
A wonderful box set with so many little treasures hidden inside. For the cinephile, it is a must purchase, for the horror fan out there, it is another must purchase. Prey is the standout film of the boxset, but for features that honour goes to Satan’s Slave. It would be unfair to say that Warren peaked in the first two films from this set as Inseminoid and Bloody New Year saw a director trying to evolve from his previous exploitation ways and they do still play well even 30 years after the fact. In the end, this is a fabulous celebration of one of the best genre filmmakers in Britain and well worth your time.
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https://www.imdb.com/title/tt0084090/
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Samen des Bösen (1981)
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[
"Reviews",
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[] |
1981-01-23T00:00:00
|
Samen des Bösen: Directed by Norman J. Warren. With Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives. A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0084090/
|
Male and female scientists set up a research lab on a distant planet and encounter a giant, bug-eyed alien monster. It kills several people, rapes Judy Geeson and disappears, but the horrors are just beginning. Geeson becomes a hard-to-kill, hysterical madwoman with super strength who kills for blood to feed the alien's mutant offspring, which she's now carrying.
This Brit ALIEN clone is often inept and entirely contrived, but not completely without entertainment value. FX are mediocre, but it's bloody, fast-paced and there's a great electric score from John Scott. Judy Geeson is excellent in a role that requires a hell of a lot of merciless ranting and screaming.
HORROR PLANET refers to the original U.S. release of the film, which was cut. The title INSEMINOID refers to the uncut, letterboxed DVD and cable version.
Score: 3 out of 10
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Inseminoid (1981)
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[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
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"Credits"
] | null |
[] |
1981-01-23T00:00:00
|
Samen des Bösen: Directed by Norman J. Warren. With Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives. A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0084090/
|
Male and female scientists set up a research lab on a distant planet and encounter a giant, bug-eyed alien monster. It kills several people, rapes Judy Geeson and disappears, but the horrors are just beginning. Geeson becomes a hard-to-kill, hysterical madwoman with super strength who kills for blood to feed the alien's mutant offspring, which she's now carrying.
This Brit ALIEN clone is often inept and entirely contrived, but not completely without entertainment value. FX are mediocre, but it's bloody, fast-paced and there's a great electric score from John Scott. Judy Geeson is excellent in a role that requires a hell of a lot of merciless ranting and screaming.
HORROR PLANET refers to the original U.S. release of the film, which was cut. The title INSEMINOID refers to the uncut, letterboxed DVD and cable version.
Score: 3 out of 10
|
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8999
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dbpedia
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3
| 83
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https://theworstmovie.wordpress.com/2012/06/07/the-alien-series-modern-hollywoods-rise-and-fall/
|
en
|
The ALIEN Series – Modern Hollywood’s Rise and Fall and Wondering Why the Fuck Ridley Scott Gets So Much Credit for ALIEN
|
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[
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] | null |
[] |
2012-06-07T00:00:00
|
Thanks for joining me for my first (and probably last, since I didn’t plan on this) segment of some random shit. If you’re sensible by even the lowest measures, you probably often wonder why Hollywood sucks so much ass these days. Well, the answer is out there, but it won’t specifically be here. Here there…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Night Train to ¡Mundo Terrible!
|
https://theworstmovie.wordpress.com/2012/06/07/the-alien-series-modern-hollywoods-rise-and-fall/
|
Thanks for joining me for my first (and probably last, since I didn’t plan on this) segment of some random shit. If you’re sensible by even the lowest measures, you probably often wonder why Hollywood sucks so much ass these days. Well, the answer is out there, but it won’t specifically be here. Here there be a tracking of the Alien movies and its reflections on the modern Hollywood system, from the infant stages of the blockbuster to pretty much right now. I don’t pretend to be insightful. I just like talking shit.
This is an extremely long post. Basically I wanted to talk about the Alien series and its place in film history and ended up with this gigantic pile of shit. Having contracted writer’s block for just reviews, my cure was to write this abominably-long nothingness. Writing this was like a jigsaw puzzle of fun, so I apologize if the coherence is off in some places. Honestly, this was just an excuse to scour the internet for photos and look back on some old favorites and name-drop some of my favorite (sci-fi) flicks. Anyway, here’s some random shit:
With the anticipated Prometheus hitting North American theaters wide this week, I’ve decided to revisit the series. I’ve always considered myself to be a somewhat amateur film historian. Okay, maybe just an amateur and not much of a film historian. If there’s one thing I’ve learned watching movies and learning history, it’s that films are wholly of their time. Yes, they can be a critique on the prevailing attitudes of the day, but they’re often just as entrapped by them.
Today I want to revisit the Alien series and how it perfectly encapsulates and parallels the course of Hollywood from the birth of the blockbuster to, well, now; and why Ridley Scott’s fanboys need to stop kissing the man’s wrinkled old ass.
Everybody knows the film Alien, right? It’s that movie where a, well, alien, runs amok on a space-mining ship (mining spaceship?), killing off its crew one-by-one. Sounds like a shitty B-movie, doesn’t it? Yep, it’s pretty much forgotten now, except by pretty much everyone.
Everybody also knows the film Aliens, right? That totally different sequel by James Cameron, who went from doing stuff like The Terminator, The Abyss, and True Lies, to shockingly-bad and clichéd shitfests like Titanic and Avatar. Sure, your camera’s fancy and I think it’s cool you’re literally funding some kind of space-mining expedition and that you got to go down to the Challenger Deep, making me feel like shit because I know I’ll never get to do it. But good fucking god, can you stop ruining filmmaking for, you know, everybody? Your films make me feel like shit because they’re shit.
Uh, anyway, back to Aliens. Classic 1980s science fiction action film that is said to rival and/or surpass the original film by people who don’t know what the hell they’re talking about. It’s still an amazing film though. I think James Cameron really has a knack for the sequels. Sure, neither Aliens nor the overrated Terminator 2 surpass the originals, but when has he ever failed to deliver with an awesome sequel?
What do Alien and Aliens do that Alien 3, Resurrection, and the rest of them don’t? And, yes, it is a joke. Seriously, aside from the first two entries, the whole series is a fucking joke, and nobody’s laughing.
What’s even more shocking is the realization I came to awhile back: the Alien series perfectly parallels the rise of the modern Hollywood sensibility and its inevitable and satisfying fall.
In the mid-1970s to early-1980s, that thing we now revere as New Hollywood ended up collapsing on its own excesses, being replaced by a new New Hollywood: the blockbuster. In this period, Hollywood realized what all of the B-movie kings (like Roger Corman) were doing and decided to steal the method. For a number of years, director-driven projects and collaborative efforts existed rather side-by-side. In 1980, that all changed with the release of Heaven’s Gate.
The film has long been considered the gun that shot New Hollywood to death, and Cimino the shooter. Heaven’s Gate has been credited with changing a lot of things, including reversion of control back to studios and the death of director-driven excess. Cimino’s vision and demands drove up the budget astronomically. The release was an unmitigated disaster. Coppola’s One from the Heart in 1982 would follow suit. I guess if Cimino was the shooter, Coppola was the guy that buried it.
To be fair, Alien would have been made anyway. The favoritism towards high-concept films by major studios also happened at least five years before and, in hindsight, it seems as if the death of New Hollywood was a long time coming. Jaws was credited as the first of its kind, the blockbuster to revolutionize filmmaking. Other well-recognized and highly-acclaimed films like Close Encounters of the Third Kind, the original Star Wars trilogy, and Raiders of the Lost Ark would follow. Nearly all of these films were highly-collaborative, featuring input from everybody down the line. The results were impressive.
Caught between a New Hollywood on the verge of collapse and the rising revolution of high-concept filmmaking, it was in this cinematic (and perhaps also sociopolitical) climate that Alien was unleashed onto the world. After the monster success of Star Wars, Dan O’Bannon and Ronald Shusett probably realized that Alien would become a reality. An idea like an alien running rampant on a ship and killing off the crew would have been relegated to the B-movies before such successes. In fact, before their script got passed onto the likes of Walter Hill, they were close to signing a deal with Corman, himself.
So the system took a chance. Dan and Ron’s pitch: “Jaws in space”. O’Bannon’s well-known work prior to Alien included Dark Star, some effects work on Star Wars, and pretty much nothing else, although he had been attached to Jodorowsky’s Dune at one point. Shusett was a virtual unknown, his only credited work prior being W, in 1974. O’Bannon and Shusett would end up collaborating many times, including co-writing Dead & Buried (1981) and Total Recall (1990). Alien was their baby.
This is why everyone should stop riding Ridley Scott’s nutsack over Alien. Alien was a highly-collaborative process. Let’s face it, Ridley Scott’s movies suck ass, especially after 1982’s Blade Runner. None of the rest of his films could ever compare to his sci-fi duumvirate (yes, I’ve been waiting a long time to use that word) of Alien and Blade Runner. Does it not seem weird to anyone else that anything and everything else he does seems to pale in comparison to the duumvirs? Both films were the result of highly-talented and extremely creative individuals working as a team.
Now, for over thirty years, fanboys, fangirls and just plain fans, critics, average moviegoers, etc. have been showering Scott with so much semen praise. I have to wonder how many Alien fans actually realize that the film they love crediting Scott too much with was actually a highly-collaborative process. O’Bannon’s tenure on Dark Star was the initial spark. The rest of it would come in spades.
The most surprising thing about Alien is its originality, and something that Hollywood of today should take note of highly. When asked where the ideas came from, Dan O’Bannon famously remarked: “I didn’t steal Alien from anybody. I stole it from everybody!” Hum… that sounds like today’s Hollywood. The Thing from Another World, Forbidden Planet, Bava’s Planet of the Vampires were just a few sources that served as inspiration.
The difference between the Hollywood and filmmakers of then and now is that O’Bannon and the rest of the creative team did not just take ideas and craft them into a whole different animal; they also inputted their own creative ideas and thoughts into it. Hollywood shouldn’t stop stealing ideas; they should stop making shit from them. Back then they could make something of the ideas they had. Here, they managed to turn out one of the most original films of all-time, and it was stolen from everybody.
This film not only had two of the great sci-fi writers behind it, it also had a team that seemed to be assembled by God, himself, to create his vision. For instance, you had future great Walter Hill. Hill, David Giler, and Gordon Carroll headed production company Brandywine, with connections with 20th Century Fox.
Who to direct? Well, the initial choice was Walter Hill, now-famous for his action flicks like 48 Hrs. and the Warriors and Southern Comfort. Hill turned the job down, though he’d end up doing uncredited rewrites and producing. Hill and Giler’s rewrites would cause problems between them and O’Bannon and Shusett, who thought their rewrites were not making the script any better. Nevertheless, credit must be given to Hill and his comrades who not only saw merit in the project, but personally backed it.
They eventually ended up picking Ridley Scott to direct. Scott’s storyboards (which included designs for the spaceship) impressed 20th Century Fox enough to double the budget. Scott can be a good director. And he can be a fucking great director with the right creative team backing him up. Scott has a great eye for how things ought to look. But Scott wasn’t the only one with an artistic bent:
They had concept artists Ron Cobb (Dark Star) and Chris Foss (Dune) to work on human aspects of the film, like spaceships and suits. They also got the artist of Satan’s dreams and nightmares, H.R. Giger, for the alien design. Giger’s work is nothing short of brilliant. The biomechanicality of his work, its eroticism, and its ability to be both terrifying and beautiful at the same time still gives me the chills.
Giger’s work on the project not only served as the basis of the creatures, but eventually led to the filmmakers adopting a wholly unique approach to how the alien creature would get aboard the spaceship…
Dan O’Bannon described it as “oral invasion” and a metaphor for, well, basically the whole fear of penetration thing. Did I mention he described it as “oral invasion”? Alien was a movie whose creatures and concepts and designs often stood for symbolisms of male and female sexual imagery. From the design of the creature to images of oral rape and alien miscegenation and the male giving birth to the alien, Alien was only one notch below pornography in terms of subtlety (and that’s not necessarily a bad thing).
This was what set the film apart from so many. How do we get a creature on board? How about we impregnate one of the male crewmembers? The sexual imagery of Alien is one of the concepts that haven’t been used much since the first film. It’s just one of the aspects that made Alien unique and one that many “inspired” films (IE rip-offs) would continue to use and exploit (Inseminoid and Galaxy of Terror come to mind).
Er, anyway, among others on the Alien creative team included: Roger Christian as art director (who went on to shockingly make shit like Battlefield Earth); Carlo Rambaldi who manufactured the alien’s head (and also worked on E.T., Deep Red, etc.); Brian Johnson as visual effects supervisor (who went on to work on The Empire Strikes Back); Martin Bower as supervising modelmaker; etc.
The cast, some of the finest actors of that and any other generation, were assembled to be as realistic as possible, described as “truckers in space”. I don’t think it would be fair to single out individual performances because, like the creative team behind the camera, each person in front of the camera did a terrific job as individuals in a team.
Long story short, Alien was the outcome of the creative input and output of the talents of many individuals, and not just Ridley Scott (who did do a fantastic job of directing)…
The result was a box office hit, a critical success, the birth of a classic, the creation of one of the most terrifying fictional creatures, the start of several careers and a franchise.
Jaws and Star Wars get a lot of credit for changing the game. I’d argue that Alien belongs right up there with them. Like so many of the highly-collaborative projects from this period, it ended up being a monster success and a bona fide classic. Alien is another example of a classic film from this period that set trends but also reflected the prevailing wind in cinema. Things looked quite good in Hollywood.
Alright, enough about Alien. If you want to read about the making of Alien, the Wikipedia page actually has a surprising amount of information, with sources that link to books about the making of the classic. Also try the documentary: The Beast Within: The Making of ‘Alien’ (2003). My point was basically that: (a) Ridley Scott is not a sci-fi god; (b) Alien is a product of its time and of the work of a team of highly-talented and creative individuals.
It would be at least seven years until a sequel was released.
By the time the mid-80s rolled around, the Reagan era was in full-swing and Hollywood kept on chugging. Studios took chances, creative teams kept on giving, and audiences everywhere kept rejoicing. Both independents and major studios thrived. Science fiction and action had become extremely popular genres in the wake of the birth of the blockbuster.
A sort of crude example of this: James Cameron, a “graduate” of the “Corman School”, who had done work as art director on Battle Beyond the Stars and production designer on Galaxy of Terror and special effects work on Escape from New York. His first directorial job was Piranha II: The Spawning. His major breakthrough would be The Terminator in ’84; a box office success and now considered a sci-fi and action classic.
Cameron would be the one to get the sequel for Alien rolling. With B-movie sensibility still fresh in his mind, and lessons from working with Corman under his belt, Cameron sought to create a worthy successor to Alien.
First off, Cameron at this stage of his life was still with partner Gale Ann Hurd. Hurd, herself, had worked for Roger Corman, as executive assistant while at New World Pictures and soon became involved in production. While with Hurd, Cameron created, arguably, his four best films: The Terminator, Terminator 2, The Abyss, and Aliens.
Cameron, who was a fan of the first Alien, opted for a different approach: more terror, less horror. My feeling was that if they decided to create a straight-up horror sequel, they probably thought it would end up feeling like a rehash of the original, rather than something fresh. That’s just my take, anyway.
Cameron wrote ninety pages for Aliens while filming the Terminator and was ultimately given approval by 20th Century Fox after the latter became a hit. Weaver would return to the role of Ripley after a meeting with Cameron. Aliens would ultimately draw inspiration from the Vietnam War and would tackle issues like military-corporate interests and bureaucratic ineptitude that would be re-explored in The Abyss and Avatar.
Alongside the duo, Walter Hill and his friends at Brandywine would produce. Cameron has always had a flair for the theatrics part, and his eye for visuals is no less important for Aliens. But once again, a killer creative team was brought on for the sequel. They managed to get Syd Mead, described as a “visual futurist” for work as concept artist and designer who also participated on Blade Runner and Tron.
The brothers Robert and Dennis Skotak were brought on as visual effects supervisors. Both would go onto do other big-name projects, like Terminator 2 and Batman Returns, Robert most often for visual effects, and Dennis for visual effects or director of photography. And who could forget legendary Stan Winston and the alien queen?
The cast was a ragtag group, but once again it was comprised of able actors, who brought the film to life in front of the camera as well as the creative side did behind it. Despite initial problems and tensions on set between the producing team and the crew, everybody pulled through, and Aliens became a hit. It is now regarded equally alongside its predecessor; and just as Alien has a reputation for being a sci-fi horror classic, Aliens holds equal stature as a sci-fi action classic.
Aliens was wholly of its time and space in the mid-1980s. It was an era characterized by derivatives of former works, but also of immense creativity (whether they failed or not), as independents and majors competed on equal footing. When sci-fi from this period was good, it was fucking good. Examples of highly-creative works from this period include: Blade Runner (1982), The Thing (1982), Videodrome (1983), The Terminator (1984), Back to the Future (1985), The Fly (1986), RoboCop (1987). Other examples of major studios backing creative projects include: Indiana Jones and the Temple of Doom (1984), Gremlins (1984), and Ghostbusters (1984). Action films would also dominate, with stars like Schwarzenegger, Stallone, Willis, Van Damme, Norris, and Seagal becoming household names. It’s not surprising Aliens was made in this period.
I honestly cannot get over the amount of sci-fi works from this period that are impressive, creative, watchable, and, above all, fun. This article is really about the major studios, but even independents and non-Hollywood filmmakers were releasing ambitious, if flawed, works. From works that were shameless rip-offs, to films that were hindered by budget limitations, to major studio productions and foreign films, it makes me sad that we can’t have what they had, today.
The Alien series thus far had two films that were titans of sci-fi, a sequel that actually lived up to its predecessor… Could the streak continue? In a word: no.
The late 1980s came along. Unfortunately for us, the late-80s presented as many opportunities for watchable films as it did crap. Garbage sequels like Ghostbusters II and rip-offs like Mac and Me and Leviathan exemplified the Hollywood tradition here. Again, don’t misunderstand me. I like a lot of films from this period, but it’s clear that the route was only downhill for Hollywood. As an example, of all of the underwater-related films released in 1989 (that was not The Abyss), Leviathan was the best one, DeepStar Six followed, and the rest were pretty much misses.
This is the period in which Alien 3 was born.
And like any botched birth, Alien 3 was unplanned, unwanted, premature, badly handled, feet-first and uncared for by the people that birthed it.
The 1990s rolled around. Reagan and Bush eras both gave way to the MTV President, Slick Willie, Bill Clinton. Hollywood pushed on. Blockbusters and high-concept films had become the norm at this point. I’d argue that the modern Modern period was truly borne out of Terminator 2, a film with a then unheard of budget of about $100 million, and directed by some egomaniacal jerk named James Cameron.
But while major studios continued to roll out sci-fi pics year after year, in hindsight it was becoming apparent that there was an increasing decline in terms of quality of the output beginning in the late-1980s. This was also true of horror films. Horror had become dominated by cycles of slasher films throughout the 1980s, and in the early 1990s was virtually dead, with few notable exceptions (Candyman comes to mind). Independent studios fared even worse. These weren’t the only problems, there were some far bigger and far more lasting…
Unfortunately, the 1990s presented a series of problems for filmmakers (which had been festering since the late-80s). Studio control and decision-making was one. Lack of creativity was another. Alien 3 would ultimately be a failure due to lack of creativity, but more because of changing attitudes in Hollywood, mostly towards the dumb and the useless. The early ‘90s was a period of time when a lot of independents faltered, were pushed out of the business or were swallowed up by the majors. The 1990s, where Alien 3 and Alien: Resurrection found themselves, was a period which let this
come to pass.
The problem isn’t the film itself (though you could certainly make the argument). The problem is the decision-making involved which led to its production and the downfall of its producers.
Unbelievably (or believably, depending on your point-of-view) the story goes that they passed on the Verhoeven/Schwarzenegger orgiastic bloody violent fucking epic Crusade to produce that bomb. Proof that Hollywood had no idea what it was doing and that dumbass executives in charge could never be a good thing.
Cutthroat Island was such a huge bomb that it bankrupted Carolco Pictures. Carolco was an independent studio which hitherto had managed to stay in the game with box office successes such as Total Recall, Terminator 2: Judgment Day, Universal Soldier, Basic Instinct and Cliffhanger. So you have to wonder what the fuck they were thinking betting their entire company on this and Showgirls? Maybe that’s why they didn’t give Verhoeven the money because he already had it to make Showgirls.
But this was not really an isolated incident of stupidity and shortsightedness. In fact, this period would give way to some major disturbing trends that we still see today. For instance, Hollywood at this time began the tradition of hiring and firing multiple screenwriters and generally fucking up everything to do with production. As an example of this, for Alien 3, they got the renowned sci-fi writer and heartthrob William Gibson, who penned the cyberpunk classic Neuromancer, to turn in a screenplay.
If you’re watching a film, specifically Alien 3, and it feels like it was written by a dozen different people and directed by about half that, don’t despair. Alien 3 was a film that exemplifies the typical studio fuck-up of a hectic and shoddy production, bad decision-making, bureaucratic incompetence, trademarks of Hollywood that continue now, into the present era (look at G.I. Joe: Retaliation as one of the latest examples).
The anticipation for Alien 3 was probably running pretty high. There was even a teaser trailer that suggested that the aliens would come to motherfucking Earth. You went from a lone alien on a ship, to a myriad on a terraforming colony, and now you want a shitload on Earth? Fuck yeah, when can I see this?!
Answer: never.
William Gibson was only the first in a long line of writers hired and fired for this project. While Sigourney Weaver continued to stress the fact that she was never going to play Ripley again (except for lots of money), Gibson decided to focus the story on Hicks and Bishop. Gibson’s story involved “airborne virulent contagion” and the development of alien warriors by Weyland-Yutani. According to Gibson, the version of his script floating around on the internet is “about thirty pages shorter” than the version he submitted and “became the first of some thirty drafts” by “many screenwriters” of which “none of [his] was used”. How completely fucked do you have to be to hire William Gibson and then promptly fire him and not even consult whatever little he actually came up with?
Who were these other screenwriters? A bunch of nobodies, probably, right? Among them were:
Eric Red, who I was disappointed to find out wasn’t actually a Viking or Viking-related. He did, however, write two of my favorites, The Hitcher and Near Dark. Red’s story would kill off everyone who survived Aliens and take place in some kind of space bio-dome small-town USA. Red’s script reused Gibson’s virus idea, except this time anything and everything could be infected, which turned the space station into an alien. Yeah, you heard that right. It also featured cool shit like alien hordes facing off in a huge battle against the townsfolk and less cool shit like the alien-human hybrid (that was reused in A:R). Renny Harlin, the director, walked out after being shown this script, and Eric was promptly fired.
Next up was David Twohy, who would go onto to do shit like The Fugitive, The Arrival, Pitch Black and Below. Twohy’s version would feature a prison planet (a concept which would be used in the final script, but also in Twohy’s own The Chronicles of Riddick). His vision was that this prison planet was being used for illegal experiments, carried out on unsuspecting inmates who were mock-executed via gas chamber. The experiments would involve the alien creatures, of course. Also featured were failed alien clones, people getting sucked through hulls, and different types of aliens (concepts which were all recycled for Alien: Resurrection). Unfortunately, the new director, Vincent Ward, didn’t want to work with Twohy, so he and his draft were scrapped.
Three strikeouts should be enough, right? Well, remind yourself never to play baseball with Hollywood execs. Vincent Ward (a critically-acclaimed New Zealand director), himself, and his co-writer John Fasano began crafting an entirely new story, where Ripley’s escape pod would crash into a “monastery-like satellite”, filled with “Luddite-like monks”. The story would have involved the monks having to deal with the presence of a woman, the increasing reality of the presence of the alien creature, and Ripley’s own soul-searching. It would have had all of the religious symbolism and allegory, visual wonder, and alien mayhem. You know what? This actually sounds pretty fucking original.
But no, they got booted off, too. Why? I honestly have no idea. I guess they were running low on time. Instead, Walter Hill and David Giler took control of the screenplay. They melded elements of the Ward and Fasano script with some of Twohy’s concepts (notably the prison planet). But that wasn’t the last of it. The screenplay would be reworked again by the director and author Rex Pickett though Pickett’s work would ultimately be rejected.
Wait, who was directing this abomination again? None other than then-unknown David Fincher. Fincher, unsurprisingly, would complain later that the studios weren’t giving him enough creative freedom. You know what’s really funny? After the colossal amount of rewrites, they began filming this turd, already having spent $7 million, and without a finished script. Good fucking god.
You’d think that’d be enough to convince you. Here’s more bad news. Stan Winston, unsurprisingly, did not return to work on the visual effects for Alien 3. Instead, he referred the filmmakers to two former workers of his studio: Tom Woodruff, Jr. and Alec Gills. Now I’m not saying they did a bad job, but… Wait, I guess I am… After budget cutbacks, continuous rewrites, and studio shenanigans, the alien hordes were reduced… to this:
Oh, and say hello to bluescreen effects:
It’s a pity. You had plenty of creative people working on this film, or attached to it at some point, and I just don’t mean the writers and director. Mike Worrall and Stephen Ellis produced concept art for Vincent Ward’s aborted version. Ward, himself, had quite the visual eye. John Eaves, notable for his work on the Star Trek series, was a model maker. Whether or not they were more creative than the previous teams is not up to my judgment. The biggest difference was that on Alien and Aliens, everybody was working synchronously and harmoniously. This, however, was not a collaborative effort. On Alien 3 (and A:R, also) you had producer fuck-uppery, studio interference, constant script rewrites, directors being replaced, that the creative force behind the work suffered. All of that artistic merit means nothing when the film itself is a clusterfucked production.
So congratulations, guys, and I’m talking to you Walter Hill and David Giler and other Hollywood executives. You took the creative talents of about a dozen individuals (and that’s not including the writers and director) and beat them to death with a shovel. There was a reason why Alien 3 felt like a hodgepodge of ideas, a forced product that reeked of studio control. I’m still amazed at how much a clusterfuck this production was but, at the same time, I’m not actually shocked by it. Why should I, when the prevailing wind in Hollywood was being blown out of its collective ass? It’s pretty easy to see the path we came down now…
But it’s not over yet… There’s still more… The 1990s was a period which tried to be creative but the works ended up feeling flat, uneven, boring and, quite frankly, callbacks to previous films did not seem subtle at all. Alien was pitched originally as “Jaws in space”. When you watch the film, Jaws does not pervasively enter your mind. I never once thought while watching Alien: “Man, this is like a rip-off of Jaws.”
The ’90s had films that did just as much stealing as did other films, but they clearly had you thinking it was ripped-off of something else. An example of this would be Under Siege. Don’t get me wrong, I love the film. I think I’ve pretty much established that I love eating shit with my shit-eating grin. But it clearly is and feels like Die Hard on a god damn ship. Not that I have a real problem with that, the world needs more Die Hard and Erika Eleniak’s tits. But I can be objective… Those are some really nice boobs… I mean, seriously, it’s pretty much a rip-off with no actual or real creativity. Fucking fun, but it nonetheless exemplifies the Hollywood mentality. Go where the money can be found.
Not all films were like this, but many did feel tired, old and clichéd. And this became worse as the decade wore on. Who could forget Waterworld? But, ultimately, I think it was films like The Postman, Virus, The Phantom Menace and Alien: Resurrection, itself, that eventually led to a dearth in Hollywood’s creativity. The Matrix should have kept the trend of creativity going, but something happened along the way that fucked it all up. Oh yeah, sequels.
Sidetrack, but still relevant: long story short, Virus was one of the last real big chances Hollywood took and an unfair way to cap the end of the 20th century. It’s actually mindboggling that a major studio would chance a film like this. Regarded as a terrible film by most people’s accounts, I, personally, consider it a guilty pleasure (and have considered reviewing it many times). Based on a little-known comic, starring minor A-listers, and filmed on a pretty big fucking budget of $75 million (of which it would make only half that at the box office), Virus was a sci-fi horror film with neat effects and decent visuals, underdone by a rather dumb concept and reversion back to genre clichés. A big budget film that likely helped to kill all enthusiasm the major studios had for sci-fi, horror, and risk-taking.
Other than the downfall of creative and inventive vision and the rise of studio skullfuckery, three trends also became apparent during the mid-to-late 1990s. The main one was the increasing use and reliance on CGI, which soon began to replace legitimate artistic and creative talent, wholesale. Special effects via CGI would end up leading to what we now have in the industry: the preference for crappy fake effects over any original vision.
The second was the bipolarity and increase in the shittiness of horror films. Before The Blair Witch Project would come along and officially spell death to the genre by ruining everyone’s time with handheld-shit, there were really two types of horror films that dominated the American cinematic landscape: the slasher, having been reborn thanks to Wes Craven’s shortsightedness; and the monster film. Yes, folks, it’s Scream versus Phantoms, I Know What You Did Last Summer versus Deep Rising, Final Destination versus Lake Placid, Urban Legend versus Virus (and the latter wins every time).
Sci-fi was also at a low point in the late 1990s. Don’t get me wrong, I like a lot of crap from this period, but let’s face it, the number of lasting or game-changing high-quality science fiction (and horror) films from this period were few and far between. Gattaca, Dark City and The Matrix were three major examples, but in hindsight, even they didn’t have that much of a lasting impact on Hollywood’s films. The rest of the genre were either derivative fun flicks, like Deep Rising, or films that attempted to exhibit creativity, but often unraveled due to genre trappings, like Event Horizon and Virus.
So we finally come to the final film in the original quadrilogy: Alien: Resurrection. It would be directed by renowned Jean-Pierre Jeunet. With a decent cast and a creative team at the helm, what could go wrong?
Alien: Resurrection was a schizoid film, and it’s easy to see how it became a hostage of the late-1990s period of sci-fi and horror. It was clearly a monster film, but it had the sensibilities, and often the self-awareness, of the slasher-lite. Unlike Alien 3, which was fucked before it even got started, A:R actually had the potential to be a classic, just like its fellow Event Horizon.
First of all, A:R pretty much combines a shitload of elements from the preceding films in the series, adds in some bizarre and unused shit from the Alien 3 scripts, and in the end manages to accomplish nothing new. Well, actually, it was better than Alien 3, so I guess that’s a positive start. Right?
You have mercenaries who come aboard a military-science research vessel, where they’re carrying out experiments on human beings with aliens. There’s ship mayhem, alien goodness, clones, human-alien hybrids, a character that turns out to be an android, chestbursters, prison-like settings, and military incompetence. What more could have been recycled? Add in Brad Dourif for some token weirdness, some dark humor, and that French touch, and you have Alien: Resurrection.
To write it, they managed to get one only guy this time. Who, you ask? Some no-name guy by the name of Joss Whedon. You know, the guy who directed and wrote the overrated Avengers, I mean, The Bestest Movie EVAR, ZOMG! ORGASM? At that point in time, he’d done Buffy the Vampire Slayer, Toy Story and uncredited rewrites for Speed and… Waterworld?
So they’ve got one competent writer, rather than half a dozen. But wouldn’t you know it, they got him to do countless rewrites. For instance, Whedon initially wrote an ending with a final battle for Earth, itself… Five versions of it… And none of it ended up in the film. Whedon had to comply with the producers’ demands and make constant rewrites. Like when Hill and Giler wanted a clone of Ripley, Whedon had to change a previous script, which was about a clone of Newt (from Aliens). And, in the end, believe it or not, he was unsatisfied with the way his screenplay ended up on film. According to Whedon, they didn’t fuck it up by making it radically different; they fucked it up simply by fucking it up. It’s almost like the Frenchie director didn’t understand English or something.
But who to direct the masterpiece? Danny Boyle? Not interested. Peter Jackson? Making an Alien film didn’t really excite him. Eventually they brought on Jean-Pierre Jeunet to direct the film, and it shows in some scenes, it really does. A:R often looks visually-stylish, with that trademark Jeunet touch. Having previously done classics such as Delicatessen and The City of Lost Children, and just having finished the script for Amelie, Jeunet was initially surprised that he was offered the chance to direct A:R. He also thought it was a bad idea.
And he spoke no English… Wait, what? I was just making a joke. He literally spoke no English and had to have a translator. It wasn’t the first, or last, time that a foreign-born director would get fucked over Stateside. Most of them probably actually realized that they’d be getting fucked over though. He had to have a translator, people. The film is fucked!
Jeunet decided that if he was going to get fucked, he might as well bring along his whole crew for the unpleasant ride: for special effects supervisor, Pitof, for cinematographer Darius Khondji, both from The City of Lost Children (Khondji’d also done Seven, among other things, and would later go onto bigger and better projects; Pitof would go onto do Catwoman). He also brought along his pal Marc Caro to do some concept art. According to Wikipedia, Jeunet and his buddies all watched “the latest science fiction” films for references… So basically they weren’t even trapped as a natural result of the time they were in, they basically set themselves up for it.
Are Alien 3 and Alien: Resurrection bad films? I’m not here to judge that. Okay, I guess I am. What I am here to judge is how the backdrop of Hollywood at this time fostered hectic productions, clusterfucks, even, with the norm being hiring and firing multiple writers, directors and creative talent. Alien: Resurrection fared better in this department though rampant studio interference still occurred, especially in regards to Whedon’s script. The unfortunate reality of sci-fi and horror at the time meant that Alien: Resurrection’s problems may have had more to do with studio attitudes towards those genres and audiences’ tastes. Neither Alien 3 nor Alien: Resurrection would be the one to dramatically change the landscape of Hollywood.
Man, I’m even more convinced now that if Ridley Scott had to work on Alien 3 or Alien: Resurrection, they still would have turned out to be crap, because he’s not the be-all and end-all, and he certainly wasn’t on Alien. I’m not saying he did a bad job with the first film. He did an amazing job, but he also had the collective creativeness of a whole production team to help him along. If Fincher and Jeunet (and Caro) got fucked over for the ‘90s iterations, I’m sure Scott would have been, too (considering, also, that Scott’s ‘90s period was pretty much shit).
And that’s it. What about the crossovers, you ask? Do I even have to explain those? The 2000s were shit. Okay? Pure shit, with some kernels (of gold) leftover. Adaptations of popular works (and, even then, studios still manage to find a way to fuck those up), sequels, remakes, reboots, reimaginings, readaptations, etc. are/were the norm. Superhero movies seem endlessly popular (and with The Avengers’ success and The Dark Knight Rises pending, this trend doesn’t look like it’ll go away soon). Major studios do not seem to want to finance risky projects, and sci-fi that take chances are few and far between from the majors. They instead relegate these projects to independents, and often distribute them for themselves. From the mid-2000s onwards, there seemed to be very few challenging sci-fi being released: Children of Men, Sunshine, Pandorum, Moon and District 9, as examples.
How’ll Prometheus fare? We’ll soon see. If it’s any indication, any science fiction and horror pic has the potential to be good. Hell, I guess anything has the potential to be good. But Alien and Aliens had the good fortune of being created when the times were right. Alien 3 and Alien: Resurrection did not have that luxury. The quality of a film has as much to do with the creative force behind it, but also timing, and that’s something most people often forget. Films are wholly of their time, and they’re often trapped, for better or worse, by the trends and tastes of their respective times. It isn’t a surprise that, say, Die Hard hit theaters when the Reagan era looked to be ending.
Akin to that notion is the idea that, say, Aliens found itself in a far more creative atmosphere; studios may have felt that uncreative films would fail to attract audiences, especially with the amount of competition in the 1980s. Alien: Resurrection, on the other hand, found itself in an era with stringent studio control, lack of real imagination, producers who were hesitant on funding risky projects, and audiences whose tastes just sucked.
Good fucking god. I should have just wrote a god damn book. Honestly, this could have been way longer, like book-length. I only really just touched on some of the production aspects for each film and on the history and I skimped over the 2000s. I could have been a lot more comprehensive and/or specific. But then, I probably would have stopped writing soon or later and you’d probably have stopped reading it. If you want to read more on each film’s production, there is a lot of information out there, from books to documentaries to websites (for instance, this Empire feature of Fincher’s Alien 3 experiences).
It’s funny how I’ll forgo writing an actual review to write pages upon pages of this shit. I just wanted the pictures. Enough sidetracking though. I need to write an actual review soon. Maybe I’ll review Virus (1999).
“The Dutch customs once thought my pictures were photos. Where on earth did they think I could have photographed my subjects? In Hell, perhaps?” – H.R. Giger
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INSEMINOID BLU-RAY NEW - $34.56. FOR SALE! Inseminoid Blu-Ray NEW This product data sheet is originally written in English. Please ENSURE your DVD/blu ray player is compatible before purchasing. DVD/blu ray are made for UK market so have ENGLISH as main language (unless made as foreign language) and are DVD: Region 2/blu ray: Region B. Brand NEW 355764477150
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PicClick AU
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https://picclick.com.au/Inseminoid-Blu-Ray-NEW-355764477150.html
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Inseminoid Blu-Ray NEW
Unsold See similar items $34.56 Buy It Now, $9.56 Shipping, 60-Day Returns, eBay Money Back Guarantee
Seller: firstrhythm (511,599) 99.1%, Location: Manchester, GB, Ships to: WORLDWIDE, Item: 355764477150 Inseminoid Blu-Ray NEW. Inseminoid Blu-Ray NEW This product data sheet is originally written in English. Please ENSURE your DVD/blu ray player is compatible before purchasing. DVD/blu ray are made for UK market so have ENGLISH as main language (unless made as foreign language) and are DVD: Region 2/blu ray: Region B. Brand NEW item, we sell only new and genuine items. Product image for illustration purposes only. Actual product image may vary Please ENSURE your DVD/blu ray player is compatible before purchasing. DVD/blu ray are made for UK market so have ENGLISH as main language (unless made as foreign language) and are DVD: Region 2/blu ray: Region B. Brand NEW item, we sell only new and genuine items. Product image for illustration purposes only. Actual product image may vary Language English Title Inseminoid MPN PHIBD162 Format Blu-ray Actor Robin Clarke Actor Stephanie Beacham Actor Jennifer Ashley Actor Barry Houghton Actor Judy Geeson Actor Victoria Tennant Director Norman J. Warren Movie/TV Title Inseminoid Run Time 85 mins Film/TV Title Inseminoid Genre Horror/Occult Genre General Release Year 2021 Release Date 30-08-2021 Increase your Sales Abroad with WebInterpret's Global Listing Solution.
Condition: Brand new
Language: English
Title: Inseminoid
MPN: PHIBD162
Format: Blu-ray
Actor: Barry Houghton, Jennifer Ashley, Judy Geeson, Robin Clarke, Stephanie Beacham, Victoria Tennant
Director: Norman J. Warren
Movie/TV Title: Inseminoid
Run Time: 85 mins
Film/TV Title: Inseminoid
Genre: GENERAL, Horror/Occult
Release Year: 2021
Release Date: 30-08-2021
Studio: Unbranded
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Worm Sex Scene From The Movie Galaxy Of Terror : The female officer of the spaceship got pregnant after their hot mating.
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8999
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https://www.rottentomatoes.com/m/inseminoid
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Rotten Tomatoes
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A space-team member (Judy Geeson) goes berserk after being impregnated by something on another planet.
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Let's keep in touch!
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3
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https://www.voicesfromthebalcony.com/2022/02/10/project-gemini-2022-review/
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Project 'Gemini' (2022) Review
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2022-02-10T00:00:00
|
Project 'Gemini' is a space mission sent to terraform a distant planet. However, the mission encounters something unknown that has its own plan for the planet.
|
en
|
Voices From The Balcony
|
https://www.voicesfromthebalcony.com/2022/02/10/project-gemini-2022-review/
|
Jim Morazzini
Project ‘Gemini’, Звёздный разум or Proekt ‘Gemini’ if you prefer, is the latest genre film to come out of Russia. I’ve reviewed several Russian science fiction films from Attraction to Sputnik to The Blackout with very mixed results. The trailer, and the fact that Well Go USA had picked it up for US and Canadian release, convinced me to give it a look.
Three years after a deadly virus has destroyed much of Earth’s plant life, humanity’s fate rests on a pair of alien artifacts uncovered by scientists and kept secret until now. A revolutionary engine that makes deep space travel feasible, and an orb that may have been the seed that brought life to Earth. With this, they plan to create a new home for mankind.
Steve (Egor Koreshkov, Jetlag), David (Dmitriy Frid, The Balkan Line) and Leona (Martinez Lisa) are among the crew of the expedition sent to the planet dubbed Tess. But something goes wrong during the jump, and they emerge in an unknown part of the galaxy. There is however, a nearby planet that’s an even better subject for terraforming than Tess was.
Project ‘Gemini’ apparently had a difficult road to the screen, with much of the footage shot in 2016 in English with an eye on the international market. That was followed by reshoots, redubs into Russian and then, in the case of the version I saw, back into English. That may explain why, despite using experienced American voice actors, the dialogue frequently sounds melodramatic and overdone.
It also makes it impossible to know just how much of Project ‘Gemini’ is the work of credited director Serik Beyseu and writers Natalya Lebedeva (Never Say Goodbye) and Dmitriy Zhigalov (Beyond the Edge, Abigail). Regardless of who shot what, Project ‘Gemini’ does feature some excellent effects, which helped take my mind off the dialogue and dress up a somewhat predictable plot. Are the various accidents actually accidents? If not is it an alien presence or a human saboteur that’s behind them?
Eventually, most of the cast end up trapped on the planet’s surface, fighting among themselves while an alien tries to kill them all off. If it all sounds familiar, it is. Project ‘Gemini’ incorporates bits and pieces from various films in the Alien franchise, especially Prometheus, along with several knockoffs from everyone from Roger Corman to Norman J. Warren’s Inseminoid and multiple Italian productions. If Klaus Kinski was still alive I’d almost expect to see his character from Creature/Titan Find turn up, Hans would fit right in.
The result of all this is actually a fairly amusing film, that while it isn’t particularly coherent, at least has a lot going on. We can only speculate about what Project ‘Gemini’ would have been like without all of the post-production tinkering. But what we get is better than it has any right to be, given the choppy editing and plot threads picked up and then dropped. Or maybe, as with Shocking Dark, that’s what makes it so entertaining.
I do wish we had seen more of the alien itself. When we finally do get a look at it, it’s fairly reminiscent of one of Alien’s xenomorphs, but not badly done. And the various Kazakhstani caves and desert locations make a good stand-in for an alien planet. On the other hand, I have to wonder who had the idea of putting what looks like quilting in the spaceship’s corridor.
Well Go USA will release Project ‘Gemini’ to Digital and Blu-ray in the US and Canada on March 15. You can check their website for more details. The UK will get it on March 28th and in Australia Eagle Entertainment will release it on April 13th.
Where to watch Project Gemini
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https://rarelust.com/inseminoid-1981/
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en
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Inseminoid (1981) – Rarelust
|
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https://rarelust.com/wp-content/uploads/2020/08/rarelust.ico
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2020-03-21T23:56:52+00:00
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https://rarelust.com/inseminoid-1981/
|
Directed by: Norman J. Warren
Stars: Robin Clarke, Jennifer Ashley and Stephanie Beacham
Language: English + Commentary (2nd track) | Subtitles: English (embed)
Country: Uk | Imdb Info | Ar: 16:9 | Brrip
Also known as: Horror Planet
Description: A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.
preview
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8999
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http://www.cineoutsider.com/reviews/bluray/b/bloody_terror_shocking_cinema_of_norman_warren_4.html
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Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Inseminoid Blu-ray review
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Right, here we go...
When I began researching Inseminoid, one thing became abundantly clear; it definitely wasn't influenced by Alien. No sir, not a bit. On one of the special features on this disc, producer Richard Gordon is emphatic that none of those involved in the making of Inseminoid had seen Ridley Scott's sf-horror masterpiece when they made their film. They couldn't have, he assures us, as Alien hadn't even been released when they started shooting. Hmm. It may well be the case that the husband-and-wife team of Nick and Gloria Maley wrote their screenplay before clapping eyes on Ridley Scott's masterpiece, but research suggests that Alien hit UK cinemas a good eight months before principal photography on Inseminoid commenced and US cinemas four months before that. In case you need reminding, Norman J. Warren was and remains a fan of horror movies and Alien was a blockbuster hit that every genre fan worth his or her salt rushed to the cinema to see as soon as they were able. I'm just saying...
What I will say is that Inseminoid is not the cheapjack Alien rip-off that some accused it of being on its release, but the idea that it wasn't in any way influenced by Scott's film cuts little ice with me. It wasn't, I should point out, an isolated case, and that's hardly surprising. Alien redefined the look of cinematic space travel, and the gender-mix of its crew and the unglamorous practicality of its ship interior quickly became new the new genre norm. It's success also saw Hollywood studios try to cash in on its success with titles like Saturn 3 (1980) and Outland (1981), while flying the flag for the independents, as ever, was New World with the 1981 Galaxy of Terror, and the cheapie 1980 Italian rip-off Alien 2: On Earth.
As with Alien, Inseminoid features a mixed-gender crew stationed in the isolation of deep space. Here they're not on a spaceship but on an unspecified  planet where they've been tasked with the excavation of ruins of an ancient alien civilisation. According to Warren the original plan was indeed to set the film on a spaceship but it would have cost too much to design and build the sets. Instead they secured full access to the Chislehurst Caves in Kent, which double rather nicely as underground mining tunnels. Anyway, whilst prodding around the caves in a sequence that visually takes its cue from the exploration of the alien ship in, erm, Alien, crew member Dean (Dominic Jephcott) discovers a cocoon that then explodes in his face and knocks him cold. When his crewmates get him back to their base, Doctor Karl (Barry Houghton) notices that he is clutching a handful of crystals and sensibly puts them in a jar rather for later study. These same crystals then infect fellow crew member Ricky (David Baxt) through a wound in his arm, prompting him to go batty and charge back into the caves. On his way he pushes Gail (Rosalind Lloyd) out of his way, causing her to fall on some debris and wedge her foot between two twisted metal shards on the floor. It's a predicament that from where I was sitting looks as though she could easily escape from if she just stood up and leant forward, but oh no, she's trapped, her thermostat is failing and she's a bit of a panic monkey. So instead of listening to radioed advice from her colleagues, she opens her helmet, stuffs the air feed from her backpack into her mouth and tries to cut her foot off with a futuristic chainsaw, one that looks suspiciously like a hedge trimmer and that couldn't make a serious dent on a piece of puff pastry. Kate (Stephanie Beacham), who I initially thought was a reporter and turned out to be the mission's Documentation Officer, whatever that is, puts a sharp end to Ricky's rampage by shooting him squarely in the chest with a spear gun.
Once Gail and Ricky have been safely buried on the planet's surface, Sandy (Judy Geeson) and archaeological boffin Mitch (Trevor Thomas) return to the caves to collect some more of those crystals. The same crystals that infected Ricky and drove him mad. Their mission goes awry when a large alien creature appears out of nowhere and disposes of Mitch. It then takes Sandy prisoner and, in a scene that should have you shifting in your seat in discomfort, impregnates her with a gooey fluid pumped through a glass tube that is inserted into her...well...I'm sure you don't need me to spell this one out. A search party brings the disorientated Sandy back to the base, and as an alien creature starts growing speedily inside her it begins to take control of her actions and turn her against her surviving colleagues, whom she sets about killing one by one. To recap, a human astronaut is attacked by an alien creature, one that plants its seed inside its human victim who is then transported back to the base by two comrades, where the seed enters the human habitat inside of the body of its victim, where it grows until ready to be born and it tries to kill all of its victim's crewmates. Now where, exactly, have I heard that before?
So is Inseminoid science fiction, horror or a slasher flick? Yes, yes and yes. Unlike those earlier Warren movies that I so recently fell for, this film is not remotely interested in low key naturalism or the notion of slow build (two things that continue to make Alien special, by the way) and opts instead to start the action early and then just keep it coming. And I've no problem with that. What trips it up a little are a handful of iffy performances, a lack of character depth, and the fact that much of the action is, well, not all that great. There's a lot of running about and chasing and bashing into things and pushing people over, but...
OK, considering I responded so well to previous titles in this set and am by nature sympathetic to the specific pleasures of low-budget genre filmmaking, why is it that much of Inseminoid still fails to click for me? This is, after all, something of a favourite with those who cherish Warren as a director. What am I not getting? Certainly the fact that some of the sets and technology have a future-on-the-cheap feel is not a problem. It's a common trait of low and even medium (and occasionally high) budget sf films whose predictions are based on then current trends and fashions and are often more about looking sleek and minimalist than creating environments that people would realistically choose to live and work in. And when you're doing things on the cheap you have to fake it as best you can with whatever comes to hand. But we've learned to live with that, at least if there are appropriately mitigating factors. Dark Star, anyone? Where Warren aims high but almost inevitably stumbles is in the conflicting demands here of pace and characterisation. In an approach that's almost the polar opposite of the one taken in Satan's Skin, in this film things kick off even before we've seen any of the characters without their spacesuits. The problem for audience identification is that there are a hefty twelve people on this mining station, and if we're going to care about what happens to them we need to get to know a little about them before horrible things are inflicted on them. The short version is we don't. Maybe if they'd each had a distinctive introduction, just a spattering of witty or engaging dialogue, a memorable trait, or a short sequence telling us something about them beyond the news that X is having an affair with Y it would have helped. But the truth is that I had to watch the film a third time with a notebook in hand and then reference the film's Wikipedia page to even put names to some of the faces, faces that I still can't easily recall. Once again, Alien provided an object lesson in how to do this, as did John Carpenter's The Thing the following year. What's a tad frustrating about all of this is that Warren did a blinding job of it himself in Prey, where we spent a lot more time with considerably fewer people and thus got to know them rather well before the story got under way. Even the incident-packed Terror had more distinctive and well-rounded characters than present here. In Inseminoid, the only ones who really stood out for me were the doctor (interesting face) and the unfortunate Sandy, at least once she moves out of the ensemble to become the main antagonist.
Being a Norman J. Warren film, we expect there to be violence and while the gore makeup is as good as ever, some of the physical conflict is oddly toothless here. When the rampaging Sandy bangs one of her victims' head against a cupboard hard enough to spray blood, you can see her doing the head-bash equivalent of pulling her punches to avoid causing actual injury to the actor. Elsewhere there's a similar lack of force to hits and throws that are supposed to be indicative of the strength of the aggressor in question. Neither the hedge trimmer chainsaw or the welding gun make for particularly fearsome weapons, especially as the welding gun is used to kill by advancing slooooowly towards the verbally protesting victim and snapping the sparky pincers open and closed for the camera. I'm also still trying to work out why an archaeological team would feel the need to include a spear gun on their list of essential equipment. Probably for the same reason the crew of the Nostromo thought it prudent of add a grappling hook gun to theirs.
So am I as dismissive of the film as I was when I first saw it? Well, despite everything I've written above, I'd have to say no. I was younger and less tolerant then and less receptive to what makes horror and science fiction so ripe for more analytical study, and there's definitely some subtextual meat to get your teeth into here. Central to this is the character of Sandy and the unspoken notion that the alien DNA that has invaded her system is tapping into and firing up her maternal instinct to protect the life form growing rapidly inside her. It drives her to remove all potential threats to its survival, and if that means disposing of her former friends and colleagues, then so be it. And once she starts taking them out she's given good reason to get pissed at the survivors when one of the men foils her attack on a female colleague by heavily pressing his foot on her pregnant belly and then angrily stamping on it for good measure. Having genuinely winced at this action myself, I was not surprised when Warren revealed in the extras that this moment had women's groups up in arms on the film's release. What really sells this aspect of the film is the total commitment of Judy Geeson's performance as Sandy. Her physicality and focused fury makes her a convincingly dangerous threat and I absolutely bought into the notion that she could beat seven bells of crap out of even the toughest of her former comrades. The sheer wincing intensity of her pained screams as she gives birth to her alien progeny, meanwhile, should be enough to convince a few of those watching that the so-called miracle of childbirth is possibly not all it's cracked up to be.
Warren's regular composer John Scott opted for an electronic score here, and while I have to admit that there are times when it made my fillings hurt, there are also moments when it proves unexpectedly effective and some elements even have the ring of late-career John Carpenter about them. Not bad for film that was released the same year as Escape From New York. I also really like the cave set that's lit primarily by lights in the floor panels, a familiar bit of sf movie design that was doubtless done on the cheap but looks as good as any of its big budget counterparts. Warren's ever-inventive regular art director Hayden Pearce really earned his (probably deferred) wage on this one.
So did this turn me all around on Inseminoid? Well, yes and no. As I watched it again (and a third time) it felt almost as if the things I didn't like were doing battle with the ones that I have subsequently warmed to, and while the former ultimately won the battle it was a closer fight than I could have expected. Just recently I read an interview with Martin Scorsese in which he said, "The films that I constantly revisited or saw repeatedly held up longer for me over the years not because of plot but because of character,"* and I can't fault him on that. Despite the attention that is always paid to its makeup effects, I'd ague that a key reason The Thing is so riveting and so tense is that each of its characters is so distinctively drawn before any of them falls victim to the monster in their midst. For me, it's the lack of character depth, coupled with some unexciting performances, dialogue that never rise above the functional and the decision to kick things off before we've really got our bearings that makes it hard to care anything like as much about the death of any of the Inseminoid crew. Ultimately it's in Sandy and her protective maternal rampage that the film is at its strongest and most subtextually interesting, though a perhaps unintended side-effect of this is that I found myself siding with her as she stalked the surviving members of her team, much as I might with Jason Voorhees as he disposes of charisma-free teens in one of the Friday the 13th films. Yet I can't fault its drive or its energy, and despite the (probable) Alien influence it still manages to be unexpectedly forward-looking, with a final scene that contains elements and imagery that absolutely anticipates the content and look of a key sequence from Aliens, which at the time of filming was a good five years in the future.
sound and vision
Whatever your views on the film you should be more than happy with the 2.35:1 transfer here, which was scanned and restored in 2K from the original internegative by Screenbound Productions under Norman J. Warren's supervision and looks terrific. The detail is sharp, the contrast just right and the colour vibrant without feeling artificially saturated. It's clean and stable and has a very fine film grain, and is quite possibly the best restoration in the set.
The Linear PCM 1.0 mono soundtrack is also in good condition. The bass notes may not boom and rumble but at least there is some bass. There's also none of the crispy trebles you'll find elsewhere in this set. The dialogue is always clear and the music especially so.
Optional English subtitles for the hearing impaired have been included.
extra features
Audio Commentary with Norman J. Warren and Gary White
Here Warren is teamed with the film's first assistant director Gary White, who was present for all of the film's principal photography and at the time of recording was still good friends with the director. As ever, Warren is a fountain of memories about the making of the film, and much of what he has to say you'll be hearing for the first time here, at least if you're watching the special features in the order they're listed on the discs and in these reviews. We learn that the abstract opening title backgrounds were done by Oxford Scientific Films, that the planet surface exteriors were shot on the island of Gozo, that a number of the cast suffered injuries on the shoot, that one oddly high-angle shot was the result of the production running out of money, that Warren struggled to get much of a performance out of Victoria Tennant, and that the futuristic chainsaw was indeed the hedge trimmer it looks to be. We're provided with the formula used to create the gooey alien sperm (now you can make your own!), and in a lovely bit of gotcha timing, Warren remarks on what a shame it wa that at the end of Alien we could see that the title creature was a man in an alien costume just seconds before his own, even more obviously man-in-an-alien-suit creature puts in an appearance. As ever, there's loads more, and Warren is as engagingly chatty as ever.
BEHP Interview with Norman J. Warren Part Two (69:20)
The second part of the British Entertainment History Project interview with Warren (the first is on the Prey disc) focuses on his film career from 1976 through to 2018, and thus covers the inception and production of all five films in this box set. A lot â though not all â of what he has to say about them you will also find covered elsewhere in this set, but if you're looking for a comprehensive overview of all of them then this is the interview I'd plump for first. In addition, we also get info and anecdotes about the making of the 1979 sf comedy Spaced Out, which gets hardly any coverage elsewhere, plus a documentary film he made for pop star Gary Numan and his recent collaboration with filmmaker Yixi Sun, Susu. That last one is covered in more detail on the Bloody New Year disc.
Manchester Festival of Fantastic Films Interview (61:30)
Recorded at the Manchester Conference Centre at the event named in the title, this has Warren interviewed on stage by an initially very animated and enthusiastic John Llewellyn Probert. He opens with the stated intent of conducting this as an informal chat instead of the career overview that other interviews with the director tend to consist of. It doesn't quite work out, but we still get to hear a great deal here that gets only a passing mention in other extras in this set. The centrepiece has to be the problems that Warren had with producer Maxine Julius on the 1986 Gunpowder and on Bloody New Year, which is a welcome expansion on the coverage he gives this in the BEHP interview detailed above. He's impressively and entertainingly forthright about the things that went wrong on these films and why. This includes the hiring of what he describes as the world's worst stunt driver and equally terrible explosives and gun specialists, whose combined ineptitude nearly resulted in the deaths of cast and crew members. The stories about Julius's late-night drinking and how they would find her in the morning sleeping on public benches and how this repeatedly put the filming of Gunpower behind schedule makes it all the more surprising that Warren risked working with her again on Bloody New Year. She apparently convinced him that she'd changed her ways. Want to guess how that worked out? In a particularly telling moment when talking about Gunpowder, Probert asks Warren, "Are there any bits or effects you are happy with?" to which Warren replies instantly, "Not really." The sound is recorded with an on-camera mic and is clear enough, but Warren does occasionally forget to hold his microphone â which is hooked up to the venue's PA system â up to his mouth and his voice can thus be a little quiet in places. This is such valuable inclusion that I'd live with it.
Subterranean Universe (44:46)
A making-of featurette produced for what I'm guessing is an earlier DVD release, one whose unattractive lighting camerawork thankfully does not detract from the content, some of which is unique to this extra. Those interviewed include Warren, producer Richard Gordon, executive producer Peter M. Schlesinger, art director Hayden Pearce, first assistant director Gary White (it's he who shares the commentary track with Warren), composer John Scott, and actors David Baxt, Barry Houghton and Stephanie Beacham, who still has a voice that could prompt even hardened career criminals to melt at her feet. Warren associate Ken Dowling also pops up near the end to talk briefly about a promotional flyer that he and Warren produced that caused offence and was subsequently judged by both men to have been a bad call. There's plenty of interest here and even familiar stories are refreshed by being told from an alternate perspective, and while he recalls that the film was generally well received, Warren does remember a BAFTA screening at which elderly industry figures were disgusted by it in a manner that only helped to sell the film to its target audience. In my favourite throwaway moment, Warren recalls that Stephanie Beacham was a joy to work with but kept calling the film 'Insecticide'.
Alien Encounter (6:02)
A brief chat with actor Trevor Thomas, who remembers working with "a lot of pretty ladies" but otherwise divides his time between cheerful chuckles and lightweight snippets of answers to unheard questions. Interestingly, he does at one point describe the film as "a cross between Alien and Rosemary's Baby."
Electronic Approach (13:10)
Composer John Scott talks about the partially budget-driven decision to go with an electronic score, though he compositionally approached it as a "synthetically produced" orchestral one. He also talks about the soundtrack album and one element of the closing music that didn't make it into the film.
Trailers and TV Spot
The Theatrical Trailer #1 (2:13) is not a bad sell, despite its overly serious dramatic narration and is better than Theatrical Trailer #2 (1:47), where some of the film's weaker elements are on show. This one's definitely not for kiddies, and the audio quality of the narration takes a serious dive midway and then recovers, suggesting a restoration from two sources. Theatrical Trailer #3 (1:02) is a short version of #2 and includes the line, "The most dreaded fear of every woman on earth is even more horrifying in space â the inconceivable is about to be conceived." A jelly baby for whoever came up with that one. The French Theatrical Trailer (2:28) is a French language take on #1, and the 'Horror Planet' Teaser Trailer (0:31) is for the film under its US retitle, one that assures us that, "No-one who lands here leaves here alive." Does that count as a spoiler? You'll have to watch the film and see. Finally, we have a TV Spot (0:31), which is a shorter take on the structure followed by its theatrical brethren.
Image Gallery
A hefty 108 screens of promotional and production stills, including that image from the VHS cover (three times), press book pages, video covers (including the one I referred to in my introduction to this set) and posters.
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https://kinolorber.com/film/towerofevil
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Tower of Evil (Special Edition) aka Horror on Snape Island
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[
"Jim O'Connelly",
"Jill Haworth",
"Dennis Price",
"Bryant Haliday",
"George Coulouris",
"Jack Watson",
"Anna Palk",
"Candace Glendenning",
"Horror"
] | null |
[] | null |
Terror begins when a nude, crazed woman slaughters a sailor who visits a fog shrouded island and an ancient relic is discovered.
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/userFiles/uploads/Logos/KL_Favicon_400x400_v2.png
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https://kinolorber.com/film/towerofevil
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From horror producer Richard Gordon (Inseminoid, First Man into Space, Fiend Without a Face, Horror Hospital) comes one of the most brutal and mysterious stories ever to be filmed. Tower of Evil is a haunting tale set in and around a deserted lighthouse on fog-shrouded Snape Island. The terror begins when a nude, crazed woman slaughters a sailor who was visiting the island. When she is taken back to civilization, an ancient relic is discovered and an expedition is mounted to solve the mystery of the island, which leads to series of psycho-sexual murders. Starring Jill Haworth (It!), Bryant Haliday (Devil Doll), Dennis Price (Theater of Blood), George Coulouris (Blood from the Mummy’s Tomb) and Candace Glendenning (Satan’s Slave) and directed by cult filmmaker Jim O’Connoly (The Valley of Gwangi). Now witness the horror in HD!
Press & Exhibitors
Below please find additional information and promotional materials for this film. Use the buttons on the left to request to book this film for theatrical or educational/community screenings.
For all press requests, please contact us at [email protected].
Technical Info
Aspect Ratio: 1.78:1
Color: Color
Press & Promotion:
Hi-Res Poster
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https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/
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en
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ALIEN RAPISTS, PART 3: INSEMINOID (1981, AKA HORROR PLANET) U.S. DVD VS. U.K. BLU-RAY (REGION FREE)
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"DVD News Flash"
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2019-11-21T00:00:00
|
I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered. I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got…
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en
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MEMORY MOVIES
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https://forthehellofitreviews.wordpress.com/2019/11/21/alien-rapists-part-3-inseminoid-1981-aka-horror-planet-u-s-dvd-vs-u-k-blu-ray/
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I present to you the final part of this special three part review of a trio of rapists from beyond the stars films. Xtro (1982) and Breeders (1986) were the first two I covered.
I first heard of Inseminoid through where else Fangoria magazine. I had a friend in elementary school named Rob who got me into the magazine. He had discovered it and started bringing it to school in the early 80s, and even though I was grossed out by most of the gore shots I was still fascinated. This was during the slasher craze and they covered a lot of slasher films, including the Friday The 13th films. And this was long before I began to discover some of those films were indeed gems. It, at least, gave me a place where I could go to see some cool photos of any monster movies being made, and coming to mind is Q, The Winged Serpent (1982) and The Boogens (1981), which the magazine published some really great shots of. It was this one particular Saturday when I was up Rob’s house, he pulled out all the issues he had and plopped them on the floor; I randomly started thumbing through them, because there were some I didn’t know he had. This is where I saw the article on Inseminoid and was genuinely surprised someone made a movie with that title. Of course with a title like that I just had to know what it was about; the photos pretty much told me all I needed to know. I think at this point it was safe to say I wanted to see this flick now. I don’t remember when I learned the title was changed to Horror Planet in America, but I seem to think it was also in Fangoria.
I ended up eventually catching it on cable, and under the Horror Planet title, again I can’t put a precise date on it, I wish I could, I remember liking it, and being shocked by the birth sequence, and that was due to the utterly believable performance of actress Judy Geeson. The birth involves a convincing portrayal of the kind of insane levels of pain that apparently must be endured by a pregnant chick with no access to pain numbing drugs, plus it’s an alien pregnancy, an added curve ball that probably added to her misery tenfold. Geeson’s screaming was and still is harrowing to watch. Then they cut to two characters in the operation room listening to it over the intercoms and holding each other because they too found it harrowing to listen to. I totally sympathized with their reaction.
My next memory is when I met Gerry, my best friend for most of high school. Back in the mid-80s we had a Saturday afternoon show called Commander USA’s Groovie Movies that aired on the once-awesome-but-not-anymore USA channel. Commander USA, as I’ve heard, was the inspiration for The Comedian character in Alan Moore’s Watchman comic. Commander USA was played by the late Jim Hendricks, the character was a burned out and jaded superhero that was always smoking a cigar. He hosted the show and the show was known for airing all kinds of weird genre movies. I was spending a Saturday at Gerry’s house when Horror Planet was aired. In fact I think I had slept over and we were in the middle of playing Dungeons & Dragons. I had already told him about the movie and he wanted to see it, but was only interested in seeing the insemination scene. The movie was shot in a 2.35:1 aspect ratio and back then when those kinds of flicks made it to TV and cable they were always shown 1.33, and showing a 2.35 flick full frame gives one the impression it was all filmed in close-up. So every once in a while we had to stop playing D&D while Gerry ran down and watched a little bit of the movie waiting for that scene. He came back up and finally told me he saw it. For the longest time I had wrongly assumed the creature was using its own “alien dick” to inseminate Geeson, and when Gerry came back he described what he saw “…it looked like a wet, plastic bag…” I can understand that, showing that scene in 1.33, yeah, it probably did look like wet, plastic bag.
My next and final memory involves finally seeing it in its proper aspect ratio when Elite Entertainment unexpectedly put it out on DVD here in America in 1999. I think I liked the movie even more seeing all the things I couldn’t see in the full frame cable airing.
Inseminoid is set in the future when mankind now has the ability to move out into the universe and explore, and this planet the movie is set on comes with two suns and runs 89-degrees below zero. When I saw this as a kid I took the movie at face value, seeing it again at 50 I wanted to know some things, but they aren’t conveyed in any kind of opening crawl or conversation between characters, like the base this 12-member team of scientists and technicians (6 women, 6 men) are housed in. It’s inside a mountain, or a mountain range, was it deliberately terraformed or did these tunnels already exist and the humans caome in and just added their tech to it? There was an exploratory expedition on the planet beforehand and it was abruptly abandoned, this at least is conveyed in a voice over by Documentation Officer Kate Carson (Stephanie Beacham) after the opening credits, but she doesn’t expound on any details beyond that or why the company sent another team back to the planet.
What the previous expedition failed to discover that this one does is a tomb containing hieroglyphics of the previous now extinct civilization, strange crystals and a possible secret chamber. The only two members of this team we never get to know too well are Ricky Williams (David Baxt) and Dean White (Dominic Jephcott). After the opening credits these two are already inside the tomb exploring when an explosion buries the both of them. They manage to dig Ricky out, but don’t find Dean until a little while later, but it doesn’t matter, he’s dead. Sort of. The doc, Karl (Barrie Houghton), can hear a heartbeat, and his staring eyes move. For reasons never explained we’ll see him later in a body bag in a freezer. Okay, so, he died at some point?
Ricky feels and looks normal, but he had a handful of these funky crystals in his hand, and these crystals play a part in the movie, but not a very clear part. They glow, interfere with the electricity in the base, and drive Ricky insane. He needs to get back outside and into that tomb because he thinks Dean is still stuck out there, and if you try and stop him he’ll clobber your ass. Kate will end up killing him in self defense as she and Gail (Rosalind Lloyd) have been ordered by base commander, Holly McKay (Jennifer Ashley), to go out and get photos of the tomb.
I’m going to point out this movie has two characters that end up doing something stupid that’ll get either themselves and/or another killed. So, right in the first act, close to the credits we’ve already got two characters who have exited the movie. The next one is Gail herself, after being attacked by crazed Ricky she gets a foot jammed between two pieces of metal on the walkway. She’s also damaged her thermostat, and is in danger of freezing to death. Gary (Steven Grives) tells her from the operations room she needs to re-connect these two wires to get heat, but she panics, refuses to even try, and somehow believes taking the electric saw nearby and cutting her leg off will make things all right. You got to be kidding me?! So, as everyone looks on she pops open her visor, stuffs the oxygen hose in her mouth and begins to saw her ankle off. As predicted she freezes to death.
Article from Fangoria #12. Click photos to enlarge & read.
Here we are three characters dead now and our main character hasn’t even been inseminated yet. I like the fact the film is never boring. There’s always something right around the corner to keep the story humming along. Speaking of insemination, our two leads are Sandy (Judy Geeson) and her boyfriend, Mark (Robin Clarke). It’s when Sandy and Mitch (Trevor Thomas) are sent into the tomb that shit gets all too real. Everything’s fine actually until they’re done and at the entrance again ready to go back when this alien creature attacks! It kills Mitch, fucks him up bad. His death is filmed in tight shots so you’re not sure how he’s being torn apart. Sandy’s insemination was filmed as if it were some kind dreamy, lucid, acid-like sequence, with her naked on this platform and this alien standing between her spread legs. She’s not raped by an alien dick, but with something that looks like a long test tube of funky liquid pumping through with lumpy things floating in it.
This alien creature is fleeting; we never get to see the whole thing, mostly from the shoulders up. I was impressed with the design though, done by FX artist Nick Maley (He and his wife also wrote the initial script). When it’s all over Sandy is suddenly in sickbay being treated for whatever happened to her. These “alien crystals” play a part in her sudden homicidal and cannibalistic nature; she’s a woman possessed when the ones they have in a jar in sickbay call to her. She also gets this mysterious wound on her head that slowly spreads along her scalp, you can see it as the movie progresses, her scalp looks more and more bloody, and initially I was perplexed whether the crystals were making her this way or the pregnancy, my guess was it’s a combination of both, but there’s a synopsis in the Image Gallery on the disc that reveals its her pregnancy that’s mutating her form. At any rate she suddenly wants to kill anyone she encounters and her first victim is poor Barbra (Victoria Tennent) who she knifes to death in the bathroom with a pair of scissors. She used whatever she has at hand to kill her comrades—Gary is offed by a portable harpoon handgun; Karl is killed instantly by a barbell to the head; Holly meets her end at the business end of a “touch-burner,” and Kate is immobilized by a small explosive that fucks up her leg as she’s trying to flee, but the worst part of this is after she kills/immobilizes her prey she eats part of them, mostly tearing into their stomachs. And she isn’t beyond eating Dean and Ricky’s corpses in the freezer either. Geeson puts in the best performance of the cast, vacillating between cold-blooded murderer and lucid victim, sometimes in the same scene, before we finally get to her infamous birthing scene I mentioned earlier! Now, once she gives birth I thought somehow she’d become normal again, and the rest of the movie would center on the creepy ass looking twins she popped out of her, but when Mark finds her resting and goes to wake her, she spins around and it’s clear she’s still in murder mode. You can also see in that scene her teeth have subtly began to change too; they look sharper than normal.
That other character I hinted at that gets retarded and accidentally kills another is Holly. She may be the leader of this group but she does not exude an aura of leadership. It’s during the scene where she, Karl and Sharon find Sandy in the workout room looking very pregnant and writhing in pain when she gets careless. She’s got the “touch-burner” as a weapon, and once Sandy clicks into murder mode again Karl is in the way. You can see Holly all twitchy and unsure and accidentally nails him in the back, this allows a moment for Sandy to kill Karl dead with a barbell. Sandy gets the touch-burner and turns it on Holly, now she’s dead and they’ll find her half-eaten body hanging on a ladder later.
At this point in the flick Mark, Kate and Sharon (Heather Wright) are the only three left alive, and after Gary’s death earlier Mark had a come-to-Jesus moment where he knows there’s no reasoning with his girlfriend anymore there’s only killing her. Part of this plan involves kidnapping her kids, he hands them off to Sharon and has her secreted away in a room they figure Sandy won’t think to look.
Two other traits Sandy acquires in her pregnancy, one is the ability to breathe the planet’s intolerable atmosphere, this is how she got to Gary outside, and a boost in strength. I liked how the movie displays here “super strength” realistically too, this helps to show how Mark is finally able to kill her at the end. She’s not invulnerable, if you can just get the drop on her, it’s fairly easy to take her out. After one of their struggles where she manages to take a nice chunk out of his leg, their battle gets him into a room with a weak floor, and he goes through it. Now he gets clever, when she goes around and enters it, he’s hiding behind the door with a bunch of cords in his hand and during their struggle manages to get them around her neck and throttles her to death. There’s this shot where they’re both kneeling next to each other and he’s putting the finishing touches on his murder cord maneuvers, when I first saw this I had this odd moment of reflection, it hits me, Jesus, at the start of this film these two are a loving couple, and now look at them, Mark’s killing her because an alien rape turned her into a killer cannibal! Man, life and it’s curve balls.
I really believed this movie was going to have some survivors, like Mark and Sharon, but then Mark limps back to her and finds one of the alien babies has overpowered Sharon and eaten a fatal hole in her neck! Oh fuckin’ shit! Where’s the other? Mark turns and there it is! The camera zooms in on the second baby’s bloody mouth and we can assume Mark is now pushing up daisies. Fear not true believers Inseminoid comes with an epilogue. In some markets where this was shown the movie ended after the zoom in of that alien babv’s bloody mouth. The epilogue is about a three-man combat mission sent to the planet to find out why there hasn’t been any radio contact for twenty-eight days. The find some of the bodies, but have no clue what unfolded. The last shot is back on the ship where we see the babies have gotten onto and hidden themselves in a trunk. A set-up for a never intended sequel, I guess.
Loved the 2.35 cinematography, and the gore was good without going over the top, back then though it was shocking, nowadays it feels very retrained. I mean you never see Sandy eating any innards. They always show her leaning in, and then leaning back out with a bloody mouth. Had this gotten a remake it would be immensely gruesome I imagine. Actually I wouldn’t mind seeing what a remake would look like. One last thing I realized about this movie is none of the characters ever learn Sandy was impregnated by an alien, we the audience are shown what happened, but she never tells anyone what occurred and no one even thinks to wonder why her pregnancy and birth happen nearly in the blink of an eye, and after she gives birth to obvious alien beings neither Mark or Sharon take a moment to stop and ask themselves what the fuck are these things?
Inseminoid is not available on blu-ray in any kind of solo release or in the U.S. This blu-ray I reviewed here is part of a U.K. release from Powerhouse Films that collects the horror flicks of director Norman J. Warren’s films: Bloody Terror: The Shocking Cinema Of Norman J. Warren. I ordered this set this past summer specifically for this movie, making it the single most expensive blu-ray I have ever bought. Inseminoid does not have a distributor in the U.S. so it’s unknown if it’ll ever see a blu-ray release over here. Frankly, I think it eventually will, but if you want this film now you’ll have to buy Powerhouse’s set here on Amazon UK, or on their site. Keep in mind this is a limited edition set, so if you really want it pick it up quick! As of this review it’s still in print. The disc is region free, so you won’t need a region free player to watch it.
UPDATE 8/6/21: The Bloody Terror set is now out of print, and when an Indicator set goes OOP, they eventually put all the films out as standard solo editions later, so Inseminoid is now available in an affordable blu-ray from Indicator and on Amazon UK. If you don’t want to go overseas, you can get Scream Factory’s blu-ray here. They have some of the same extras and new ones, plus reverse cover art. Indicator’s solo blues only come with an advertisement for their other discs on the reverse side of the cover art.
1999 U.S. DVD FROM ELITE ENTERTAINMENT (Out Of Print)
VIDEO/AUDIO/SUBTITLES: 2.35:1 (non-anamorphic) widescreen—2.0 English Dolby Digital (stereo)—No subs
EXTRAS INCLUDED . . .
Theatrical Trailer
(Note: This movie never came in a red case, I just transferred mine to one because I thought it would look cooler, and by God it did!)
2021 U.K. BLU-RAY FROM POWERHOUSE FILMS
VIDEO/AUDIO/SUBTITLES: 1080p 2.35:1 high definition widescreen—2.0 English LPCM (mono)—English SDH subs only.
I have never seen this movie look so great! The restoration they did makes every frame look like a piece of art. Colors, clarity, black levels and so forth are extremely well restored. Below is a page scan from the booklet in the set, each movie has a page of “restoration notes.”
EXTRAS INCLUDED . . .
The BEHP Interview With Norman J. Warren—Part 2 (1:09:20)
Norman J Warren At The Manchester Festival of Fantastic Films (1:01:50)
Subterranean Universe (44:46)
Alien Encounter (6:02)
Electronic Approach (13:10)
Trailers & TV Spots — Theatrical Trailer #1 (2:13); Theatrical Trailer #2 (1:47); Theatrical Trailer #3 (1:02); French Theatrical Trailer (2:28); Horror Planet Teaser Trailer (:31); TV Spot (:31)
Image Gallery (1:49/110 photos)
As an added bonus, if you get this set, it comes with a 117-page booklet chronicling all of Warren’s horror movies, and one of the chapters is about the 1981 novelization of Inseminoid that is very different than the movie. Mostly in high sexual content and how the creature is depicted. In the book it’s almost a mindless beast that goes around raping the female crew with its two-pronged dick. Never explained in the movie the alien is supposed be the last of its species, an alien scientist looking to pass its genes on. The book is available on Amazon through third party sellers, if you’re interested in reading it.
Another reason to get this set is it comes with a very large two-sided poster, one side is of Terror (1978), and the other is Inseminoid. But it’s not any of the posters I added to this review. It was one I had never seen before, most likely one used in the U.K. since if you remember it was shown in the U.S. under Horror Planet.
Two of the extras in this disc, Subterranean Universe & Electronic Approach, are from the 2004 U.K. DVD set, The Norman J. Warren Collection. The commentary is also from 2004. The interview with actor Trevor Thomas in Alien Encounter is the only brand new 2019 addition. The rest are either from 2004, 2011 and 2018. The BEHP Interview with Norman J Warren – Part Two extra covers not only Inseminoid but a few of his other films as well, and the Norman J Warren at the Manchester Festival of Fantastic Films extra is kind of a bust when it comes to Inseminoid talk. He finally addresses that movie near the end of the interview and only briefly before he’s sidetracked and goes off talking about something else and never goes back to the film. If you’re a fan of Bloody New Year, however, the first 36-minutes you’ll absolutely love. If you’re looking for real in-depth talk about Inseminoid I direct you the 2004 Making Of and the commentary.
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DVD Review at Mondo Esoterica
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Extras The disc includes:
Audio Commentary from Norman Warren and assistant director Gary White. Full of information with a chatty tone.
Electronic Approach - interview with John Scott about the soundtrack, with clips from the film. (13m 10s)
Interview with Judy Geeson including a general background to her career and detail of Inseminoid a variety of interesting film clips. (11m 45s)
Original cinema trailer.
A documentary and more interviews about this film are present on the boxset bonus disc.
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Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1987: Inseminoid Blu-ray review
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Right, here we go...
When I began researching Inseminoid, one thing became abundantly clear; it definitely wasn't influenced by Alien. No sir, not a bit. On one of the special features on this disc, producer Richard Gordon is emphatic that none of those involved in the making of Inseminoid had seen Ridley Scott's sf-horror masterpiece when they made their film. They couldn't have, he assures us, as Alien hadn't even been released when they started shooting. Hmm. It may well be the case that the husband-and-wife team of Nick and Gloria Maley wrote their screenplay before clapping eyes on Ridley Scott's masterpiece, but research suggests that Alien hit UK cinemas a good eight months before principal photography on Inseminoid commenced and US cinemas four months before that. In case you need reminding, Norman J. Warren was and remains a fan of horror movies and Alien was a blockbuster hit that every genre fan worth his or her salt rushed to the cinema to see as soon as they were able. I'm just saying...
What I will say is that Inseminoid is not the cheapjack Alien rip-off that some accused it of being on its release, but the idea that it wasn't in any way influenced by Scott's film cuts little ice with me. It wasn't, I should point out, an isolated case, and that's hardly surprising. Alien redefined the look of cinematic space travel, and the gender-mix of its crew and the unglamorous practicality of its ship interior quickly became new the new genre norm. It's success also saw Hollywood studios try to cash in on its success with titles like Saturn 3 (1980) and Outland (1981), while flying the flag for the independents, as ever, was New World with the 1981 Galaxy of Terror, and the cheapie 1980 Italian rip-off Alien 2: On Earth.
As with Alien, Inseminoid features a mixed-gender crew stationed in the isolation of deep space. Here they're not on a spaceship but on an unspecified  planet where they've been tasked with the excavation of ruins of an ancient alien civilisation. According to Warren the original plan was indeed to set the film on a spaceship but it would have cost too much to design and build the sets. Instead they secured full access to the Chislehurst Caves in Kent, which double rather nicely as underground mining tunnels. Anyway, whilst prodding around the caves in a sequence that visually takes its cue from the exploration of the alien ship in, erm, Alien, crew member Dean (Dominic Jephcott) discovers a cocoon that then explodes in his face and knocks him cold. When his crewmates get him back to their base, Doctor Karl (Barry Houghton) notices that he is clutching a handful of crystals and sensibly puts them in a jar rather for later study. These same crystals then infect fellow crew member Ricky (David Baxt) through a wound in his arm, prompting him to go batty and charge back into the caves. On his way he pushes Gail (Rosalind Lloyd) out of his way, causing her to fall on some debris and wedge her foot between two twisted metal shards on the floor. It's a predicament that from where I was sitting looks as though she could easily escape from if she just stood up and leant forward, but oh no, she's trapped, her thermostat is failing and she's a bit of a panic monkey. So instead of listening to radioed advice from her colleagues, she opens her helmet, stuffs the air feed from her backpack into her mouth and tries to cut her foot off with a futuristic chainsaw, one that looks suspiciously like a hedge trimmer and that couldn't make a serious dent on a piece of puff pastry. Kate (Stephanie Beacham), who I initially thought was a reporter and turned out to be the mission's Documentation Officer, whatever that is, puts a sharp end to Ricky's rampage by shooting him squarely in the chest with a spear gun.
Once Gail and Ricky have been safely buried on the planet's surface, Sandy (Judy Geeson) and archaeological boffin Mitch (Trevor Thomas) return to the caves to collect some more of those crystals. The same crystals that infected Ricky and drove him mad. Their mission goes awry when a large alien creature appears out of nowhere and disposes of Mitch. It then takes Sandy prisoner and, in a scene that should have you shifting in your seat in discomfort, impregnates her with a gooey fluid pumped through a glass tube that is inserted into her...well...I'm sure you don't need me to spell this one out. A search party brings the disorientated Sandy back to the base, and as an alien creature starts growing speedily inside her it begins to take control of her actions and turn her against her surviving colleagues, whom she sets about killing one by one. To recap, a human astronaut is attacked by an alien creature, one that plants its seed inside its human victim who is then transported back to the base by two comrades, where the seed enters the human habitat inside of the body of its victim, where it grows until ready to be born and it tries to kill all of its victim's crewmates. Now where, exactly, have I heard that before?
So is Inseminoid science fiction, horror or a slasher flick? Yes, yes and yes. Unlike those earlier Warren movies that I so recently fell for, this film is not remotely interested in low key naturalism or the notion of slow build (two things that continue to make Alien special, by the way) and opts instead to start the action early and then just keep it coming. And I've no problem with that. What trips it up a little are a handful of iffy performances, a lack of character depth, and the fact that much of the action is, well, not all that great. There's a lot of running about and chasing and bashing into things and pushing people over, but...
OK, considering I responded so well to previous titles in this set and am by nature sympathetic to the specific pleasures of low-budget genre filmmaking, why is it that much of Inseminoid still fails to click for me? This is, after all, something of a favourite with those who cherish Warren as a director. What am I not getting? Certainly the fact that some of the sets and technology have a future-on-the-cheap feel is not a problem. It's a common trait of low and even medium (and occasionally high) budget sf films whose predictions are based on then current trends and fashions and are often more about looking sleek and minimalist than creating environments that people would realistically choose to live and work in. And when you're doing things on the cheap you have to fake it as best you can with whatever comes to hand. But we've learned to live with that, at least if there are appropriately mitigating factors. Dark Star, anyone? Where Warren aims high but almost inevitably stumbles is in the conflicting demands here of pace and characterisation. In an approach that's almost the polar opposite of the one taken in Satan's Skin, in this film things kick off even before we've seen any of the characters without their spacesuits. The problem for audience identification is that there are a hefty twelve people on this mining station, and if we're going to care about what happens to them we need to get to know a little about them before horrible things are inflicted on them. The short version is we don't. Maybe if they'd each had a distinctive introduction, just a spattering of witty or engaging dialogue, a memorable trait, or a short sequence telling us something about them beyond the news that X is having an affair with Y it would have helped. But the truth is that I had to watch the film a third time with a notebook in hand and then reference the film's Wikipedia page to even put names to some of the faces, faces that I still can't easily recall. Once again, Alien provided an object lesson in how to do this, as did John Carpenter's The Thing the following year. What's a tad frustrating about all of this is that Warren did a blinding job of it himself in Prey, where we spent a lot more time with considerably fewer people and thus got to know them rather well before the story got under way. Even the incident-packed Terror had more distinctive and well-rounded characters than present here. In Inseminoid, the only ones who really stood out for me were the doctor (interesting face) and the unfortunate Sandy, at least once she moves out of the ensemble to become the main antagonist.
Being a Norman J. Warren film, we expect there to be violence and while the gore makeup is as good as ever, some of the physical conflict is oddly toothless here. When the rampaging Sandy bangs one of her victims' head against a cupboard hard enough to spray blood, you can see her doing the head-bash equivalent of pulling her punches to avoid causing actual injury to the actor. Elsewhere there's a similar lack of force to hits and throws that are supposed to be indicative of the strength of the aggressor in question. Neither the hedge trimmer chainsaw or the welding gun make for particularly fearsome weapons, especially as the welding gun is used to kill by advancing slooooowly towards the verbally protesting victim and snapping the sparky pincers open and closed for the camera. I'm also still trying to work out why an archaeological team would feel the need to include a spear gun on their list of essential equipment. Probably for the same reason the crew of the Nostromo thought it prudent of add a grappling hook gun to theirs.
So am I as dismissive of the film as I was when I first saw it? Well, despite everything I've written above, I'd have to say no. I was younger and less tolerant then and less receptive to what makes horror and science fiction so ripe for more analytical study, and there's definitely some subtextual meat to get your teeth into here. Central to this is the character of Sandy and the unspoken notion that the alien DNA that has invaded her system is tapping into and firing up her maternal instinct to protect the life form growing rapidly inside her. It drives her to remove all potential threats to its survival, and if that means disposing of her former friends and colleagues, then so be it. And once she starts taking them out she's given good reason to get pissed at the survivors when one of the men foils her attack on a female colleague by heavily pressing his foot on her pregnant belly and then angrily stamping on it for good measure. Having genuinely winced at this action myself, I was not surprised when Warren revealed in the extras that this moment had women's groups up in arms on the film's release. What really sells this aspect of the film is the total commitment of Judy Geeson's performance as Sandy. Her physicality and focused fury makes her a convincingly dangerous threat and I absolutely bought into the notion that she could beat seven bells of crap out of even the toughest of her former comrades. The sheer wincing intensity of her pained screams as she gives birth to her alien progeny, meanwhile, should be enough to convince a few of those watching that the so-called miracle of childbirth is possibly not all it's cracked up to be.
Warren's regular composer John Scott opted for an electronic score here, and while I have to admit that there are times when it made my fillings hurt, there are also moments when it proves unexpectedly effective and some elements even have the ring of late-career John Carpenter about them. Not bad for film that was released the same year as Escape From New York. I also really like the cave set that's lit primarily by lights in the floor panels, a familiar bit of sf movie design that was doubtless done on the cheap but looks as good as any of its big budget counterparts. Warren's ever-inventive regular art director Hayden Pearce really earned his (probably deferred) wage on this one.
So did this turn me all around on Inseminoid? Well, yes and no. As I watched it again (and a third time) it felt almost as if the things I didn't like were doing battle with the ones that I have subsequently warmed to, and while the former ultimately won the battle it was a closer fight than I could have expected. Just recently I read an interview with Martin Scorsese in which he said, "The films that I constantly revisited or saw repeatedly held up longer for me over the years not because of plot but because of character,"* and I can't fault him on that. Despite the attention that is always paid to its makeup effects, I'd ague that a key reason The Thing is so riveting and so tense is that each of its characters is so distinctively drawn before any of them falls victim to the monster in their midst. For me, it's the lack of character depth, coupled with some unexciting performances, dialogue that never rise above the functional and the decision to kick things off before we've really got our bearings that makes it hard to care anything like as much about the death of any of the Inseminoid crew. Ultimately it's in Sandy and her protective maternal rampage that the film is at its strongest and most subtextually interesting, though a perhaps unintended side-effect of this is that I found myself siding with her as she stalked the surviving members of her team, much as I might with Jason Voorhees as he disposes of charisma-free teens in one of the Friday the 13th films. Yet I can't fault its drive or its energy, and despite the (probable) Alien influence it still manages to be unexpectedly forward-looking, with a final scene that contains elements and imagery that absolutely anticipates the content and look of a key sequence from Aliens, which at the time of filming was a good five years in the future.
sound and vision
Whatever your views on the film you should be more than happy with the 2.35:1 transfer here, which was scanned and restored in 2K from the original internegative by Screenbound Productions under Norman J. Warren's supervision and looks terrific. The detail is sharp, the contrast just right and the colour vibrant without feeling artificially saturated. It's clean and stable and has a very fine film grain, and is quite possibly the best restoration in the set.
The Linear PCM 1.0 mono soundtrack is also in good condition. The bass notes may not boom and rumble but at least there is some bass. There's also none of the crispy trebles you'll find elsewhere in this set. The dialogue is always clear and the music especially so.
Optional English subtitles for the hearing impaired have been included.
extra features
Audio Commentary with Norman J. Warren and Gary White
Here Warren is teamed with the film's first assistant director Gary White, who was present for all of the film's principal photography and at the time of recording was still good friends with the director. As ever, Warren is a fountain of memories about the making of the film, and much of what he has to say you'll be hearing for the first time here, at least if you're watching the special features in the order they're listed on the discs and in these reviews. We learn that the abstract opening title backgrounds were done by Oxford Scientific Films, that the planet surface exteriors were shot on the island of Gozo, that a number of the cast suffered injuries on the shoot, that one oddly high-angle shot was the result of the production running out of money, that Warren struggled to get much of a performance out of Victoria Tennant, and that the futuristic chainsaw was indeed the hedge trimmer it looks to be. We're provided with the formula used to create the gooey alien sperm (now you can make your own!), and in a lovely bit of gotcha timing, Warren remarks on what a shame it wa that at the end of Alien we could see that the title creature was a man in an alien costume just seconds before his own, even more obviously man-in-an-alien-suit creature puts in an appearance. As ever, there's loads more, and Warren is as engagingly chatty as ever.
BEHP Interview with Norman J. Warren Part Two (69:20)
The second part of the British Entertainment History Project interview with Warren (the first is on the Prey disc) focuses on his film career from 1976 through to 2018, and thus covers the inception and production of all five films in this box set. A lot â though not all â of what he has to say about them you will also find covered elsewhere in this set, but if you're looking for a comprehensive overview of all of them then this is the interview I'd plump for first. In addition, we also get info and anecdotes about the making of the 1979 sf comedy Spaced Out, which gets hardly any coverage elsewhere, plus a documentary film he made for pop star Gary Numan and his recent collaboration with filmmaker Yixi Sun, Susu. That last one is covered in more detail on the Bloody New Year disc.
Manchester Festival of Fantastic Films Interview (61:30)
Recorded at the Manchester Conference Centre at the event named in the title, this has Warren interviewed on stage by an initially very animated and enthusiastic John Llewellyn Probert. He opens with the stated intent of conducting this as an informal chat instead of the career overview that other interviews with the director tend to consist of. It doesn't quite work out, but we still get to hear a great deal here that gets only a passing mention in other extras in this set. The centrepiece has to be the problems that Warren had with producer Maxine Julius on the 1986 Gunpowder and on Bloody New Year, which is a welcome expansion on the coverage he gives this in the BEHP interview detailed above. He's impressively and entertainingly forthright about the things that went wrong on these films and why. This includes the hiring of what he describes as the world's worst stunt driver and equally terrible explosives and gun specialists, whose combined ineptitude nearly resulted in the deaths of cast and crew members. The stories about Julius's late-night drinking and how they would find her in the morning sleeping on public benches and how this repeatedly put the filming of Gunpower behind schedule makes it all the more surprising that Warren risked working with her again on Bloody New Year. She apparently convinced him that she'd changed her ways. Want to guess how that worked out? In a particularly telling moment when talking about Gunpowder, Probert asks Warren, "Are there any bits or effects you are happy with?" to which Warren replies instantly, "Not really." The sound is recorded with an on-camera mic and is clear enough, but Warren does occasionally forget to hold his microphone â which is hooked up to the venue's PA system â up to his mouth and his voice can thus be a little quiet in places. This is such valuable inclusion that I'd live with it.
Subterranean Universe (44:46)
A making-of featurette produced for what I'm guessing is an earlier DVD release, one whose unattractive lighting camerawork thankfully does not detract from the content, some of which is unique to this extra. Those interviewed include Warren, producer Richard Gordon, executive producer Peter M. Schlesinger, art director Hayden Pearce, first assistant director Gary White (it's he who shares the commentary track with Warren), composer John Scott, and actors David Baxt, Barry Houghton and Stephanie Beacham, who still has a voice that could prompt even hardened career criminals to melt at her feet. Warren associate Ken Dowling also pops up near the end to talk briefly about a promotional flyer that he and Warren produced that caused offence and was subsequently judged by both men to have been a bad call. There's plenty of interest here and even familiar stories are refreshed by being told from an alternate perspective, and while he recalls that the film was generally well received, Warren does remember a BAFTA screening at which elderly industry figures were disgusted by it in a manner that only helped to sell the film to its target audience. In my favourite throwaway moment, Warren recalls that Stephanie Beacham was a joy to work with but kept calling the film 'Insecticide'.
Alien Encounter (6:02)
A brief chat with actor Trevor Thomas, who remembers working with "a lot of pretty ladies" but otherwise divides his time between cheerful chuckles and lightweight snippets of answers to unheard questions. Interestingly, he does at one point describe the film as "a cross between Alien and Rosemary's Baby."
Electronic Approach (13:10)
Composer John Scott talks about the partially budget-driven decision to go with an electronic score, though he compositionally approached it as a "synthetically produced" orchestral one. He also talks about the soundtrack album and one element of the closing music that didn't make it into the film.
Trailers and TV Spot
The Theatrical Trailer #1 (2:13) is not a bad sell, despite its overly serious dramatic narration and is better than Theatrical Trailer #2 (1:47), where some of the film's weaker elements are on show. This one's definitely not for kiddies, and the audio quality of the narration takes a serious dive midway and then recovers, suggesting a restoration from two sources. Theatrical Trailer #3 (1:02) is a short version of #2 and includes the line, "The most dreaded fear of every woman on earth is even more horrifying in space â the inconceivable is about to be conceived." A jelly baby for whoever came up with that one. The French Theatrical Trailer (2:28) is a French language take on #1, and the 'Horror Planet' Teaser Trailer (0:31) is for the film under its US retitle, one that assures us that, "No-one who lands here leaves here alive." Does that count as a spoiler? You'll have to watch the film and see. Finally, we have a TV Spot (0:31), which is a shorter take on the structure followed by its theatrical brethren.
Image Gallery
A hefty 108 screens of promotional and production stills, including that image from the VHS cover (three times), press book pages, video covers (including the one I referred to in my introduction to this set) and posters.
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https://www.vice.com/en/article/avjg8p/norman-j-warren-142-v16n9
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en
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Norman J. Warren
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[
"Bruno Bayley",
"VICE Staff",
"Arielle Richards",
"Mack Lamoureux",
"Mary Frances \"Francky\" Knapp",
"Adam Rothbarth",
"Mitchell Prothero",
"Rachel Barker",
"Deeper Into Movies"
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2009-09-02T00:00:00+00:00
|
Until the mid-1970s, British horror films tended to be camp, period rehashes of American horror classics in which hammy, top hat-wearing toffs would end up being killed by the big guys from the gore of yore.
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en
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VICE
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https://www.vice.com/en/article/norman-j-warren-142-v16n9/
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Words and Photo By Bruno Bayley
Stills and Artwork Courtesy of Norman J. Warren Satan’s Slave, Prey,
Videos by VICE
Terror Driller Killer Vice Vice: When you started making films, the British horror genre was broadly in the “Hammer Horror” tradition, wasn’t it?
Norman J. Warren: Frankenstein But they were a pretty direct translation of the American predecessors?
Terror (1979) Click to enlarge
Inseminoid (1981)
And you were a Hammer fan?
Satan’s Slave In bringing horror up to date, did you ever try to inject any social commentary or was your main aim to avoid the period trappings of Hammer?
Satan’s Slave As far as making the most entertaining film possible goes, how did that affect the plot or writing process?
Satan’s Slave So is this when you changed your writing technique?
Suspiria Satan’s Slave Click to enlarge The whole video nasty thing came along after you started making films, but still I can’t believe that you had no trouble making films like these in the mid-70s for a British audience.
Terror What was your view about the whole video nasty hysteria, as someone who had been making fairly groundbreaking horror films years before without complaint?
Driller Killer Nightmare in a Damaged Brain I Spit on Your Grave But your films were heavily sexual. The first films you directed were sex films, weren’t they?
Her Private Hell. Her Private Hell Loving Feeling Did you ever have to hold yourself back from certain levels of violence, sex or gore?
Terror many Censor-wise, surely religion caused problems? Satan’s Slave must have been tough?
Satan’s Slave Satan’s Slave Was Satan’s Slave your main battle with the censors?
Inseminoid Satan’s Slave (1976) Click to enlarge
Satan’s Slave (1976)
So where did it go wrong? Why did you stop making films?
Gunpowder Inseminoid It sounds sort of amazing.
Bloody New Year Gunpowder Warbirds The original soundtracks to and , composed by Ivor Slaney, have just been released for the first time by Moscovitch Music.
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Make Your Day
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https://www.ubuy.com.eg/en/product/1B53SA8MI-inseminoid-blu-ray
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Buy Inseminoid [Blu-ray] Online Egypt
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Shop Inseminoid [Blu-ray] online at a best price in Egypt. B082BWZRHR
|
en
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https://d3ulwu8fab47va.cloudfront.net/media/favicon/default/favicon.ico
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Ubuy Egypt
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https://www.ubuy.com.eg/en/product/1B53SA8MI-inseminoid-blu-ray
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or Split it into 3 payments of KWD 7.00/month interest-free Learn more
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https://rockshockpop.com/articles/movies-aa/378995-video-nasties-the-definitive-guide-part-2
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en
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Video Nasties: The Definitive Guide: Part 2
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Video Nasties: The Definitive Guide: Part 2 DVD Review
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en
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favicon.ico
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Rock! Shock! Pop! Forums - Cult Movie DVD And Blu-ray Reviews, Comics Books, Music And More!
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https://rockshockpop.com/articles/movies-aa/378995-video-nasties-the-definitive-guide-part-2
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https://letterboxd.com/film/inseminoid/
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en
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Inseminoid (1981)
|
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A crew of interplanetary archaeologists is threatened when an alien creature impregnates one of their members, causing her to turn homicidal and murder them one by one.
|
en
|
https://letterboxd.com/film/inseminoid/
|
Good, bad, this movie is NEVER gonna live up to that cover and title. It's just not gonna happen, but still, this was okay. It's a 1981 flick set in space so take a wild guess which movie we're gonna knockoff 👾
Our interplanetary explorers come across a tomb filled with alien eggs... err scratch that, alien crystals. They bring 'em back for investigation, people start going mad, Judy Geeson gets knocked up by a big ol' tube of green alien cum (by far the most disturbing scene in the movie) and spends the rest of the flick being chased through hallways and chomping on the occasional fleshy space dude. She's nowhere near as frightening as a pissed-off Mama Xenomorph…
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https://headhuntershorrorhouse.fandom.com/wiki/Inseminoid
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Inseminoid
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https://static.wikia.nocookie.net/headhuntershorrorhouse/images/3/33/Inseminoid.jpg/revision/latest?cb=20210815141214
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Inseminoid is a British independent feature film of the science fiction genre. It was directed by Norman J. Warren with a script written by Nick Maley and Gloria Maley. It was produced by Jupiter Film Productions and first premiered in West Germany in on January 23rd, 1981. It premiered in the...
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Headhunter's Horror House Wiki
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https://headhuntershorrorhouse.fandom.com/wiki/Inseminoid
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Inseminoid Credits Title: Inseminoid Directed by: Norman J. Warren Written by: Nick Maley; Gloria Maley Produced by: Peter M. Schlesinger; Richard Gordon; David Speechley Music by: John Scott Cinematography: John Metcalfe Edited by: Peter Boyle Production Distributors: Jupiter Film Productions Released: January 23rd, 1981 Rating: R Running time: 93 min. Country: United Kingdom Language: English Navigation Previous: — Next: —
Inseminoid is a British independent feature film of the science fiction genre. It was directed by Norman J. Warren with a script written by Nick Maley and Gloria Maley. It was produced by Jupiter Film Productions and first premiered in West Germany in on January 23rd, 1981. It premiered in the United States in November, 1982.
Cast[]
Actor Role Robin Clarke Mark Jennifer Ashley Holly Stephanie Beacham Kate Steven Grives Gary Barry Houghton Karl Rosalind Lloyd Gail Victoria Tennant Barbra Trevor Thomas Mitch Heather Wright Sharon David Baxt Ricky Dominic Jephcott Dean John Segal Jeff Kevin O'Shea Corin Robert Pugh Roy Judy Geeson Sandy
Notes & Trivia[]
Recommendations[]
See also[]
[]
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