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wiki20220301en020_101027 | Corgi Toys | 'Basil Brush's car (808) featuring a model of the glove puppet fox from the popular British children's television series The Basil Brush Show driving a colourful version of the 1911 Renault from the Corgi Classics range. | Corgi Toys. 'Basil Brush's car (808) featuring a model of the glove puppet fox from the popular British children's television series The Basil Brush Show driving a colourful version of the 1911 Renault from the Corgi Classics range. | 523329 |
wiki20220301en020_101028 | Corgi Toys | Also issued at the same time was a range of toys from Serge Danot's animated television series The Magic Roundabout. These included the 'Magic Roundabout' Carousel (H852), 'Mr Mac Henry's' trike (H859), the 'Magic Roundabout' train (H851) and 'Dougal's' car (807), a modified Citroën DS featuring models of 'Dougal' the dog, 'Dylan' the rabbit and 'Brian' the snail. Individual figures of all the characters were available, as was a 'Magic Roundabout' Playground set (H853) that included all the models in the 'Magic Roundabout' series as well as a large 'magic garden' base that featured trees and train tracks. The models in the series were all able to run on these tracks, and would move around the 'Magic Garden' at the turn of a large plastic handle. This set is now one of the most valuable of all Corgi Toys products. | Corgi Toys. Also issued at the same time was a range of toys from Serge Danot's animated television series The Magic Roundabout. These included the 'Magic Roundabout' Carousel (H852), 'Mr Mac Henry's' trike (H859), the 'Magic Roundabout' train (H851) and 'Dougal's' car (807), a modified Citroën DS featuring models of 'Dougal' the dog, 'Dylan' the rabbit and 'Brian' the snail. Individual figures of all the characters were available, as was a 'Magic Roundabout' Playground set (H853) that included all the models in the 'Magic Roundabout' series as well as a large 'magic garden' base that featured trees and train tracks. The models in the series were all able to run on these tracks, and would move around the 'Magic Garden' at the turn of a large plastic handle. This set is now one of the most valuable of all Corgi Toys products. | 523329 |
wiki20220301en020_101029 | Corgi Toys | Corgi Kits, Corgi Cargoes, accessories and catalogues | Corgi Toys. Corgi Kits, Corgi Cargoes, accessories and catalogues | 523329 |
wiki20220301en020_101030 | Corgi Toys | During the early 1960s Corgi Toys issued a series of clip-together plastic kits of buildings and street furniture to complement and add further play value to their range of scale vehicles. The first release was the Batley Leofric Garage (601) with opening garage door in May 1960 followed by two street lamps (606) and AA (Automobile Association) and RAC (Royal Automobile Club) Telephone Boxes (602) in June 1960. In November 1960 Silverstone Pits (603) and Silverstone Press Box (604) were added to the range with Silverstone Club House and Timekeepers Box (605) released in March 1963 along with Circus Elephant and Cage (607). In April 1963 the Motel Chalet (611) was issued and in December 1963 a Shell/BP Service Station (608) was released, along with Shell/BP Forecourt Accessories (609) and Metropolitan Police and Public Telephone Boxes (610). A series of figures to go with Corgi Kits were released in December 1962; Racing Drivers and Mechanics (1501), Spectators (1502), Race Track | Corgi Toys. During the early 1960s Corgi Toys issued a series of clip-together plastic kits of buildings and street furniture to complement and add further play value to their range of scale vehicles. The first release was the Batley Leofric Garage (601) with opening garage door in May 1960 followed by two street lamps (606) and AA (Automobile Association) and RAC (Royal Automobile Club) Telephone Boxes (602) in June 1960. In November 1960 Silverstone Pits (603) and Silverstone Press Box (604) were added to the range with Silverstone Club House and Timekeepers Box (605) released in March 1963 along with Circus Elephant and Cage (607). In April 1963 the Motel Chalet (611) was issued and in December 1963 a Shell/BP Service Station (608) was released, along with Shell/BP Forecourt Accessories (609) and Metropolitan Police and Public Telephone Boxes (610). A series of figures to go with Corgi Kits were released in December 1962; Racing Drivers and Mechanics (1501), Spectators (1502), Race Track | 523329 |
wiki20220301en020_101031 | Corgi Toys | and Metropolitan Police and Public Telephone Boxes (610). A series of figures to go with Corgi Kits were released in December 1962; Racing Drivers and Mechanics (1501), Spectators (1502), Race Track Officials (1503), Press Officials (1504) and Garage Attendants (1505). The range culminated with two Gift Sets grouping together most of the releases - Shell/BP Garage Layout (GS25) and Silverstone Racing Layout (GS15) both issued in December 1963. | Corgi Toys. and Metropolitan Police and Public Telephone Boxes (610). A series of figures to go with Corgi Kits were released in December 1962; Racing Drivers and Mechanics (1501), Spectators (1502), Race Track Officials (1503), Press Officials (1504) and Garage Attendants (1505). The range culminated with two Gift Sets grouping together most of the releases - Shell/BP Garage Layout (GS25) and Silverstone Racing Layout (GS15) both issued in December 1963. | 523329 |
wiki20220301en020_101032 | Corgi Toys | Designed with the intention of being used in conjunction with the Commer Platform Lorry (454), Commer Dropside Lorry (452), ERF Platform Lorry (457) and ERF Dropside Lorry (456), Corgi introduced a series of painted die-cast metal 'loads' called Corgi Cargoes. They were packaged in a clear plastic blisters attached to a card featuring the Corgi dog logo, images of Corgi lorries and the range's signature blue and yellow colour scheme. The first to be introduced in February 1960 were Plank Load (1485) and Cement Load (1488), and they were incorporated into Gift Set 11 including the ERF Dropside Lorry and Trailer in March 1960. Brick Load (1486) and Milk Churns Load (1487) followed in July 1960 and Skip and Churns (1490) in September 1960. The last in this range to be released was to be used with the Massey Ferguson 65 Tractor (50) and was a red painted cast metal platform carrying three metal milk churns which clipped to the rear of the tractor. The packaging featured an image of a | Corgi Toys. Designed with the intention of being used in conjunction with the Commer Platform Lorry (454), Commer Dropside Lorry (452), ERF Platform Lorry (457) and ERF Dropside Lorry (456), Corgi introduced a series of painted die-cast metal 'loads' called Corgi Cargoes. They were packaged in a clear plastic blisters attached to a card featuring the Corgi dog logo, images of Corgi lorries and the range's signature blue and yellow colour scheme. The first to be introduced in February 1960 were Plank Load (1485) and Cement Load (1488), and they were incorporated into Gift Set 11 including the ERF Dropside Lorry and Trailer in March 1960. Brick Load (1486) and Milk Churns Load (1487) followed in July 1960 and Skip and Churns (1490) in September 1960. The last in this range to be released was to be used with the Massey Ferguson 65 Tractor (50) and was a red painted cast metal platform carrying three metal milk churns which clipped to the rear of the tractor. The packaging featured an image of a | 523329 |
wiki20220301en020_101033 | Corgi Toys | used with the Massey Ferguson 65 Tractor (50) and was a red painted cast metal platform carrying three metal milk churns which clipped to the rear of the tractor. The packaging featured an image of a tractor. Corgi Cargoes were available until 1964. | Corgi Toys. used with the Massey Ferguson 65 Tractor (50) and was a red painted cast metal platform carrying three metal milk churns which clipped to the rear of the tractor. The packaging featured an image of a tractor. Corgi Cargoes were available until 1964. | 523329 |
wiki20220301en020_101034 | Corgi Toys | In December 1959 Corgi Toys produced packs of stickers which could be affixed to personalise Corgi models. Pack A (1460) included number plates, road fund licenses and GB plates, Pack B (1461) featured sports wheel discs and white-wall tyres, Pack C (1462) contained commercial vehicle items, Pack D (1463) included CD plates and L (learner) plates and Pack E (1464) introduced in December 1961 contained AA and RAC badges and towing plates. Today it is not uncommon to find early Corgi models with such additions still intact. From 1956 to 1985 a catalogue was issued annually to promote the Corgi range. It was originally a small fold-out single sheet leaflet but by the late 1960s it had evolved into a 48-page colour catalogue. Corgi catalogues are notable for their illustrations and art work that are evocative of the period, and they are now collectable in their own right. | Corgi Toys. In December 1959 Corgi Toys produced packs of stickers which could be affixed to personalise Corgi models. Pack A (1460) included number plates, road fund licenses and GB plates, Pack B (1461) featured sports wheel discs and white-wall tyres, Pack C (1462) contained commercial vehicle items, Pack D (1463) included CD plates and L (learner) plates and Pack E (1464) introduced in December 1961 contained AA and RAC badges and towing plates. Today it is not uncommon to find early Corgi models with such additions still intact. From 1956 to 1985 a catalogue was issued annually to promote the Corgi range. It was originally a small fold-out single sheet leaflet but by the late 1960s it had evolved into a 48-page colour catalogue. Corgi catalogues are notable for their illustrations and art work that are evocative of the period, and they are now collectable in their own right. | 523329 |
wiki20220301en020_101035 | Corgi Toys | Decline and demise After the success of the range during the late 1950s and 1960s, sales remained buoyant in the 1970s, and the company made its biggest profit of £3.5 million in 1978. In an attempt to keep its products contemporary Mettoy began production of the Dragon computer which was aimed at younger users. The expense of this project proved a drain on the company's resources, and profits were hit hard. In October 1983, Corgi Toys were forced to call in the Official Receiver, just three years after the demise of Dinky Toys and one year after Lesney (Matchbox). | Corgi Toys. Decline and demise After the success of the range during the late 1950s and 1960s, sales remained buoyant in the 1970s, and the company made its biggest profit of £3.5 million in 1978. In an attempt to keep its products contemporary Mettoy began production of the Dragon computer which was aimed at younger users. The expense of this project proved a drain on the company's resources, and profits were hit hard. In October 1983, Corgi Toys were forced to call in the Official Receiver, just three years after the demise of Dinky Toys and one year after Lesney (Matchbox). | 523329 |
wiki20220301en020_101036 | Corgi Toys | Legacy The Corgi story did not end in the mid-1980s, however, as a management buy-out saw the company re-formed as Corgi Toys Limited in March 1984. This company continued to produce model vehicles, but in smaller numbers than before. The workforce grew but the costs of running the factory at the Fforestfach site had become higher. Competition was now wholly in the form of products that were being manufactured overseas leading to management moving some of the moulds to China and setting up a joint venture company with a Hong Kong company called Flying Dragon. | Corgi Toys. Legacy The Corgi story did not end in the mid-1980s, however, as a management buy-out saw the company re-formed as Corgi Toys Limited in March 1984. This company continued to produce model vehicles, but in smaller numbers than before. The workforce grew but the costs of running the factory at the Fforestfach site had become higher. Competition was now wholly in the form of products that were being manufactured overseas leading to management moving some of the moulds to China and setting up a joint venture company with a Hong Kong company called Flying Dragon. | 523329 |
wiki20220301en020_101037 | Corgi Toys | At the same time it took on contract work producing non-toy items. In 1989 the management sold the Corgi brand to Mattel and the factory was retained under the name of Microlink Industries Ltd. The products of the Mettoy owned company continue to be prized by collectors worldwide. In recent years the internet has allowed a far wider collector-base than in the past when swapmeets and antique markets were the only places they could be found. Corgi Classics Limited A management buyout in 1995 saw the end of Mattel ownership and a new company was created, Corgi Classics Limited. On 1 May 2008, Corgi Classics was bought by the international models and collectables group Hornby. | Corgi Toys. At the same time it took on contract work producing non-toy items. In 1989 the management sold the Corgi brand to Mattel and the factory was retained under the name of Microlink Industries Ltd. The products of the Mettoy owned company continue to be prized by collectors worldwide. In recent years the internet has allowed a far wider collector-base than in the past when swapmeets and antique markets were the only places they could be found. Corgi Classics Limited A management buyout in 1995 saw the end of Mattel ownership and a new company was created, Corgi Classics Limited. On 1 May 2008, Corgi Classics was bought by the international models and collectables group Hornby. | 523329 |
wiki20220301en020_101038 | Corgi Toys | Further reading The Great Book of Corgi. Marcel Van Cleemput, who headed the Corgi design team from 1956 to 1983. This is the definitive work on the subject and features hundreds of colour photographs from the author's collection. , . This book is now out of print. An updated version "The Great Book of Corgi 1956 - 2006 The Complete Corgi Story" by Marcel Van Cleemput was published by New Cavendish books on 30 November 2010. , . Corgi Toys. Dr. Edward Force and Jeff Bray. A Schiffer Book for Collectors, Schiffer Publications, 2005 ToyPedia In November 2011 Toy Collector announced it was attempting to create entries in its virtual catalogue for every Corgi model ever made. As of 2012 they have completed Mettoy products and estimate competition of the project by the end of April 2012. The Unauthorized Encyclopedia of Corgi Toys. Bill Manzke. Schiffer Publishing Ltd. 1997 Corgi Juniors and Husky Models - A Collector's Guide. Bill Manzke. Schiffer Publishing Ltd. 2004 See also | Corgi Toys. Further reading The Great Book of Corgi. Marcel Van Cleemput, who headed the Corgi design team from 1956 to 1983. This is the definitive work on the subject and features hundreds of colour photographs from the author's collection. , . This book is now out of print. An updated version "The Great Book of Corgi 1956 - 2006 The Complete Corgi Story" by Marcel Van Cleemput was published by New Cavendish books on 30 November 2010. , . Corgi Toys. Dr. Edward Force and Jeff Bray. A Schiffer Book for Collectors, Schiffer Publications, 2005 ToyPedia In November 2011 Toy Collector announced it was attempting to create entries in its virtual catalogue for every Corgi model ever made. As of 2012 they have completed Mettoy products and estimate competition of the project by the end of April 2012. The Unauthorized Encyclopedia of Corgi Toys. Bill Manzke. Schiffer Publishing Ltd. 1997 Corgi Juniors and Husky Models - A Collector's Guide. Bill Manzke. Schiffer Publishing Ltd. 2004 See also | 523329 |
wiki20220301en020_101039 | Corgi Toys | The Unauthorized Encyclopedia of Corgi Toys. Bill Manzke. Schiffer Publishing Ltd. 1997 Corgi Juniors and Husky Models - A Collector's Guide. Bill Manzke. Schiffer Publishing Ltd. 2004 See also References The body of this article is derived from information available in "The Great Book of Corgi" by Marcel Van Cleemput / . External links Catalogue of Corgi Toys by Andrew Hill Free catalogue of all issued Corgi Toys from the 1956-70s era. Mettoy Corgi Toys Price Guide to 1983 - Free online pictorial price guide for Corgi toys (archived) A complete list of all Corgi Toys on Planet Diecast's Catalog The Old Toy Guide - Gallery and Information about old Corgi Toys Die-cast toys Toy cars and trucks Model manufacturers of the United Kingdom Toy brands Toy companies of the United Kingdom Defunct toy manufacturers Former Mattel subsidiaries | Corgi Toys. The Unauthorized Encyclopedia of Corgi Toys. Bill Manzke. Schiffer Publishing Ltd. 1997 Corgi Juniors and Husky Models - A Collector's Guide. Bill Manzke. Schiffer Publishing Ltd. 2004 See also References The body of this article is derived from information available in "The Great Book of Corgi" by Marcel Van Cleemput / . External links Catalogue of Corgi Toys by Andrew Hill Free catalogue of all issued Corgi Toys from the 1956-70s era. Mettoy Corgi Toys Price Guide to 1983 - Free online pictorial price guide for Corgi toys (archived) A complete list of all Corgi Toys on Planet Diecast's Catalog The Old Toy Guide - Gallery and Information about old Corgi Toys Die-cast toys Toy cars and trucks Model manufacturers of the United Kingdom Toy brands Toy companies of the United Kingdom Defunct toy manufacturers Former Mattel subsidiaries | 523329 |
wiki20220301en020_101040 | Tex Williams | Sollie Paul "Tex" Williams (August 23, 1917 – October 11, 1985) was an American Western swing musician. He is best known for his talking blues style; his biggest hit was the novelty song, "Smoke! Smoke! Smoke! (That Cigarette)", which held the number one position on the Billboard chart for sixteen weeks in 1947. "Smoke" was the No. 5 song on Billboard's Top 100 list for 1947, and was No. 1 on the country chart that year. It can be heard during the opening credits of the 2006 movie, Thank You for Smoking. Life and career He was born in Ramsey, Illinois, United States. Williams started out in the early 1940s as vocalist for the band of Western swing king Spade Cooley, based in Venice, California. Williams' backing band, The Western Caravan, numbered about a dozen members. They originally played polkas for Capitol Records, and later saw success with "Smoke, Smoke, Smoke" written in large part by Merle Travis. | Tex Williams. Sollie Paul "Tex" Williams (August 23, 1917 – October 11, 1985) was an American Western swing musician. He is best known for his talking blues style; his biggest hit was the novelty song, "Smoke! Smoke! Smoke! (That Cigarette)", which held the number one position on the Billboard chart for sixteen weeks in 1947. "Smoke" was the No. 5 song on Billboard's Top 100 list for 1947, and was No. 1 on the country chart that year. It can be heard during the opening credits of the 2006 movie, Thank You for Smoking. Life and career He was born in Ramsey, Illinois, United States. Williams started out in the early 1940s as vocalist for the band of Western swing king Spade Cooley, based in Venice, California. Williams' backing band, The Western Caravan, numbered about a dozen members. They originally played polkas for Capitol Records, and later saw success with "Smoke, Smoke, Smoke" written in large part by Merle Travis. | 523333 |
wiki20220301en020_101041 | Tex Williams | In April 1956, Williams appeared on the Chrysler-sponsored CBS TV broadcast, Shower of Stars. Williams died of pancreatic cancer on October 11, 1985. Filmography Williams and the Western Caravan appeared in the following films: Tex Williams and His Western Caravan (1947) Tex Williams & Orchestra in Western Whoopee (1948) The Pecos Pistol (1949) Tex Williams' Western Varieties (1951) Discography Albums Singles A"The Night Miss Nancy Ann's Hotel for Single Girls Burned Down" peaked at No. 27 on the RPM Country Tracks chart in Canada. Notes References Kienzle, Rich. Southwest Shuffle: Pioneers of Honky Tonk, Western Swing, and Country Jazz. New York: Routledge, 2003. Whitburn, Joel. The Billboard Book of Top 40 Country Hits. Billboard Books, 2006. External links [ Tex Williams at Allmusic] | Tex Williams. In April 1956, Williams appeared on the Chrysler-sponsored CBS TV broadcast, Shower of Stars. Williams died of pancreatic cancer on October 11, 1985. Filmography Williams and the Western Caravan appeared in the following films: Tex Williams and His Western Caravan (1947) Tex Williams & Orchestra in Western Whoopee (1948) The Pecos Pistol (1949) Tex Williams' Western Varieties (1951) Discography Albums Singles A"The Night Miss Nancy Ann's Hotel for Single Girls Burned Down" peaked at No. 27 on the RPM Country Tracks chart in Canada. Notes References Kienzle, Rich. Southwest Shuffle: Pioneers of Honky Tonk, Western Swing, and Country Jazz. New York: Routledge, 2003. Whitburn, Joel. The Billboard Book of Top 40 Country Hits. Billboard Books, 2006. External links [ Tex Williams at Allmusic] | 523333 |
wiki20220301en020_101042 | Tex Williams | External links [ Tex Williams at Allmusic] 1917 births 1985 deaths Deaths from pancreatic cancer Deaths from cancer in California Western swing performers American country singer-songwriters People from Ramsey, Illinois American comedy musicians RCA Victor artists Capitol Records artists Shasta Records artists Liberty Records artists Monument Records artists 20th-century American singers Singer-songwriters from Illinois Comedians from Illinois 20th-century American comedians Country musicians from Illinois | Tex Williams. External links [ Tex Williams at Allmusic] 1917 births 1985 deaths Deaths from pancreatic cancer Deaths from cancer in California Western swing performers American country singer-songwriters People from Ramsey, Illinois American comedy musicians RCA Victor artists Capitol Records artists Shasta Records artists Liberty Records artists Monument Records artists 20th-century American singers Singer-songwriters from Illinois Comedians from Illinois 20th-century American comedians Country musicians from Illinois | 523333 |
wiki20220301en020_101043 | Lisa Stansfield | Lisa Jane Stansfield (born 11 April 1966) is an English singer, songwriter, and actress. Her career began in 1980 when she won the singing competition Search for a Star. After appearances in various television shows and releasing her first singles, Stansfield, along with Ian Devaney and Andy Morris, formed Blue Zone in 1986. The band released several singles and one album, but after the success of Coldcut's "People Hold On" in 1989, on which Stansfield was featured, the focus was placed on her solo career. | Lisa Stansfield. Lisa Jane Stansfield (born 11 April 1966) is an English singer, songwriter, and actress. Her career began in 1980 when she won the singing competition Search for a Star. After appearances in various television shows and releasing her first singles, Stansfield, along with Ian Devaney and Andy Morris, formed Blue Zone in 1986. The band released several singles and one album, but after the success of Coldcut's "People Hold On" in 1989, on which Stansfield was featured, the focus was placed on her solo career. | 523336 |
wiki20220301en020_101044 | Lisa Stansfield | Stansfield's first solo album Affection (1989) and its worldwide chart-topping lead single "All Around the World" were major breakthroughs in her career. She was nominated for two Grammy Awards, and Affection is her best-selling album to date. In the following years, Stansfield released Real Love (1991), So Natural (1993), and Lisa Stansfield (1997). In 1999 she appeared in her first film, Swing, and also recorded the soundtrack for it. Her next albums included Face Up (2001), Biography: The Greatest Hits (2003), and The Moment (2004). Thereafter, Stansfield took a break from music and focused on her film career. In 2008, she starred in The Edge of Love and in 2014 she appeared in Northern Soul. | Lisa Stansfield. Stansfield's first solo album Affection (1989) and its worldwide chart-topping lead single "All Around the World" were major breakthroughs in her career. She was nominated for two Grammy Awards, and Affection is her best-selling album to date. In the following years, Stansfield released Real Love (1991), So Natural (1993), and Lisa Stansfield (1997). In 1999 she appeared in her first film, Swing, and also recorded the soundtrack for it. Her next albums included Face Up (2001), Biography: The Greatest Hits (2003), and The Moment (2004). Thereafter, Stansfield took a break from music and focused on her film career. In 2008, she starred in The Edge of Love and in 2014 she appeared in Northern Soul. | 523336 |
wiki20220301en020_101045 | Lisa Stansfield | Stansfield released her seventh album Seven on 31 January 2014. Its lead single "Can't Dance" was digitally released on 16 October 2013. She promoted the album with the European Seven Tour in 2013 and 2014. Her most recent album Deeper was released on 6 April 2018. In June 2018, following a string of sold-out tour dates in Europe, Stansfield announced her North American Tour, which began in October 2018. Stansfield has won numerous awards, including three Brit Awards, two Ivor Novello Awards, a Billboard Music Award, World Music Award, ASCAP Award, Women's World Award, Silver Clef Award and two DMC Awards. She has sold over 20 million albums worldwide, including five million of Affection. In December 2016, Billboard magazine ranked her as the 46th-most-successful dance artist of all time. | Lisa Stansfield. Stansfield released her seventh album Seven on 31 January 2014. Its lead single "Can't Dance" was digitally released on 16 October 2013. She promoted the album with the European Seven Tour in 2013 and 2014. Her most recent album Deeper was released on 6 April 2018. In June 2018, following a string of sold-out tour dates in Europe, Stansfield announced her North American Tour, which began in October 2018. Stansfield has won numerous awards, including three Brit Awards, two Ivor Novello Awards, a Billboard Music Award, World Music Award, ASCAP Award, Women's World Award, Silver Clef Award and two DMC Awards. She has sold over 20 million albums worldwide, including five million of Affection. In December 2016, Billboard magazine ranked her as the 46th-most-successful dance artist of all time. | 523336 |
wiki20220301en020_101046 | Lisa Stansfield | Early life and career beginnings Stansfield was born at the Crumpsall Hospital in Manchester, England. Her parents are Marion and Keith Stansfield, and she has two sisters, Karen and Suzanne. Her family moved to Heywood in 1976, then to Rochdale in 1977. Stansfield attended Siddal Moor School. She grew up listening to soul music, and stated that her mother's affinity for records by Diana Ross and the Supremes was her first musical influence, Stansfield citing Marvin Gaye, Chic and Barry White as other primary musical influences. In 1980, Stansfield won the Search for a Star singing competition, held at the Talk of the Town nightclub, and in 1981 her first single "Your Alibis" was released by Devil Records. In 1982, she appeared on the television show Bring Me the Head of Light Entertainment on ITV Granada. At the same time, Stansfield signed a recording contract with Polydor Records. | Lisa Stansfield. Early life and career beginnings Stansfield was born at the Crumpsall Hospital in Manchester, England. Her parents are Marion and Keith Stansfield, and she has two sisters, Karen and Suzanne. Her family moved to Heywood in 1976, then to Rochdale in 1977. Stansfield attended Siddal Moor School. She grew up listening to soul music, and stated that her mother's affinity for records by Diana Ross and the Supremes was her first musical influence, Stansfield citing Marvin Gaye, Chic and Barry White as other primary musical influences. In 1980, Stansfield won the Search for a Star singing competition, held at the Talk of the Town nightclub, and in 1981 her first single "Your Alibis" was released by Devil Records. In 1982, she appeared on the television show Bring Me the Head of Light Entertainment on ITV Granada. At the same time, Stansfield signed a recording contract with Polydor Records. | 523336 |
wiki20220301en020_101047 | Lisa Stansfield | In 1983, Johnnie Hamp produced for ITV Granada a documentary directed by Pete Walker, Born in the Sixties: Lisa Stansfield. It was a profile of the aspiring singer, and it included her comments and those of her mother and sisters, and some songs sung by Stansfield. Also in 1983, she co-hosted the children's television music programme Razzamatazz and appeared on another children's television series The Krankies Klub. Between 1982 and 1983, Stansfield released her next three singles: "The Only Way," "Listen to Your Heart," and "I Got a Feeling." Her early recordings were collected and released on the album In Session in September 1996. Music career | Lisa Stansfield. In 1983, Johnnie Hamp produced for ITV Granada a documentary directed by Pete Walker, Born in the Sixties: Lisa Stansfield. It was a profile of the aspiring singer, and it included her comments and those of her mother and sisters, and some songs sung by Stansfield. Also in 1983, she co-hosted the children's television music programme Razzamatazz and appeared on another children's television series The Krankies Klub. Between 1982 and 1983, Stansfield released her next three singles: "The Only Way," "Listen to Your Heart," and "I Got a Feeling." Her early recordings were collected and released on the album In Session in September 1996. Music career | 523336 |
wiki20220301en020_101048 | Lisa Stansfield | Music career 1984–1988: Blue Zone In 1984, Stansfield and former schoolmates Ian Devaney and Andy Morris, after having worked together on a school musical production, began to collaborate musically and, in 1986, formed the band Blue Zone. They wrote some songs, produced a demo, and took it around to record labels. The small indie label Rockin' Horse Records signed them in 1985, and one year later the label was bought up by Arista Records. After releasing their first two singles in 1986, "Love Will Wait" and "Finest Thing", Arista issued "On Fire" in October 1987. Just as the single was climbing the charts (number ninety-nine in the United Kingdom), it was withdrawn by the record company in the wake of the King's Cross fire. The band's next single, "Thinking About His Baby," was released in January 1988 and reached number seventy-nine in the UK. Its B-side, "Big Thing," became popular on the radio and in the clubs. | Lisa Stansfield. Music career 1984–1988: Blue Zone In 1984, Stansfield and former schoolmates Ian Devaney and Andy Morris, after having worked together on a school musical production, began to collaborate musically and, in 1986, formed the band Blue Zone. They wrote some songs, produced a demo, and took it around to record labels. The small indie label Rockin' Horse Records signed them in 1985, and one year later the label was bought up by Arista Records. After releasing their first two singles in 1986, "Love Will Wait" and "Finest Thing", Arista issued "On Fire" in October 1987. Just as the single was climbing the charts (number ninety-nine in the United Kingdom), it was withdrawn by the record company in the wake of the King's Cross fire. The band's next single, "Thinking About His Baby," was released in January 1988 and reached number seventy-nine in the UK. Its B-side, "Big Thing," became popular on the radio and in the clubs. | 523336 |
wiki20220301en020_101049 | Lisa Stansfield | In July 1988, "Jackie" was issued as a single outside the UK, reaching number thirty-seven on the Hot Dance Club Songs and number fifty-four on the Billboard Hot 100 in the United States. The release date for Blue Zone's album Big Thing, which was recorded in 1987, was pushed back many times by the record label. Finally, it was released outside the UK in November 1988 without any further promotion. The album included songs written by Blue Zone, except for "Jackie," which was written by Billy Steinberg and Tom Kelly. The album was produced by Paul Staveley O'Duffy, except for the track "Perfect Crime," which was produced by Blue Zone. Ric Wake also co-produced "Jackie" and "Perfect Crime." | Lisa Stansfield. In July 1988, "Jackie" was issued as a single outside the UK, reaching number thirty-seven on the Hot Dance Club Songs and number fifty-four on the Billboard Hot 100 in the United States. The release date for Blue Zone's album Big Thing, which was recorded in 1987, was pushed back many times by the record label. Finally, it was released outside the UK in November 1988 without any further promotion. The album included songs written by Blue Zone, except for "Jackie," which was written by Billy Steinberg and Tom Kelly. The album was produced by Paul Staveley O'Duffy, except for the track "Perfect Crime," which was produced by Blue Zone. Ric Wake also co-produced "Jackie" and "Perfect Crime." | 523336 |
wiki20220301en020_101050 | Lisa Stansfield | 1989–1990: Affection | Lisa Stansfield. 1989–1990: Affection | 523336 |
wiki20220301en020_101051 | Lisa Stansfield | In early 1989, Stansfield co-wrote and recorded "People Hold On" for Coldcut's album What's That Noise? The single was released in March 1989, and reached number six on the Hot Dance Club Songs in the United States and number eleven in the United Kingdom. On the strength of this hit, Arista Records signed Stansfield to a solo deal. Her debut album Affection was released on 20 November 1989. Stansfield co-wrote all songs with Ian Devaney and Andy Morris. Devaney and Morris also produced the album, except for "This Is the Right Time," which was produced by Coldcut. Affection received critical acclaim from music critics, and was commercially successful. It reached the top ten on charts around the world, including number one in Austria and Italy, number two in the UK, Germany, Spain, Sweden and Switzerland, number three in Belgium, number five in New Zealand, number six in the Netherlands and Norway, and number seven in Australia and Canada. In the U.S., it peaked at number five on the | Lisa Stansfield. In early 1989, Stansfield co-wrote and recorded "People Hold On" for Coldcut's album What's That Noise? The single was released in March 1989, and reached number six on the Hot Dance Club Songs in the United States and number eleven in the United Kingdom. On the strength of this hit, Arista Records signed Stansfield to a solo deal. Her debut album Affection was released on 20 November 1989. Stansfield co-wrote all songs with Ian Devaney and Andy Morris. Devaney and Morris also produced the album, except for "This Is the Right Time," which was produced by Coldcut. Affection received critical acclaim from music critics, and was commercially successful. It reached the top ten on charts around the world, including number one in Austria and Italy, number two in the UK, Germany, Spain, Sweden and Switzerland, number three in Belgium, number five in New Zealand, number six in the Netherlands and Norway, and number seven in Australia and Canada. In the U.S., it peaked at number five on the | 523336 |
wiki20220301en020_101052 | Lisa Stansfield | and Switzerland, number three in Belgium, number five in New Zealand, number six in the Netherlands and Norway, and number seven in Australia and Canada. In the U.S., it peaked at number five on the Top R&B/Hip-Hop Albums, and number nine on the Billboard 200. The album has sold over five million copies worldwide and was certified 3× Platinum in the UK, Platinum in the U.S., Canada, Germany, Spain, Sweden and Switzerland, and Gold in France, Finland and Austria. | Lisa Stansfield. and Switzerland, number three in Belgium, number five in New Zealand, number six in the Netherlands and Norway, and number seven in Australia and Canada. In the U.S., it peaked at number five on the Top R&B/Hip-Hop Albums, and number nine on the Billboard 200. The album has sold over five million copies worldwide and was certified 3× Platinum in the UK, Platinum in the U.S., Canada, Germany, Spain, Sweden and Switzerland, and Gold in France, Finland and Austria. | 523336 |
wiki20220301en020_101053 | Lisa Stansfield | Affection includes Stansfield's biggest hit and signature song, "All Around the World". The track reached number one in many countries, including the UK, Austria, Belgium, Netherlands, Norway and Spain. In the U.S., "All Around the World" peaked at number one on the Hot Dance Club Songs and Hot R&B/Hip-Hop Songs, and reached number three on the Billboard Hot 100. The single was certified Platinum in the U.S. for selling over one million copies, and Gold in many other countries, including the UK, Germany, Australia, Sweden and Austria. In the UK, other singles from the album reached numbers ten ("Live Together"), thirteen ("This Is the Right Time") and twenty-five ("What Did I Do to You?") on the chart. In the U.S., "You Can't Deny It" peaked at number one on Hot R&B/Hip-Hop Songs, number two on Hot Dance Club Songs, and number fourteen on the Billboard Hot 100. "This Is the Right Time" reached number one on Hot Dance Club Songs, number thirteen on Hot R&B/Hip-Hop Songs, and number | Lisa Stansfield. Affection includes Stansfield's biggest hit and signature song, "All Around the World". The track reached number one in many countries, including the UK, Austria, Belgium, Netherlands, Norway and Spain. In the U.S., "All Around the World" peaked at number one on the Hot Dance Club Songs and Hot R&B/Hip-Hop Songs, and reached number three on the Billboard Hot 100. The single was certified Platinum in the U.S. for selling over one million copies, and Gold in many other countries, including the UK, Germany, Australia, Sweden and Austria. In the UK, other singles from the album reached numbers ten ("Live Together"), thirteen ("This Is the Right Time") and twenty-five ("What Did I Do to You?") on the chart. In the U.S., "You Can't Deny It" peaked at number one on Hot R&B/Hip-Hop Songs, number two on Hot Dance Club Songs, and number fourteen on the Billboard Hot 100. "This Is the Right Time" reached number one on Hot Dance Club Songs, number thirteen on Hot R&B/Hip-Hop Songs, and number | 523336 |
wiki20220301en020_101054 | Lisa Stansfield | two on Hot Dance Club Songs, and number fourteen on the Billboard Hot 100. "This Is the Right Time" reached number one on Hot Dance Club Songs, number thirteen on Hot R&B/Hip-Hop Songs, and number twenty-one on the Billboard Hot 100. | Lisa Stansfield. two on Hot Dance Club Songs, and number fourteen on the Billboard Hot 100. "This Is the Right Time" reached number one on Hot Dance Club Songs, number thirteen on Hot R&B/Hip-Hop Songs, and number twenty-one on the Billboard Hot 100. | 523336 |
wiki20220301en020_101055 | Lisa Stansfield | Stansfield also toured Europe and North America in 1990 in support of the album, and eventually released the Live! All Around the World home video. Thanks to Affection and "All Around the World," she received many awards, including the Brit Award, the Billboard Music Award, the World Music Award, the ASCAP Award, Ivor Novello Awards, Silver Clef Awards and DMC Awards. Stansfield was also nominated for two Grammy Awards in the Best New Artist and Best Female Pop Vocal Performance categories. Shortly after her success, she made two charity recordings. In December 1989, Stansfield was a part of Band-Aid II, a charity supergroup founded to raise money for anti-poverty efforts in Ethiopia, recording "Do They Know It's Christmas?," which topped the UK Singles Chart for three weeks. Later, she covered "Down in the Depths" for the AIDS charity compilation Red Hot + Blue, released in September 1990, and also filmed a music video for it. | Lisa Stansfield. Stansfield also toured Europe and North America in 1990 in support of the album, and eventually released the Live! All Around the World home video. Thanks to Affection and "All Around the World," she received many awards, including the Brit Award, the Billboard Music Award, the World Music Award, the ASCAP Award, Ivor Novello Awards, Silver Clef Awards and DMC Awards. Stansfield was also nominated for two Grammy Awards in the Best New Artist and Best Female Pop Vocal Performance categories. Shortly after her success, she made two charity recordings. In December 1989, Stansfield was a part of Band-Aid II, a charity supergroup founded to raise money for anti-poverty efforts in Ethiopia, recording "Do They Know It's Christmas?," which topped the UK Singles Chart for three weeks. Later, she covered "Down in the Depths" for the AIDS charity compilation Red Hot + Blue, released in September 1990, and also filmed a music video for it. | 523336 |
wiki20220301en020_101056 | Lisa Stansfield | 1991–1992: Real Love In 1991, Stansfield recorded her second studio album Real Love, and released it on 11 November 1991. She co-wrote all the songs with Ian Devaney and Andy Morris, who also produced the album. Real Love received positive reviews from music critics and reached the top ten on the charts in various countries, including number three in the United Kingdom, number five in the Netherlands, number nine in Germany, and number ten in Belgium. In the United States, it peaked at number six on the Top R&B/Hip-Hop Albums and number forty-three on the Billboard 200. Real Love was certified 2× Platinum in the UK and Gold in the U.S., Canada, Germany, and Switzerland. The first single "Change" became a hit, peaking within the top ten in Italy, Belgium, Spain, Netherlands, Canada and the UK. In the U.S., it reached number one on the Hot Dance Club Songs, number twelve on the Hot R&B/Hip-Hop Songs and number twenty-seven on the Billboard Hot 100. | Lisa Stansfield. 1991–1992: Real Love In 1991, Stansfield recorded her second studio album Real Love, and released it on 11 November 1991. She co-wrote all the songs with Ian Devaney and Andy Morris, who also produced the album. Real Love received positive reviews from music critics and reached the top ten on the charts in various countries, including number three in the United Kingdom, number five in the Netherlands, number nine in Germany, and number ten in Belgium. In the United States, it peaked at number six on the Top R&B/Hip-Hop Albums and number forty-three on the Billboard 200. Real Love was certified 2× Platinum in the UK and Gold in the U.S., Canada, Germany, and Switzerland. The first single "Change" became a hit, peaking within the top ten in Italy, Belgium, Spain, Netherlands, Canada and the UK. In the U.S., it reached number one on the Hot Dance Club Songs, number twelve on the Hot R&B/Hip-Hop Songs and number twenty-seven on the Billboard Hot 100. | 523336 |
wiki20220301en020_101057 | Lisa Stansfield | The second single from the Real Love album, "All Woman," peaked inside the top forty in various European countries, including number twenty in the UK. It was successful on the U.S. Hot R&B/Hip-Hop Songs chart, reaching number one in April 1992. On the Billboard Hot 100, "All Woman" reached number fifty-six. The next two singles released in Europe included "Time to Make You Mine" and "Set Your Loving Free," which peaked at numbers fourteen and twenty-eight in the UK. The last U.S. single, "A Little More Love," reached number thirty on the Hot R&B/Hip-Hop Songs. In 1992, Stansfield toured Europe, Asia and the United States, and released the Live at Wembley home video. In late 1992 she co-wrote and recorded "Someday (I'm Coming Back)" for the successful The Bodyguard: Original Soundtrack Album. The song was released as a single in Europe in December 1992, after "I Will Always Love You" by Whitney Houston, and reached top ten in the UK. She also wrote a song for Dionne Warwick, "Friends | Lisa Stansfield. The second single from the Real Love album, "All Woman," peaked inside the top forty in various European countries, including number twenty in the UK. It was successful on the U.S. Hot R&B/Hip-Hop Songs chart, reaching number one in April 1992. On the Billboard Hot 100, "All Woman" reached number fifty-six. The next two singles released in Europe included "Time to Make You Mine" and "Set Your Loving Free," which peaked at numbers fourteen and twenty-eight in the UK. The last U.S. single, "A Little More Love," reached number thirty on the Hot R&B/Hip-Hop Songs. In 1992, Stansfield toured Europe, Asia and the United States, and released the Live at Wembley home video. In late 1992 she co-wrote and recorded "Someday (I'm Coming Back)" for the successful The Bodyguard: Original Soundtrack Album. The song was released as a single in Europe in December 1992, after "I Will Always Love You" by Whitney Houston, and reached top ten in the UK. She also wrote a song for Dionne Warwick, "Friends | 523336 |
wiki20220301en020_101058 | Lisa Stansfield | The song was released as a single in Europe in December 1992, after "I Will Always Love You" by Whitney Houston, and reached top ten in the UK. She also wrote a song for Dionne Warwick, "Friends Can Be Lovers," which was produced by Ian and Andy along with another song written by Diane Warren, "Much Too Much." Lisa sang background vocals on both tracks, which appear on the 1993 Dionne Warwick album Friends Can Be Lovers. | Lisa Stansfield. The song was released as a single in Europe in December 1992, after "I Will Always Love You" by Whitney Houston, and reached top ten in the UK. She also wrote a song for Dionne Warwick, "Friends Can Be Lovers," which was produced by Ian and Andy along with another song written by Diane Warren, "Much Too Much." Lisa sang background vocals on both tracks, which appear on the 1993 Dionne Warwick album Friends Can Be Lovers. | 523336 |
wiki20220301en020_101059 | Lisa Stansfield | 1993–1996: So Natural In April 1993, George Michael released his charity EP, Five Live. It included "These Are the Days of Our Lives," recorded with Stansfield and Queen during The Freddie Mercury Tribute Concert in April 1992. Five Live was a success, reaching number one in the United Kingdom for three weeks. During the Freddie Mercury Tribute Concert, which was also released on VHS, Stansfield performed "I Want to Break Free," as well. In early 1993 she co-wrote and recorded "In All the Right Places," the theme song from the film Indecent Proposal, starring Robert Redford and Demi Moore. The single was issued in May 1993, and reached number eight in the UK and Ireland. It was later included on Stansfield's third studio album, So Natural, released on 8 November 1993. | Lisa Stansfield. 1993–1996: So Natural In April 1993, George Michael released his charity EP, Five Live. It included "These Are the Days of Our Lives," recorded with Stansfield and Queen during The Freddie Mercury Tribute Concert in April 1992. Five Live was a success, reaching number one in the United Kingdom for three weeks. During the Freddie Mercury Tribute Concert, which was also released on VHS, Stansfield performed "I Want to Break Free," as well. In early 1993 she co-wrote and recorded "In All the Right Places," the theme song from the film Indecent Proposal, starring Robert Redford and Demi Moore. The single was issued in May 1993, and reached number eight in the UK and Ireland. It was later included on Stansfield's third studio album, So Natural, released on 8 November 1993. | 523336 |
wiki20220301en020_101060 | Lisa Stansfield | So Natural garnered positive reviews from music critics, and performed moderately on the charts, reaching number six in the UK and receiving Platinum certification. It also peaked within the top forty in Italy, Sweden, Germany, Switzerland, Austria, and the Netherlands. The album was promoted by two singles, "So Natural" and "Little Bit of Heaven," which reached numbers fifteen and thirty-two in the UK. So Natural was not released in North America. In 1994, Stansfield toured Japan and the UK. In late 1994 she released two singles in the United States: "Make It Right" from the Beverly Hills 90210: The College Years soundtrack, and "Dream Away" (duet with Babyface) from the film The Pagemaster. Stansfield also recorded the following cover songs: "Friday's Child" for No Prima Donna: The Songs of Van Morrison (1994), "They Can't Take That Away from Me" for The Glory of Gershwin (1994), "Just to Keep You Satisfied" for Inner City Blues: The Music of Marvin Gaye (1995), and "Take Me Away" | Lisa Stansfield. So Natural garnered positive reviews from music critics, and performed moderately on the charts, reaching number six in the UK and receiving Platinum certification. It also peaked within the top forty in Italy, Sweden, Germany, Switzerland, Austria, and the Netherlands. The album was promoted by two singles, "So Natural" and "Little Bit of Heaven," which reached numbers fifteen and thirty-two in the UK. So Natural was not released in North America. In 1994, Stansfield toured Japan and the UK. In late 1994 she released two singles in the United States: "Make It Right" from the Beverly Hills 90210: The College Years soundtrack, and "Dream Away" (duet with Babyface) from the film The Pagemaster. Stansfield also recorded the following cover songs: "Friday's Child" for No Prima Donna: The Songs of Van Morrison (1994), "They Can't Take That Away from Me" for The Glory of Gershwin (1994), "Just to Keep You Satisfied" for Inner City Blues: The Music of Marvin Gaye (1995), and "Take Me Away" | 523336 |
wiki20220301en020_101061 | Lisa Stansfield | of Van Morrison (1994), "They Can't Take That Away from Me" for The Glory of Gershwin (1994), "Just to Keep You Satisfied" for Inner City Blues: The Music of Marvin Gaye (1995), and "Take Me Away" (duet with Aska) for One Voice: The Songs of Chage & Aska (1996). | Lisa Stansfield. of Van Morrison (1994), "They Can't Take That Away from Me" for The Glory of Gershwin (1994), "Just to Keep You Satisfied" for Inner City Blues: The Music of Marvin Gaye (1995), and "Take Me Away" (duet with Aska) for One Voice: The Songs of Chage & Aska (1996). | 523336 |
wiki20220301en020_101062 | Lisa Stansfield | 1997–2000: Lisa Stansfield Her self-titled fourth studio album Lisa Stansfield was released on 21 March 1997. It garnered favourable reviews from music critics, and was commercially successful, reaching number two in the United Kingdom, number six in Belgium, and peaked inside the top forty in many European countries and Japan. It also received Gold certification in the UK, Spain, and Switzerland. In the United States the album peaked at number thirty on the Top R&B/Hip-Hop Albums, and fifty-five on the Billboard 200. Singles released in Europe included "People Hold On (The Bootleg Mixes)," "The Real Thing," "Never, Never Gonna Give You Up," and "The Line." They all entered the UK Singles Chart reaching numbers four, nine, twenty-five and sixty-four, respectively. | Lisa Stansfield. 1997–2000: Lisa Stansfield Her self-titled fourth studio album Lisa Stansfield was released on 21 March 1997. It garnered favourable reviews from music critics, and was commercially successful, reaching number two in the United Kingdom, number six in Belgium, and peaked inside the top forty in many European countries and Japan. It also received Gold certification in the UK, Spain, and Switzerland. In the United States the album peaked at number thirty on the Top R&B/Hip-Hop Albums, and fifty-five on the Billboard 200. Singles released in Europe included "People Hold On (The Bootleg Mixes)," "The Real Thing," "Never, Never Gonna Give You Up," and "The Line." They all entered the UK Singles Chart reaching numbers four, nine, twenty-five and sixty-four, respectively. | 523336 |
wiki20220301en020_101063 | Lisa Stansfield | In the U.S., "Never, Never Gonna Give You Up" peaked at number seventy-four on the Billboard Hot 100, and at number one on the Billboard Top Dance Tracks. The album also spawned four number-one singles on the Billboard's Hot Dance Club Songs: "People Hold On (The Bootleg Mixes)," "Never, Never Gonna Give You Up," "Never Gonna Fall," and "I'm Leavin'." This success prompted Arista Records to release The Remix Album in June 1998. Stansfield toured South America, the U.S., and Europe in 1997 and 1998 to promote the album. In July 1999, Stansfield's duet with Barry White "The Longer We Make Love" was released as a single from his album Staying Power. In late 2000 she recorded two cover songs: "You Keep Me Hangin' On" for the Motown Mania album (released in December 2000), and "Somewhere My Baby Waits for Me" for The Wedding Planner soundtrack (released in January 2001). | Lisa Stansfield. In the U.S., "Never, Never Gonna Give You Up" peaked at number seventy-four on the Billboard Hot 100, and at number one on the Billboard Top Dance Tracks. The album also spawned four number-one singles on the Billboard's Hot Dance Club Songs: "People Hold On (The Bootleg Mixes)," "Never, Never Gonna Give You Up," "Never Gonna Fall," and "I'm Leavin'." This success prompted Arista Records to release The Remix Album in June 1998. Stansfield toured South America, the U.S., and Europe in 1997 and 1998 to promote the album. In July 1999, Stansfield's duet with Barry White "The Longer We Make Love" was released as a single from his album Staying Power. In late 2000 she recorded two cover songs: "You Keep Me Hangin' On" for the Motown Mania album (released in December 2000), and "Somewhere My Baby Waits for Me" for The Wedding Planner soundtrack (released in January 2001). | 523336 |
wiki20220301en020_101064 | Lisa Stansfield | 2001–2003: Face Up and Biography: The Greatest Hits Stansfield released her fifth studio album Face Up on 20 June 2001. It featured funk and soul songs, and also the adventurous usage of 2-step garage beats on the lead single "Let's Just Call It Love." However, Face Up performed somewhat unsuccessfully on the charts, reaching top forty in only few countries, including Switzerland, Austria, Germany and the United Kingdom. It wasn't released in North America. Stansfield toured Europe in 2001 and 2002. | Lisa Stansfield. 2001–2003: Face Up and Biography: The Greatest Hits Stansfield released her fifth studio album Face Up on 20 June 2001. It featured funk and soul songs, and also the adventurous usage of 2-step garage beats on the lead single "Let's Just Call It Love." However, Face Up performed somewhat unsuccessfully on the charts, reaching top forty in only few countries, including Switzerland, Austria, Germany and the United Kingdom. It wasn't released in North America. Stansfield toured Europe in 2001 and 2002. | 523336 |
wiki20220301en020_101065 | Lisa Stansfield | On 3 February 2003, Stansfield released her first greatest-hits album, Biography: The Greatest Hits. It reached number three in the United Kingdom (where it was certified Gold), number four in Italy, and also charted in other European countries. It was simultaneously issued on DVD. Stansfield toured Europe in March and April 2003 to promote the compilation. In June 2003, Arista Records remastered all of her studio albums and re-released them separately with bonus tracks. The Complete Collection, a six-CD box set, was issued simultaneously. In November 2003, she appeared on the soundtrack for the film Mona Lisa Smile, singing "I've Got the World on a String." | Lisa Stansfield. On 3 February 2003, Stansfield released her first greatest-hits album, Biography: The Greatest Hits. It reached number three in the United Kingdom (where it was certified Gold), number four in Italy, and also charted in other European countries. It was simultaneously issued on DVD. Stansfield toured Europe in March and April 2003 to promote the compilation. In June 2003, Arista Records remastered all of her studio albums and re-released them separately with bonus tracks. The Complete Collection, a six-CD box set, was issued simultaneously. In November 2003, she appeared on the soundtrack for the film Mona Lisa Smile, singing "I've Got the World on a String." | 523336 |
wiki20220301en020_101066 | Lisa Stansfield | 2004–2012: The Moment In 2004, Stansfield recorded "Too Hot" for Kool & the Gang's The Hits: Reloaded (released in April 2004), and "Breath In, Breath Out" (duet with Lââm) for her album titled simply Lââm (released in September 2004). After fulfilling her obligation to Arista Records, Stansfield signed with ZTT Records. The Grammy Award-winning Trevor Horn produced her next pop-oriented album, The Moment, which was released in the United Kingdom on 27 September 2004. It was well received by music critics, but failed commercially in the UK peaking at number fifty-seven. In February 2005, The Moment was issued in the rest of Europe by Edel, achieving moderate success on the charts in Austria, Germany, and Switzerland, reaching numbers fifteen, sixteen and twenty-two, respectively. It was also certified Gold in Germany. The album was promoted mainly by two singles: "Treat Me Like a Woman" and "If I Hadn't Got You." She also toured Europe in June and July 2005. | Lisa Stansfield. 2004–2012: The Moment In 2004, Stansfield recorded "Too Hot" for Kool & the Gang's The Hits: Reloaded (released in April 2004), and "Breath In, Breath Out" (duet with Lââm) for her album titled simply Lââm (released in September 2004). After fulfilling her obligation to Arista Records, Stansfield signed with ZTT Records. The Grammy Award-winning Trevor Horn produced her next pop-oriented album, The Moment, which was released in the United Kingdom on 27 September 2004. It was well received by music critics, but failed commercially in the UK peaking at number fifty-seven. In February 2005, The Moment was issued in the rest of Europe by Edel, achieving moderate success on the charts in Austria, Germany, and Switzerland, reaching numbers fifteen, sixteen and twenty-two, respectively. It was also certified Gold in Germany. The album was promoted mainly by two singles: "Treat Me Like a Woman" and "If I Hadn't Got You." She also toured Europe in June and July 2005. | 523336 |
wiki20220301en020_101067 | Lisa Stansfield | 2013–2016: Seven Between May and July 2013, Stansfield toured Europe singing her greatest hits. On 13 August 2013, she announced that her seventh studio album titled simply Seven would be released on 21 October 2013. In October 2013, it was announced that the release date of the album had been pushed back to 31 January 2014 in Germany, and 10 February 2014 in the United Kingdom. The first single, "Can't Dance," premiered on Ken Bruce's BBC Radio 2 show on 14 August 2013, and was digitally released on 16 October 2013. | Lisa Stansfield. 2013–2016: Seven Between May and July 2013, Stansfield toured Europe singing her greatest hits. On 13 August 2013, she announced that her seventh studio album titled simply Seven would be released on 21 October 2013. In October 2013, it was announced that the release date of the album had been pushed back to 31 January 2014 in Germany, and 10 February 2014 in the United Kingdom. The first single, "Can't Dance," premiered on Ken Bruce's BBC Radio 2 show on 14 August 2013, and was digitally released on 16 October 2013. | 523336 |
wiki20220301en020_101068 | Lisa Stansfield | Seven, which was produced and written in the United Kingdom by Stansfield and Ian Devaney, features the tracks "Can't Dance," "The Rain," "Stupid Heart," "Conversation," "The Crown," "So Be It," and "Picket Fence." Recorded in both Los Angeles and Manchester, Stansfield collaborated with John Robinson and Grammy Award-winning orchestrator Jerry Hey, both integral to the creation of Michael Jackson's Off the Wall, Thriller, and Bad albums. "Carry On" was chosen as the second single, and its music video premiered on 31 January 2014. The album peaked at number 13 in the UK. A deluxe edition featuring bonus material was also released. Stansfield toured the United Kingdom in November 2013, and her Seven Tour continued in Europe in May and June 2014. The tour ended with a series of concerts in the United Kingdom in September 2014 and other European countries in October and November 2014. In October 2014, Seven was re-released as Seven+ including one new song and fifteen remixes. | Lisa Stansfield. Seven, which was produced and written in the United Kingdom by Stansfield and Ian Devaney, features the tracks "Can't Dance," "The Rain," "Stupid Heart," "Conversation," "The Crown," "So Be It," and "Picket Fence." Recorded in both Los Angeles and Manchester, Stansfield collaborated with John Robinson and Grammy Award-winning orchestrator Jerry Hey, both integral to the creation of Michael Jackson's Off the Wall, Thriller, and Bad albums. "Carry On" was chosen as the second single, and its music video premiered on 31 January 2014. The album peaked at number 13 in the UK. A deluxe edition featuring bonus material was also released. Stansfield toured the United Kingdom in November 2013, and her Seven Tour continued in Europe in May and June 2014. The tour ended with a series of concerts in the United Kingdom in September 2014 and other European countries in October and November 2014. In October 2014, Seven was re-released as Seven+ including one new song and fifteen remixes. | 523336 |
wiki20220301en020_101069 | Lisa Stansfield | In November 2014, Edsel Records released The Collection 1989–2003, a thirteen-CD and five-DVD box set, with five of Stansfield's studio albums and many rare additional tracks, remixes, promo videos, live concert footage, and new interviews. All albums were also released individually. The Live in Manchester album/video was released on 28 August 2015. 2017–present: Deeper In October 2017, Stansfield announced her new album Deeper, and a European tour. It was released on 6 April 2018. In the UK, Deeper reached number 15 on the UK Albums Chart, while the single "Everything" reached number one on the Soul Chart. In the U.S., the single "Never Ever" reached number six on the Billboard Dance chart. This marked her first appearance on that chart in 20 years, after "I'm Leavin'" topped the chart in 1998. | Lisa Stansfield. In November 2014, Edsel Records released The Collection 1989–2003, a thirteen-CD and five-DVD box set, with five of Stansfield's studio albums and many rare additional tracks, remixes, promo videos, live concert footage, and new interviews. All albums were also released individually. The Live in Manchester album/video was released on 28 August 2015. 2017–present: Deeper In October 2017, Stansfield announced her new album Deeper, and a European tour. It was released on 6 April 2018. In the UK, Deeper reached number 15 on the UK Albums Chart, while the single "Everything" reached number one on the Soul Chart. In the U.S., the single "Never Ever" reached number six on the Billboard Dance chart. This marked her first appearance on that chart in 20 years, after "I'm Leavin'" topped the chart in 1998. | 523336 |
wiki20220301en020_101070 | Lisa Stansfield | In June 2018, following a string of tour dates in Europe, Stansfield announced her North American Tour to begin in October. Her first in North America in two decades, the tour began on 9 October in Toronto and included stops in Montreal, Boston, New York, Philadelphia, Atlanta, Chicago, Los Angeles, and more, before concluding in San Francisco on 26 October. Acting career In May 1999, Stansfield made her film debut. She played Joan Woodcock in the Nick Mead-directed movie Swing, also starring Hugo Speer, and recorded songs for the soundtrack. The album, full of jazz and swing tracks, was released on 10 May 1999. Swing: Original Motion Picture Soundtrack received positive reviews from music critics, and peaked at number six on Billboard'''s Top Jazz Albums chart. | Lisa Stansfield. In June 2018, following a string of tour dates in Europe, Stansfield announced her North American Tour to begin in October. Her first in North America in two decades, the tour began on 9 October in Toronto and included stops in Montreal, Boston, New York, Philadelphia, Atlanta, Chicago, Los Angeles, and more, before concluding in San Francisco on 26 October. Acting career In May 1999, Stansfield made her film debut. She played Joan Woodcock in the Nick Mead-directed movie Swing, also starring Hugo Speer, and recorded songs for the soundtrack. The album, full of jazz and swing tracks, was released on 10 May 1999. Swing: Original Motion Picture Soundtrack received positive reviews from music critics, and peaked at number six on Billboard'''s Top Jazz Albums chart. | 523336 |
wiki20220301en020_101071 | Lisa Stansfield | In February 2002, she made her stage debut in The Vagina Monologues at the Arts Theatre in the West End of London, together with Anita Dobson and Cecilia Noble. Stansfield played herself in the comedy series Monkey Trousers in mid-2005. In late 2006 she appeared in the drama series Goldplated, playing Trinny Jamieson. In September 2007, Stansfield appeared in another television series, Agatha Christie's Marple. She played Mary Durrant in the episode titled Ordeal by Innocence. Stansfield dubbed one of the characters (Millie, an elf) for the English version of the Finnish animated film Quest for a Heart, released in December 2007. She also recorded the title song, written by Charlie Mole and Lee Hall. Stansfield joined the cast of the 2008 film The Edge of Love, directed by John Maybury, playing the role of Ruth Williams. | Lisa Stansfield. In February 2002, she made her stage debut in The Vagina Monologues at the Arts Theatre in the West End of London, together with Anita Dobson and Cecilia Noble. Stansfield played herself in the comedy series Monkey Trousers in mid-2005. In late 2006 she appeared in the drama series Goldplated, playing Trinny Jamieson. In September 2007, Stansfield appeared in another television series, Agatha Christie's Marple. She played Mary Durrant in the episode titled Ordeal by Innocence. Stansfield dubbed one of the characters (Millie, an elf) for the English version of the Finnish animated film Quest for a Heart, released in December 2007. She also recorded the title song, written by Charlie Mole and Lee Hall. Stansfield joined the cast of the 2008 film The Edge of Love, directed by John Maybury, playing the role of Ruth Williams. | 523336 |
wiki20220301en020_101072 | Lisa Stansfield | In 2009, she starred in the Nick Mead-directed documentary Dean Street Shuffle playing herself. In 2012, she performed a role in Elaine Constantine's film Northern Soul. Set in 1974, it is an independent docudrama about the social phenomenon and generation of the northern soul music and dance movement, and was released in 2014. Personal life In 1987, Stansfield married Italian designer Augusto Grassi, whom she had met during a holiday in Tunisia. A ceremony was held in the Sacred Heart Church in Rochdale. The couple moved to Zagarolo, Italy, but their marriage lasted only four months. Following the end of the marriage, Stansfield returned to Britain. After many years of friendship and engagement, she and Ian Devaney married on 25 July 1998. The minimalist ceremony was held in Washington Square Park in New York City, and the only guests were her parents and his mother. | Lisa Stansfield. In 2009, she starred in the Nick Mead-directed documentary Dean Street Shuffle playing herself. In 2012, she performed a role in Elaine Constantine's film Northern Soul. Set in 1974, it is an independent docudrama about the social phenomenon and generation of the northern soul music and dance movement, and was released in 2014. Personal life In 1987, Stansfield married Italian designer Augusto Grassi, whom she had met during a holiday in Tunisia. A ceremony was held in the Sacred Heart Church in Rochdale. The couple moved to Zagarolo, Italy, but their marriage lasted only four months. Following the end of the marriage, Stansfield returned to Britain. After many years of friendship and engagement, she and Ian Devaney married on 25 July 1998. The minimalist ceremony was held in Washington Square Park in New York City, and the only guests were her parents and his mother. | 523336 |
wiki20220301en020_101073 | Lisa Stansfield | In 2008, Stansfield sold her six-bedroom Victorian house "Mount Henry" on Torca Road in Dalkey, Ireland, for €6 million to Yorkshire business tycoon Ed Clark (having originally asked for €8 million in May 2007). Discography Studio albums Affection (1989) Real Love (1991) So Natural (1993) Lisa Stansfield (1997) Face Up (2001) The Moment (2004) Seven (2014) Deeper (2018) Filmography 1999: Swing2005: Monkey Trousers2006: Goldplated2007: Agatha Christie's Marple2007: Quest for a Heart2008: The Edge of Love2009: Dean Street Shuffle2014: Northern Soul'' Awards References External links Official website Official fan website | Lisa Stansfield. In 2008, Stansfield sold her six-bedroom Victorian house "Mount Henry" on Torca Road in Dalkey, Ireland, for €6 million to Yorkshire business tycoon Ed Clark (having originally asked for €8 million in May 2007). Discography Studio albums Affection (1989) Real Love (1991) So Natural (1993) Lisa Stansfield (1997) Face Up (2001) The Moment (2004) Seven (2014) Deeper (2018) Filmography 1999: Swing2005: Monkey Trousers2006: Goldplated2007: Agatha Christie's Marple2007: Quest for a Heart2008: The Edge of Love2009: Dean Street Shuffle2014: Northern Soul'' Awards References External links Official website Official fan website | 523336 |
wiki20220301en020_101074 | Lisa Stansfield | Awards References External links Official website Official fan website 1966 births Living people English contraltos English dance musicians English house musicians British contemporary R&B singers English women singer-songwriters English soul singers English television presenters Brit Award winners People from Dalkey People from Heywood, Greater Manchester Actors from Rochdale Musicians from Manchester Music in the Metropolitan Borough of Rochdale ZTT Records artists British people of European descent English film actresses English television actresses Actresses from Manchester English women pop singers English expatriates in Ireland 20th-century English women singers 20th-century English singers 21st-century English women singers 21st-century English singers 20th-century English actresses 21st-century English actresses English women in electronic music British funk singers Child pop musicians Dance-pop musicians | Lisa Stansfield. Awards References External links Official website Official fan website 1966 births Living people English contraltos English dance musicians English house musicians British contemporary R&B singers English women singer-songwriters English soul singers English television presenters Brit Award winners People from Dalkey People from Heywood, Greater Manchester Actors from Rochdale Musicians from Manchester Music in the Metropolitan Borough of Rochdale ZTT Records artists British people of European descent English film actresses English television actresses Actresses from Manchester English women pop singers English expatriates in Ireland 20th-century English women singers 20th-century English singers 21st-century English women singers 21st-century English singers 20th-century English actresses 21st-century English actresses English women in electronic music British funk singers Child pop musicians Dance-pop musicians | 523336 |
wiki20220301en020_101075 | Rhumba | Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Although taking its name from the latter, ballroom rumba differs completely from Cuban rumba in both its music and its dance. Hence, authors prefer the Americanized spelling of the word (rhumba) to distinguish between them. Music | Rhumba. Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Although taking its name from the latter, ballroom rumba differs completely from Cuban rumba in both its music and its dance. Hence, authors prefer the Americanized spelling of the word (rhumba) to distinguish between them. Music | 523337 |
wiki20220301en020_101076 | Rhumba | Music Although the term rhumba began to be used by American record companies to label all kinds of Latin music between 1913 and 1915, the history of rhumba as a specific form of ballroom music can be traced back to May 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" (The Peanut Vendor) in New York City. This single, released four months later by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a son-pregón arranged, in this case, for Azpiazú's big band featuring three saxophones, two cornets, banjo, guitar, piano, violin, bass, and trap drums. With vocals by Antonio Machín and a trumpet solo (the first one in the recorded history of Cuban music) by Remberto Lara, the recording, arranged by saxophonist Alfredo Brito, attempted to adapt the Cuban son to the style of ballroom music prevalent at the time in the East Coast. | Rhumba. Music Although the term rhumba began to be used by American record companies to label all kinds of Latin music between 1913 and 1915, the history of rhumba as a specific form of ballroom music can be traced back to May 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" (The Peanut Vendor) in New York City. This single, released four months later by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a son-pregón arranged, in this case, for Azpiazú's big band featuring three saxophones, two cornets, banjo, guitar, piano, violin, bass, and trap drums. With vocals by Antonio Machín and a trumpet solo (the first one in the recorded history of Cuban music) by Remberto Lara, the recording, arranged by saxophonist Alfredo Brito, attempted to adapt the Cuban son to the style of ballroom music prevalent at the time in the East Coast. | 523337 |
wiki20220301en020_101077 | Rhumba | Soon, Azpiazú's style was followed by other Cuban artists such as Armando Oréfiche and the Lecuona Cuban Boys, who had extensive international tours in the 1930s. Their style has been often described as ballroom conga, since they used to borrow conga rhythms in songs such as "Para Vigo me voy". Among their numerous hits were boleros and canciones such as "Amapola" and "Siboney". This music movement, which also included many American big bands that covered Latin standards, was dubbed the rhumba craze. Notable bandleaders of the rhumba craze include Xavier Cugat, Jimmy Dorsey, Nathaniel Shilkret, Leo Reisman and Enric Madriguera. Rhumba was also incorporated into classical music, as exemplified by symphonic pieces by composers such as George Gershwin, Harl McDonald and Morton Gould. | Rhumba. Soon, Azpiazú's style was followed by other Cuban artists such as Armando Oréfiche and the Lecuona Cuban Boys, who had extensive international tours in the 1930s. Their style has been often described as ballroom conga, since they used to borrow conga rhythms in songs such as "Para Vigo me voy". Among their numerous hits were boleros and canciones such as "Amapola" and "Siboney". This music movement, which also included many American big bands that covered Latin standards, was dubbed the rhumba craze. Notable bandleaders of the rhumba craze include Xavier Cugat, Jimmy Dorsey, Nathaniel Shilkret, Leo Reisman and Enric Madriguera. Rhumba was also incorporated into classical music, as exemplified by symphonic pieces by composers such as George Gershwin, Harl McDonald and Morton Gould. | 523337 |
wiki20220301en020_101078 | Rhumba | The kind of rhumba introduced into dance salons in America and Europe in the 1930s was characterized by variable tempo, sometimes nearly twice as fast as the modern ballroom rumba, which was developed as a dance in the 1940s and 1950s, when the original music movement had died down. Nonetheless, the rhumba craze would be the first of three Latin music crazes in the first half of the 20th century, together with the mambo craze and the cha-cha-cha craze. Dance | Rhumba. The kind of rhumba introduced into dance salons in America and Europe in the 1930s was characterized by variable tempo, sometimes nearly twice as fast as the modern ballroom rumba, which was developed as a dance in the 1940s and 1950s, when the original music movement had died down. Nonetheless, the rhumba craze would be the first of three Latin music crazes in the first half of the 20th century, together with the mambo craze and the cha-cha-cha craze. Dance | 523337 |
wiki20220301en020_101079 | Rhumba | Dance Two variations of rhumba with opposing step patterns are danced around the world. American style rumba was imported to America by band directors like Emil Coleman and Don Aspiazú between 1913 and 1935. The film Rumba, released in 1935, brought the style to the attention of the general public. American style rhumba is taught in a box step, known for its slow-quick-quick pattern danced on the 1, 3, and 4 beats of 4-beat music. International style rhumba was developed in Europe by Monsieur Pierre after he compared the established American style with contemporary Cuban dancers. International style is taught in a quick-quick-slow pattern danced on the 2, 3, and 4 beats of 4 beat music, similar in step and motion to the cha-cha-cha. Both styles were canonized in 1955. | Rhumba. Dance Two variations of rhumba with opposing step patterns are danced around the world. American style rumba was imported to America by band directors like Emil Coleman and Don Aspiazú between 1913 and 1935. The film Rumba, released in 1935, brought the style to the attention of the general public. American style rhumba is taught in a box step, known for its slow-quick-quick pattern danced on the 1, 3, and 4 beats of 4-beat music. International style rhumba was developed in Europe by Monsieur Pierre after he compared the established American style with contemporary Cuban dancers. International style is taught in a quick-quick-slow pattern danced on the 2, 3, and 4 beats of 4 beat music, similar in step and motion to the cha-cha-cha. Both styles were canonized in 1955. | 523337 |
wiki20220301en020_101080 | Rhumba | International style Rhumba is one of the ballroom dances which occurs in social dance and in international competitions. Of the five competitive international Latin dances (pasodoble, samba, cha-cha-cha, jive, and rumba), it is the slowest. This ballroom rumba was derived from a Cuban rhythm and dance called the bolero-son; the international style was derived from studies of dance in Cuba in the pre-revolutionary period. The modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1947, 1951, and 1953 to find out how and what Cubans were dancing at the time. | Rhumba. International style Rhumba is one of the ballroom dances which occurs in social dance and in international competitions. Of the five competitive international Latin dances (pasodoble, samba, cha-cha-cha, jive, and rumba), it is the slowest. This ballroom rumba was derived from a Cuban rhythm and dance called the bolero-son; the international style was derived from studies of dance in Cuba in the pre-revolutionary period. The modern international style of dancing the rumba derives from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1947, 1951, and 1953 to find out how and what Cubans were dancing at the time. | 523337 |
wiki20220301en020_101081 | Rhumba | The international ballroom rumba is a slower dance of about 120 beats per minute which corresponds, both in music and in dance, to what the Cubans of an older generation called the bolero-son. It is easy to see why, for ease of reference and for marketing, rhumba is a better name, however inaccurate; it is the same kind of reason that led later on to the use of salsa as an overall term for popular music of Cuban origin. | Rhumba. The international ballroom rumba is a slower dance of about 120 beats per minute which corresponds, both in music and in dance, to what the Cubans of an older generation called the bolero-son. It is easy to see why, for ease of reference and for marketing, rhumba is a better name, however inaccurate; it is the same kind of reason that led later on to the use of salsa as an overall term for popular music of Cuban origin. | 523337 |
wiki20220301en020_101082 | Rhumba | All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast salsa, it is more pronounced in the slow ballroom rumba. In general, steps are kept compact and the dance is danced generally without any rise and fall. This style is authentic, as is the use of free arms in various figures. The basic figures derive from dance moves observed in Havana in the pre-revolutionary period, and have developed their own life since then. Competition figures are often complex, and this is where competition dance separates from social dance. Details can be obtained from the syllabuses of dance teaching organizations and from standard texts. American style There is also a variant, commonly danced in the United States, with box-like basic figures. See also Son cubano Cuban rumba Conga (music) Mambo (music) / Mambo (dance) Cha-cha-cha (music) / Cha-cha-cha (dance) References | Rhumba. All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast salsa, it is more pronounced in the slow ballroom rumba. In general, steps are kept compact and the dance is danced generally without any rise and fall. This style is authentic, as is the use of free arms in various figures. The basic figures derive from dance moves observed in Havana in the pre-revolutionary period, and have developed their own life since then. Competition figures are often complex, and this is where competition dance separates from social dance. Details can be obtained from the syllabuses of dance teaching organizations and from standard texts. American style There is also a variant, commonly danced in the United States, with box-like basic figures. See also Son cubano Cuban rumba Conga (music) Mambo (music) / Mambo (dance) Cha-cha-cha (music) / Cha-cha-cha (dance) References | 523337 |
wiki20220301en020_101083 | Bristol 188 | The Bristol 188 is a British supersonic research aircraft built by the Bristol Aeroplane Company in the 1950s. Its length, slender cross-section and intended purpose led to its being nicknamed the "Flaming Pencil". Design and development The aircraft had its genesis in Operational Requirement 330 for a high speed (Mach 3) reconnaissance aircraft, which eventually developed into the Avro 730. As the 730 was expected to operate at high speeds for extended periods of time, more data was needed on high speed operations, leading to Operational Requirement ER.134T for a testbed capable of speeds greater than Mach 2. The aircraft was expected to run at these speeds for extended periods of time, allowing it to study kinetic heating effects on such an aircraft. The aircraft was expected to spend a considerable amount of time with a skin temperature around 300 Celsius. | Bristol 188. The Bristol 188 is a British supersonic research aircraft built by the Bristol Aeroplane Company in the 1950s. Its length, slender cross-section and intended purpose led to its being nicknamed the "Flaming Pencil". Design and development The aircraft had its genesis in Operational Requirement 330 for a high speed (Mach 3) reconnaissance aircraft, which eventually developed into the Avro 730. As the 730 was expected to operate at high speeds for extended periods of time, more data was needed on high speed operations, leading to Operational Requirement ER.134T for a testbed capable of speeds greater than Mach 2. The aircraft was expected to run at these speeds for extended periods of time, allowing it to study kinetic heating effects on such an aircraft. The aircraft was expected to spend a considerable amount of time with a skin temperature around 300 Celsius. | 523338 |
wiki20220301en020_101084 | Bristol 188 | Several firms took interest in this very advanced specification and the eventual contract (6/Acft/10144) was awarded to Bristol Aircraft in February 1953. Bristol gave the project the type number 188, of which three aircraft were to be built, one a pure test bed and the other two (constructor numbers 13518 and 13519) for flight testing. Under contract number KC/2M/04/CB.42(b) serial numbers XF923 and XF926 were given on 4 January 1954 to the two that would fly. To support the development of the Avro 730 Mach 3 reconnaissance bomber, another three aircraft were ordered (Serial Numbers XK429, XK434 and XK436). The follow-up order was cancelled when the Avro 730 programme was cancelled in 1957 as part of that year's review of defence spending. The 188 project was continued as a high speed research aircraft. | Bristol 188. Several firms took interest in this very advanced specification and the eventual contract (6/Acft/10144) was awarded to Bristol Aircraft in February 1953. Bristol gave the project the type number 188, of which three aircraft were to be built, one a pure test bed and the other two (constructor numbers 13518 and 13519) for flight testing. Under contract number KC/2M/04/CB.42(b) serial numbers XF923 and XF926 were given on 4 January 1954 to the two that would fly. To support the development of the Avro 730 Mach 3 reconnaissance bomber, another three aircraft were ordered (Serial Numbers XK429, XK434 and XK436). The follow-up order was cancelled when the Avro 730 programme was cancelled in 1957 as part of that year's review of defence spending. The 188 project was continued as a high speed research aircraft. | 523338 |
wiki20220301en020_101085 | Bristol 188 | The advanced nature of the aircraft meant that new construction methods had to be developed. Several materials were considered for construction and two specialist grades of steel were selected: a titanium-stabilized 18-8 austenitic steel and a 12%-Cr steel used in gas turbines (Firth-Vickers Rex 448). These had to be manufactured to better tolerances in sufficient quantities for construction to start. The 12% chromium stainless steel with a honeycomb centre was used for the construction of the outer skin, to which no paint was applied. Riveting was a potential method for construction but the new arc welding technique using an argon gas shield known as puddle welding was used. There were long delays with the method, which was less than satisfactory. The W. G. Armstrong Whitworth company provided substantial technical help and support to Bristol during this period; they produced major sections of the airframe as a subcontractor. North American with the XB-70 Valkyrie bomber used the | Bristol 188. The advanced nature of the aircraft meant that new construction methods had to be developed. Several materials were considered for construction and two specialist grades of steel were selected: a titanium-stabilized 18-8 austenitic steel and a 12%-Cr steel used in gas turbines (Firth-Vickers Rex 448). These had to be manufactured to better tolerances in sufficient quantities for construction to start. The 12% chromium stainless steel with a honeycomb centre was used for the construction of the outer skin, to which no paint was applied. Riveting was a potential method for construction but the new arc welding technique using an argon gas shield known as puddle welding was used. There were long delays with the method, which was less than satisfactory. The W. G. Armstrong Whitworth company provided substantial technical help and support to Bristol during this period; they produced major sections of the airframe as a subcontractor. North American with the XB-70 Valkyrie bomber used the | 523338 |
wiki20220301en020_101086 | Bristol 188 | provided substantial technical help and support to Bristol during this period; they produced major sections of the airframe as a subcontractor. North American with the XB-70 Valkyrie bomber used the same methods of argon welding of stainless steel honeycomb sheet metal. | Bristol 188. provided substantial technical help and support to Bristol during this period; they produced major sections of the airframe as a subcontractor. North American with the XB-70 Valkyrie bomber used the same methods of argon welding of stainless steel honeycomb sheet metal. | 523338 |
wiki20220301en020_101087 | Bristol 188 | A fused-quartz windscreen and canopy and cockpit refrigeration system were designed and fitted but were never tested in the environment for which they had been designed. The specification for the aircraft required engine installations which permitted the fitting of different air intakes, engines and propelling nozzles. The 188 was originally intended to have Avon engines but the half ton lighter each Gyron Junior was substituted in June 1957, necessitating the engines mounted further forward with longer nacelles and jet pipes. | Bristol 188. A fused-quartz windscreen and canopy and cockpit refrigeration system were designed and fitted but were never tested in the environment for which they had been designed. The specification for the aircraft required engine installations which permitted the fitting of different air intakes, engines and propelling nozzles. The 188 was originally intended to have Avon engines but the half ton lighter each Gyron Junior was substituted in June 1957, necessitating the engines mounted further forward with longer nacelles and jet pipes. | 523338 |
wiki20220301en020_101088 | Bristol 188 | The Gyron Junior was then under development for the Saunders-Roe SR.177 supersonic interceptor and incorporated a fully variable reheat, which achieved a smooth variation in thrust between dry and full reheat, so being one of the first in the world to give continuous variation in thrust from idle to max reheat. This choice of powerplant resulted in the 188 having a typical endurance of only 25 minutes, not long enough for the high-speed research tests that were required. Chief Test Pilot Godfrey L. Auty reported that while the 188 transitioned smoothly from subsonic to supersonic flight, the Gyron Junior engines were prone to surging beyond that speed, causing the aircraft to pitch and yaw. In order to solve the aerodynamic and flutter problems, a large number of scale models were tested. Some, mounted on converted rocket boosters, were launched from RAE Aberporth, for free-flight investigation. | Bristol 188. The Gyron Junior was then under development for the Saunders-Roe SR.177 supersonic interceptor and incorporated a fully variable reheat, which achieved a smooth variation in thrust between dry and full reheat, so being one of the first in the world to give continuous variation in thrust from idle to max reheat. This choice of powerplant resulted in the 188 having a typical endurance of only 25 minutes, not long enough for the high-speed research tests that were required. Chief Test Pilot Godfrey L. Auty reported that while the 188 transitioned smoothly from subsonic to supersonic flight, the Gyron Junior engines were prone to surging beyond that speed, causing the aircraft to pitch and yaw. In order to solve the aerodynamic and flutter problems, a large number of scale models were tested. Some, mounted on converted rocket boosters, were launched from RAE Aberporth, for free-flight investigation. | 523338 |
wiki20220301en020_101089 | Bristol 188 | Operational history In May 1960, the first airframe was delivered to the Royal Aircraft Establishment at Farnborough for structural tests, both heated and unheated, before moving on to RAE Bedford. XF923 undertook the first taxiing trials on 26 April 1961, although due to problems, the first flight was not until 14 April 1962. XF923 was intended to remain with Bristol for its initial flights and evaluation before turning it over to the MoA. XF926 had its first flight, using XF923s engines, on 26 April 1963. XF926 was given over to RAE Bedford for its flying programme. Across 51 flights, it reached a top speed of Mach 1.88 (1,440 mph : 2,300 km/h) at 36,000 ft (11,000 m). The longest subsonic flight lasted only 48 minutes, as 70% of its fuel was needed to reach its operational altitude. | Bristol 188. Operational history In May 1960, the first airframe was delivered to the Royal Aircraft Establishment at Farnborough for structural tests, both heated and unheated, before moving on to RAE Bedford. XF923 undertook the first taxiing trials on 26 April 1961, although due to problems, the first flight was not until 14 April 1962. XF923 was intended to remain with Bristol for its initial flights and evaluation before turning it over to the MoA. XF926 had its first flight, using XF923s engines, on 26 April 1963. XF926 was given over to RAE Bedford for its flying programme. Across 51 flights, it reached a top speed of Mach 1.88 (1,440 mph : 2,300 km/h) at 36,000 ft (11,000 m). The longest subsonic flight lasted only 48 minutes, as 70% of its fuel was needed to reach its operational altitude. | 523338 |
wiki20220301en020_101090 | Bristol 188 | The first prototype made its first public appearance in September 1962 when it was displayed on the ground and in the air at that year's Farnborough Air Show. In the same year the aircraft was seen in the film Some People. Measurements collected during testing were recorded onboard and transmitted to the ground station for recording. The flight information transmitted meant that a "ground pilot" could advise the pilot. | Bristol 188. The first prototype made its first public appearance in September 1962 when it was displayed on the ground and in the air at that year's Farnborough Air Show. In the same year the aircraft was seen in the film Some People. Measurements collected during testing were recorded onboard and transmitted to the ground station for recording. The flight information transmitted meant that a "ground pilot" could advise the pilot. | 523338 |
wiki20220301en020_101091 | Bristol 188 | The project suffered a number of problems, the main being that the fuel consumption of the engines did not allow the aircraft to fly at high speeds long enough to evaluate the "thermal soaking" of the airframe, which was one of the main research areas it was built to investigate. Combined with fuel leaks, the inability to reach its design speed of Mach 2 and a takeoff speed at nearly , the test phase was severely compromised. Nonetheless, although the 188 programme was eventually abandoned, the knowledge and technical information gained was put to some use for the future Concorde program. The inconclusive nature of the research into the use of stainless steel led to Concordes being constructed from conventional aluminium alloys with a Mach limit of 2.2. Experience gained with the Gyron Junior engine, which was the first British gas turbine designed for sustained supersonic operation, additionally later assisted with the development of the Bristol (later Rolls Royce) Olympus 593 | Bristol 188. The project suffered a number of problems, the main being that the fuel consumption of the engines did not allow the aircraft to fly at high speeds long enough to evaluate the "thermal soaking" of the airframe, which was one of the main research areas it was built to investigate. Combined with fuel leaks, the inability to reach its design speed of Mach 2 and a takeoff speed at nearly , the test phase was severely compromised. Nonetheless, although the 188 programme was eventually abandoned, the knowledge and technical information gained was put to some use for the future Concorde program. The inconclusive nature of the research into the use of stainless steel led to Concordes being constructed from conventional aluminium alloys with a Mach limit of 2.2. Experience gained with the Gyron Junior engine, which was the first British gas turbine designed for sustained supersonic operation, additionally later assisted with the development of the Bristol (later Rolls Royce) Olympus 593 | 523338 |
wiki20220301en020_101092 | Bristol 188 | Junior engine, which was the first British gas turbine designed for sustained supersonic operation, additionally later assisted with the development of the Bristol (later Rolls Royce) Olympus 593 powerplant which was used on both Concorde and the BAC TSR-2. | Bristol 188. Junior engine, which was the first British gas turbine designed for sustained supersonic operation, additionally later assisted with the development of the Bristol (later Rolls Royce) Olympus 593 powerplant which was used on both Concorde and the BAC TSR-2. | 523338 |
wiki20220301en020_101093 | Bristol 188 | The announcement that all development was terminated was made in 1964, the last flight of XF926 taking place on 12 January 1964. In total the project cost £20 million. By the end of the programme, considered the most expensive to date for a research aircraft in Great Britain, each aircraft had to be "cannibalised" in order to keep the designated airframe ready for flight. Surviving aircraft In April 1966, both 188 fuselages were transported to the Proof and Experimental Establishment at Shoeburyness, Essex to act as targets for gunnery trials, but during 1972, XF926 was dismantled and moved to RAF Cosford (without its engines) to act as instructional airframe 8368M, and is preserved at the Royal Air Force Museum Cosford in Shropshire. XF923 was subsequently scrapped at Foulness. Operators Royal Aircraft Establishment Specifications (Bristol 188) | Bristol 188. The announcement that all development was terminated was made in 1964, the last flight of XF926 taking place on 12 January 1964. In total the project cost £20 million. By the end of the programme, considered the most expensive to date for a research aircraft in Great Britain, each aircraft had to be "cannibalised" in order to keep the designated airframe ready for flight. Surviving aircraft In April 1966, both 188 fuselages were transported to the Proof and Experimental Establishment at Shoeburyness, Essex to act as targets for gunnery trials, but during 1972, XF926 was dismantled and moved to RAF Cosford (without its engines) to act as instructional airframe 8368M, and is preserved at the Royal Air Force Museum Cosford in Shropshire. XF923 was subsequently scrapped at Foulness. Operators Royal Aircraft Establishment Specifications (Bristol 188) | 523338 |
wiki20220301en020_101094 | Bristol 188 | Operators Royal Aircraft Establishment Specifications (Bristol 188) Notable appearances in media Bristol 188 XF923 was prominently featured in Some People (1962), a feature film primarily shot in Bristol. See also References Citations Bibliography Butler, Phil. "The Bristol 188". Air-Britain Aeromilitaria, Spring 2004, Vol. 30, Issue 116. pp. 11–14. Buttler, Tony and Jean-Louis Delezenne. X-Planes of Europe: Secret Research Aircraft from the Golden Age 1946-1974. Manchester, UK: Hikoki Publications, 2012. King, H. F., Technical Editor. "Bristol 188: A Versatile Research Aeroplane." Archive: Flight International, 3 May 1962, pp. 695–703, 705. via flightglobal.com. Winchester, Jim. The World's Worst Aircraft: From Pioneering Failures to Multimillion Dollar Disasters. London: Amber Books Ltd., 2005. . External links Bristol Type 188 (ER.134)8 Royal Air Force Museum Bristol Type 188 Extract from footage of Type 188 tests | Bristol 188. Operators Royal Aircraft Establishment Specifications (Bristol 188) Notable appearances in media Bristol 188 XF923 was prominently featured in Some People (1962), a feature film primarily shot in Bristol. See also References Citations Bibliography Butler, Phil. "The Bristol 188". Air-Britain Aeromilitaria, Spring 2004, Vol. 30, Issue 116. pp. 11–14. Buttler, Tony and Jean-Louis Delezenne. X-Planes of Europe: Secret Research Aircraft from the Golden Age 1946-1974. Manchester, UK: Hikoki Publications, 2012. King, H. F., Technical Editor. "Bristol 188: A Versatile Research Aeroplane." Archive: Flight International, 3 May 1962, pp. 695–703, 705. via flightglobal.com. Winchester, Jim. The World's Worst Aircraft: From Pioneering Failures to Multimillion Dollar Disasters. London: Amber Books Ltd., 2005. . External links Bristol Type 188 (ER.134)8 Royal Air Force Museum Bristol Type 188 Extract from footage of Type 188 tests | 523338 |
wiki20220301en020_101095 | Bristol 188 | External links Bristol Type 188 (ER.134)8 Royal Air Force Museum Bristol Type 188 Extract from footage of Type 188 tests 1960s British experimental aircraft 188 Aircraft first flown in 1962 | Bristol 188. External links Bristol Type 188 (ER.134)8 Royal Air Force Museum Bristol Type 188 Extract from footage of Type 188 tests 1960s British experimental aircraft 188 Aircraft first flown in 1962 | 523338 |
wiki20220301en020_101096 | Roosevelt Sykes | Roosevelt Sykes (January 31, 1906July 17, 1983) was an American blues musician, also known as "the Honeydripper". Career Sykes was born the son of a musician in Elmar, Arkansas. "Just a little old sawmill town", Sykes said of his birthplace. The Sykes family was living in St. Louis by 1909. Sykes often visited his grandfather's farm near West Helena. He began playing the church organ around the age of ten. "Every summer I would go down to Helena to visit my grandfather on his farm," he told biographer Valerie Wilmer. "He was a preacher and he had an organ I used to practice on, trying to learn how to play. I always liked the sound of the blues, liked to hear people singing, and since I was singing first, I was trying to play like I sang." Sykes was baptized at 13 years old, his lifelong beliefs never conflicting with playing the blues. | Roosevelt Sykes. Roosevelt Sykes (January 31, 1906July 17, 1983) was an American blues musician, also known as "the Honeydripper". Career Sykes was born the son of a musician in Elmar, Arkansas. "Just a little old sawmill town", Sykes said of his birthplace. The Sykes family was living in St. Louis by 1909. Sykes often visited his grandfather's farm near West Helena. He began playing the church organ around the age of ten. "Every summer I would go down to Helena to visit my grandfather on his farm," he told biographer Valerie Wilmer. "He was a preacher and he had an organ I used to practice on, trying to learn how to play. I always liked the sound of the blues, liked to hear people singing, and since I was singing first, I was trying to play like I sang." Sykes was baptized at 13 years old, his lifelong beliefs never conflicting with playing the blues. | 523339 |
wiki20220301en020_101097 | Roosevelt Sykes | At age 15, he went on the road playing piano in a barrelhouse style of blues. Like many bluesmen of his time, he traveled around playing to all-male audiences in sawmill, turpentine and levee camps along the Mississippi River, sometimes in a duo with Big Joe Williams, gathering a repertoire of raw, sexually explicit material. In 1925 Sykes met Leothus "Lee" Green, a piano player in a West Helena theater playing a mix of blues, ragtime, waltz, and jazz to accompany silent movies. They worked the Louisiana and Mississippi work camp and roadhouse circuit together, with the older man acting as mentor and protector to Sykes. "I just been pickin' a little cotton," Sykes would say from the stage, "and pickin' a little piano." The more experienced Green taught him the style, characterized by separate bass and treble rhythms, that would become the basis for "44 Blues". Sykes' wanderings eventually brought him back to St. Louis, Missouri, where he met St. Louis Jimmy Oden, the writer of the | Roosevelt Sykes. At age 15, he went on the road playing piano in a barrelhouse style of blues. Like many bluesmen of his time, he traveled around playing to all-male audiences in sawmill, turpentine and levee camps along the Mississippi River, sometimes in a duo with Big Joe Williams, gathering a repertoire of raw, sexually explicit material. In 1925 Sykes met Leothus "Lee" Green, a piano player in a West Helena theater playing a mix of blues, ragtime, waltz, and jazz to accompany silent movies. They worked the Louisiana and Mississippi work camp and roadhouse circuit together, with the older man acting as mentor and protector to Sykes. "I just been pickin' a little cotton," Sykes would say from the stage, "and pickin' a little piano." The more experienced Green taught him the style, characterized by separate bass and treble rhythms, that would become the basis for "44 Blues". Sykes' wanderings eventually brought him back to St. Louis, Missouri, where he met St. Louis Jimmy Oden, the writer of the | 523339 |
wiki20220301en020_101098 | Roosevelt Sykes | bass and treble rhythms, that would become the basis for "44 Blues". Sykes' wanderings eventually brought him back to St. Louis, Missouri, where he met St. Louis Jimmy Oden, the writer of the blues standard "Goin' Down Slow". | Roosevelt Sykes. bass and treble rhythms, that would become the basis for "44 Blues". Sykes' wanderings eventually brought him back to St. Louis, Missouri, where he met St. Louis Jimmy Oden, the writer of the blues standard "Goin' Down Slow". | 523339 |
wiki20220301en020_101099 | Roosevelt Sykes | After a few years Sykes found work at Katy Red's, a barrelhouse across the river in East St. Louis, Illinois. He was paid room and board, and a dollar a night. In 1929, he was spotted by a talent scout and sent to New York City to record for Okeh Records. The talent scout was Jesse Johnson, who owned De Luxe Music Shop. After Sykes had played a few songs on the store's piano Johnson offered him the opportunity to make his first recordings. His first release was "44 Blues" which became a blues standard and his signature song. Sykes recalled: "I started making records 14th of June 1929. I had been playing eight years or so before I started recording. The first number I made was a hit, '44 Blues', and every record I made was a star ever since." Sykes picked up his nickname "the Honey Dripper" while playing on a session for singer Edith Johnson later in 1929, during which she recorded "Honeydripper Blues". Johnson later said she gave him the name due to his kind disposition and easygoing | Roosevelt Sykes. After a few years Sykes found work at Katy Red's, a barrelhouse across the river in East St. Louis, Illinois. He was paid room and board, and a dollar a night. In 1929, he was spotted by a talent scout and sent to New York City to record for Okeh Records. The talent scout was Jesse Johnson, who owned De Luxe Music Shop. After Sykes had played a few songs on the store's piano Johnson offered him the opportunity to make his first recordings. His first release was "44 Blues" which became a blues standard and his signature song. Sykes recalled: "I started making records 14th of June 1929. I had been playing eight years or so before I started recording. The first number I made was a hit, '44 Blues', and every record I made was a star ever since." Sykes picked up his nickname "the Honey Dripper" while playing on a session for singer Edith Johnson later in 1929, during which she recorded "Honeydripper Blues". Johnson later said she gave him the name due to his kind disposition and easygoing | 523339 |
wiki20220301en020_101100 | Roosevelt Sykes | while playing on a session for singer Edith Johnson later in 1929, during which she recorded "Honeydripper Blues". Johnson later said she gave him the name due to his kind disposition and easygoing personality. Sykes claimed the sobriquet dated back to his childhood, "Girls used to hang around me when I was a young kid. So the boys say, 'He must have honey.'" Sykes invested his earnings from recording in an illegal speakeasy that sold fried fish and alcohol, a business he continued at various locations for years. He recorded for different labels using pseudonyms, including "Easy Papa Johnson" for Melotone Records, "Dobby Bragg" for Paramount Records, "Willie Kelly" for Victor Records, and "the Bluesman" for Specialty Records, in the 1930s and 1940s. During this period he befriended another blues musician, the singer Charlie "Specks" McFadden, and accompanied him on half of the McFadden's recordings. | Roosevelt Sykes. while playing on a session for singer Edith Johnson later in 1929, during which she recorded "Honeydripper Blues". Johnson later said she gave him the name due to his kind disposition and easygoing personality. Sykes claimed the sobriquet dated back to his childhood, "Girls used to hang around me when I was a young kid. So the boys say, 'He must have honey.'" Sykes invested his earnings from recording in an illegal speakeasy that sold fried fish and alcohol, a business he continued at various locations for years. He recorded for different labels using pseudonyms, including "Easy Papa Johnson" for Melotone Records, "Dobby Bragg" for Paramount Records, "Willie Kelly" for Victor Records, and "the Bluesman" for Specialty Records, in the 1930s and 1940s. During this period he befriended another blues musician, the singer Charlie "Specks" McFadden, and accompanied him on half of the McFadden's recordings. | 523339 |
wiki20220301en020_101101 | Roosevelt Sykes | Sykes and Oden moved to Chicago, where Sykes found his first period of fame when he signed a contract with Decca Records in 1934. In 1936 he recorded "Driving Wheel Blues" for Decca. He was soon a sought-after session pianist for the Bullet and Bluebird labels. Sykes and Oden continued their musical friendship into the 1960s. In 1943 Sykes began performing with his band The Honeydrippers. The band often had as many as twelve musicians, including many of Chicago' best horn players. Despite the growing urbanity of his style, he gradually became less competitive in the post–World War II music scene. After his contract with RCA Victor expired, he recorded for smaller labels, such as United, until his opportunities ran out in the mid-1950s. | Roosevelt Sykes. Sykes and Oden moved to Chicago, where Sykes found his first period of fame when he signed a contract with Decca Records in 1934. In 1936 he recorded "Driving Wheel Blues" for Decca. He was soon a sought-after session pianist for the Bullet and Bluebird labels. Sykes and Oden continued their musical friendship into the 1960s. In 1943 Sykes began performing with his band The Honeydrippers. The band often had as many as twelve musicians, including many of Chicago' best horn players. Despite the growing urbanity of his style, he gradually became less competitive in the post–World War II music scene. After his contract with RCA Victor expired, he recorded for smaller labels, such as United, until his opportunities ran out in the mid-1950s. | 523339 |
wiki20220301en020_101102 | Roosevelt Sykes | Sykes left Chicago for New Orleans in 1954, as electric blues was taking over the Chicago blues clubs. He also recorded two sessions for Imperial Records in 1955, that were produced by Dave Bartholomew. He moved back to Chicago in 1960 as the folk music revival rekindled interest in the blues. He toured Europe and performed at blues festivals in the United States. In the late 1960s Sykes moved back to New Orleans, where he played at clubs, including the Court of Two Sisters. When he recorded in the 1960s, it was for labels such as Delmark, Bluesville, Storyville and Folkways, which were documenting the quickly passing blues history. He lived his final years in New Orleans, where he died from a heart attack on July 17, 1983. He was buried at Providence Memorial Park in New Orleans in an unmarked grave. | Roosevelt Sykes. Sykes left Chicago for New Orleans in 1954, as electric blues was taking over the Chicago blues clubs. He also recorded two sessions for Imperial Records in 1955, that were produced by Dave Bartholomew. He moved back to Chicago in 1960 as the folk music revival rekindled interest in the blues. He toured Europe and performed at blues festivals in the United States. In the late 1960s Sykes moved back to New Orleans, where he played at clubs, including the Court of Two Sisters. When he recorded in the 1960s, it was for labels such as Delmark, Bluesville, Storyville and Folkways, which were documenting the quickly passing blues history. He lived his final years in New Orleans, where he died from a heart attack on July 17, 1983. He was buried at Providence Memorial Park in New Orleans in an unmarked grave. | 523339 |
wiki20220301en020_101103 | Roosevelt Sykes | Technique Sykes said in his later years he decided to become a bluesman when he heard St. Louis piano player Red-Eye Jesse Bell. He named St. Louis musicians including Bell, Joe Crump, Baby Sneed, and his mentor "Pork Chop" Lee Green as his early influences. Leothus Lee "Pork Chop" Green, is thought to have schooled Sykes in mastering separate but complementary bass and treble rhythms. | Roosevelt Sykes. Technique Sykes said in his later years he decided to become a bluesman when he heard St. Louis piano player Red-Eye Jesse Bell. He named St. Louis musicians including Bell, Joe Crump, Baby Sneed, and his mentor "Pork Chop" Lee Green as his early influences. Leothus Lee "Pork Chop" Green, is thought to have schooled Sykes in mastering separate but complementary bass and treble rhythms. | 523339 |
wiki20220301en020_101104 | Roosevelt Sykes | Sykes had a big voice and a heavy foot. His piano style featured a simple left hand, frequently with single repeated notes on the beats, and with great rhythmic complexity in his right hand. Throughout his career his music was harmonically uncomplicated, seldom using more than the three standard blues chords. His technique was more akin to blues guitarists than to other piano players who were recorded at the time. Though he was highly skilled on breakneck boogie-woogie numbers, Sykes shone on slow and moderately paced blues. His left hand played a strong bedrock bass, keeping the beat, as his right hand roamed the length of the keyboard. He used the piano as a lead instrument rather than as part of the rhythm section. It was a style that worked without accompaniment, as well as with larger bands. | Roosevelt Sykes. Sykes had a big voice and a heavy foot. His piano style featured a simple left hand, frequently with single repeated notes on the beats, and with great rhythmic complexity in his right hand. Throughout his career his music was harmonically uncomplicated, seldom using more than the three standard blues chords. His technique was more akin to blues guitarists than to other piano players who were recorded at the time. Though he was highly skilled on breakneck boogie-woogie numbers, Sykes shone on slow and moderately paced blues. His left hand played a strong bedrock bass, keeping the beat, as his right hand roamed the length of the keyboard. He used the piano as a lead instrument rather than as part of the rhythm section. It was a style that worked without accompaniment, as well as with larger bands. | 523339 |
wiki20220301en020_101105 | Roosevelt Sykes | As his career progressed Sykes showed greater sophistication in the lyrics he wrote, including pop music influences, than in his playing or singing. Some of his later blues are in a 8-bar pattern, like pop or gospel, rather than in his earlier 12-bar manner. Sykes moved easily from country boogie-woogie to his urban blues piano style. A blues virtuoso, he played blues in an older way, adding flourishes, notes, and chord changes where he felt necessary, even if it meant adding or subtracting a beat. Nevertheless, Sykes was sensitive as an accompanist, responding to other musicians’ changes. Sykes’ vocal trademark was his practice of singing half a measure ahead of his accompanying piano. Author Paul Oliver stated, "His habit of anticipating a phrase on the piano gave a rhythmic impetus to his sung lines." | Roosevelt Sykes. As his career progressed Sykes showed greater sophistication in the lyrics he wrote, including pop music influences, than in his playing or singing. Some of his later blues are in a 8-bar pattern, like pop or gospel, rather than in his earlier 12-bar manner. Sykes moved easily from country boogie-woogie to his urban blues piano style. A blues virtuoso, he played blues in an older way, adding flourishes, notes, and chord changes where he felt necessary, even if it meant adding or subtracting a beat. Nevertheless, Sykes was sensitive as an accompanist, responding to other musicians’ changes. Sykes’ vocal trademark was his practice of singing half a measure ahead of his accompanying piano. Author Paul Oliver stated, "His habit of anticipating a phrase on the piano gave a rhythmic impetus to his sung lines." | 523339 |
wiki20220301en020_101106 | Roosevelt Sykes | Legacy Sykes had a long career, spanning the pre-war and postwar eras. His pounding piano boogies and risqué lyrics characterize his contributions to the blues. He was responsible for influential blues songs such as "44 Blues", "Driving Wheel", and "Night Time Is the Right Time". He was inducted into the Blues Hall of Fame in 1999. | Roosevelt Sykes. Legacy Sykes had a long career, spanning the pre-war and postwar eras. His pounding piano boogies and risqué lyrics characterize his contributions to the blues. He was responsible for influential blues songs such as "44 Blues", "Driving Wheel", and "Night Time Is the Right Time". He was inducted into the Blues Hall of Fame in 1999. | 523339 |
wiki20220301en020_101107 | Roosevelt Sykes | Discography The Return of Roosevelt Sykes (Bluesville, 1960) The Honeydripper (Bluesville, 1961) Blues (Folkways, 1961) with Memphis Slim Face to Face with the Blues (Columbia, 1961) The Honeydripper: Roosevelt Sykes Plays and Sings the Blues (Columbia, 1962) Roosevelt Sykes Sings the Blues (Crown, 1963) Hard Drivin' Blues (Delmark, 1964) with Homesick James Roosevelt Sykes in Europe (Delmark, 1966 [1969]) The Meek Roosevelt Sykes (Carson, 1969; Jewel, 1973) Chicago Blues Festival (Black & Blue, 1970) with Homesick James Feel Like Blowing My Horn (Delmark, 1970 [1973]) The Honeydripper's Duke's Mixture (Barclay, 1971) Roosevelt Sykes is Blue and Ribald...A 'Dirty Mother' for You (Southland, 1972) Dirty Double Mother (BluesWay, 1973) Music Is My Business (Blue Labor, 1975 [1977]) The Original Honeydripper (Blind Pig, 1977) Boot That Thing 1929–1941 (Acrobat ADDCD-3019 [2CD], 2008) includes material recorded for the OKeh, Victor, Paramount, Champion, and Decca labels. | Roosevelt Sykes. Discography The Return of Roosevelt Sykes (Bluesville, 1960) The Honeydripper (Bluesville, 1961) Blues (Folkways, 1961) with Memphis Slim Face to Face with the Blues (Columbia, 1961) The Honeydripper: Roosevelt Sykes Plays and Sings the Blues (Columbia, 1962) Roosevelt Sykes Sings the Blues (Crown, 1963) Hard Drivin' Blues (Delmark, 1964) with Homesick James Roosevelt Sykes in Europe (Delmark, 1966 [1969]) The Meek Roosevelt Sykes (Carson, 1969; Jewel, 1973) Chicago Blues Festival (Black & Blue, 1970) with Homesick James Feel Like Blowing My Horn (Delmark, 1970 [1973]) The Honeydripper's Duke's Mixture (Barclay, 1971) Roosevelt Sykes is Blue and Ribald...A 'Dirty Mother' for You (Southland, 1972) Dirty Double Mother (BluesWay, 1973) Music Is My Business (Blue Labor, 1975 [1977]) The Original Honeydripper (Blind Pig, 1977) Boot That Thing 1929–1941 (Acrobat ADDCD-3019 [2CD], 2008) includes material recorded for the OKeh, Victor, Paramount, Champion, and Decca labels. | 523339 |
wiki20220301en020_101108 | Roosevelt Sykes | References External links Roosevelt Sykes recordings at the Discography of American Historical Recordings. Roosevelt Sykes discography at Wirz’ American Music. 1906 births 1983 deaths African-American pianists American blues pianists American male pianists Boogie-woogie pianists American blues singers People from Phillips County, Arkansas Blues musicians from Arkansas St. Louis blues musicians United Records artists Paramount Records artists Imperial Records artists Gennett Records artists Delmark Records artists Bluebird Records artists Kent Records artists 20th-century American pianists Singers from Arkansas Blind Pig Records artists 20th-century African-American male singers | Roosevelt Sykes. References External links Roosevelt Sykes recordings at the Discography of American Historical Recordings. Roosevelt Sykes discography at Wirz’ American Music. 1906 births 1983 deaths African-American pianists American blues pianists American male pianists Boogie-woogie pianists American blues singers People from Phillips County, Arkansas Blues musicians from Arkansas St. Louis blues musicians United Records artists Paramount Records artists Imperial Records artists Gennett Records artists Delmark Records artists Bluebird Records artists Kent Records artists 20th-century American pianists Singers from Arkansas Blind Pig Records artists 20th-century African-American male singers | 523339 |
wiki20220301en020_101109 | Acid rock | Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. Named after lysergic acid diethylamide (LSD), the style is generally defined by heavy, distorted guitars, lyrics with drug references, and long improvised jams. Much of the style overlaps with '60s punk, proto-metal, and early heavy, blues-based hard rock. The term is sometimes used interchangeably with "psychedelic rock", but it also specifically refers to a more musically intense subgenre or sibling of the psychedelic rock style. Compared to other psychedelic rock, acid rock features a harder, louder, heavier, or rawer sound. It developed mainly from the American West Coast, where groups did not focus on the novelty recording effects or whimsy of British psychedelia, and instead emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. | Acid rock. Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. Named after lysergic acid diethylamide (LSD), the style is generally defined by heavy, distorted guitars, lyrics with drug references, and long improvised jams. Much of the style overlaps with '60s punk, proto-metal, and early heavy, blues-based hard rock. The term is sometimes used interchangeably with "psychedelic rock", but it also specifically refers to a more musically intense subgenre or sibling of the psychedelic rock style. Compared to other psychedelic rock, acid rock features a harder, louder, heavier, or rawer sound. It developed mainly from the American West Coast, where groups did not focus on the novelty recording effects or whimsy of British psychedelia, and instead emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. | 523348 |
wiki20220301en020_101110 | Acid rock | As the movement progressed into the late 1960s and 1970s, elements of acid rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the stoner metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock and psychedelic-influenced metal. Definitions | Acid rock. As the movement progressed into the late 1960s and 1970s, elements of acid rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the stoner metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock and psychedelic-influenced metal. Definitions | 523348 |
wiki20220301en020_101111 | Acid rock | Definitions "Acid rock" as a term was initially (and often still is) loosely defined. In 1969, as the genre was still solidifying, rock journalist Nik Cohn called it a "fairly meaningless phrase that got applied to any group, no matter what its style". The term was originally used to describe the background music for acid trips in underground parties in the 1960s (e.g. the Merry Pranksters' "Acid Tests") and as a catchall term for the more eclectic Haight-Ashbury bands in San Francisco. The Grateful Dead's Jerry Garcia believed that acid rock is music you listen to while under the influence of acid, further stating that there is no real "psychedelic rock" and that it is Indian classical music and some Tibetan music "designed to expand consciousness". | Acid rock. Definitions "Acid rock" as a term was initially (and often still is) loosely defined. In 1969, as the genre was still solidifying, rock journalist Nik Cohn called it a "fairly meaningless phrase that got applied to any group, no matter what its style". The term was originally used to describe the background music for acid trips in underground parties in the 1960s (e.g. the Merry Pranksters' "Acid Tests") and as a catchall term for the more eclectic Haight-Ashbury bands in San Francisco. The Grateful Dead's Jerry Garcia believed that acid rock is music you listen to while under the influence of acid, further stating that there is no real "psychedelic rock" and that it is Indian classical music and some Tibetan music "designed to expand consciousness". | 523348 |
wiki20220301en020_101112 | Acid rock | The term has often been deployed interchangeably with "psychedelic rock" or "psychedelia", particularly during the genre's nascence. However, the distinction between the heavier “acid rock” and the more general or inclusive genre of “psychedelic rock” has been well established. According to Per Elias Drabløs, "acid rock is generally considered a subgenre of psychedelic rock", while Steve and Alan Freeman state the two terms are more or less synonymous, and that "what is usually referred to as acid rock is generally the more extreme end of that genre". This would mean psychedelic rock that is heavier, louder, or harder. | Acid rock. The term has often been deployed interchangeably with "psychedelic rock" or "psychedelia", particularly during the genre's nascence. However, the distinction between the heavier “acid rock” and the more general or inclusive genre of “psychedelic rock” has been well established. According to Per Elias Drabløs, "acid rock is generally considered a subgenre of psychedelic rock", while Steve and Alan Freeman state the two terms are more or less synonymous, and that "what is usually referred to as acid rock is generally the more extreme end of that genre". This would mean psychedelic rock that is heavier, louder, or harder. | 523348 |
wiki20220301en020_101113 | Acid rock | When defined specifically as a hard rock variant of psychedelia, acid rock is distinguished as having evolved from the 1960s garage punk movement, with many of its bands eventually transforming into heavy metal acts. Percussionist John Beck defines "acid rock" as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues-based hard rock bands. Musicologist Steve Waksman wrote that "the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous". Origins and ideology | Acid rock. When defined specifically as a hard rock variant of psychedelia, acid rock is distinguished as having evolved from the 1960s garage punk movement, with many of its bands eventually transforming into heavy metal acts. Percussionist John Beck defines "acid rock" as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues-based hard rock bands. Musicologist Steve Waksman wrote that "the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous". Origins and ideology | 523348 |
wiki20220301en020_101114 | Acid rock | Origins and ideology Many bands associated with acid rock aimed to create a youth movement based on love and peace, as an alternative to workaholic capitalist society. David P. Szatmary states, "a legion of rock bands, playing what became known as 'acid rock,' stood in the vanguard of the movement for cultural change." Szatmary also quotes from the San Francisco Oracle, an underground newspaper published between 1966 and 1968, to explain how rock music was perceived at that time and how the acid rock movement emerged: "Rock music is a regenerative and revolutionary art, offering us our first real hope for the future (indeed, for the present)." | Acid rock. Origins and ideology Many bands associated with acid rock aimed to create a youth movement based on love and peace, as an alternative to workaholic capitalist society. David P. Szatmary states, "a legion of rock bands, playing what became known as 'acid rock,' stood in the vanguard of the movement for cultural change." Szatmary also quotes from the San Francisco Oracle, an underground newspaper published between 1966 and 1968, to explain how rock music was perceived at that time and how the acid rock movement emerged: "Rock music is a regenerative and revolutionary art, offering us our first real hope for the future (indeed, for the present)." | 523348 |
wiki20220301en020_101115 | Acid rock | When played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience. According to Kevin T. McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on December 4, 1965, the date of the second Acid Test held by author Ken Kesey. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments". The Acid Test experiments subsequently launched the psychedelic subculture. Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on their 1966 album Revolver, especially with the track "Tomorrow Never Knows", as having "opened the doors" to acid rock. Former Atlantic Records executive Phillip Rauls recalls: "I was in the music business at the time, and my very first recognition of acid rock ... was, of all people, the Beach Boys and the | Acid rock. When played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience. According to Kevin T. McEneaney, the Grateful Dead "invented" acid rock in front of a crowd of concertgoers in San Jose, California on December 4, 1965, the date of the second Acid Test held by author Ken Kesey. Their stage performance involved the use of strobe lights to reproduce LSD's "surrealistic fragmenting" or "vivid isolating of caught moments". The Acid Test experiments subsequently launched the psychedelic subculture. Author Steve Turner recognises the Beatles' success in conveying an LSD-inspired worldview on their 1966 album Revolver, especially with the track "Tomorrow Never Knows", as having "opened the doors" to acid rock. Former Atlantic Records executive Phillip Rauls recalls: "I was in the music business at the time, and my very first recognition of acid rock ... was, of all people, the Beach Boys and the | 523348 |
wiki20220301en020_101116 | Acid rock | acid rock. Former Atlantic Records executive Phillip Rauls recalls: "I was in the music business at the time, and my very first recognition of acid rock ... was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [song's theremin] sent so many musicians back to the studio to create this music on acid." | Acid rock. acid rock. Former Atlantic Records executive Phillip Rauls recalls: "I was in the music business at the time, and my very first recognition of acid rock ... was, of all people, the Beach Boys and the song 'Good Vibrations' ... That [song's theremin] sent so many musicians back to the studio to create this music on acid." | 523348 |
wiki20220301en020_101117 | Acid rock | According to Laura Diane Kuhn, the heavier form of psychedelic rock known as acid rock developed from the late 1960s California music scene. The Charlatans were among the first Bay Area acid rock bands, though Jefferson Airplane was the first Bay Area acid rock band to sign a major label and achieve mainstream success. By July 1967, Time magazine wrote, "From jukeboxes and transistors across the nation pulses the turned-on sound of acid-rock groups: the Jefferson Airplane, the Doors, Moby Grape". In 1968, Life magazine referred to the Doors as the "kings of acid rock". | Acid rock. According to Laura Diane Kuhn, the heavier form of psychedelic rock known as acid rock developed from the late 1960s California music scene. The Charlatans were among the first Bay Area acid rock bands, though Jefferson Airplane was the first Bay Area acid rock band to sign a major label and achieve mainstream success. By July 1967, Time magazine wrote, "From jukeboxes and transistors across the nation pulses the turned-on sound of acid-rock groups: the Jefferson Airplane, the Doors, Moby Grape". In 1968, Life magazine referred to the Doors as the "kings of acid rock". | 523348 |
wiki20220301en020_101118 | Acid rock | Other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. The blues rock group the Paul Butterfield Blues Band are also credited with spawning the harder acid rock sound, and their 1966 instrumental "East-West", with its early use of the extended rock solo, has been described as laying "the roots of psychedelic acid rock" and featuring "much of acid-rock's eventual DNA". The Beatles' June 1967 album Sgt. Pepper's Lonely Hearts Club Band was a major influence on American acid rock groups. Development and characteristics Evolution from garage bands | Acid rock. Other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. The blues rock group the Paul Butterfield Blues Band are also credited with spawning the harder acid rock sound, and their 1966 instrumental "East-West", with its early use of the extended rock solo, has been described as laying "the roots of psychedelic acid rock" and featuring "much of acid-rock's eventual DNA". The Beatles' June 1967 album Sgt. Pepper's Lonely Hearts Club Band was a major influence on American acid rock groups. Development and characteristics Evolution from garage bands | 523348 |
wiki20220301en020_101119 | Acid rock | Development and characteristics Evolution from garage bands Originating in the early 1960s, garage punk was a mainly-American movement that involved R&B-inspired garage bands powered by electric guitars and organs. It was mainly the domain of untrained teenagers fixated on sonic effects, such as wah-wah and fuzz tone, and relied heavily on riffs. The music later blurred into psychedelia. American garage bands who began to play psychedelic rock retained the rawness and energy of garage rock, incorporating garage rock's heavy distortion, feedback, and layered sonic effects into their versions of psychedelic music, spawning "acid rock". Bisport and Puterbaugh, defining acid rock as an intense or raw form of psychedelia, include "garagey" psychedelia under the label of "acid rock" due in part to its "energy and intimation of psychic overload". | Acid rock. Development and characteristics Evolution from garage bands Originating in the early 1960s, garage punk was a mainly-American movement that involved R&B-inspired garage bands powered by electric guitars and organs. It was mainly the domain of untrained teenagers fixated on sonic effects, such as wah-wah and fuzz tone, and relied heavily on riffs. The music later blurred into psychedelia. American garage bands who began to play psychedelic rock retained the rawness and energy of garage rock, incorporating garage rock's heavy distortion, feedback, and layered sonic effects into their versions of psychedelic music, spawning "acid rock". Bisport and Puterbaugh, defining acid rock as an intense or raw form of psychedelia, include "garagey" psychedelia under the label of "acid rock" due in part to its "energy and intimation of psychic overload". | 523348 |
wiki20220301en020_101120 | Acid rock | The earliest known use of the term "garage punk" appeared in Lenny Kaye's track-by-track liner notes for the 1972 anthology compilation Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, which prominently featured both acid rock and garage rock. Musicologist Simon Frith cites Nuggets as a showcase for the garage psychedelia of the 1960s and the transition between early 1960s garage rock and the more elaborate acid rock of the late 1960s. This acid rock present in the Nuggets anthology has been described as an offshoot of 1960s "punk rock". At the time, the term "punk rock" referred to the garage rock of the 1960s, such as that present in the Nuggets compilation. Bands such as Count Five, with their 1966 song "Psychotic Reaction", as well as other groups featured on Nuggets, would eventually epitomize the overlap between 1960s garage rock and psychedelic punk, or acid rock. As one of the first successful acid rock songs, "Psychotic Reaction" also contained the | Acid rock. The earliest known use of the term "garage punk" appeared in Lenny Kaye's track-by-track liner notes for the 1972 anthology compilation Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968, which prominently featured both acid rock and garage rock. Musicologist Simon Frith cites Nuggets as a showcase for the garage psychedelia of the 1960s and the transition between early 1960s garage rock and the more elaborate acid rock of the late 1960s. This acid rock present in the Nuggets anthology has been described as an offshoot of 1960s "punk rock". At the time, the term "punk rock" referred to the garage rock of the 1960s, such as that present in the Nuggets compilation. Bands such as Count Five, with their 1966 song "Psychotic Reaction", as well as other groups featured on Nuggets, would eventually epitomize the overlap between 1960s garage rock and psychedelic punk, or acid rock. As one of the first successful acid rock songs, "Psychotic Reaction" also contained the | 523348 |
wiki20220301en020_101121 | Acid rock | Nuggets, would eventually epitomize the overlap between 1960s garage rock and psychedelic punk, or acid rock. As one of the first successful acid rock songs, "Psychotic Reaction" also contained the characteristics that would come to define acid rock: the use of feedback and distortion replacing early rock music's more melodic electric guitars. | Acid rock. Nuggets, would eventually epitomize the overlap between 1960s garage rock and psychedelic punk, or acid rock. As one of the first successful acid rock songs, "Psychotic Reaction" also contained the characteristics that would come to define acid rock: the use of feedback and distortion replacing early rock music's more melodic electric guitars. | 523348 |
wiki20220301en020_101122 | Acid rock | Another group included on the Nuggets album, the 13th Floor Elevators, began as a straight garage rock band before becoming one of the original early acid rock bands and the innovators of psychedelic rock in general, with a sound consisting of distortion, often yelping vocals, and "occasionally demented" lyrics. Their debut album, The Psychedelic Sounds of the 13th Floor Elevators, featuring the garage rock hit "You're Gonna Miss Me", was among the earliest psychedelic rock albums. By 1966, the New York City garage band the Blues Magoos were referring to their wailing blues rock as "psychedelic music", and their hard variant of psychedelic rock, with its roots in the garage movement, would be increasingly labeled "acid rock". Distinctions from other psychedelic rock | Acid rock. Another group included on the Nuggets album, the 13th Floor Elevators, began as a straight garage rock band before becoming one of the original early acid rock bands and the innovators of psychedelic rock in general, with a sound consisting of distortion, often yelping vocals, and "occasionally demented" lyrics. Their debut album, The Psychedelic Sounds of the 13th Floor Elevators, featuring the garage rock hit "You're Gonna Miss Me", was among the earliest psychedelic rock albums. By 1966, the New York City garage band the Blues Magoos were referring to their wailing blues rock as "psychedelic music", and their hard variant of psychedelic rock, with its roots in the garage movement, would be increasingly labeled "acid rock". Distinctions from other psychedelic rock | 523348 |
wiki20220301en020_101123 | Acid rock | Acid rock often encompasses the more extreme side of the psychedelic rock genre, frequently containing a loud, improvised, and guitar-centered sound. Alan Bisbort and Parke Puterbaugh write that acid rock "can best be described as psychedelia at its rawest and most intense ... Bad trips as well as good, riots as well as peace, pain as well as pleasure - the whole spectrum of reality, not just the idyllic bits, were captured by acid rock." "Acid rock" has also been described as more heavily electric and containing more distortion ("fuzz") than typical psychedelic rock. By the late 1960s, in addition to the deliberate use of distortion and feedback, acid rock was further characterized by long guitar solos and the frequent use of electronic organs. Lyric references to drug use were also common, as exemplified in Jefferson Airplane's 1967 song "White Rabbit" and Jimi Hendrix Experience's 1967 song "Purple Haze". Lyrical references to drugs such as LSD were often cryptic. | Acid rock. Acid rock often encompasses the more extreme side of the psychedelic rock genre, frequently containing a loud, improvised, and guitar-centered sound. Alan Bisbort and Parke Puterbaugh write that acid rock "can best be described as psychedelia at its rawest and most intense ... Bad trips as well as good, riots as well as peace, pain as well as pleasure - the whole spectrum of reality, not just the idyllic bits, were captured by acid rock." "Acid rock" has also been described as more heavily electric and containing more distortion ("fuzz") than typical psychedelic rock. By the late 1960s, in addition to the deliberate use of distortion and feedback, acid rock was further characterized by long guitar solos and the frequent use of electronic organs. Lyric references to drug use were also common, as exemplified in Jefferson Airplane's 1967 song "White Rabbit" and Jimi Hendrix Experience's 1967 song "Purple Haze". Lyrical references to drugs such as LSD were often cryptic. | 523348 |
wiki20220301en020_101124 | Acid rock | At a time when many British psychedelic bands played whimsical or surrealistic psychedelic rock, many 1960s American rock bands, especially those from the West Coast, developed a rawer or harder version of psychedelic rock containing garage rock energy. When contrasted with whimsical British psychedelia, this harder American West Coast variant of psychedelic rock has been referred to as acid rock. American psychedelic rock and garage bands such as the 13th Floor Elevators epitomized the frenetic, darker and more psychotic sound of American acid rock, a sound characterized by droning guitar riffs, amplified feedback, and guitar distortion. Hoffman writes that acid rock lacked the recording studio "gimmickry" that typified the more Beatles-influenced strain of psychedelic rock, though acid rock experimented in other ways with electrified guitar effects. | Acid rock. At a time when many British psychedelic bands played whimsical or surrealistic psychedelic rock, many 1960s American rock bands, especially those from the West Coast, developed a rawer or harder version of psychedelic rock containing garage rock energy. When contrasted with whimsical British psychedelia, this harder American West Coast variant of psychedelic rock has been referred to as acid rock. American psychedelic rock and garage bands such as the 13th Floor Elevators epitomized the frenetic, darker and more psychotic sound of American acid rock, a sound characterized by droning guitar riffs, amplified feedback, and guitar distortion. Hoffman writes that acid rock lacked the recording studio "gimmickry" that typified the more Beatles-influenced strain of psychedelic rock, though acid rock experimented in other ways with electrified guitar effects. | 523348 |
wiki20220301en020_101125 | Acid rock | Tonal distortion was also one of the defining characteristics of the San Francisco Sound. The acid rock of the San Francisco Sound heavily incorporated musical improvisation, jamming, repetitive drum beats, experimental sound and tape effects, and intentional feedback. San Francisco acid rock generally took a non-commercial approach to song-writing: it often involved almost free jazz-like, free-form hard rock improvisations alongside distorted guitars, and lyrics often were socially conscious, trippy, or anti-establishment. Many of the musicians in the scene, including bands such as the Charlatans and the Quicksilver Messenger Service, became involved in Ken Kesey's LSD-driven psychedelic scene, known as the Merry Pranksters. Transition to hard rock and heavy metal | Acid rock. Tonal distortion was also one of the defining characteristics of the San Francisco Sound. The acid rock of the San Francisco Sound heavily incorporated musical improvisation, jamming, repetitive drum beats, experimental sound and tape effects, and intentional feedback. San Francisco acid rock generally took a non-commercial approach to song-writing: it often involved almost free jazz-like, free-form hard rock improvisations alongside distorted guitars, and lyrics often were socially conscious, trippy, or anti-establishment. Many of the musicians in the scene, including bands such as the Charlatans and the Quicksilver Messenger Service, became involved in Ken Kesey's LSD-driven psychedelic scene, known as the Merry Pranksters. Transition to hard rock and heavy metal | 523348 |
wiki20220301en020_101126 | Acid rock | Transition to hard rock and heavy metal Heavy metal evolved from psychedelic music and acid rock and added psychedelic/acid rock to the basic structure of blues rock. In the 1960s, the heavy, blues-influenced, psychedelic hard rock sound of bands such as the Jimi Hendrix Experience, Deep Purple, and Cream was classified as acid rock. Other acid rock groups such as Blue Cheer, Iron Butterfly, and Vanilla Fudge served as examples of early heavy metal, or proto-metal, creating stripped-downed, loud, intense, and "fuzzy" acid rock or hard rock. Bands such as Blue Cheer, Cream, and the hard rock group The Amboy Dukes have all been described as "leading practitioners" of the harder variant of psychedelic rock known as "acid rock". Many acid rock bands would subsequently become heavy metal bands. | Acid rock. Transition to hard rock and heavy metal Heavy metal evolved from psychedelic music and acid rock and added psychedelic/acid rock to the basic structure of blues rock. In the 1960s, the heavy, blues-influenced, psychedelic hard rock sound of bands such as the Jimi Hendrix Experience, Deep Purple, and Cream was classified as acid rock. Other acid rock groups such as Blue Cheer, Iron Butterfly, and Vanilla Fudge served as examples of early heavy metal, or proto-metal, creating stripped-downed, loud, intense, and "fuzzy" acid rock or hard rock. Bands such as Blue Cheer, Cream, and the hard rock group The Amboy Dukes have all been described as "leading practitioners" of the harder variant of psychedelic rock known as "acid rock". Many acid rock bands would subsequently become heavy metal bands. | 523348 |
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