What Richard Dawkins' book attracted huge popularity and controversy throughout 2007?

Richard Dawkins - Wikipedia, the free encyclopedia Richard Dawkins "Dawkins" redirects here. For other people with this surname, see Dawkins (surname) . Richard Dawkins At the University of Texas at Austin , March 2008 Born Clinton Richard Dawkins, FRS , FRSL (born 26 March 1941) is a British ethologist , evolutionary biologist and popular science author . He was formerly Professor for Public Understanding of Science at Oxford and was a fellow of New College, Oxford . [1] [2] [3] [4] Dawkins came to prominence with his 1976 book The Selfish Gene , which popularised the gene-centred view of evolution and introduced the term meme . In 1982, he made a widely cited contribution to evolutionary biology with the theory, presented in his book The Extended Phenotype , that the phenotypic effects of a gene are not necessarily limited to an organism's body, but can stretch far into the environment, including the bodies of other organisms. Dawkins is a prominent critic of creationism and intelligent design . In his 1986 book The Blind Watchmaker , he argued against the watchmaker analogy , an argument for the existence of a supernatural creator based upon the complexity of living organisms. Instead, he described evolutionary processes as analogous to a blind watchmaker. He has since written several popular science books, and makes regular television and radio appearances, predominantly discussing these topics. Dawkins is an atheist , [5] [6] [7] secular humanist , sceptic , scientific rationalist , [8] and supporter of the Brights movement . [9] He has widely been referred to in the media as " Darwin's Rottweiler", [10] [11] by analogy with English biologist T. H. Huxley , who was known as "Darwin's Bulldog" for his advocacy of natural selection . In his 2006 book The God Delusion , Dawkins contends that a supernatural creator almost certainly does not exist and that faith qualifies as a delusion − as a fixed false belief. [12] As of November 2007, the English language version had sold more than 1.5 million copies and had been translated into 31 other languages, [13] making it his most popular book to date. Contents [ edit ] Biography Dawkins was born in Nairobi , Colony of Kenya , British Empire . [14] His father, Clinton John Dawkins, was a soldier who moved to Kenya from England during World War II to join the Allied Forces , [15] returning to England in 1949 when Richard was eight. [15] Both of his parents were interested in natural sciences , and they answered Dawkins' questions in scientific terms. [16] Dawkins describes his childhood as "a normal Anglican upbringing", but reveals that he began doubting the existence of God when he was about nine years old, but was persuaded by the argument from design , an argument for the existence of God or a creator based on perceived evidence of order, purpose, design or direction − or some combination of these − in nature. By his mid-teens he realized Darwinism was a better explanation and felt the customs of the Church of England were absurd, and had more to do with dictating morals than with God. [17] Dawkins attended Oundle School from 1954 to 1959. He studied zoology at Balliol College, Oxford , where he was tutored by Nobel Prize -winning ethologist Nikolaas Tinbergen , graduating in 1962. He continued as a research student under Tinbergen's supervision at the University of Oxford , receiving his M.A. and D.Phil. degrees in 1966, while staying as a research assistant for another year. [14] Tinbergen was a pioneer in the study of animal behaviour, particularly the questions of instinct, learning and choice. [18] Dawkins' research in this period concerned models of animal decision making. [19] From 1967 to 1969, Dawkins was an assistant professor of zoology at the University of California, Berkeley . During this period, the students and faculty at UC Berkeley were largely opposed to the ongoing Vietnam War , and Dawkins became heavily involved in the anti-war demonstrations and activities. [20] He returned to the University of Oxford in 1970 taking a position as a lecturer, and − in


The live album Beauty and the Beat featured pianist George Shearring and which singer?

Beauty and the Beat Reimagined by Suzanna Smith and the Peggy Lee Project Tickets, Sat, Mar 5, 2016 at 8:00 PM | Eventbrite Event description Description “There are relatively few contemporary female vocalists who evoke Peggy Lee, at least not genuinely. Suzanna Smith, new to recording, but a seasoned pro who has been honing her artistry in and around the Bay Area for over a decade, numbers among that rare ilk. That Smith sounds like Lee — slightly breathy and warmly sensual with a hint of huskiness — is undeniable, but the parallels extend much further. Lee’s ability to not just caress a ballad but smother it in mink has seldom been matched. She was also a sage swinger — never too much, never too little — as well as a first-rate songwriter. Smith checks all those boxes.” — Christopher Louden, Jazz Times. In a special performance, vocalist Suzanna Smith and The Peggy Lee Project pay tribute to Peggy Lee’s first collaboration with pianist George Shearing — the album ‘Beauty and the Beat.’ In the intimate venue of Musically Minded Academy, located in the Rockridge area of Oakland, Suzanna is joined by pianist Lee Bloom, bassist Sam Bevan, and drummer Jon Arkin. Peggy Lee and George Shearing, both at Capitol Records, were brought together for the first time in 1959 to perform and record a concert during the Second National Disc Jockey Convention at the Americana Hotel in Miami. It was from this concert that the album ‘Beauty and the Beat’ emerged. George Shearing recalled “The whole industry was there, all the main record companies, so this gave us a built-in audience response. In fact, it was an incredible audience and the whole atmosphere of the album was charged because of that.” Lee and Shearing had just been up for 48 hours planning the concert and were exhausted, and yet the album captures Peggy at her very best — vocally brilliant, stylistically shining, swinging on the upbeat numbers, heart-tugging and intimate on the ballads. And Shearing at the peak of his form, too. Peggy Lee (born Norma Deloris Egstrom in Jamestown, North Dakota in 1920) was a prolific songwriter throughout her 6-decade career. She received 12 Grammy nominations, 3 Grammies and she also received “The Pied Piper Award” from The American Society of Composers, Authors and Publishers (ASCAP); “The Presidents Award,” from the Songwriters’ Guild of America; “The Ella Award,” from the Society of Singers for Lifetime Achievement; and the “Living Legacy Award,” from the Women’s International Center. Also bestowed on her was The Lifetime Achievement Award of the National Academy of Recording Arts and Sciences (NARAS). In 1999, she was inducted into the Songwriters Hall of Fame. Her collaborators included Harold Arlen, Sonny Burke, Cy Coleman, Duke Ellington, Quincy Jones, Johnny Mandel, Marian McPartland, Lalo Schifrin and Victor Young. She is regarded as one of the most influential popular singers of all time, being cited as an influence by diverse artists such as Petula Clark, Paul McCartney, Bette Midler, Madonna, Shirley Horn, Dusty Springfield and k.d. lang. Peggy Lee was also an accomplished actress, received an Academy Award nomination and wrote music for films, in addition to concept albums that encompassed poetry, jazz, chamber pop, and art songs. For much of the 1950s and early 1960s, George Shearing led one of the most popular jazz combos on the planet with his unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Shearing would play in a style he called “locked hands,” which he picked up and refined from Milt Buckner’s early-’40s work with the Lionel Hampton band, as well as Glenn Miller’s sax section and the Nat King Cole Trio. He would state the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison. As a composer, Shearing was best known for his uniquely constructed bop standard “Lullaby of Birdland,” as well as “Conception” and “Consternation.” His style reflects the influences of the great boogie-woogie pianists and classica


Herb Alpert and the Tijuana Brass —   Free listening, videos, concerts, stats and photos at Last.fm 60s Herb Alpert (born March 31, 1935 in Los Angeles, California) is an American musician most associated with the Tijuana Brass, a now-defunct brass band of which he was leader. He is also famous as a recording industry executive - he is the "A" of A&M Records.


Who were Cliff Richard's backing group through the 60s?

Cliff Richard biography Cliff Richard biography   Sir Cliff Richard (born Harry Webb in Lucknow , India , on October 14 , 1940 ) is the stage name of one of the UK 's most popular singers of all time. Cliff Richard was one of the founding members of The Drifters (not to be confused with the American group of the same name), who later changed their name to Cliff Richard and the Drifters and then Cliff Richard and the Shadows . Cliff was a guitarist and lead singer in the band. It was suggested to the group that they put a name out in front of the group's title, as this was the common thing at the time, and hence 'Cliff Richard and the Drifters' came about. The group gained a contract and went into Abbey Road Studios to record their first record in 1958 . They were given a non-rocking number called 'Schoolboy Crush' to record, but were allowed to record one of their own for the B-side. This was "Move It", written by Ian "Sammy" Samwell, who was the first new member of the group. There are a number of stories about why the A-side song was replaced by the B-side. One of these stories says that their producer Norrie Paramor , played the record to his daughter, and she raved about the B-side song instead of the A-side. Another possible reason for the flip was that influential tv producer Jack Good, who grabbed the act for his TV show "Oh Boy!", said the song to be sung on his show had to be "Move It!" The single was flipped and went to number 2 in the charts. After some more songs, the band's line up changed considerably, though it wasn't a new band. Often mistaken, people say that the Drifters/Shadows were just a backing band which played on their own and also 'backed' Cliff. In fact, it was simply a gradual change in the line up that eventually left Cliff as the only remaining original member. As Jet Harris , Tony Meehan , Hank Marvin and Bruce Welch gradually emerged in the band, some very significant 'lucky events' happened, for the band, and also for the world. Popular music could have been totally changed if certain events did not happen, especially in one single day in Soho . On that day, Cliff's manager, John Foster, was looking for a new lead guitarist. He went back to the 2I's where the Drifters and various other later members had played. He was looking for someone, whom if he had been found, the Beatles would never have been known of. The man being looked for was Tony Sheridan , who the Drifters knew, and who later played with the Beatles in Hamburg and led them to getting a recording contract in Britain. Strangely, Tony wasn't there when Foster arrived, and Foster was in a hurry and couldn't wait long. Foster was then told of a guy who was a brilliant guitarist, and so Foster met Hank Marvin. Hank then said he teamed with Bruce Welch, and so Foster on that day brought in two new members to the Drifters. Tony Meehan and Jet Harris eventually left the group and teamed up very successfully in the charts. One member of Jet and Tony's band was John Paul Jones, later a member of Led Zeppelin , and Jimmy Page also recorded with them. A serious accident halted Jet's success, but he later re-emerged with Jeff Beck ( Yardbirds ), Ron Wood ( Rolling Stones ), and Rod Stewart ( The Faces ); however this group didn't last long. The Shadows had a few more bass players and also took in Brian Bennett on drums. In the period between 1958 and 1963 , Cliff Richard and the Shadows stood as the biggest thing in Britain. They toured the United States and stole the show even over all of the accompanying American acts of the time. The problem was that the record company didn't get behind them strongly enough with distributing albums etc and so the chances were lost. It was the same with their appearances on the Ed Sullivan Show (which was responsible for much of the Beatles success, but didn't really help Cliff and the Shadows). Cliff and the Shadows basically re-wrote convention in British recording companies and opened EMI up to the importance and strength of rock n roll. It was due to them that Parlophone were looking for a 'second' Cl


Who were the famous backing singers on most of Elvis Presley's early hits?

Elvis FAQ: Elvis' Backup Singers Elvis' Backup Singers The following groups and individuals provided backing vocals for Elvis, either live on stage, in the studio, or both. The years in parentheses indicate time spent backing Elvis. Almost all of these groups and individuals had full careers besides their association with Elvis. Backup Groups Pedro Berrios German Vega The Amigos backed Elvis on "We'll Be Together" from Girls! Girls! Girls!, in March of 1962, and their version of "Mama", without Elvis, was featured in the film briefly. They backed Elvis again on the Fun In Acapulco soundtrack, in January and February of 1963. The Blossoms (1968) Darlene Love - (born Darlene Wright) One of Phil Spector's studio singers, Darlene sang lead on the Crystals' hit, "He's A Rebel", and as a solo artist had quite a few hits as well, including the holiday rock 'n' roll classic, "Christmas (Baby, Please Come Home)" Jean King Fanita James This group of "unsung heroines" backed Elvis    for his NBC-TV special "Elvis" (the "comeback" special), recorded in June    of 1968. Darlene does the duet with Elvis on "Let Yourself Go",    in the video version of the song (the CD version is just Elvis). Darlene also    sings lead on "Sometimes I Feel Like a Motherless Child" with the others backing her, as part of the Gospel    Medley. The Blossoms also sang at the sessions for The Trouble With Girls, at least on "Swing Down Sweet Chariot". They appeared briefly in Elvis' last feature film, Change of Habit (1970), as Elvis' neighbors. The "History of Rock"    webpage below is a very interesting and very detailed account of the    Blossoms' career. The Blossoms can be heard, completely uncredited, on    many other Phil Spector girl-group hits, as well as the Darlene Love    "solo" songs mentioned above. The     Blossoms - from the "History of Rock" website Bob B. Soxx and     the Blue Jeans - also from the "History of Rock" website. Darlene     and Fanita recorded with this group, another from Phil Spector's studio. Joe Moscheo The Imperials first joined up with Elvis in May of 1966, for his first non-soundtrack recording session in over two years. Out of these sessions came the entire How Great Thou Art album, as well as six other songs. The Imperials would accompany Elvis on many occasions for the next five years, both in the studio, and for many of his live concerts during his "comeback" period. They also appeared in the documentary Elvis: That's the Way It Is in 1970. Their last session with Elvis was for another gospel album, He Touched Me, recorded in May and June of 1971. Hugh Jarrett (bass) (up to June 1958) Ray Walker (bass) (from June 1958 on) Probably the group    most often associated with Elvis, the Jordanaires appeared on almost all    Elvis' recordings from July 1956 through September 1970. They had    previously backed Hank Snow, among others, having sung at the Grand Ole    Opry for many years. In Memphis at the Cotton Carnival in early 1954,    Elvis met the Jordanaires backstage and told them, "If I ever cut a    record, I want to use you guys singing background with me." Their first    session with Elvis took place on July 2, 1956, and produced the    double-sided hit record "Don't Be Cruel" / "Hound Dog" which would be    Elvis' biggest selling single of all-time. Their last sessions with Elvis    were the marathon recording dates of June 4 - 8, 1970, which yielded 34    songs, and a follow-up session on September 22 producing only 4 cuts.    These sessions produced the albums That's The Way It Is, Elvis    Country, and Love Letters, along with a few leftovers! The    Jordanaires can be seen in a few of Elvis' films, most notably in Loving You, in the final number on stage, and in G.I. Blues,    during the song, "Frankfort Special". After Elvis' death, they released a    tribute album, The Jordanaires Sing Elvis's Gospel    Favorites. The Jordanaires with Elvis Buy The Jordanaires' music at CD Universe! Th


The Stratocaster is a model of which guitar maker?

Guitar Manufacturers - Luthiers & Amp makers (Guitarsite) Guitar Manufacturers - Luthiers & Amp makers Quick A-Z of some Manufacturers: The Rise of the Electric Guitar - Innovative Design The guitar's history mirrors the cultural values,           preoccupations, and norms in the United States           over time. So, too, does the guitar's design,           especially since the development of solid-body           guitar construction by the 1950s. Because the           sound produced by solid-body electrics does not           depend on their shape, makers could experiment           with a wider range of guitar designs. This era's           seemingly radical instruments echoed the           popular cultural focus on space-age modernity.           The Fender "Strat" recalled the modern tail fins           and imaginative colors of Detroit's cars, while           the Gibson Flying V literally appeared ready for           takeoff. Related Feature: See Which Electric Guitars Top Our Rankings Once the electric guitar had been firmly           established by the 1960s and 1970s, guitar           designs became increasingly distinctive and           reflective of popular music trends. And by the           1980s guitarists were more and more concerned           with the look as well as sound of their           instruments, regarding their guitars as identifying           signatures. Eddie Van Halen decorated his           guitar with colored sticky tape, and Prince has           had guitars of all shapes and colors           custom-created for his stage performances. Today, makers of electric guitars often           emphasize materials, finishes, and overall design           as much as the technological aspects of their           instruments. Style and craftsmanship are and           will continue to be especially important to the           marketing success of electric guitars. Country musician Junior Brown took the           customization of his guitar a step further. To           solve the problem of switching back and forth           between a Spanish-style electric and a Hawaiian           or lap-steel electric, Brown put the two together           to form a new guitar, the "guit-steel" in 1985 Ralph Novak: Philosophy of the Luthier article by Dean L. Farley I first met Ralph Novak in 1980, when he was working at Subway Guitars in Berkeley, California. I'd assembled a kit Strat and it needed a refret. My monstrosity was painted Shell Pink in tribute to Strats from Fender's surf era. Little did I know what was to come of Ralph's distant future. He was the fret guru in Berkeley, and his work was astounding - the best I'd ever seen! Ironically, Vintage Guitar columnist Stephen White was also working at Subway at the time. So began our journey into luthiery madness! Fast forward to 1989. In the years since, Novak has built the instruments of choice for the likes of musicians like Charlie Hunter, Phillip De Gruy, Joe Louis Walker, and Henry Kaiser, to name a few. As time passed, he experimented with a variety of design ideas involving the use of non-traditional woods. At times, he was viewed as downright crazy from many a purist's standpoint. But he turned the other cheek, seeking the solutions that would satisfy his own personal playing requirements. As a guitarist with a complete understanding of the vintage instruments he worked on, Novak wasn't completely comfortable with what any one instrument was capable of delivering. He wanted to combine all the features of his old favorites while adding design twists that would give him everything he was looking for in an electric guitar. This led to the invention of his patented fanned-fret fingerboard, which gives an instrument


Which piano-playing singer's first hit was The Fat Man?

What's That Sound? • W. W. Norton and Company, Inc. Focus on children's health, education, and overall happiness White middle-class teenagers embraced rhythm and blues Knowing parents wouldn't approve of suggestive lyrics This could be children's form of social rebellion Allowed an alternative to assimilating into their parents' adult world culture Movies appeared with rebellious themes Rebellious young people who rebelled for the sake of rebellion The Wild One (1953) starring Marlon Brando Rebel without a Cause (1955) starring James Dean Blackboard Jungle (1955) about teenage delinquency in an urban high school Featured "(We're Gonna) Rock Around the Clock" Song was played over the opening credits Caused rock and roll to be associated with delinquency One of the top pop records of that year By 1955 rhythm and blues was being called rock and roll Radio and records The categories were based on buying patterns among consumers of music Pop was based on white middle-class consumers Rhythm and blues on black consumers Country and western on rural and low-income white consumers In the mid 1950s when white middle-class teens discovered rhythm and blues the distinction between styles blurred Crossovers are records that appear on one chart and then on one of the other two Two ways that a song can cross over to another chart: The record sales can generate a chart position on another chart For instance, a pop song becomes popular among country and western listeners, who buy enough copies of the record to generate a chart position on the country and western chart A different artist can record a new version of the song specifically for a particular listening audience When a different artist records a new version of a song it is called a "cover" It is possible (and not uncommon) for a song to be both a cover and a crossover This phenomenon was less common in the years from 1950 to 1953. Only about 10% of songs crossed over from one chart to another chart Beginning in 1954 25% of the rhythm and blues records began to cross over By 1958 that figure was 94% The cover and crossover trend followed a pattern based on economics A black rhythm and blues artist would release a song recorded on a small indie label A major label (or larger indie label) would release a cover of that song The cover would usually be a white artist The cover would come out quickly after the originalsometimes during the same month Major labels had the distribution system and financial wherewithal to produce their recording quickly and get it out to a national audience Therefore, the major label cover would be more successful than the original indie product Black artists began to cross over in 1955 Fats Domino (Antoine Domino) from New Orleans Recorded on Imperial records based in Los Angeles Several early 1950s rhythm and blues hits "The Fat Man" (r6, 1950) "Goin' Home" (r1, 1952) Polite, clean-cut personal image Continued the pop style established by Frank Sinatra and Eddie Fisher Helped establish rock and roll as a valid part of the mainstream in the last half of the 1950s Cover versions controversy Black artists resented white artists covering and outselling their records Records were often reproduced in meticulous detail Difference only that these covers were by white pop artists on another label Intent seemed to be to replace the black artists' recordings in charts, broadcast, and jukeboxes Pop music business executives watched rhythm and blues charts to get in on the next hit Rhythm and blues and rock and roll artists provided material for the pop market Black artists didn't reap the financial benefits of their recordings that they should have Rhythm and blues artists often were paid a flat fee Didn't get royalties that were usually paid to songwriters Their record companies were small-scale operations There was always the possibility that they would fold so money up front seemed better Therefore the only long-term beneficiaries were the label executiveswho were white Music business revolved around the song itself rather than a recording of a song Common prac


Which American rock'n'roll star caused controversy when he married a young teenager?

America Rocks and Rolls [ushistory.org] 53d. America Rocks and Rolls The prosperity of the '50s allowed teenagers to spend money on records by their favorite bands and singers. Rock and roll was everything the suburban 1950s were not. While parents of the decade were listening to Frank Sinatra, Perry Como, and big bands, their children were moving to a new beat. In fact, to the horror of the older generation, their children were twisting, thrusting, bumping, and grinding to the sounds of rock and roll. This generation of youth was much larger than any in recent memory, and the prosperity of the era gave them money to spend on records and phonographs. By the end of the decade, the phenomenon of rock and roll helped define the difference between youth and adulthood. The Roots of Rock Alan Freed, the Cleveland disc jockey credited with coining the phrase "rock and roll," was the master of ceremonies at many of the first rock concerts, including his 1955 Easter Jubilee. The roots of rock and roll lay in African American blues and gospel. As the Great Migration brought many African Americans to the cities of the north, the sounds of rhythm and blues attracted suburban teens. Due to segregation and racist attitudes, however, none of the greatest artists of the genre could get much airplay. Disc jockey Alan Freed began a rhythm-and-blues show on a Cleveland radio station. Soon the audience grew and grew, and Freed coined the term "rock and roll." Early attempts by white artists to cover R&B songs resulted in weaker renditions that bled the heart and soul out of the originals. Record producers saw the market potential and began to search for a white artist who could capture the African American sound. Chuck Berry's songs about girls and cars hit a nerve with American teens and sent his star rising high in the early days of rock and roll. Sam Phillips, a Memphis record producer, found the answer in Elvis Presley. With a deep Southern sound, pouty lips, and gyrating hips, Elvis took an old style and made it his own. From Memphis, the sound spread to other cities, and demand for Elvis records skyrocketed. Within two years, Elvis was the most popular name in the entertainment business. After the door to rock and roll acceptance was opened, African American performers such as Chuck Berry, Fats Domino, and Little Richard began to enjoy broad success, as well. White performers such as Buddy Holly and Jerry Lee Lewis also found artistic freedom and commercial success. Satan's Music Elvis Presley brought rock-and-roll music to the masses during the 1950s with hits such as "Love Me Tender" and "Heartbreak Hotel." Rock and roll sent shockwaves across America. A generation of young teenagers collectively rebelled against the music their parents loved. In general, the older generation loathed rock and roll. Appalled by the new styles of dance the movement evoked, churches proclaimed it Satan's music. Because rock and roll originated among the lower classes and a segregated ethnic group, many middle-class whites thought it was tasteless. Rock and roll records were banned from many radio stations and hundreds of schools. But the masses spoke louder. When Elvis appeared on TV's The Ed Sullivan Show, the show's ratings soared. Rock and roll is the most brutal, ugly, degenerate, vicious form of expression — lewd, sly, in plain fact, dirty — a rancid-smelling aphrodisiac and the martial music of every side-burned delinquent on the face of the earth. – Frank Sinatra (1957) The commercial possibilities were limitless. As a generation of young adults finished military service, bought houses in suburbia, and longed for stability and conformity, their children seemed to take comfort for granted. They wanted to release the tensions that bubbled beneath the smooth surface of postwar America. Above all, they wanted to shake, rattle, and roll.


Who made the highly rated 1959 jazz album Kind of Blue?

Miles Davis - Kind of Blue - 1959 (Complete Album) - YouTube Miles Davis - Kind of Blue - 1959 (Complete Album) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Oct 20, 2013 Discography (with links to each song's starting point): 1. So What - 00m00s 3. Blue in Green - 19m19s 4. All Blues - 24m47s 6. Flamenco Sketches (Alternate Take) 45m51s Album Description: Kind of Blue is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece. This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time. Read more about the album on Wikipedia http://en.wikipedia.org/wiki/Kind_of_... Category


BBC News | MUSIC | Larry Adler: Mouth organ virtuoso Tuesday, 7 August, 2001, 08:45 GMT 09:45 UK Larry Adler: Mouth organ virtuoso Larry Adler made the mouth organ a revered artform Virtuoso musician Larry Adler has died aged 87, having elevated the humble harmonica from being a playground toy to a serious concert hall instrument. Larry Adler was the best-known mouth organist in the world. His music for the classic film Genevieve in 1953 made him a wealthy man - and famous in England, his adopted home. His life was a who's who of celebrity associations. He played with everyone from Fred Astaire to Sir Elton John and counted kings and prime ministers among his friends. Lawrence Cecil Adler was born in Baltimore, Maryland, on 10 February 1914, the son of Louis and Sadie Adler. At the age of five, he was taken to a Rachmaninov concert and developed his own musical skills within the framework of the Adler family's orthodox Judaism. He was the youngest cantor, singer in a synagogue, in Baltimore and made himself unpopular by chiding his schoolmates for their lack of religious piety. Runaway He was enrolled at the prestigious Peabody School of Music to study the piano. Larry Adler: friend of Chaplin and Ingrid Bergman Shortly afterwards he started playing the harmonica, which he always called a "mouth organ". Still a teenager, he ran away to New York where, with his parents' eventual consent, he became a professional musician. Adler's virtuosity was such that he could pick out a tune simply by hearing it once and he brought to the harmonica the musical richness which was once the reserve of purely classical soloists. The Chicago Herald said Adler was able to produce "a tone reminiscent of many instruments, which tone is as varied as those that emerge from a symphony orchestra". After seeing Adler play in New York in 1934, the English impresario C B Cochrane was so impressed that he immediately offered to sign the young man to star in his London review, Streamline. Before long he was playing for, and being f�ted by, the crowned heads of Europe as well as former monarchs like the Duke of Windsor. Respectable In the 30s and 40s he worked with everyone from big bands to George Gershwin and the British composer Vaughan Williams, who wrote a work especially for him. To many he was the man who made the mouth organ respectable - though he never meant to. George Gershwin was a major influence He once admitted, "All I wanted to do was to get the hell out of Baltimore, which I hated. I wanted to go on the stage, which I was magnetically drawn to." A friend of the stars, Charlie Chaplin was a personal friend and he romanced such screen goddesses as Greta Garbo and Ingrid Bergman. The war years saw Larry Adler entertaining Allied troops. It ended with him personally liberating the Hohner harmonica factory in Germany. The company rewarded him with a crateful of the instruments. But Adler's life changed forever in 1949. While on a tour of Britain, he was called to testify to the McCarthyite House Un-American Activities Committee. Refusing to do so, he stayed and made his home in England. Gershwin Branded a communist in his homeland where he was blacklisted, Larry Adler re-built his life. A friend of The Duke of Edinburgh, he belonged to theThursday Club, whose members, including the actors David Niven and Peter Ustinov, enjoyed long, boozy, lunches at Wheeler's restaurant in London's Soho. Sir Elton John called him "a genius" Like his hero George Gershwin, Larry Adler understood both jazz and classical music. He introduced Gershwin's music to classical stars like the violinist Yitzhak Perlman. Gershwin produced a piano-roll accompaniment for perhaps his most famous work, Rhapsody in Blue, for Larry Adler to play to. Right into his late 80s, he would delight audiences with the haunting spectacle of the playerless piano backing his music, an echo through the ages which never failed to spellbind. Celebrity In recent years, Larry Adler had become known to a younger audience through The Glory of Gershwin, the platinum-selling album of critic


The founding brother members of the Kinks were Ray and Dave what?

Watch the Kinks' Ray and Dave Davies Reunite Onstage - Rolling Stone Dave Davies on the Kinks: 'Where There's Life, There's Hope' The Kinks guitarist on his new live album, an upcoming biopic and those never-ending reunion questions "We had a great night - it was a fun show - had a blast with Ray," Dave Davies tweeted  after the gig. The Kinks hadn't performed together in any capacity since the conclusion of their 1996 summer tour, and it had been 20 years since the Davies brothers were on a London stage together. For Kinks fans, the surprise "You Really Got Me" ignited renewed hope that the Davies brothers would put aside their years of bickering and animosity and finally solidify a reunion. In September, Dave Davies spoke to Rolling Stone about whether the Kinks would reunite after disbanding in 1996. " I'd say there's an outside shot ," Davies said. "But where there's life, there's hope. I know Ray has a lot coming up, and I do as well, so we'll see how things span out in the next few months. A lot of it depends on how Ray and I feel by the end of the year, physically, emotionally and psychologically. I wish I could give you a more definitive answer, but I don't want to jump the gun." "If we do a Kinks show, we're the Kinks," Ray Davies told Rolling Stone  in November 2014. "Ray stands on the right of the stage and Dave stands on the left. Look, my brother is very intelligent. He's a good writer." Two years ago, when asked about a Kinks' 50th anniversary tour, Dave Davies similarly responded, "I'd say the odds of that happening are 50/50 . The ball is very much in Ray's court." While the 50th anniversary trek didn't materialize, the Kinks do have a good reason to reunite in 2016: You Really Got Me, a Julien Temple-directed biopic about the Kinks, is set to begin shooting in March. Dave Davies told Rolling Stone in September that meetings for You Really Got Me had opened up a dialogue between the brothers. "I saw him just a week ago," Davies said at the time of Ray. "The last thing he said to me was, 'I'll call you soon and we'll have a cup of tea.' But he hasn't called yet. I'm sure he's really busy." Dave Davies added that he keeps in e-mail contact with drummer Mick Avory, but they haven't spoken face-to-face in years. Don’t Miss a Story Sign up for our newsletter to receive breaking news directly in your inbox. We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy How we use your email address Trending Ranked on a scale from 1 to 10, the trending score reflects the number of users reading a story in real time. What is this?


What was Smokey Robinson's most famous band called?

Smokey Robinson - Biography and Facts Contact Smokey Robinson Smokey Robinson is a famous American singer and songwriter, who had a successful career both as part of the group “The Miracles” and as a solo artist. He was born as William  Robinson, Jr. on February 19, 1940 to a poor family in Detroit. His mother died when he was very young so he was raised by his elder sister and her husband. He was an intelligent and active child who excelled academically and also played sports. However, from a very young age his real passion had been music. In high school he formed the band called the Five Chimes. In 1955, Smokey formed a band initially called “The Matadors” along with his friends and classmates Ronald White, Pete Moore, Bobby Rogers and Claudette Rogers. After some changes to the line-up ,the group renamed itself “The Miracles” and began touring. In 1957, the band met Berry Gordy , the future CEO of Motown Records. Gordy was impressed with the band and particularly with Smokey’s vocals and songwriting skills. He offered the Miracles a record contract and their first single “Got A Job” was released in 1959. Robsinson briefly enrolled at college to study electrical engineering but dropped out after two months when his band released their first record. The Miracles became one of the first bands to be signed to Motown Records. The band’s first hit single, which was also Motown’s first million selling record, was released in late 1960s and called “Shop Around”. Between 1960 and 1970, the group had 26 top 40 hit songs, all with Robinson as lead singer, chief songwriter and producer. The band later changed their name to “Smokey Robinson & The Miracles”. Robsinson was one of the most coveted songwriters and wrote several hits for artists such as Marvin Gaye , Diana Ross and The Supremes, The Contours and Stevie Wonder . In all, he is credited with writing more than 4000 songs. He also served as the Vice President of Motown Records until 1988. In 1972, Robinson left the band and spent a year in retirement. He had married his bandmate Claudette and wanted to help her raise their two children Berry and Tamla Robinson. After a year in retirement, Robinson released his first solo album titled “Smokey” in 1973, second album “Pure Smokey” in 1974 and “A Quiet Storm” in 1975. He struggled with his second album but the third was a massive hit and produced many hit singles. In 1988, Robinson stepped down as Vice President, and in 1990 he left Motown for good and signed up with SBK Records. The 1990s was a quiet time for him but he made a comeback in the 2000s and his latest album, “Smokey & Friends” featuring Elton John, Linda Ronstadt and James Taylor among others, reached No. 12 on the Billboard album chart, the highest rating for any of his solo albums. For a time, Smokey had a troubled personal life as he had an extramarital affair which led to divorce and his close friend Marvin Gaye died. He started using cocaine and became heavily addicted to it. He later became very religious and also became clean and sober. He has described his experiences in his autobiography titled “Inside My Life”. Robinson has been the recipient of many notable awards and honors during his lifetime. In 1987, he was inducted into the Rock & Roll Hall of Fame, but the decision was controversial as his band members were left out. However, they were later inducted as well. He received his own star on the Hollywood Walk of Fame. He has been inducted to the Songwriter’s Hall of Fame. He has also been awarded a medal at the National Medal of Arts, has won the Heritage Award at the Soul Train Music Awards, and been conferred the degree of Doctor of Music by Howard University. He has also won a Grammy Award and was one of the five Kennedy Center honorees in 2006.


Kenny Ball and his Jazzmen's 1962 hit was called March of the ... what?

Kenny Ball - March of the Siamese Children.wmv - YouTube Kenny Ball - March of the Siamese Children.wmv Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Dec 11, 2010 Kenny Ball - March of the Siamese Children Category


FRANKIE LAINE: 1913-2007 / Pop singer -- sang 'Rawhide' theme - SFGate FRANKIE LAINE: 1913-2007 / Pop singer -- sang 'Rawhide' theme Claudia Luther, Los Angeles Times Published 4:00 am, Wednesday, February 7, 2007 Photo: Associated Press 1949 Close Image 1 of 2 ** FILE ** Singer Frankie Laine is seen in this November 1949 file photo provided by General Artists Corporation. Laine, the big-voiced singer whose string of hits made him one of the most popular entertainers of the 1950s, died Tuesday, Feb. 5, 2007. He was 93. (AP Photo) NOVEMBER 1949 FILE PHOTO PROVIDED BY GENERAL ARTISTS CORPORATION less ** FILE ** Singer Frankie Laine is seen in this November 1949 file photo provided by General Artists Corporation. Laine, the big-voiced singer whose string of hits made him one of the most popular entertainers ... more Photo: Associated Press 1949 Image 2 of 2 ** FILE ** Singer Frankie Laine is seen in this June 9, 1975 file photo at Heathrow Airport as he returns home to California after an 8-week stay in Britain. Laine, the big-voiced singer whose string of hits made him one of the most popular entertainers of the 1950s, died Tuesday, Feb. 5, 2007. He was 93. (AP Photo/PA) less ** FILE ** Singer Frankie Laine is seen in this June 9, 1975 file photo at Heathrow Airport as he returns home to California after an 8-week stay in Britain. Laine, the big-voiced singer whose string of hits ... more Photo: File FRANKIE LAINE: 1913-2007 / Pop singer -- sang 'Rawhide' theme 1 / 2 Back to Gallery 2007-02-07 04:00:00 PDT San Diego -- Frankie Laine , the singer with the booming voice who hit it big with such songs as "That Lucky Old Sun," "Mule Train," "Cool Water," "I Believe," "Granada" and "Moonlight Gambler," died Tuesday at age 93. Laine entered Mercy Hospital over the weekend for hip replacement surgery but suffered complications from the operation, said his friend A.C. Lyles , the longtime producer at Paramount Pictures who announced Laine's death. In all, Laine sold well over 100 million records and was hugely popular not only in the United States but also in Britain and Australia. Even after his popularity crested with the rise of rock 'n' roll, Laine was heard for many years singing the theme to the TV series "Rawhide," which featured Clint Eastwood . Most of those who remember Laine for his biggest hits would hardly know that his body of work included "Baby That Ain't Right," "Rosetta" and many other songs that were more in the style of what Laine considered his roots: jazz and blues. "Years before Elvis Presley , Laine brought a potent blend of blues, jazz and country to popular music," jazz critic Don Heckman said. "Rarely acknowledged in Laine's work, he sang with the easy, loose phrasing and imaginative articulation of jazz performers." Laine started out in jazz but was sidetracked by arranger Mitch Miller , who fashioned Laine into the popular artist that he is best remembered for being. Miller produced most of Laine's hits in the 1940s and 1950s, including "Mule Train" and "That Lucky Old Sun." He said he loved Laine's voice because it sounded like "the blue-collar man, the guy who didn't know where his next paycheck was coming from." Francesco Paolo LoVecchio was born March 30, 1913, the eldest of eight children of Sicilian immigrants who settled in the Little Italy neighborhood of Chicago. His father was a barber whose customers included Al Capone ; his maternal grandfather was the victim of a mob hit. At 18, with the Depression under way and his father out of work, Laine hit the road as a dance marathoner. Altogether he participated in 14 marathons, coming in first on three occasions. He and his partner, Ruthie Smith , made it into the Guinness Book of World Records for dancing 145 days straight (although he disputed Guinness, saying he and Smith danced for 146 days). Laine would not hit it big until his mid-30s. In between, he would live the tough life of an undiscovered musician in the Depression. He traveled from city to city, often without enough money for a hotel or a decent meal. Then he got a break: an audition


John Mayall's band which helped launch Eric Clapton's career was called what?

John Mayall - Blues Breakers with Eric Clapton (album review ) | Sputnikmusic John Mayall Blues Breakers with Eric Clapton 4.0 May 19th, 2006 | 41 replies Release Date: 1966 | Tracklist By the time the Yardbirds released their pop hit "For Your Love", not many were in a position to bring them down in anyway."God", however, had other plans. It is a widely known story among blues enthusiasts and aging hippies; Clapton joins the Yardbirds, becomes the guitar deity of the sixties, only to take an exit due to the poppier winds that were carrying the Yardbirds to a more commercial destination. The Yardbirds recovered by way of Jeff Beck, whilst Clapton moved on to lend his magic hands to blues purist John Mayall, a man more famous for his abundance of guitar heroes (think Ozzy) than for his own merits. However, to state that Mr. Mayall isn't talented in his own right would be pure fiction, as made clear by the album 'Bluesbreakers With Eric Clapton'. The year is now 1966, and while The Beatles are manipulating tapes and dropping acid, John Mayall and company are finishing up the album that would forever cement them into the fabric of everything sixties, as well as in the minds of every kid with a Muddy Waters record and an electric guitar. With such virtuoso covers as "What'd I Say" and "Ramblin' On My Mind", the Bluesbreakers not only asserted themselves as the cream of the blues crop in England, but also made the still pop-infested Yanks across the pond take notice of the style of music they had so unwittingly spawned. The stunning, three minute long instrumental "Hideaway" only displays Claptons' undeniable genius as a lead guitarist, but also shows off the rather unknown and ever rotating rythym section as a force to be reckoned with in it's own right. But what of the man himself? It is arguable Mayalls' voice has never been better than on this classic record, and showcases some talent in the rythym guitar and harmonica department, as well. By the time "Parchman Farm" has finished it's 2:24 second run, it's somewhat more apparent why Clapton got second billing. Hughie Flint (Drums) is likewise in top form, not merely banging around in a frenzy of self-indulgence, but subtley and tastefully providing the tunes with the beat they deserve (The exception being the drum solo in "What'd I Say"), with John McVie (Bass) thumping along, creating his own spotlight at times, and slipping into obscurity at others. And yet, that's partially what makes this record as unique as it is. No one is trying to promote themselves over the group, as would become the fashion in the latter half of the decade and on throughout the Seventies, but complementing each other, and displaying the passion required to perform a piece of blues music and not sound like a wanker, which in Claptons' case says a bit more than for anyone else, considering Cream was less than a year away from becoming a reality. Like many classic albums of the sixties, this one does not skip through it's length unscathed, providing a weak song or two such as "Lonely Years", which is essentially a rythym guitar, a screeching harmonica, and Johns' distinctive voice, all intertwined in rather poor sound quality; as well as the waltzy, nearly six minute long saxophone driven number entitled "Have You Heard". While the former is relatively quick, sitting through "Have You Heard" can be a daunting task in it's own right; on par with climbing Everest after a pint or two of Jagermeister. The music itself varies quite substantially throughout the album, with mournful songs driven more by harmonica ("Another Man"), to the guitar fury that Clapton is so well known for on songs like "Little Girl" and "Steppin' Out". The album flows remarkably well, seguing from one tune to the next in a Michelle Kwan-type fashion. Naturally, while everybody delivers a solid performance, it's Clapton who shines on this record, and it;s Clapton who would reap the most from it. It was after this album that the infamous "Clapton Is God" graffiti started mysteriously popping up all over London. It is also worth me


Which comedy actor had a novelty hit with My Boomerang Won't Come Back?

Charlie Drake - The Scotsman Charlie Drake 03:45 Wednesday 27 December 2006 Comedy actor Born: 19 June, 1925, in South London. Died: 24 December, 2006, in Twickenham, aged 81. THE diminutive Charlie Drake enjoyed a lengthy career on stage and television where his cockney slapstick humour endeared him to young and old. His cheeky act gained huge audiences with his knock-about style and he became something of a working-class hero with his portrayal of the put-upon worker. But for all his irreverence and bawdy humour, Drake was a superb craftsman: he worked an audience (especially in pantomime) with a rare cunning and had a superb sense of timing. Drake was at his peak on television in the Sixties and Seventies, winning two Golden Globe Awards from Montreux. He also recorded many novelty songs - including the hit number My Boomerang Won't Come Back. But for many, Charlie Drake is associated with the cheeky catchphrase with which he opened all his shows: "Hello, My Darlings." Charles Drake (born Charles Edward Springhall; he adopted his mother's maiden name on going into show-business) was brought up in a poor area of south London where his father worked as a newspaper vendor. He started working on radio programmes and then joined up with Jack Edwards to do a popular children's show called Jigsaw. That ran until 1957 after which Drake decided to concentrate on entertaining adult audiences. Drake made his breakthrough to television in 1953 when he worked on the BBC's The Centre Show. This was followed by various guest appearances until he was given his own Saturday night comedy show in 1958 called Charlie Drake In... This proved very popular and Drake returned to the format for three years. At Christmas 1960, the BBC mounted a Charlie Drake Special and it proved one of the major hits over the festive period. By then, Drake was one of the leading television names and was often seen in summer seasons and pantomime. The latter he enjoyed hugely where his madcap adlibbing proved especially popular. But he was not an easy colleague. He was banned by British Equity from working in any provincial theatre in the UK for 18 months in the Seventies and ruined his chances of an American career when he walked off the Ed Sullivan Show because they objected to one of his routines. In 1961, he was appearing in a live show when the routine went horribly wrong. Drake - always a fearless performer - fractured his skull when he collapsed through a bookcase (all part of the much rehearsed act) only to find part of the support had been reinforced. The other actors carried on as arranged and threw Drake through a (false) window. The comedian was unconscious for three days in hospital and retired for two years. It was not until 1963 that Drake, courageously, returned to the studio. In fact the next decade was to be very successful for Drake and he was seen on both the BBC and ITV. With the former he appeared in a succession of comedy shows produced by Ronald Marsh from 1963 to 1968. They were certainly all very much vehicles for Drake (significantly they all used his name in the title), but Drake's energy and zany humour proved a winner with the audiences. As indeed did his shows for ITV. There, he hosted an odd show called Slapstick and Old Lace which encouraged viewers to sing in requests. One of his TV shows that captured the imagination of the public was The Worker (1965-70). Drake played a ham-fisted worker who made a nonsense of all the jobs he was sent to do. His frustrated employer - stoically played by the lachrymose Henry McGee - accepted every disaster with a refined foreboding. As early as 1958, Drake had made a cover version of Bobby Darrin's Splish Splash. His recording producer was a young man named George Martin and the disc outsold the original. Drake was to go on to record many songs (notably Mr Custer and I've Lost the End of My Yodel) but My Boomerang Won't Come Back - an infuriatingly memorable ditty - even entered the charts. Drake was a major force in light entertainment at this time; he made an extraordinary 15 appearances at


Colin Blunstone fronted which 1960s group?

Colin Blunstone - Music on Google Play Colin Blunstone About the artist Colin Edward Michael Blunstone is an English singer-songwriter and musician. In a career spanning more than 50 years, Blunstone came to prominence in the mid 1960s as the lead singer of the English rock band The Zombies, which released four singles that entered the Top 75 charts in the United States during the 1960s, including "She's Not There", "Tell Her No", "She's Coming Home", and "Time of the Season". Blunstone began his solo career in 1969, releasing three singles under a pseudonym of Neil MacArthur. Since then, he has released ten studio albums, and one live album under his real name. His solo hits include "She's Not There", "Say You Don't Mind", "I Don't Believe in Miracles", "How Could We Dare to Be Wrong", "What Becomes of the Brokenhearted", and "The Tracks of My Tears". He is also known for his participation on various albums with the Alan Parsons Project.


What Eastenders star sang on the novelty hit Come Outside?

Come Outside - The Novelty Record that made Wendy Richard A Star! - YouTube Come Outside - The Novelty Record that made Wendy Richard A Star! Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 19, 2012 Teen Idol and film star Michael Sarne recorded another pop song, this time with a little help from an 18 year old unknown, the quirky Wendy Richard. Wendy was hired to come in for 2 recording sessions, for which she was paid "15 quid each". The novelty record "Come Outside" not only became a million seller, but it was the springboard catapulting Wendy Richard to stardom. The pretty blonde went on to star in such hit TV series like "Are You Being Served", "Grace & Favour" and the cult classic soap opera "Eastenders". It all started with that 30 pounds gig to "lend your voice to a novelty record". We are so glad she accepted! We love you Wendy Richard!!!!! Category


Index-a The live album Beauty and the Beat featured pianist George   Shearring and which singer? Peggy Lee Whose band was the Tijuana Brass? Herb Alpert Who were Cliff Richard's backing group through the 60s?    The Shadows Who were the famous backing singers on most of Elvis   Presley's early hits? The Jordanaires The Stratocaster is a model of which guitar maker?    Fender Which piano-playing singer's first hit was The Fat Man?   Fats Domino Which American rock'n'roll star caused controversy when he   married a young teenager? Jerry Lee Lewis Who made the highly rated 1959 jazz album Kind of Blue?    Miles Davis Which iconic British female singer made the highly regarded   album titled '(her first name) in Memphis' ? Dusty Springfield Whose band was the All Stars? Junior Walker (Jr   Walker) Larry Adler played what instrument? Harmonica Whose childhood hit was Fingertips? Stevie Wonder Which guitar innovator and player has a range of Gibson   Guitars named after him? Les Paul The founding brother members of the Kinks were Ray and Dave   what? Davies What was Smokey Robinson's most famous band called? The   Miracles Kenny Ball and his Jazzmen's 1962 hit was called March of   the ... what? Siamese Children Who sang the hit theme song Rawhide? Frankie   Laine John Mayall's band which helped launch Eric Clapton's   career was called what? Bluesbreakers Rock Around the Clock was a hit for Bill Haley and his ...   what? Comets Which comedy actor had a novelty hit with My Boomerang   Won't Come Back? Charlie Drake Who sang with Serge Gainsbourg on the hit Je t'aime?    Jane Birkin Colin Blunstone fronted which 1960s group? The   Zombies What Eastenders star sang on the novelty hit Come Outside?    Wendy Richard Jiles Perry (JP) Richardson Jr, who died in the same plane crash as Ritchie Valens and Buddy Holly was better known by what name?Big   Bopper Which later-to-be-famous solo singer and guitarist toured   as a member of the Beach Boys in the mid 60s? Glen Campbell Who had sang the hit song Little Old Wine Drinker Me?    Dean Martin What famous 'two-fingered' jazz guitarist died in 1953?    Django Reinhardt (Jean-Baptiste Reinhardt) What song, released to promote the film The Millionairess,   featured its stars Peter Sellers and Sophia Loren? Goodness Gracious   Me Who managed the Beatles' prior to his early death in 1967?    Brian Epstein Whose nickname was a derived from the term satchel-mouth?    Louis Armstrong (Satchmo) What's the name of the motorbiker who dies in the   Shangri-Las' hit The Leader of the Pack? Jimmy Which singing-songwriting founder of the Flying Burrito Brothers died age 26, after which his body was 'stolen' by a friend and burnt in the Joshua Tree National Park? Gram Parsons Which American singer and entertainer was nicknamed   Schnozzola, because of his large nose? Jimmy Durante Who wrote and had a hit with the instrumental Classical   Gas? Mason Williams Who wrote Patsy Cline's hit Crazy? Willie   Nelson What city hosted the Beatles as the resident band at the   Kaiserkeller and Top Ten Club? Hamburg The Isley Brothers' hit was called Behind a ... what?    Painted Smile 1950-60s record turntables commonly offered four speeds:   33, 45, 78, and what other? 16 (technically the speeds were 33⅓ and 16⅔ but record decks tended to show only the whole numbers) American DJ Robert Weston Smith was better known by what   stage name? Wolfman Jack What ridiculously titled song was a hit in 1954 for Max   Bygraves in the UK and the Four Lads in the USA? Gilly Gilly Ossenfeffer   Katzenellen Bogen by the Sea Who had the 1965 instrumental hit Spanish Flea? Herb   Alpert and the Tijuana Brass What was Emile Ford and the Checkmates' 1959 hit,   supposedly the longest ever question in a UK No1 song title? What Do You   Want to Make Those Eyes at Me For? Who singer-guitarist's backing band was The Bruvvers?    Joe Brown Which Rolling Stones guitarist died in a swimming pool in   1969? Bri


Who had sang the hit song Little Old Wine Drinker Me?

Dean Martin Original Release LITTLE OLD WINE DRINKER ME - YouTube Dean Martin Original Release LITTLE OLD WINE DRINKER ME Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Apr 14, 2010 Dean Martin 'Little Old Wine Drinker Me' song. A nice storyline of photos to go along with the song....enjoy. Category


What famous 'two-fingered' jazz guitarist died in 1953? View the step-by-step solution to: What famous 'two-fingered' jazz guitarist died in 1953? This question was answered on Jan 23, 2016. View the Answer What famous 'two-fingered' jazz guitarist died in 1953? anolmusic                                                   posted a question · Jan 23, 2016 at 2:25am Top Answer 1 comment Django Reinhardt (Jean Baptiste Reinhardt), 1910–53, Belgian jazz guitarist of Romani (Gypsy) descent. Reinhardt began playing the guitar professionally at 12. He was severely burned in a fire in 1928, leaving two fingers of his left hand useless, but adapted his guitar style to the disability. TaniaCesile Jan 23, 2016 at 2:28am {[ getNetScore(27558925) ]} View Full Answer or ask a new question Related Questions 5 Music experts found online! Average reply time is                       12 mins Get Homework Help Why Join Course Hero? Course Hero has all the homework and study help you need to succeed! We’ve got course-specific notes, study guides, and practice tests along with expert tutors and customizable flashcards—available anywhere, anytime. - - Study Documents Find the best study resources around, tagged to your specific courses. Share your own to gain free Course Hero access or to earn money with our Marketplace. - Question & Answers Get one-on-one homework help from our expert tutors—available online 24/7. Ask your own questions or browse existing Q&A threads. Satisfaction guaranteed! - Flashcards Browse existing sets or create your own using our digital flashcard system. A simple yet effective studying tool to help you earn the grade that you want!


What song, released to promote the film The Millionairess, featured its stars Peter Sellers and Sophia Loren?


Who managed the Beatles' prior to his early death in 1967?

Brian Epstein biography | The Beatles Bible Brian Epstein Brian Epstein Brian Samuel Epstein was born on 19 September 1934 on Rodney Street, Liverpool. His parents were Harry and Malka Epstein. Before his death in 1967 he would make his fortune as manager of The Beatles, as well as Gerry and the Pacemakers, Cilla Black and Billy J Kramer and the Dakotas. Harry and Malka (known to all as Queenie, as Malka is the Hebrew word for 'queen') owned a furniture store in Liverpool. Later the family business expanded and they bought the North End Road Music Store (known as NEMS) next door. In 1950, at the age of 16, Brian began working at the family's Walton Road store, although he wanted to become a dress designer - a move opposed by his father. He was conscripted to the army at 18, but was discharged after 10 months for being emotionally and mentally unfit. In his autobiography A Cellarful Of Noise, published in October 1964, Epstein claimed he was caught impersonating an officer. The hidden truth was that he had asked a tailor to make an officer's uniform, which he wore while cruising the bars of London. He was arrested by the military police, but avoided a court martial by agreeing to see an army psychiatrist who uncovered Epstein's homosexuality. Upon his return to Liverpool in 1954 he was put in charge of Clarendon Furnishing, a branch of the Epstein family business in the Hoylake district. He proved a successful salesman, but persuaded his parents to let him train as an actor at the Royal Academy for Dramatic Arts.Brian passed the RADA audition, and became a classmate of Susannah York, Albert Finney and Peter O'Toole. However, he dropped out after the third term. He returned once more to work for his parents, and in 1955, at the age of 21, he was made a director of NEMS. When Harry Epstein opened a new NEMS store on Liverpool's Great Charlotte Street, Brian was put in charge of managing the ground floor. He expanded from selling pianos and wireless radios to gramophone records, and the shop became one of the biggest music outlets in the north of England. The record department was such a success that he was put in charge of a new NEMS branch which opened at 12-14 Whitechapel. Around this time he asked Bill Harry - the editor of Mersey Beat magazine, which Brian had sold since its first issue in July 1961 - if he could write a music column. His first article, under the heading 'Record Releases, by Brian Epstein of NEMS', appeared in the third issue on 3 August 1961. With The Beatles Mersey Beat was where Epstein first noticed the name The Beatles, who were featured on the cover of issue two. His curiosity is said to have been was piqued when a customer, Raymond Jones , entered NEMS and asked Epstein for a copy of My Bonnie , the single recorded by the band with singer Tony Sheridan in Hamburg. At about three o'clock on Saturday, October 28th, 1961, an eighteen-year-old boy called Raymond Jones, wearing jeans and black leather jacket, walked into a record-store in Whitechapel, Liverpool, and said: 'There's a record I want. It's "My Bonnie" and it was made in Germany. Have you got it?' Behind the counter was Brian Epstein, twenty-seven, director of the store. He shook his head. 'Who is the record by?' he asked. 'You won't have heard of them,' said Jones. 'It's by a group called The Beatles....' Brian Epstein Prologue to A Cellarful Of Noise The Whitechapel store was a short walk from the Cavern Club in Mathew Street. On 9 November 1961 he watched The Beatles play a lunchtime concert, after which he entered the dressing room and met the group. Despite his lack of experience, Epstein became their manager in January 1962, and quickly asserted his influence over their dress and onstage performance. After hawking the band around a number of London labels, Epstein eventually secured an audition at EMI's Abbey Road studios, where George Martin decided to sign them. Epstein was key to the success of The Beatles - Paul McCartney later said: "If anyone was the fifth Beatle, it was Brian". He also managed a number of other Liverpool acts,


Whose nickname was a derived from the term satchel-mouth?


What's the name of the motorbiker who dies in the Shangri-Las' hit The Leader of the Pack?

TM-FORUM • View topic - [Xaseco] Quiz-plugin (finnish) v9.0 update 23.2.2010 [Xaseco] Quiz-plugin (finnish) v9.0 update 23.2.2010  Post subject: [Xaseco] Quiz-plugin (finnish) v9.0 update 23.2.2010 Posted: 02 Jul 2009 22:42  smooth traffic navigator Joined: 02 Jul 2009 22:24 Posts: 213 Owned TM-games: TMUF 23.2.2010 - now version 9.0 Lots of improvements, but lacks function to read questions from file, but you can copypaste it from version 1.5, hopefully * Admins * Ingame help * Admin can grant / remove points with single click * Questions queue, users can ask questions and they are shown by the order what they were asked * check for non-normal charracters on answer like ¨ ^ ´ ` etc etc.. http://koti.mbnet.fi/reaby/xaseco/ ---------------------------------------------------------------------- Well, on one server we have a tradition of having a quiz run by a player. Today I had an idea to make actually a point calculating system for it. Apparently this script is so fresh that it isn't in use of any servers yet, but hopefully it finds its place on that server. Update: The script without reading questions from file is now in use on the server. how it works? type /quiz and new question is asked from file. how to ask questions outside of file? /quiz_ask what color is a red car ? red how to answer? simply type answer to chat, and if you get it right you will be given a point. other commands are /quiz_points and /quiz_reset The script doesn't require local database, and scores are only stored temporarily. Quiz questions are placed on xaseco folder, where all xml files are, but it's named quiz_questions.txt, the format is same as asking custom question and 1 question/line. End of this posting is some sample questions. Code: /* plugin.quiz_en.php English version of QuizBot 1.5 by Reaby Many thanks for Assembler Maniac for Chatbot which this bot utilizes the main loop for getting chat-text from users. How it works? To ask manually question simply type /quiz_ask [question] ? [answer] To ask question from file type /quiz To reset points /quiz_reset /quiz_ask which color has red car on ? red answering normally by typing to chat. */ Aseco::addChatCommand('quiz_ask', 'Ask a question, right answer after questionmark'); Aseco::addChatCommand('quiz', 'Ask a question from file'); class quizbot       // ignore text that comes from the server       // also ignore anything that looks like it's a command       if ( $command[0] == 0 || substr($command[2], 0, 1) == '/' )      // $command[0] is the player id, 0 = server          {          if ( strtolower($command[2]) == strtolower($this->rightAnswer) )             {          $message = "\$0b0 Right answer! \$fff".$this->rightAnswer;           $this->Aseco->client->query('GetPlayerInfo', $command[1]);          $info = $this->Aseco->client->getResponse();          $nick = $info['NickName'];          $this->points[$command[1]]['NickName'] = $nick;          $this->points[$command[1]]['Points']++;             $this->Aseco->client->query("ChatSendServerMessage", $message);             $this->points();  // show points at successcull answer       unset($this->rightAnswer);     $this->Aseco->client->query("ChatSendServerMessage", $message);     }     $this->Aseco->client->query("ChatSendServerMessage", $message);     }    foreach ($this->points as $info) {    $message .=$info['NickName'].": \$z\$s\$fff".$info['Points']." ";    }     $this->Aseco->client->query("ChatSendServerMessage", $message);     } $message = "Scores are now reset!"; $aseco->client->query('ChatSendServerMessage', $aseco->formatColors($message)); unset($quizbot->points); And the sample questions file: quiz_questions.txt Code: Which world famous landmark is found on Mount Lee? Hollywood Sign What is sake made from ? Rice In George Orwell`s Animal Farm, what type of animals were Clover, Mollie and Boxer? Horses What is the hardest natural substance? diamond How many different scoring areas are there on a standard dart board (type only number)? 82 The pop groups Ace Of Base and The Cardigans both hail from which country? Sweden What colou


Which singing-songwriting founder of the Flying Burrito Brothers died age 26, after which his body was 'stolen' by a friend and burnt in the Joshua Tree National Park?

This Day in Music, September 19: Fallen Angel | TMR This Day in Music, September 19: Fallen Angel September 19, 2011 By Neil Cossar , Contributor On this day in 1973, country rock singer/songwriter Gram Parsons, formerly of The Byrds and The Flying Burrito Brothers, died under mysterious conditions in Joshua Tree, California at the age of 26. His death was attributed to heart failure but later was officially announced as a drug overdose. His coffin was stolen by two of his associates, manager Phil Kaufman and Michael Martin, a former roadie for The Byrds, and was taken to Cap Rock in the California desert, where it was set alight, in accordance to Parson's wishes. The two were later arrested by police. This is one of the most bizarre tales in the history of rock and roll — but in fact it was a very sad end to one of the most original performers who ever graced us with their presence. Parsons, I think, had he lived, would’ve been the Springsteen of country rock. Born Ingram Cecil Connor III, his life changed after seeing Elvis Presley perform in concert in 1957. Five years later, while barely in his teens, he played in rock and roll cover bands such as the Pacers and the Legends. He came from a wealthy background and attended Harvard University, where he studied theology but departed after a single semester. Despite being from the South, he did not become seriously interested in country music until his time at Harvard, where he heard Merle Haggard for the first time. In 1966, he and other musicians from the Boston folk scene formed a group called the International Submarine Band. By 1968 Parsons had come to the attention of The Byrds' bassist, Chris Hillman, as a possible replacement band member following the departures of David Crosby and Michael Clarke from the group; he passed an audition to join group. While in England with The Byrds in the summer of 1968, Parsons left the band due to his concerns over a planned concert tour of South Africa, citing opposition to that country's apartheid policies. During this period, Parsons became acquainted with Mick Jagger and Keith Richards. Parsons developed a close friendship over the next few years with Richards, reintroducing the guitarist to country music. According to Stones' confidant and close friend of Parsons, Phil Kaufman, the twosome would sit around for hours, playing obscure country records and trading off on various songs with their guitars. Returning to Los Angeles, Parsons formed the Flying Burrito Brothers with bassist Chris Ethridge and pedal steel player Sneaky Pete Kleinow. By this time, Parsons' own use of drugs had increased and much of his time was diverted to partying with the Stones, who had briefly relocated to America in the summer of 1969 to finish their forthcoming album, Let It Bleed. The early '70s saw Parsons touring with Emmylou Harris as well as working with Neil Young and Linda Ronstadt. Parsons also recorded his final album, Grievous Angel, which included the standout and much-covered track “Brass Buttons” which was released after his death. Before recording the album, Parsons played a mini-tour; the backing band the Fallen Angels included Clarence White. On July 14, 1973, White was killed by a drunk driver while loading equipment in his car. At White's funeral, the distraught and drunken Parsons reportedly informed his tour manger Phil Kaufman that if anything happened to him, his final wish was to be cremated in Joshua Tree. Gram Parsons had been hanging out at the Joshua Tree National Monument for several years. He went there regularly, with Chris Hillman when they were bandmates, and later with Keith Richards, to get high and watch the sky for UFOs. Parsons died September 19, 1973 in Joshua Tree, California at the age of 26 from an overdose of morphine and tequila; although rushed to the Yucca Valley Hospital, he was pronounced dead on arrival. And this is where it all gets a bit strange. Parsons' body disappeared from the Los Angeles International Airport where it was being readied to be shipped to Louisiana for burial. Prior to his death,


Which American singer and entertainer was nicknamed Schnozzola, because of his large nose?

Jimmy Durante | Biography, Movie Highlights and Photos | AllMovie twitter Biography               by Hal Erickson Known to friends, family and fans as "The Schnozzola" because of his Cyrano-sized nose, American entertainer Jimmy Durante was the youngest child of an immigrant Italian barber. Fed up with his schooling by the second grade, Durante dedicated himself to becoming a piano player, performing in the usual dives, beer halls and public events. He organized a ragtime band, playing for such spots as the Coney Island College Inn and Harlem's Alamo Club. He secured two long-lasting relationships in 1921 when he married Maud Jeanne Olson and formed a professional partnership with dancer Eddie Jackson; two years later Durante and Jackson combined with another dancer, Lou Jackson, to form one of the best-known roughhouse teams of the 1920s. Clayton, Jackson and Durante opened their own speakeasy, the Club Durant (they couldn't afford the "E" on the sign), which quickly became the "in" spot for show-business celebrities and the bane of Prohibition agents. Durante was clearly the star of the proceedings, adopting his lifelong stage character of an aggressive, pugnacious singer, yelling "Stop the music" at the slightest provocation and behaving as though he had to finish his song before the authorities hauled him away for having the nerve to perform. Durante 's trio went uptown in the Ziegfeld musical Show Girl in 1929, the same year that Durante made his screen debut in Roadhouse Nights . Though popular in personal appearances, Durante's overbearing performing style did not translate well to movies, especially when MGM teamed the megawatt Durante with stone-faced comedian Buster Keaton. Though Durante and Keaton liked each other, their comedy styles were not compatible. Durante had reached his peak in films by 1934, and was thereafter used only as a specialty or in supporting roles. On stage, however, Durante was still a proven audience favorite: he stopped the show with the moment in the 1935 Billy Rose stage musical Jumbo , wherein, while leading a live elephant away from his creditors, he was stopped by a cop. "What are you doing with that elephant?" demanded the cop. Durante looked askance and bellowed, " What elephant?" In hit after hit on Broadway, Durante was a metropolitan success, expanding his popularity nationwide with a radio program co-starring young comedian Garry Moore, which began in 1943, the year of Durante's first wife's death (she may or may not have been the "Mrs. Calabash" to whom he said goodnight at the end of each broadcast). Virtually out of films by the 1950s, Durante continued to thrive on TV and in nightclubs, finding solace in his private life with his 1960 marriage to Margie Little. By the mid-1960s, Durante was capable of fracturing a TV audience simply by mangling the words written for him on cue cards; a perennial of ABC's weekly Hollywood Palace , he took on a weekly series in his 76th year in a variety program co-starring the Lennon Sisters. Suffering several strokes in the 1970s, Durante decided to retire completely, though he occasionally showed up (in a wheelchair) for such celebrations as MGM's 50th anniversary. Few stars were as beloved as Durante, and even fewer were spoken of so highly and without any trace of jealousy or rancor after his death in 1980; perhaps this adulation was due in part to Durante's ending each performance by finding a telephone, dialing G-O-D, and saying "Thanks!" Movie Highlights Factsheet Raspy-voiced singer whose trademark song was "Inka-Dinka-Doo." Nicknamed "Schnozzola" and "The Schnozz" because of his large nose; the nose was also referenced in the Cole Porter song "You're the Top" in the line "you're the nose on the great Durante." Owned a nightclub called Club Durant in the 1920s that was shut down because of Prohibition. Trademark closing line was "And goodnight Mrs. Calabash, wherever you are."


Crazy by Patsy Cline Songfacts Crazy by Patsy Cline Songfacts Songfacts This was written by Willie Nelson. He was a struggling country singer at the time and got a big break when Cline recorded this and made it a hit. It has become one of Nelson's most enduring songs. He covered the song for his own debut album, ...And Then I Wrote, in 1962. On an episode of VH1's Storytellers, Willie Nelson revealed that this was originally titled "Stupid." >> Suggestion credit: Scott - Richmond, VA Cline was thrown through a windshield in a car accident 2 months before she recorded this (they didn't have seat belts back then). At the first session, she couldn't hit the high notes because of a broken rib, so the studio musicians recorded their parts without her. Two weeks later, she did her vocals while standing on crutches. This was Cline's biggest hit. She died in a plane crash 2 years later at age 30. In the UK, this was not a hit when it was first released, but went to #14 when it was re-released there in 1990. This song was later remade (yet again) in 2002 by the band Kidneythieves for their CD Zerospace. >> Suggestion credit: Jen G. - Fort Worth, TX In 2003, Diana Krall covered this for the tribute album Remembering Patsy Cline. According to the Amusement And Music Operators Association, this is the most-played song on jukeboxes in the United States. Bob Seger's "Old Time Rock And Roll" is second and Elvis Presley's " Hound Dog " is third. According to Mojo magazine, Willie Nelson originally tried to sell this along with several other of his songs to country music singer Larry Butler for $10 a piece. Butler refused to take advantage, fortunately for Patsy Cline who, despite initially disliking "Crazy," made it into a huge hit. Both Cline's husband Charlie Dick and her producer Owen Bradley loved the song, and they that persuaded Cline to record it. This has been featured on numerous TV shows, including Moonlighting, Quantum Leap, Cybill, Cold Case, and Fringe. It's also been used in the movies Desert Hearts (1985), Murder One (1988), The Handmaid's Tale (1990), Doc Hollywood (1991), Nell (1994), Tommy Boy (1995), Some Mother's Son (1996) and In & Out (1997). Actress Beverly D'Angelo performed this when she played Patsy Cline in the 1980 Loretta Lynn biopic, Coal Miner's Daughter. LeAnn Rimes released this as a single from her self-titled album in 1999. Rimes' voice was often compared to the country legend's when she burst onto the country music scene in 1996 with her debut album, Blue, at age 13. Her version of "Crazy" landed at #36 on the UK Charts.


What city hosted the Beatles as the resident band at the Kaiserkeller and Top Ten Club?

Beatles Hamburg Beatles Hamburg Beatles Hamburg is a Travel Guide that Features: 30 Beatles sites in the city of Hamburg and the surrounding area Detailed directions by train or by car from Central Station Sketch maps marking exact locations of Beatles sites 100% Offline Content - No GPS/WiFi Needed Images of each Beatles site for street-level recognition Connection of each site to Beatles history From 1960 until today, including solo appearances Nearly every venue in which any member of the Beatles played, stayed, or recorded is included. See the places of Beatles legend, from the docks of those famous Hamburg photographs, through the art schools they attended, to the police station in St. Pauli and Tremsbuttel Castle. Explore the Beatles by Exploring Hamburg with Beatles Hamburg. Beatles France For Kindle $2.99 Some Beatles Sites in Hamburg, Germany During a business trip in 1994, my wife and I had the opportunity to visit several Beatles-related locations in Hamburg. As you probably know, various members of the Beatles performed at several clubs around Hamburg's Reeperbahn before the Beatles attained world-wide recognition. During this time, Pete Best was on the drums and the band included Stu Suttcliff. The Beatles, or Silver Beetles, etc., made their first recordings as a group in Hamburg, at Hamburg-Harburg 1961, June 22-23, the most famous of which were with Tony Sheridan. Stu also fell in love with Astrid and stayed on as an art student, before meeting his untimely end. The list that follows is not a complete list of all Beatles-related places in Hamburg. I got the information from the Beatles Encyclopedia. Where possible I have included the street addresses, and if I have been there, some information on how to find these sites. Unfortunately, I did not find street addresses for some of the sites, making this information less valuable. I take no responsibility for incorrect information, disclaimer, disclaimer etc. I would appreciate any updates that people can send me, although I doubt I will ever return to Hamburg. The Reeperbahn. Those not familiar with this street of strip clubs, peep shows and sex theaters will be in for quite a shock. The area is pretty rough, even to a native New Yorker, with an interesting street crowd. Supposedly it is safe at night, but we went early in the day to avoid the riff-raff. If leaving from the Central Train Station (Hauptbahnhof) take the U3 line towards Barmbek. Get off at St. Pauli and go to the right, down Reeperbahn. Top Ten Club - 136 Reeperbahn. This building has a large blue sign and is still the Top Ten Club. It is right next to the Reeperbahn stop of the S1 or S3 line. We found it interesting to walk up the strip from St. Pauli station however. The Beatles played there 1 April 1961 - 1 July 1961 and lived upstairs. This is also where they were living when George got deported. The upstairs attic area is just the kind of place you'd imagine they'd live. It was under renovation when we were there. Continue following the Reeperbahn for another block or so, looking for Grosse Freiheit. There is a bar at the head of that street with the street name clearly marked, can't miss it. Turn right down the Grosse Freiheit and continue for a block or so. Kaiserkeller - 38 Grosse Freiheit. This one is almost too famous to talk about. The Beatles played there 31Jul60 and 4Oct to 30Nov60. The club has gone back to calling itself Kaiserkeller and it is clearly marked. There is also a little plaque (in German) explaining the site. Indra Club - 64 Grosse Freiheit. This is the first club in Hamburg in which the Beatles played. We got the wrong building during our trip, but a friend has since sent me the correct address and a photo. Star Club - 39 Grosse Freiheit. Another very famous place. The Beatles played there 13Apr to 31May62, 1to 14Nov62 and 18 to 31Dec62. There is a big old church next door to the building complex, across the street from the Kaiserkeller. To find #39 you need to go through the archway to an off-the-street court. It is no longer the


The Isley Brothers' hit was called Behind a ... what?

Way Back Attack - The Isley Brothers Links and Terms THE ISLEY BROTHERS All the members of Lincoln Heights, Ohio's Isley family had musical talent. The four oldest of six brothers set out to be a gospel quartet, but after an unforeseen tragedy, the other three decided to change direction and try performing secular music as a rhythm and blues act. With the addition of other family members throughout the years, The Isley Brothers have impacted the music industry and infused the rest of the world with funk for more than a half century. Father O'Kelly sang in church and his sons followed suit; in 1954 the original foursome consisted of 16-year-old O'Kelly, Jr. with younger siblings Rudolph, Ronald and 12-year-old Vernon Isley. A major setback occurred later that year when Vernon was riding his bike to school. He was hit by a truck and killed, a devastating setback for the entire family that numbed ambition and halted any momentum the brothers had gained to that point. After about a year, with the support of their parents, the three began emulating pop and rhythm and blues acts (an obvious temptation considering their ages) in place of the gospel influences they had been brought up with. Taking a risk, the brothers traveled by bus to New York City in 1956 and approached several record labels. With a well-integrated vocal expertise beyond their years, they managed to get a single released by the small Teenage label, and it was a promising one at that; uptempo doo wop tune "The Cow Jumped Over the Moon" (with a lead vocal by Ronald reminiscent of Frankie Lymon) was backed with "Angels Cried," identified on the label as a "blues ballad." The record caught the ear of George Goldner, who signed them to a limited contract and released singles by the group during 1957 and '58 on various labels he owned. The songs displayed a versatile range for three so young: "The Drag" (a guitar scorcher on Mark-X, written by future electric organ expert Dave "Baby" Cortez ) and self-penned pleasures like "Don't Be Jealous" (a tight harmony ballad on the Cindy label) and "I Wanna Know (Baby Will You Be Mine)" (a looser midtempo jam with rockin' piano, released on Gone, the label misspelling Isley as "Isely"), Ronald's vocal performance on the latter clearly indicating the group's soon-to-be trademark sound in its early stages. In 1959, the family moved from the Cincinnati suburb they called home to Englewood, New Jersey, minutes away from the Hudson River leading into New York. With instant access to the big city, and several singles in the can, came the opportunity to hound the big label honchos on a daily basis until someone gave in. Producers Hugo Peretti and Luigi Creatore were familiar with the Isley name, if not some of their recordings, thanks to an earlier association with Goldner. Recently hired by RCA Victor to help target the younger music fans that were suddenly a much larger percentage of the record buying population, they signed the brothers and produced their RCA debut, the Aaron Schroeder-Sid Wayne tune "I'm Gonna Knock on Your Door" (the record didn't spark much interest but was a hit three years later by teen singer Eddie Hodges). They got their next shot with "Shout"...and music fans across the U.S. were treated to a strong dose of the trio's infectious energy. Jackie Wilson had become a star by that time and the Isleys were big fans. While appearing at the Howard Theater in Washington, D.C., they launched into a rendition of Wilson's hit "Lonely Teardrops," taking the 'Say you will' part of the lyrics (by Berry Gordy and Tyran Carlo) and attaching their own ad-libbed addendum, 'You know you make want to shout!...shout!' several dozen times with gradually increasing recklessness. A promotional rep for RCA was there that night and made note of the effect it had on the audience, similar to the buoyant enthusiasm found in churches when the spirit moves the congregation. Hugo and Luigi recorded a four and a half minute, two-part single of the song, the brothers brought in the organist from their church in Cincinnati to give it a gos


Who singer-guitarist's backing band was The Bruvvers?

About Joe | Joe Brown About Joe A brief history Biography of Joe Brown It was over half a century ago in 1958, as Lonnie Donegan was ruling the charts with ‘Rock Island Line’, that Joe joined his first band, the Spacemen Skiffle Group, at the age of 17. Three years later he was the resident lead guitarist on producer Jack Good’s groundbreaking TV show Boy Meets Girls. He found himself backing visiting American stars like Gene Vincent, Eddie Cochran and Johnny Cash. (and that’s Joe’s rockabilly lead guitar you can hear all over Billy Fury’s classic 1960 album “The Sound Of Fury”....) 1960 was the year when the Spacemen became Joe Brown’s backing band The Bruvvers as the hits began to roll in, starting with ‘The Darktown Strutters Ball’ and reaching a crescendo in 1962/3 with ‘A Picture Of You’, ‘It Only Took A Minute’ and ‘That’s What Love Will Do’. During this time it was JOE who was headlining British tours that featured Del Shannon, Dion, the Crystals… and an up and coming band called the Beatles. The Beatles of course changed the whole pop music landscape but Joe was already broadening his own horizons. He starred in the long running West End musical “Charlie Girl” in 1965 and has since appeared in “Sleuth” and “Pump Boys And Dinettes” which in 1985 he directed and took on tour. And there were films “What A Crazy World”, “Three Hats For Lisa”, “Spike Milligan Meets Joe Brown” and “Mona Lisa” with Bob Hoskins. Not to mention his regular TV appearances which included three series of “The Joe Brown Show” on ITV and his Radio 2 stints either side of the new millennium including presenting “The Rock Island Line”, “Good Rockin’ Tonight”, “Let It Rock” and “Joe Brown’s Sunday Roast” which was a regular programme on BBC Berkshire Throughout these five decades Joe was touring regularly, playing up to 200 shows a year. In the early Seventies he formed Brown’s Home Brew which included his late wife Vicki and Joe Fagin they released two acclaimed albums and toured the UK twice. Joe has continued to headline his own tours as well co-headlining the hugely successful “Solid Gold” tours and with Marty Wilde in the nineties. Since the new millennium Joe has been confounding people’s expectations of him on a regular basis. In 2002 he appeared at the Glastonbury Festival and endeared himself to the latest generation of rock fans. Later that year he won a brand new world-wide audience with his show-stopping appearance at “The Concert For George”, staged at London’s Royal Albert Hall in tribute to George Harrison with a stellar cast of musicians. Joe was asked by Olivia Harrison & Eric Clapton to sing ‘Here Comes The Sun”, ‘That’s The Way It Goes’ and to close the show with ‘I’ll See You In My Dreams’, a favourite song of George’s. Joe describes the show as “the highlight of my career” and the DVD of the concert has now been certified many times Platinum in the USA whilst the film has also been shown around the world and continues to be repeated. If Joe has any regrets, it’s that he hasn’t released enough records. Indeed between the mid Seventies and the early Nineties he scarcely released any. That changed when he took on new management and adopted a new approach in1990. He very soon had a new live album “Joe Brown Live “ released in 1990 and signed a publishing deal with Warner Chappell in Nashville in 1991 when he started going there to write songs for the country market. That led to the release of the “Come On Joe” album in 1993, recorded at his own home studio, produced by his son Pete and featuring his touring band – guitarist Neil Gauntlett, bassist Rico Nilo and drummer Phil Capaldi. Come On Joe was followed closely by an ‘In Concert’ video and in 1997  "56 And Taller Than You Think”. His next studio album “On A Day Like This” was recorded in Nashville in 1998 and produced by Roger Cook with whom Joe would later write a musical about Skiffle which premiered in 2005. That same year Joe agreed a deal whereby his records would be released by Track Records, the first album released under this agreement being “Hittin’ The Hi Spots


Which Rolling Stones guitarist died in a swimming pool in 1969?

Police to Review 1969 Death of Rolling Stones' Brian Jones - Rolling Stone Police to Review 1969 Death of Rolling Stones' Brian Jones All Stories Police will reportedly review their investigation into the 1969 death of the Rolling Stones' guitarist Brian Jones after uncovering new evidence related to the case, the BBC reports . Jones was found dead in his swimming pool in East Sussex in 1969, just months after leaving the Rolling Stones at age 27. While the coroner originally ruled that Jones had drowned while under the influence of drugs and alcohol, it's long been rumored that he was possibly murdered. More News Behind the Rolling Stones' 1969 U.S. tour: Photos including some of Brian Jones' final shots with the band. Police decided to reexamine the case after 600 pages of documents regarding Jones' death were handed over to authorities by investigative journalist Scott Jones, the AP reports . Scott Jones — no relation to Brian — reportedly spoke to Janet Lawson, the woman who discovered Brian Jones' body on July 2nd, 1969. Lawson, who died last year, told Scott Jones that before Brian's death, she saw the guitarist and builder Frank Thorogood fooling around in the pool. Soon after, Lawson saw Thorogood shaking badly as he reentered the house, and then she found Jones in the pool. Look back at more musicians lost before their time. Thorogood was also the central suspect in a pair of 1994 books about Jones' death. In Who Killed Christopher Robin?, Terry Rawlings writes that Thorogood took responsibility for killing Jones on his death bed in 1993, telling Rolling Stones' driver Tom Keylock, "It was me that did Brian. I just finally snapped." Keylock died last month. Why the police will reexamine the case now following Lawson's statements as opposed to Thorogood's statements from his death bed remain unclear.