The 80`S Music

The music 1980s or The 80`s, as also is called, is characterized by the emergence in its contents (especially at the beginning of this decade) all expertise from sound elements of innovative electronic instruments with relatively "new" sounds. It is imperative to recall that time many of these musical instruments, especially the keyboards, began to be popular in their prices ever more accessible.

One of gender that more emphasis has been on the ' 80s was disk music or dance music, completely opposed to classical music. Of rhythmic called dance in discos, the 1980s were characterized by a move especially made dance dance and moved. It favoured the interaction of individuals and couples in discos why discos specialized in this type of music causing fury and were fashion.

A variety and diversity of musical groups appeared in the above-mentioned decade. The highlights include to Pink Floyd, Alan Parson Project, Supertamp, Duran Duran,-has, it is last a little more oriented to the pop, The Clash, R.E.M., among others. The soloists include Cyndi Lauper and Siouxsie and the Sioux, among others. No one can argue that this time gave us a novel character in their musical offering that left us for the years to come many and valuable lessons.

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Pink Floyd





Pink Floyd were an English rock band who, in the late 1960s, earned recognition for their psychedelic and space rock music, and in the 1970s, as they evolved, for their progressive rock music. Pink Floyd's work is marked by philosophical lyrics, sonic experimentation, innovative album cover art, and elaborate live shows. One of rock music's most critically acclaimed and commercially successful acts, the group has sold over 200 million albums worldwide including 74.5 million certified units in the United States. Pink Floyd influenced contemporary artists such as Nine Inch Nails and Dream Theater.
Pink Floyd were formed in 1965, soon after Syd Barrett joined The Tea Set, a group that consisted of architecture students Nick Mason, Roger Waters, Richard Wright and Bob Klose. Klose left shortly after, but the group had moderate mainstream success and were a popular fixture on London's underground music scene. The erratic behaviour of Barrett prompted his colleagues to add guitarist and singer David Gilmour to the line-up. Following Barrett's departure, bass player and singer Roger Waters became the lyricist and dominant figure in the band, which thereafter achieved worldwide critical and commercial success with the concept albums The Dark Side of the Moon, Wish You Were Here, Animals, and rock opera The Wall.
Wright left the band in 1979, and Waters in 1985, but Gilmour and Mason (joined by Wright) continued recording and touring under the name Pink Floyd. Waters used legal means to try to keep them from using the name, declaring Pink Floyd a spent force, but the parties reached an out-of-court settlement allowing Gilmour, Mason and Wright to continue as Pink Floyd. The band again enjoyed worldwide success with A Momentary Lapse of Reason (1987) and The Division Bell (1994), and Waters continued as a solo musician, releasing three studio albums. Although for some years relations between Waters and the remaining three members were sour, the band reformed for a one-off performance at Live 8.

History external image Wrigt.jpg external image Mason.jpg external image Gilmour.jpg external image Waters.jpg external image Barrett.jpg (DIE)

Early years

Origins

Nick Mason (b. 27 January 1944) and Roger Waters (b. 6 September 1943) met at the Regent Street Polytechnic in London, where both were studying architecture. They spoke for the first time with each other in 1963 when Waters asked to borrow Mason's car. Mason played drums in a band called The Hotrods in his teenage years, and Waters played guitar. Both were avid fans of Radio Luxembourg and their shared tastes led to a friendship based on a mutual appreciation of music.
The pair first played together in a band formed by Keith Noble and Clive Metcalfe, along with Noble's sister Sheilagh, an occasional singer in the band. They were joined later by fellow student Richard Wright (b. 28 July 1943). With the addition of Wright the band became a sextet, and took the name Sigma 6. Wright's girlfriend Juliette Gale was often a guest artist, and Waters initially played rhythm guitar, before moving to bass. Early gigs were for private functions, and the band rehearsed in a tearoom in the basement of Regent Street Polytechnic. Sigma 6 played songs by The Searchers as well as material written by fellow student Ken Chapman, who became their manager and songwriter. Wright taught himself to play guitar aged 12, and also played trumpet and piano, but uncertain about his future he had enrolled at Regent Street Polytechnic in 1962. His first meeting with Waters had been when the latter asked to borrow a cigarette (a request Wright declined).He took private lessons in musical theory and composition at the Eric Gilder School of Music, and although Mason and Waters were competent students, Wright found architecture of little interest and he left the polytechnic after a year of study, moving to the London College of Music.
In September 1963 Mason and Waters moved into the lower flat of Stanhope Gardens, a house owned by a part-time tutor at the Regent Street Polytechnic, Mike Leonard. Leonard was a designer of light machines (perforated discs spun by electric motors to cast patterns of lights on the walls; these would be demonstrated in an early edition of Tomorrow's World), and for a time performed alongside the band, as a keyboardist. They used the front room of the flat for rehearsals, where all the equipment was permanently set up. Mason later moved out of the flat, and accomplished guitar player Bob Klose moved in. Their name changed several times, from the Megadeaths, to the Architectural Abdabs, and the Tea Set. Metcalfe and Noble left the band shortly thereafter.
Syd Barrett, then aged 17, arrived in London in the autumn of 1963, to study at Camberwell College of Art. Encouraged by his father, who died when Barrett was 14 years old, he learned to play the piano, the banjo, and the guitar. Keen to help her son get over the loss of his father, Barrett's mother encouraged his band, The Mottoes, to perform in their front room. Waters and Barrett were childhood friends, and Waters often visited such gigs. He joined the Tea Set in 1964, and moved into Stanhope Gardens alongside Klose and Water. Mason found him "delightful", and recalled their first meeting:

In a period when everyone was being cool in a very adolescent, self-concious way, Syd was unfashionably outgoing; my enduring memory of our first encounter is the fact that he bothered to come up and introduce himself to me.—Nick Mason,

As "The Pink Floyd Sound"

With the Tea Set lacking the vocals of Noble and Metcalfe, Klose introduced them to Chris Dennis, a technician with the Royal Air Force. During Dennis' tenure, the Tea Set acquired an alternative name—the Pink Floyd Sound. The name was derived from the given names of two blues musicians that Barrett had in his record collection—Pink Anderson and Floyd Council. On the spur of the moment, Barrett created it upon the discovery that another band also named Tea Set were to perform at one of their gigs.
Dennis was posted to Bahrain, thrusting Barrett into the spotlight as frontman. Minus Wright—who had taken a break from studying—they acquired studio time between 1964–1965. They recorded a cover version of "I'm A King Bee", and songs written by Barrett, using the recordings as promotional material. Meanwhile, Wright had recorded and published a song called "You're The Reason Why", for which he was paid an advance fee of £75. They later became the resident band at the Countdown Club near Kensington High Street in London, and played three sets of 90 minutes from late at night, until early the following morning. According to Mason, this period "… was the beginning of a realisation that songs could be extended with lengthy solos." They auditioned for the ITV programme Ready Steady Go! (whose producers expressed enough interest to invite them back into the studio audience the following week), another club, and two rock contests. Bob Klose left in 1965, at the behest of his father and college tutors, and Barrett took over on lead guitar.
They began to receive paid bookings including at the Marquee Club in March 1966 where they were watched by Peter Jenner. The band played mostly rhythm and blues songs, but Jenner was impressed with the strange acoustic effects that Barrett and Wright created during their performance. Jenner traced Waters and Mason to their flat,and with his business partner and friend Andrew King was subsequently invited to become their manager. Although the pair had little experience of the music industry, they shared an appreciation of music, as well as a childhood history. Using inherited money they set up Blackhill Enterprises and purchased new instruments for the band, as well as equipment which included a Selmer PA system.Under their guidance, they began performing on London's underground music scene, notably at a venue booked by the [[w/index.php?title=London_Free_School&action=edit&redlink=1|London Free School]] in Notting Hill. At the All Saints Hall they were confronted by an audience whose members were often under the influence of drugs, and who arrived with few or no expectations.Question and answer sessions would often be held following each performance. The Pink Floyd Sound felt encouraged to work on the instrumental excursions they had experimented with at the Countdown Club, and rudimentary light shows projected by coloured slides and domestic lights were used to powerful effect. To celebrate the launch of the Free School's magazine International Times, they performed at the opening of The Roundhouse, attended by 2000-strong crowd which included such celebrities as Alexander Trocchi, Paul McCartney, and Marianne Faithfull. Jenner and King's diverse array of social connections were meritorious, gaining the band important coverage in The Financial Times and The Sunday Times

At the launching of the new magazine IT the other night a pop group called the Pink Floyd played throbbing music while a series of bizarre coloured shapes flashed on a huge screen behind them. Someone had made a mountain of jelly which people ate at midnight and another person had parked his motorbike in the middle of the room. All apparently very psychedelic.—The Sunday Times,

By October 1966 the band were playing more of Barrett's songs, which would later feature on Pink Floyd's first album. Their relationship with Blackhill Enterprises was strengthened when they became full partners, each with an unprecedented one-sixth share. More gigs followed, including at the Commonwealth Institute, and one at a Catholic youth club whose owner refused to pay. At a magistrates' court a judge agreed with the owner, who claimed that the band's performance "wasn't music". This was not the only occasion on which they encountered such entrenched opinions, but they were better received at the UFO Club in London. They enjoyed playing there, and used the in-house lighting to good effect. Barrett's performances were exuberant, "… leaping around and the madness, and the kind of improvisation he was doing … he was inspired. He would constantly manage to get past his limitations and into areas that were very, very interesting. Which none of the others could do."The audience was receptive to the music they played, but unlike some of their spectators they remained drug-free —"We were out of it, not on acid, but out of the loop, stuck in the dressing room at UFO."
Although in 1967 Mason admitted that the psychedelic movement had "taken place around us—not within us",the Pink Floyd Sound were present at the head of a wave of interest in this new style of music. There was substantial interest from record companies, and steered by Joe Boyd in January 1967 they recorded several songs at Sound Techniques in West Hampstead, including "Arnold Layne", and a version of "Interstellar Overdrive". They also travelled to Sussex and recorded a short music film for "Arnold Layne". Despite early interest from Polydor, the band signed with EMI with a £5,000 advance, and Boyd was unfortunately left out of the deal

The Wall


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The Wall is the ninth studio album by English progressive rock group Pink Floyd. Presented as a double album, it was released on 30 November 1979. It was subsequently performed live, with elaborate theatrical effects, and adapted into a film.
The Wall is a rock opera that centres on the character, "Pink", who is largely based on bassist Roger Waters. Pink encounters obstacles throughout his life, beginning with the loss of his father during World War II, continuing with abuse from his schoolteachers, an overprotective mother, and the desertion of his wife—all of which factor into Pink's isolation from society, represented by the metaphorical "Wall" of the album title.
As with most of their previous albums, The Wall is a concept album, but deals largely with the theme of personal isolation. The concept was inspired by an event that occurred during the band's 1977 In the Flesh Tour, where Waters' frustration with the behaviour of the audience reached a point where he spat in the face of a fan near the stage. Waters would come to regret his actions and spoke of his desire to build a wall between himself and the audience. The Wall features a notably harsher and more theatrical style than their previous releases. During production of the album, keyboardist Richard Wright left the band, but returned to perform during later concert performances as a salaried musician. The Wall is one of the best-selling double albums of all time, and is in the top five best-selling albums time all US.




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Background

Pink Floyd's In the Flesh Tour was their first playing in large stadiums, and in July 1977—on the final date at the Montreal Olympic Stadium—a small group of noisy and excited fans in the front row of the audience irritated Waters to such an extent that he spat at one of them. Waters was not the only person who felt depressed about playing to such large audiences, as Gilmour refused to perform the band's usual twelve-bar blues encore. During a playfight backstage with manager Steve O'Rourke Waters injured his foot, and returning from the hospital to his hotel he spoke to Bob Ezrin and a psychiatrist sharing the car of his sense of alienation on the tour. He hated playing in stadiums, and told of how he sometimes felt like building a wall to separate himself from the audience.With both Gilmour and Wright now in France recording solo albums, and Mason producing Steve Hillage's Green, Waters busied himself writing new material.
The spitting incident became the basis for a new concept, based around the audience's separation from the performers on stage.In July 1977 the band reconvened at Brittania Row, where Waters presented them with two new ideas. The first was a ninety-minute demo given the provisional title Bricks in the Wall, and the other was what would later become his first solo album, The Pros and Cons of Hitch Hiking. The former was chosen to be their next album, although both Mason and Gilmour were initially cautious, as Waters' as yet had offered only a basic outline of the new concept. By September 1977 however, an escalating financial situation became critical. In 1976 the band had become involved with financial advisers [[w/index.php?title=Norton_Warburg_Group&action=edit&redlink=1|Norton Warburg Group]] (NWG), who became their collecting agents, and financial planners. Between £1.6M and £3.3M of the band's money was invested in high-risk venture capital schemes, primarily to reduce the band's exposure to high UK taxes. It soon became obvious that the band were losing money. Not only did NWG invest in failing businesses, they also left the band liable for tax bills as high as 83% of their income. They terminated their relationship with NWG, demanding the return of any cash not yet invested.
The band therefore urgently needed to earn money, and the scope of the new concept (26 tracks across four sides) was such that it needed to be a double album. Bob Ezrin was therefore brought in as co-producer. Ezrin had recently worked on Peter Gabriel's debut solo album, and was recommended by Waters' girlfriend, Carolyne Christie, who had worked as Ezrin's secretary. From the start, Waters left Ezrin in no doubt as to who was in charge: "You can write anything you want. Just don't expect any credit". Ezrin, Waters, and Gilmour read Waters' concept, keeping what they liked, and discarding what they thought was not good enough. Waters and Ezrin worked mostly on the story, improving the concept. Ezrin then wrote a forty-page script, and presented it to the rest of the band: "The next day at the studio, we had a table read, like you would with a play, but with the whole of the band, and their eyes all twinkled, because then they could see the album." Ezrin broadened the storyline to distance it from the autobiographical work that Waters had written, and instead based it on the central character of Pink. Although Waters wrote most of the material on the album, Gilmour contributed to songs like "Run Like Hell", and "Young Lust". Ezrin also co-wrote "The Trial". Engineer Nick Griffiths later said of the Canadian producer: "Ezrin was very good in The Wall, because he did manage to pull the whole thing together. He's a very forceful guy. There was a lot of argument about how it should sound between Roger and Dave, and he bridged the gap between them."

Concept and storyline

The album's overriding themes are based upon the causes and implications of self-imposed isolation, symbolised by the metaphorical wall of the title. The songs create an approximate storyline of events in the life of the protagonist, Pink. His father dies during Pink's childhood (Waters' father was killed during World War II). He is oppressed by his overprotective mother, and tormented at school by tyrannical, abusive teachers. Each of these traumas becomes "another brick in the wall". Pink becomes a rock star, his relationships marred by infidelity, drug use, and outbursts of violence. As his marriage crumbles, Pink finishes building the wall, completing his isolation from human contact.
Now hidden behind his freshly completed "wall", Pink's crisis escalates, culminating in an hallucinatory on-stage performance where he believes that he is a fascist dictator, and that his concerts are like Neo-Nazi rallies, where he sets his men on fans he considers unworthy. Tormented with guilt, he places himself on trial, his inner judge ordering him to "tear down the wall", opening Pink to the outside world. The album's end runs into its beginning with the closing words "Isn't this where..."; the first song on the album, "In the Flesh?", begins with the words "...we came in?"—with a continuation of the melody of the last song, "Outside the Wall"—hinting at the cyclical nature of Waters' theme.
The album includes several references to former band-member Syd Barrett. "Nobody Home" hints at Barrett's condition during Pink Floyd's abortive US tour of 1967, such as "wild, staring eyes", "Hendrix perm", and "elastic bands keeping my shoes on". The following song, "Comfortably Numb", is an allegory of Waters' experiences during the band's 1977 In the Flesh Tour, where he was injected with a muscle relaxant to combat the effects of hepatitis.


The Alan Parsons Project




The Alan Parsons Project was a British progressive rock band active between 1975 and 1990, founded by Eric Woolfson and Alan Parsons.

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Englishman Alan Parsons met Scotsman Eric Woolfson in the canteen of Abbey Road Studios in the summer of 1974. Parsons had already acted as assistant engineer on The Beatles' Abbey Road and Let It Be, had recently engineered Pink Floyd's The Dark Side of the Moon, and had produced several acts for EMI Records. Woolfson, a songwriter and composer, was working as a session pianist; he also composed material for a concept album idea based on the work of Edgar Allan Poe.
Parsons asked Woolfson to become his manager and Woolfson managed Parsons' career as a producer and engineer through a string of successes including Pilot, Steve Harley, Cockney Rebel, John Miles, Al Stewart, Ambrosia and The Hollies. Parsons commented at the time that he felt frustrated in having to accommodate the views of some of the artists, which he felt interfered with his production. Woolfson came up with the idea of making an album based on developments in the film business, where directors such as Alfred Hitchcock and Stanley Kubrick were the focal point of the film's promotion, rather than individual film stars. If the film business was becoming a director's medium, Woolfson felt the music business might well become a producer's medium.
Recalling his earlier Edgar Allan Poe material, Woolfson saw a way to combine his and Parsons' respective talents. Parsons would produce and engineer songs written by the two, and the Alan Parsons Project was born. Their first album, Tales of Mystery and Imagination, including major contributions by all members of Pilot, was a success. The song "The Raven" features lead vocals by actor Leonard Whiting, and, according to the 2007 remastered album liner notes, was the first rock song ever to utilize a digital vocoder, with Alan Parsons speaking lyrics through it.
Arista Records subsequently signed The Alan Parsons Project for further albums. Through the late 1970s and early 1980s, the group's popularity continued to grow (although they were always more popular in North America and Continental Europe than in their home country, never achieving a UK Top 40 single or Top 20 album), with singles such as "I Wouldn't Want to Be Like You", "Games People Play," "Time" (Woolfson's first lead vocal), and "Eye in the Sky", making a notable impact on the pop charts. After the #3 success of the last in the US (and #6 in Canada), however, the group began to fade from view. There were fewer hit singles, and declining album sales. 1987's Gaudi would be the Project's last release, though they did not know it at the time, and planned to record an album called Freudiana next.
Although the studio version of Freudiana was produced by Alan Parsons (and featured the regular Project backing musicians, making it an 'unofficial' Project album), it was primarily Eric Woolfson's idea to turn it into a musical. This eventually led to a rift between the two artists. While Alan Parsons pursued his own solo career and took many members of the Project on the road for the first time in a successful worldwide tour, Eric Woolfson went on to produce musical plays influenced by the Project's music. Freudiana, Gaudi and Gambler were three musicals that included some Project songs like "Eye in the Sky", "Time", "Inside Looking Out," and "Limelight." The live music from Gambler was only distributed at the performance site (in Moenchengladbach, Germany).
In 1981, Parsons/Woolfson and their record company Arista were stalled in contract renegotiations when on March 5 the two submitted an all-instrumental atonal album tentatively titled "The Sicilian Defence" (the name of an aggressive opening move in chess), arguably to get out of their contract. Arista's refusal to release said album had two known effects: the negotiations led to a renewed contract and the album has remained unreleased to this day.

"The Sicilian Defense was our attempt at quickly fulfilling our contractual obligation after I Robot, Pyramid and Eve had been delivered. The album was rejected by Arista, not surprisingly, and we then renegotiated our deal for the future and the next album, "The Turn of a Friendly Card". The Sicilian Defense album was never released and never will be, if I have anything to do with it. I have not heard it since it was finished. I hope the tapes no longer exist." Alan Parsons

However, in recent interviews, Woolfson did announce his intention of releasing one track from the never-released "Sicilian" album, which in 2008 did appear as a bonus track on a CD re-issue of the Eve album.
Parsons released titles under his name (Try Anything Once, On Air, The Time Machine, and A Valid Path), while Woolfson made concept albums named Freudiana (about Sigmund Freud's work on psychology) and [[w/index.php?title=Poe_-_More_Tales_of_Mystery_and_Imagination&action=edit&redlink=1|Poe - More Tales of Mystery and Imagination]] (continuing from the Alan Parsons Project's first album about Edgar Allan Poe's literature).
Tales of Mystery and Imagination was first remixed in 1987 for release on CD and included narration by Orson Welles which had been recorded in 1975 but arrived too late to be included on the original album. On the 2007 Deluxe Edition release, it is revealed that parts of this tape were used for the 1976 Griffith Park Planetarium launch of the original album, the 1987 remix, and various radio spots, all of which are The 'Project sound'
Most of the Project's titles, especially the early work, share common traits (likely influenced by Pink Floyd's The Dark Side of the Moon, on which Parsons was the audio engineer in 1973). They were concept albums, and typically began with an instrumental introduction which faded into the first song, often had an instrumental piece in the middle of the second LP side, and concluded with a quiet, melancholic, or powerful song. The opening instrumental was largely done away with by 1980; no later Project album except Eye in the Sky featured one (although every album includes at least one instrumental somewhere in the running order). The instrumental on that album, "Sirius", eventually became the best-known (or at least most frequently heard) Parsons instrumental because of its use as entrance music by various American sports teams, most notably by the Chicago Bulls during their 1990s NBA dynasty, also during the "Tunnel Walk" before every University of Nebraska football game, as well as during broadcasts of Pittsburgh Steelers games on their flagship station WDVE (which is coincidentally a classic rock station) just before the start of the game itself or the second half. It was also used as the entrance theme for Ricky Steamboat in pro wrestling of the mid 1980's.
The group was notable for using several vocal performers instead of having a single lead vocalist. Lead vocal duties were shared by guest vocalists chosen by their vocal style to complement each song. Woolfson sang lead on many of the group's hits (including "Time" and "Eye in the Sky") and the record company pressured Parsons to use him more, but Parsons preferred "real" singers, which Woolfson admitted he was not. In addition to Woolfson, Chris Rainbow, Lenny Zakatek, John Miles, David Paton and The Zombies' Colin Blunstone made regular appearances. Other singers, such as Arthur Brown, Procol Harum's Gary Brooker, Dave Terry aka Elmer Gantry, Vitamin Z's [[w/index.php?title=Geoff_Barradale&action=edit&redlink=1|Geoff Barradale]] and Marmalade's [[w/index.php?title=Dean_Ford&action=edit&redlink=1|Dean Ford]], have recorded only once or twice with the Project. Parsons himself only sang lead on one song ("The Raven") through a vocoder, and can be heard singing backup on a few others, including "To One in Paradise". Both of those songs appeared on Tales of Mystery and Imagination.
Although the vocalists varied, a small number of musicians worked with the Alan Parsons Project regularly. These core musicians contribute to the recognizable style of a Project song in spite of the varied singer lineup. Together with Parsons and Woolfson, the Project originally consisted of the group Pilot, with Ian Bairnson (guitar), David Paton (bass) and Stuart Tosh (drums). Pilot's keyboardist Billy Lyall also contributed. From "Pyramid" on, Tosh was replaced by Stuart Elliott of Cockney Rebel. Bairnson played on all albums and Paton stayed almost until the end. Andrew Powell appeared as arranger of orchestra (and often choirs) on all albums except "Vulture Culture", when he was busy composing the score of Richard Donner's film Ladyhawke. This score was partly in the Project style, recorded by most of the Project regulars, and produced and engineered by Alan Parsons. Powell also composed some material for the first two Project albums. From "Vulture Culture" onwards, [[w/index.php?title=Richard_Cottle&action=edit&redlink=1|Richard Cottle]] played as a regular member on synthesizers and saxophone.

The Project never played live during its career. This was because Woolfson and Parsons saw themselves mainly in the roles of writing and production, and also because of the technical difficulties of reproducing on stage the complex instrumentation used in the studio. In the 1990s things changed with the technology of digital samplers. The only live performance where the band was introduced as "The Alan Parsons Project" was at Night of the Proms 1990 (at the time of the group breakup), featuring all Project regulars except Woolfson who was present but behind the scenes, while Parsons stayed at the mixer except during the last song where he played acoustic guitar. Since 1994 Alan Parsons performed live acoustic guitar, keyboards and vocals, with various lineups called "Alan Parsons Live Project" distinctly from "The Alan Parsons Project" due to the breakup with Eric Woolfson.
Behind the revolving lineup and the regular sidemen, the true core of the Project was the duo of Parsons and Woolfson. Eric Woolfson was a lawyer by profession, but was a composer and pianist as well. Alan Parsons was a successful producer and accomplished engineer. Almost all songs on Project albums are credited to "Woolfson/Parsons."
According to SonyBMG, there are no plans to release The Sicilian Defence.

Acclaimed engineer Alan Parsons (The Beatles, Pink Floyd) made the leap to musician in the mid-70s with The Alan Parsons Project. Featuring a steady collective of players and a revolving cast of vocalists, the Project made orchestral pop concept albums that, because of their ambition and pretension, were aligned with the progressive rock movement. On any given APP album, you'll find instrumentals, pop songs and immaculate production; Robot, Eye, Card and Pyramid are the best of these. In the '90s, Parsons and Eric Woolfson (who together wrote all of the APP material) parted ways, with Parsons continuing to release albums under his own name.
Date
ALBUMS / Singles
1976 May
TALES OF MYSTERY AND IMAGINATION
1976 July
(The System of) Doctor Tarr and Professor Feathers
1976 October
The Raven
1976
To One In Paradise
1977 June
I ROBOT
1977 August
I Wouldn't Want To Be Like You
1977 December
Don't Let It Show
1977
Day After Day (The Show Must Go On)
1978 May
PYRAMID
1978 September
What Goes Up
1978
Pyramania
1979 August 27
EVE
1979 September
Damned If I Do
1979
You Won't Be There
1979
You Lie Down With Dogs
1980 November
THE TURN OF A FRIENDLY CARD
1980 November
Games People Play
1981 April
Time
1981
The Gold Bug
1981 October
Snake Eyes
1981
The Turn of a Friendly Card
1982 May
EYE IN THE SKY
1982 June
Eye In The Sky
1982
Old And Wise
1982
Psychobabble
1982
You're Gonna Get Your Fingers Burned
1983
You Don't Believe
1983 October
THE BEST OF THE ALAN PARSONS PROJECT
1984 February
Don't Answer Me
1984 May
Prime Time
1984 February 7
AMMONIA AVENUE
1985 February
Let's Talk About Me
1985 February
VULTURE CULTURE
1985
Sooner Or Later
1985
Days Are Numbers (The Traveller)
1985 November
STEREOTOMY
1986 February
Stereotomy
1986
Limelight
1987 January
GAUDI
1987
Standing On Higher Ground
1987
Closer To Heaven
1987
THE BEST OF THE ALAN PARSONS PROJECT VOLUME 2 (a/k/a LIMELIGHT)
1988
THE INSTRUMENTAL WORKS
1989 October 9
POP CLASSICS
1991
ANTHOLOGY
1993 October 26
TRY ANYTHING ONCE
1993
Turn It Up
1994
Oh Life (There Must Be More)
1994
Wine From The Water
1995 June 27
THE VERY BEST LIVE
1996 September 10
ON AIR
1996
Blown By The Wind
1996
Brother Up In Heaven
1996
So Far Away
1996
Fall Free
1997 July 15
THE DEFINITIVE COLLECTION (2-CD)
1998 February 9
GOLD COLLECTION
1999 July
THE TIME MACHINE
1999 July 27
ARISTA HERITAGE SERIES
1999 August 3
EYE IN THE SKY: THE ENCORE COLLECTION
2002 January 31
LOVE SONGS
2002 May 6
WORKS
2003 April 7
THE HITS
2003 June 17
PLATINUM & GOLD COLLECTION
2004 March 23
ULTIMATE
2004 May 19
EXTENDED VERSIONS
2004 August 24
A VALID PATH
2004
More Lost Without You
2005 May 24
THE DEFINITIVE COLLECTION
2005 June 7
THE BEST OF ALAN PARSONS (Prism)
2005 July 26
SILENCE AND I: THE VERY BEST OF THE ALAN PARSONS PROJECT
2007 June 26
THE ESSENTIAL ALAN PARSONS PROJECT
2009 January 13
BEST OF ALAN PARSONS PROJECT (Arista)


SUPERTRAMP




Supertramp


Supertramp were a British progressive rock band that released a series of top-selling albums in the 1970s and early 1980s.
Their early music included ambitious concept albums, from which were drawn a number of hits including "Goodbye Stranger", "Bloody Well Right", "The Logical Song", "Breakfast in America", "Dreamer", "Give a Little Bit","School", "It's Raining Again" and "Take The Long Way Home". Supertramp attained superstardom in the United States, Canada, most of Europe, Australia and Brazil, although they were not quite as popular in their home country, the UK. Nonetheless, the album Breakfast in America was a big hit there, reaching number three on the UK charts and featuring two top 10 singles.

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Beginnings

Backed by a Dutch millionaire named Stanley August Miesegaes, vocalist, pianist and ex-drummer Rick Davies used newspaper advertising in Melody Maker to recruit an early version of the band in August 1969, an effort which recruited vocalist/guitarist and keyboardist Roger Hodgson. Other members of this proto-Supertramp included Richard Palmer (guitar, balalaika, vocals) and Robert Millar (percussion, harmonica) . Initially, Roger Hodgson sang and played bass guitar (and, on the side, guitar, cello and flageolet). The band was called Daddy from August 1969 to January 1970, at which time this was changed to Supertramp, a name taken from W. H. Davies' book, The Autobiography of a Super-Tramp, published in 1908.
They were one of the first groups to be signed to the UK branch of A&M Records. The first album, Supertramp, was released on 14 July, 1970 in the UK and Canada only (it was first issued in the US in 1977). Although it was very intense and lyrical, it did not attract a large audience and few critics paid any attention to this first effort. Dave Winthrop (flute and saxophone) joined the group after the release of the first record and Supertramp was able to earn a slot on the bill of the Isle of Wight Festival 1970. Richard Palmer abruptly left six months after the album's release. Robert Millar suffered a nervous breakdown shortly afterwards. For the next album, Indelibly Stamped, released in June 1971 (in both UK and US), Frank Farrell (bass) , Kevin Currie (percussion) replaced Millar and Palmer, while Roger Hodgson switched to guitar. "Indelibly Stamped" featured rocking Beatlesque tunes, with vocal harmonies similar to Simon & Garfunkel songs (Davies now serving as the band's second lead singer, alongside Hodgson, who suggested that the band should have two lead vocalists), a more commercial approach and eye-catching cover artwork. Supertramp had established themselves as a "cult" band. Sales, however, failed to improve and sold even less than their debut. In early 1972, Miesegaes withdrew his support from the band after paying off debts. All members gradually quit except Hodgson and Davies.
These two first albums were later reissued during Supertramp's popularity peak and have maintained a certain appeal with die-hard fans. The first album is melancholic and quieter and the songs are spread out more than they were later on. Roger Hodgson once called it his favourite Supertramp album (though later he favoured Crime of the Century). The second album is their most traditionally rock album, and certainly their heaviest sound.

Initial success and commercial breakthrough

In late 1972, after being persuaded to carry on, Davies and Hodgson went on an extensive search for replacements, which first brought aboard Dougie Thomson (bass), who played with the band almost a year before auditions resumed to complete the line-up. In 1973, auditions restarted and brought in Bob Siebenberg, drums, and John Helliwell (saxophone, other woodwinds, occasional keyboards, backing vocals), completing the line-up that would create the group's defining albums, Hodgson would also begin playing keyboards in the band in addition to guitar, usually acoustic and electric pianos on his own compositions. The classic Supertramp keyboard is a Wurlitzer electric piano (model 200A) with its unmistakable bright sound and biting distortion when played hard.
A lost single, "Land Ho" was the first recording by the reformed Supertramp. It was not included on "Crime of the Century" and has never been reissued in its original form.
Crime of the Century, released in September 1974, began the group's run of critical and commercial successes, hitting number four in Britain, supported by the iconic countercultural opening track "School", and the top-10 single "Dreamer". Its B-side "Bloody Well Right" hit the US Top 40 in May 1975, peaking at #35. Siebenberg would later comment that he thought the band hit its artistic peak on this, their third album, though their greatest commercial success would come later.
The band continued with Crisis? What Crisis? released in November 1975. It achieved good though not overwhelming commercial success. The following album, Even in the Quietest Moments, released in April 1977 spawned their hit single "Give a Little Bit" (#15 U.S.), and the FM radio staple Fool's Overture. During this period, the band eventually relocated to the United States and moved steadily from the progressive styles of their early albums towards a more song-oriented pop sound.
This trend reached its zenith on their most popular album, Breakfast in America in March 1979, which reached Number 3 in the UK and Number 1 in the United States and spawned four successful singles, "The Logical Song" (#6 U.S.), "Take the Long Way Home" (#10 U.S.), "Goodbye Stranger" (#15 U.S.), and "Breakfast in America". The album has since sold over 18 million copies worldwide.
The run of successes was capped with 1980s Paris, a 2-LP live album, in which the band stated its goal of improving on the studio versions of their songs. Instead of focusing on songs from the hugely successful Breakfast in America, it included nearly every song from Crime of the Century, another testament to the importance of that album in the group's development. Initially, it was supposed to be a show recorded in Quebec City, Canada, but A&M vetoed the idea for a "more mainstream city". Also in 1980, the song "Dreamer" was finally released as a single in the U.S., where it reached #15.

Later career

Though Supertramp's songs later in the band's career were credited to both Roger Hodgson and Rick Davies, each wrote separately. Hodgson and Davies' differing singing and songwriting styles provided these albums with an interesting counterpoint, contrasting Davies' determined blues-rockers and songs of broken relationships ("Another Man's Woman", "From Now On", "Goodbye Stranger") with Hodgson's wistful introspection ("Dreamer", "School", "Fool's Overture", "The Logical Song"), but Hodgson felt constrained by the arrangement and left the band after the tour for their next album, ...Famous Last Words... (1982) which contained the Top 20 hit "It's Raining Again" and the Top 40 hit "My Kind of Lady". There was much speculation behind the reasons why Roger Hodgson left Supertramp. In an interview in the 90's Hodgson stated that family was the main reason he left the band. He also went on to say that his wife at the time and Rick Davies' wife did not get along very well and it became a big conflict for the group. He said there were never any real personal or professional problems between him and Rick Davies as some people thought.
Having left the band in 1983, Hodgson began a solo career, his biggest hit "Had a Dream (Sleeping With the Enemy)" coming from his first solo album In the Eye of the Storm, in 1984.
The Davies-led Supertramp soldiered on, releasing Brother Where You Bound the same year. This included a Top 30 hit single, "Cannonball", along with the title track, a 16-minute exposition on Cold War themes highlighted by guitar solos from Pink Floyd's David Gilmour. The album reached #21 on the US charts. 1987's Free as a Bird included more straightforward Davies rockers, including "I'm Beggin' You", which reached Number 1 on the US dance charts, a curious accomplishment for an "art rock" band.
After 1988's tour, Thomson left the band over a disagreement with Davies about the use of Hodgson-penned songs during live performances. One of the conditions of allowing Davies to continue with the name Supertramp was that no Hodgson songs would be performed. Hodgson was dismayed to attend a concert and find that the band was performing his songs such as "Take the Long Way Home" and "The Logical Song." These songs were usually sung by Crowded House's Mark Hart (Hodgson's replacement on stage), and the Scottish bass player was against this move. When Supertramp reunited in 1996, Thomson declined an invitation to return and eventually quit playing for good.
On April 14, 1993, Davies, Hodgson and Helliwell performed at a retirement dinner at the Beverly Hills Hilton in honor of A&M co-founder Jerry Moss. After this, Davies and Hodgson began working together again but Hodgson eventually pulled out of the sessions. In interviews published on his and other fan forums, Hodgson later claimed he had been more than willing to rejoin Supertramp, but only if Davies' wife, Susan, abstained from interfering in band affairs (an issue before Hodgson left). Sue Davies was in Artist Relations at A&M (welcoming the band and helping them settle) when Supertramp moved to Los Angeles in the mid-70s and, as the romance between Davies and her blossomed, she quit A&M and started managing the band. Having to deal with two Davieses instead of one increased Hodgson's frustrations and prompted his departure. Davies declined to exclude his wife from his professional affairs, and he and Hodgson have not worked together since.
In 1996, Davies re-formed Supertramp with former members Helliwell, Siebenberg and Hart, plus several new musicians. The result was Some Things Never Change, a polished effort which echoed the earlier Supertramp sound. This was released in March 1997. Ironically, that same year saw the release of Rites of Passage, Roger Hodgson's first solo album since Hai Hai in 1987. Rites of Passage was a live album featuring both new works from Roger as well as three Supertramp songs ("Take the Long Way Home", "The Logical Song" and "Give a Little Bit").
In an ironic reversal two years later, the re-formed Supertramp released a live album, It Was the Best of Times while Roger released a studio album. Open the Door. Another live album, Is Everybody Listening?, a recording of Supertramp at the Royal Albert Hall in 1975, was released in 2001.
Early 2002 saw the release of another album by Davies and Supertramp, Slow Motion (sold direct in North America). Another attempt to reunite the band, including Hodgson, fell apart in 2005.
Rick Davies has since left California and resides in Long Island (East Hampton).
In the past few years, Roger Hodgson has donated "Give a Little Bit" to raise funds for Tsunami Relief efforts and other causes. It's been used by the Red Cross, United Way, the Make a Wish Foundation, and The Oprah Winfrey show requested the use of "Give a Little Bit" as part of their ”Gift of Giving Back Program“. In the UK it was used during the "ITV Telethon".
2006 was a busy year for Roger Hodgson. Throughout the summer of 2006, he has been touring Europe (France, Belgium, Portugal, Denmark, Switzerland, and Germany), as well as the US (St. Paul, MN) and Canada (fall 2006) and his DVD "Take the Long Way Home – Live in Montreal" has gone Platinum and to the #1 spot in Canada, in its first 7 weeks of release.
He has also been asked to mentor Canadian Idol’s Top 7 contestants, alongside Dennis DeYoung (a founding member of the group Styx).
In March 2006, Roger Hodgson was honoured for his song "Give a Little Bit" at the 23rd Annual ASCAP awards in Los Angeles. The American Society of Composers, Authors and Publishers gave the award in acknowledgment of the song being one of the 50 most played songs of 2005.
Roger Hodgson appeared solo at the Diana Memorial Concert at Wembley Stadium on 1 July 2007. The band were one of the late Princess of Wales' favourites.
In 2008, Supertramp's music was set to be featured in the film adaptation of Irvine Welsh's best-selling novel [[wiki/Ecstasy:_Three_Tales_of_Chemical_Romance|Ecstasy: Three Tales of Chemical Romance]].

Supertramp discography||||||~ Releases ||
[[#Studio_albums|↙]]Studio albums
11
[[#Live_albums|↙]]Live albums
4
[[#Compilation_albums|↙]]Compilation albums
4
[[#Singles|↙]]Singles
28