Regarding Madonna's influence on the record industry and younger artists, Debbie Gibson 's then manager Doug Breitbart commented: "Madonna has brought back a really strong, melodic component to pop music. She has a very youth-oriented, up, bubbly, fun sound. The global success of True Blue marked the first time Madonna entering the Guinness Book of World Records in its edition, where she was dubbed as the most successful singer for True Blue also made social impact through its music videos, as author John E.
Semonche observed in his book Censoring Sex that Madonna pushed the envelope of what could be shown on television which resulted in increase of her popularity. She appeared as a stripper in the video, who escapes with a young boy from the strip parlour in the end. Author Douglas Kellner noted that the multiculturalism in her music videos and her culturally transgressive moves "turned out to be highly successful moves that endeared her to large and varied youth audiences.
Thousands of viewers submitted their recorded tapes which were mainly made using home-made video equipment and featured themselves or relatives as the actors. She became the first female artist to receive such career achievement from MTV. Credits adapted from the album's liner notes. From Wikipedia, the free encyclopedia. Whenever I feel like that — and it does get to me sometimes — I say 'Wait a minute, I'm supposed to be having a good time here, so where's the party?
I can still enjoy life. True Blue cemented Madonna's position as the most popular female artist of the s, on par with male superstars Michael Jackson left and Prince right.
Brian Elliot Madonna [b]. Madonna Stephen Bray. Madonna Gardner Cole Peter Rafelson. Madonna Patrick Leonard. Madonna Leonard Bruce Gaitsch. Madonna Bray Shep Pettibone [a]. Madonna Leonard Chris Lord-Alge [a].
Madonna — producerlead vocalsbackground vocals Jeffrey Kent Ayeroff — art direction Dave Boroff — saxophone Stephen Bray — producer, music programmingdrumskeyboardsdrum programming Keithen Carter — background vocals Paulinho da Costa — percussion Bruce Gaitsch — guitarelectric guitarrhythm guitar Siedah Garrett — background vocals Dann Huff — guitar Michael Hutchinson — engineering Jackie Jackson — background vocals Paul Jackson Jr.
List of best-selling albums List of best-selling albums by year UK List of best-selling albums in Brazil List of best-selling albums in France List of best-selling albums in Italy List of diamond-certified albums in Canada List of European number-one hits of List of number-one albums from the s New Zealand List of number-one albums in Australia during the s List of LP albums of Canada List of number-one albums of U.
List of UK Albums Chart number ones of the s. Petersburg Times. September 5, The Dallas Morning News. Belo Corporation. September 18, Diario Co Latino in Spanish. Archived from the original on July 28, Retrieved March 20, July 13, Retrieved April 21, Alfred Publishing. Retrieved February 28, Retrieved March 21, Los Angeles Times. Los Angeles: Aperture Foundation : 71— December 26, Retrieved April 6, Orange Coast.
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Radio Swiss Charts in German. Hung Medien. June 1, Rolling Stone. Slant Magazine. Retrieved February 26, November 15, Archived from the original on July 7, Retrieved February 25, Irish Recorded Music Association. June 19, Retrieved February 24, Retrieved March 26, The Wichita Eagle. November 23, Retrieved April 1, October 4, Retrieved March 29, The New York Times. The Houston Chronicle. Retrieved March 30, VRT Top December 20, Archived from the original on April 9, December 12, March 7, Chicago Sun-Times.
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Retrieved January 3, El Mercurio in Spanish. Retrieved April 22, Houston Chronicle. Retrieved March 28, Retrieved March 31, Disc One 1. Intro announcements 2. Stage Announcements Disc Two 1.
Lady Madonna 3. I'm Down 4. Fool On The Hill 5. While My Guitar Gently Weeps 6. Here Comes The Sun 7. Maybe I'm Amazed Rain Blackbird Revolution Day Tripper Ticket To Ride I Wanna Hold Your Hand Hey Jude Encore: Birthday They were accompanied by a varying number of session musicians and some relatively consistent band members such as guitarist Ian Bairnson, arranger Andrew Powell, bassist and vocalist David Paton, drummer Stuart Elliott, and vocalists Lenny Zakatek and Chris Rainbow.
Parsons was an audio engineer and producer by profession, but also a musician and a composer. A songwriter by profession, Woolfson was also a composer, a pianist, and a singer. Woolfson came up with the idea of making an album based on developments in the film industry, where the focal point of the films' promotion shifted from film stars to directors such as Alfred Hitchcock and Stanley Kubrick.
If the film industry was becoming a director's medium, Woolfson felt the music business might well become a producer's medium. Parsons would produce and engineer songs written and composed by the two, and the first Alan Parsons Project was begun. The Project's first album, Tales of Mystery and Imaginationwhich was released by 20th Century Fox Records and included major contributions by all members of Pilot and Ambrosia, was a success, reaching the Top 40 in the US Billboard chart.
Through the late s and early s, the Project's popularity continued to grow. After those successes, however, the Project began to fade from view.
There were fewer hit singles, and declining album sales. The musical Freudiana Even though the studio version of Freudiana was produced by Parsons and featured the regular Project backing musicians, making it an 'unofficial' Project albumit was primarily Woolfson's idea to turn it into a musical. This eventually led to a rift between the two artists. While 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, Woolfson went on to produce musical plays influenced by the Project's music.
The Sicilian Defence InParsons, Woolfson, and their record label Arista, had been stalled in contract renegotiations when the two submitted an all-instrumental album tentatively titled 'The Sicilian Defence', named after an aggressive opening move in chess, arguably to get out of their recording contract.
Arista's refusal to release the album had two known LP the negotiations led to a renewed contract, and the album was not released at that time. The Sicilian Defence 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 Defence 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. In interviews he gave before his death in , Woolfson said he planned to release one track from the "Sicilian" album, which in appeared as a bonus track on a CD re-issue of the Eve album. Sometime later, after he had relocated the original tapes, Parsons had completely changed his mind about the album and announced that it would finally be released on an upcoming Project box set called The Complete Albums Collection in for the first time as a bonus disc.
Tales of Mystery and Imagination was first remixed in for release on CD, and included narration by Orson Welles which had been recorded inbut arrived too late to be included on the original album. On the deluxe edition release, it is revealed that parts of this tape were used for the Griffith Park Planetarium launch of the original album, the remix, and various radio spots, all of which were included as bonus material.
Sound "Sirius", eventually became the best-known, or, at least, the most frequently heard, of all Parsons songs. It was used as entrance music by various American sports teams, most notably by the Chicago Bulls during their s NBA dynasty. It was also used as the entrance theme for Ricky Steamboat in pro wrestling of the mids. Lead vocal duties were shared by guest vocalists chosen by their style to complement each song.
The record company pressured Parsons to use him more. However, Parsons preferred to use more technically polished and proficient singers, which Woolfson admitted he was not.
Parsons himself only sang lead on one song "The Raven" through a vocoder and backing on a few others, including "To One in Paradise". Both of those songs appeared on Tales of Mystery and Imagination A small number of musicians worked with the Alan Parsons Project regularly.
These core musicians contributed to the recognisable style of a Project song in spite of the varied singer line-up. 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 Culturewhen he was 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 Parsons.
Powell also composed some material for the first two Project albums. From Vulture Culture onwards, Richard Cottle played as a regular member on synthesizers and saxophone. Except for one occasion, the Project never played live during its original incarnation. 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 s things changed with the technology of digital samplers. The one occasion where the band was introduced as 'The Alan Parsons Project' in a live performance was at Night of the Proms in October at the time of the group's break-upfeaturing 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.
Sincea new version of the band has toured, with Parsons performing live acoustic guitar, keyboards and vocals, with various line-ups. The band currently features lead singer P. In a music career that spanned more than 40 years, Entwistle was best known as the original bass guitarist for the English rock band The Who.
He was the only member of the band to have formal musical training. Entwistle's instrumental approach used pentatonic lead lines, and a then-unusual treble-rich sound "full treble, full volume" created by roundwound RotoSound steel bass strings.
He was nicknamed "The Ox" and "Thunderfingers," the latter because his digits became a blur across the four-string fretboard. According to the Biography Channel, Entwistle is considered by many to be the best rock bass guitarist who ever lived, and is considered to have done for the bass what Jimi Hendrix did for the guitar. His father, Herbert, played the trumpet and his mother, Maud 29 November — 4 March , played the piano. He did not enjoy the experience and after joining Acton County Grammar School aged 11, switched to the trumpet, moving to the French horn when he joined the Middlesex School's Symphony Orchestra.
The group only played one gig together, before they decided that rock 'n' roll was a more attractive prospect. Daltrey was aware of Entwistle from school, and asked him to join as a bass guitarist for his band, the Detours. Eventually, Roger Daltrey fired all the members of his band with the exception of Entwistle, Townshend and the drummer, Doug Sandom, a semi-pro player who was several years older than the others.
Roger Daltrey relinquished the role of guitarist to Pete Townshend ininstead becoming frontman and lead singer. InEntwistle married his childhood sweetheart Alison Wise and bought a large semi-detached home in Stanmore Middlesex filling it with all sorts of extraordinary artefacts, ranging from suits of armour to a tarantula spider.
His eccentricity and taste for the bizarre was to remain with him throughout his life, and when he finally moved out of the city into Stow-on-the-Wold in Gloucestershire, his bedroom mansion, Quarwood, resembled a museum. It also housed one of the largest guitar collections belonging to any rock musician. He was nicknamed "The Ox" because of his strong constitution and seeming ability to "Eat, drink or do more than the rest of them. Bill Wyman, bass guitarist for the Rolling Stones, described him as "the quietest man in private but the loudest man on stage".
Entwistle was one of the first to make use of Marshall stacks in an attempt to hear himself over the noise of his band members, who famously leapt and moved about on the stage, with Pete Townshend and Keith Moon smashing their instruments on numerous occasions Moon even used explosives in his drum kit during one memorable television performance on the "Smother Brothers Comedy Hour".
Townshend later remarked that Entwistle started using Marshall amplification to hear himself over drummer Keith Moon's rapid-fire drumming style, and Townshend himself also had to use them just to be heard over Entwistle. They both continued expanding and experimenting with their rigs, until they were both using twin stacks with new experimental prototype watt amps, at a time when most bands used 50— watt amplifiers with single cabinets.
All of this quickly gained the Who a reputation for being "the loudest band on the planet", a point well proven when they famously reached decibels at a concert in London, listed in the Guinness Book of World Records as the loudest rock concert in history. The band had a strong influence at the time on their contemporaries' choice of equipment, with Cream and the Jimi Hendrix Experience both following suit.
Entwistle eventually switched to using a Sound City rig, with Pete Townshend following suit later as well. Townshend points out that Jimi Hendrix, their new label mate, was influenced beyond just the band's volume.
Both Entwistle and Townshend had begun experimenting with feedback from the amplifiers in the mids, and Hendrix did not begin destroying his instruments until after he had witnessed the Who's "auto-destructive art". Entwistle's wry and sometimes dark sense of humour clashed at times with Pete Townshend's more introspective, intellectual work. Although he wrote songs on every Who album except for Quadrophenia, he was frustrated at Townshend not allowing him to sing them himself. As he said, "I got a couple [of songs] on per album but my problem was that I wanted to sing the songs and not let Roger sing them.
He was the only member of the band to have had formal musical training. In addition to the bass guitar, he contributed backing vocals and performed on the French horn heard on "Pictures of Lily"trumpet, bugle, and Jew's harp, and on some occasions he sang the lead vocals on his compositions.
He layered several horns to create the brass section as heard on songs such as "", among others, while recording the Who's studio albums, and for concerts, arranged a horn section to perform with the band. While Entwistle was known for being the quietest member of the Who, he in fact often exerted major influences on the rest of the band. For instance, Entwistle was the first member of the band to wear a Union Jack waistcoat.
This piece of clothing later became one of Pete Townshend's signature garments. Entwistle also experimented throughout his career with "Bi-amping," where the high and low ends of the bass sound are sent through separate signal paths, allowing for more control over the output.
At one point his rig became so loaded down with speaker cabinets and processing gear that it was dubbed LP Manhattan," in reference to the towering, skyscraper-like stacks, racks and blinking lights.
Hyde" ; and "Heaven And Hell", with which the Who opened their live shows between and Entwistle wrote "Cousin Kevin" and "Fiddle About" for the Who's album Tommy because Pete Townshend had specifically requested Entwistle to write 'nasty songs' that he felt uncomfortable with. The band was preoccupied with recording The Who by Numbers during the spring of and did not do any touring for most of the year, so Entwistle spent the summer performing solo concerts.
A talented artist, Entwistle held regular exhibitions of his paintings, with many of them featuring the Who. Inthe band went on the "Left for Dead" tour with Alan St. Jon joining on keyboards. After this second venture, the band released an album of highlights from the tour, titled Left for Live and a studio album Music from Van-Pires in The album featured lost demos of Who drummer Keith Moon together with newly recorded parts by the band.
Toward the end of his career he used a Status Graphite Buzzard Bass, which he had designed. From to earlyhe played as part of the Who. Entwistle also played at Woodstock '99, being the only performer there to have taken the stage at the original Woodstock.
As a side project, he played the bass guitar in a country-rock album project of original songs called the Pioneers, with Mickey Wynne on lead guitar, Ron Magness on rhythm guitar and keyboards, Roy Michaels, Andre Beeka on vocals, and John Delgado playing drums. The album was released on Voiceprint. Shortly before his death, Entwistle had agreed to play some US dates with the band including Nashville's Grand Ole Opry, following his final upcoming tour with the Who.
He also joined forces again with the John Entwistle Band for an 8-gig tour. This time Chris Clark played keyboards. Art Between andEntwistle attended dozens of art openings in his honour. He chatted with each collector, personalising their art with a quote and a sketch of "Boris". In earlyEntwistle finished what was his last drawing. Featuring Jimi Hendrix, Pete Townshend, Jimmy Page and Eric Clapton, Entwistle's style had evolved from simple line drawings and caricatures to a more lifelike representation of his subjects.
He was more confident and relaxed with his art and ready to share that with his collectors. He had gone to bed that night with a local stripper, who awoke the next morning to find Entwistle cold and unresponsive.
The Clark County medical examiner determined that his death was due to a heart attack induced by a cocaine overdose. Entwistle was 57 years old. He was cremated and his ashes were buried privately. A memorial service was held on 24 October at St. Martin-in-the-Fields, Trafalgar Square, London. Entwistle's huge collection of guitars and basses was auctioned at Sotheby's in London by his son, Christopher, to meet anticipated taxes on his father's estate. On Pete Townshend's website, Townshend and Roger Daltrey published a tribute, saying, "The Ox has left the building — we've lost another great friend.
Thanks for your support and love. Pete and Roger. One aspect of Entwistle's life emerged after his death that came as a surprise even to those closest to him, including the members of the Who. On the opening night of their Vapor Trails tour, which began in Hartford, Connecticut on 28 June the night after Entwistle's deathGeddy Lee of Rush dedicated the band's performance of the song "Between Sun and Moon" to Entwistle.
In a Red Hot Chili Peppers gig at Slane Castle inFlea got on stage wearing a similar version of the famous skeleton suit that Entwistle mostly had on during The Who tour as a tribute to the British bass player. He changed his style between songs and even during songs to alter the sound he produced. His fingering technique involved plucking strings very forcefully to produce a trebly, twangy sound.
He changed his thumb position from pick-up to the E string and occasionally even positioned his thumb near the pick-up. His plectrum technique involved holding the plectrum between his thumb and forefinger, with the rest of his fingers outstretched for balance.
The Who's studio recordings seldom did justice to Entwistle's playing, in part because he was better heard in concert, where he and Pete Townshend frequently exchanged roles, with Entwistle providing rapid melodic lines and Townshend anchoring the song with rhythmic chord work. At the same time, Townshend noted that Entwistle provided the true rhythmic timekeeping in the band, while Keith Moon, with his flourishes around the kit, was more like a keyboard player.
InEntwistle pointed out that, by modern standards, "the Who haven't got a proper bass player. It involved positioning his right hand over the strings so all four fingers could be used to tap percussively on the strings, causing them to strike the fretboard with a distinctive twangy sound. This gave him the ability to play three or four strings at once, or to use several fingers on a single string.
It allowed him to create passages that were both percussive and melodic. This method should not be confused with tapping or slapping, and in fact predates these techniques. Modern players such as Ryan Martinie of Mudvayne have used similar techniques. Entwistle can be seen using this technique in Mike Gordon's film, Rising Low.
Notable in his left-hand technique was his use of slides, positioning his left hand for octaves, and his use of the pentatonic when playing with the Who. Entwistle was notorious for the extremely high volume at which he played bass, going so far as to rig pick-ups to each string on his instruments.
This led to him developing hearing loss, similar to Townshend. Although not as public about his problems as Townshend, he reputedly had to rely on lip reading to understand speech in his later years.
Randy Bachman of Bachman-Turner Overdrive claimed that towards the end of his life, Entwistle mostly played by feeling the rush of air from his giant amp stacks. InGuitar magazine named him "Bassist of the Millennium" in a readers' poll. Considine ranked Entwistle No. October 9,d.
June 27, is probably the most influential bassist in rock music. Before Entwistle came along as a member of the Who, bassists seldom stood out for their playing and few casual listeners knew or cared what purpose the four-stringed instrument served -- after he came along, everyone knew. Born in Chiswick, Entwistle was a member of the Confederates with Pete Townshend while still in grammar school in Trained in both the piano and the French horn, he was one of the most musically accomplished teenagers ever to play in a skiffle band.
Invited by Roger Daltrey to join his band, the Detours, Entwistle accepted, and was joined soon after by Townshend. With the addition of drummer Keith Moon, this band, later renamed the High Numbers and finally the Who, became part of the second wave of successful British Invasion acts, getting their recording act together in and The Who had started out with Daltrey and Townshend sharing guitar chores, until Daltrey gave the instrument up.
The change to a single guitar was vital to Entwistle nicknamed "The Ox"who began to play extremely loud and complex parts to compensate for the absence of a rhythm guitar -- the result was that, from the Who's first singles LP their last, Entwistle's bass work was some of the most complex and audible in rock music. He played fills, countermelodies, and all manner of material, and stood out doing it.
Moreover, he tended to stand out precisely by not standing out: Townshend had his windmill strumming technique, Daltrey was the lead singer, and Moon was so animated on the drums that he was scary, but amid this pandemonium on stage, Entwistle simply stood there and played, providing an anchor that kept the band from flying off in all directions, both visually and musically.
From "Boris the Spider" and "Whiskey Man" to "My Wife," Entwistle had a knack for capturing dark humor that lightened up every Who album, and even managed to contribute a couple of songs to Tommy. As a solo musician, however, his career was somewhat more uneven than that of Townshend. Entwistle's first solo album, Smash Your Head Against the Wall was, in many ways, a lost Who album, recorded the way the bassist would've handled the group.
Nine months later, Entwistle's third solo album, Rigor Mortis Sets Inwas released, to indifferent sales and critical response. It was nine years before another Entwistle solo album, Too Late the Hero, would appear, Crazy Boy - Lady Ann - Vanity (Vinyl. By that time, the Who had long passed their prime Moon had died inand the group was in the midst of an awkward reassessmentbut the record still managed to peak at number 71 in America.
The band was to have retired following its farewell tour inbut Entwistle's financial problems, coupled with the seeming demand for a reunion, led to another tour inwhich set the bandmembers up well financially but was a critical disaster.
Christened simply the John Entwistle Band, the outfit featured guitarist Godfrey Townsend and keyboardist Gordon Cotton, with vocal chores divided between all the members. This group issued Left for Live in Marine Corps. To maintain a sense of home no matter where in the world they were residing, the Wilsons turned to music. We'd turn it way up and rock.
There was everything from classical music to Ray Charles, Judy Garland, Peggy Lee, bossa nova, and early experimental electronic music. Inshe graduated from Sammamish High School. Heart recorded their first album Dreamboat Annie in Vancouver in Both songs were co-written by Ann and Nancy Wilson. The Wilson sisters started a recording studio, Bad Animals, in Seattle in the mids. They formed a side band, the Lovemongers, which performed "The Battle of Evermore" on the soundtrack to the Cameron Crowe Nancy's then husband movie Singles, and later released a four-song EP.
The Lovemongers' debut album Whirlygig was released in Nancy also contributed. That same year, Ann and Nancy were on stage for a series of concerts in Las Vegas. It features an intimate interview conducted in Ann's home by Criss Cain along with twenty complete live song performances from the 'Ann Wilson of Heart' tour stop in Wilmington, North Carolina on March 21, The album features ten musically diverse tracks that pay tribute to some of Wilson's influences and friends who've recently passed and whose music poignantly lives on.
Inthe relationships ended; Ann stated that Michael had fallen in love with another woman and they parted. She revealed that in the s and into the early s she would starve herself and use diet pills to stay thin. By the time Heart made a comeback in the mids, Wilson had gained a significant amount of weight.
Fearing that Heart's lead singer's figure would compromise the band's image, record company executives and band members began pressuring her to lose weight. In music videos, camera angles and clothes were often used to minimize her size, and more focus was put on the more slender Nancy. Ann stated she began suffering from stress-related panic attacks due to the negative publicity surrounding her weight.
She underwent a weight-loss surgery called "adjustable gastric band" in January  after what she calls "a lifelong battle" with her weight. In NovemberAnn collapsed. Her sister went with her to the doctor, where Ann received news that she had liver problems resulting from drinking. While she had stopped using drugs at the birth of her daughter, she had increased her drinking; Nancy and other family members and crew had been concerned for some time.
They planned to confront her about it, and had even built a break into the tour to allow for treatment. Ann ultimately got therapy on her own. She stated she has been sober since The pair dated briefly in the s before rekindling their relationship years later. Ann Wilson was born on June 19,and her family moved often when she was young her father was a Marine Corps captainbefore eventually settling down in Seattle, Washington.
As a shy teenager due to a stutterWilson turned to music and singing as an outlet. By the late '60s, she became equally interested in such hard rockers as Led Zeppelin and folk artists as Joni Mitchell, and as a result, her vocals could adapt between the two styles.
The early '70s saw Ann join a local rock outfit, Heart then White Heartwhich led to her trying to unsuccessfully convince her younger sister, guitarist Nancy Wilson, to join up as well. Heart continued on, during which time Ann and Heart guitarist Mike Fisher began a romantic relationship. But before recording could begin on a debut album, Fisher had decided to vacate his guitar spot in favor of becoming the group's sound engineer, which led to Nancy being offered once more to join the group -- and this time, she accepted.
But the early '80s saw several big-name rock acts of the previous decade find a hard time adapting to the changing musical climate, which Heart fell victim to this period was a turbulent one in Ann's personal life as well, due to a less than amicable split with Fisher.
Although none of Heart's early-'80s albums performed up to the high standards set by their early releases, Wilson scored a hit with Loverboy singer Mike Reno on the duet power ballad "Almost Paradise" off the blockbuster motion picture soundtrack Footloose. Heart switched labels soon after and overhauled their sound and look to keep pace with younger MTV acts.
The ploy worked, as their self-titled comeback album spawned several big hits, including "What About Love," "These Dreams," "Never," and "Nothin' at All. Ann and Nancy launched a back-to-basics side band soon after, the Lovemongers -- debuting with a cover of Led Zeppelin's "The Battle of Evermore" on the Singles motion picture soundtrack in Inthe group issued a four-song EP titled after the aforementioned Zeppelin cover songbut it wouldn't be until that the group would issue a proper debut album, Whirlygig.
With Heart and the Lovemongers performing and issuing albums sporadically throughout the '90s and early 21st century, Ann turned her attention mainly toward parenthood. Career As performer Pack was co-founder, guitarist and main vocalist for the band Ambrosia. He co-wrote and sang lead on the band's first Top 20 hit, "Holdin' on to Yesterday" He then performed on Kansas's Vinyl Confessions album in Ambrosia's first album was engineered by Alan Parsons, who served as producer and engineer for their second; all four members of Ambrosia played on the first Alan Parsons Project album, Tales of Mystery and Imagination.
The album is notable for being the final recorded performance of Selena, made three weeks before her murder in Apriland for containing the final work by Marty Paich, who arranged the strings on Franklin's "Somewhere".
He served as producer and music director for President Bill Clinton's inaugurations in January and Shrine for his good friend. After close to two decades behind the scenes producing and writing songs for other artists, he returned to performing with 's Unborn. The Secret of Movin' On His effort, The Secret of Movin' On, was a tour de force of guest appearances and placed him well on his way down the musical comeback trail.
Anywhere You Go followed in He is characterized for his sophisticated and often-unorthodox music, flamboyant stage outfits, and his later experiments with interactive entertainment. He also produced innovative music videos, pioneered forms of multimedia, and was an early adopter and promoter of various computer technologies, such as using the Internet as a means of music distribution in the late s.
Although lesser known, "Couldn't I Just Tell You" was influential to many artists in the power pop genre.
Rundgren — He grew up in Upper Darby, a town that borders Philadelphia. He and bassist Carson Van Osten left before the band released its eponymous first album to form the garage rock group Nazz in with Thom Mooney drums and Robert "Stewkey" Antoni vocals and keyboards.
The group's second LP was originally intended as double album titled Fungo Batbut instead a truncated version was released as Nazz Nazz in April Rundgren and Van Osten left the band shortly after. Under Stewkey's leadership the band continued with new members untiland their label released a third LP Nazz III, on which most of Rundgren's vocals on the unreleased songs from the Fungo Bat sessions were replaced by Stewkey's.
Particularly during the early years of his career, Rundgren's songwriting was heavily influenced by the music of singer-songwriter Laura Nyro: "I knew her fairly well. I met her right after Eli and the Thirteenth Confession. I actually had arranged a meeting, just because I was so infatuated with her and I wanted to meet the person who had produced all this music.
We got along, and we were kind of friendly, and actually, after I met her the first time, she asked me if I wanted to be her band leader.
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