#simon napier-bell
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lenetaylor · 6 months ago
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Towards the end of any Scotch of St James evening, most people noticeably flagged. I’d usually sneak away to a seat by the wall and collapse in a half-awake, half-asleep daze, with the music throbbing erotically and my mind sliding drunkenly from image to image in a gentle circular motion. One night, I remember slipping softly off my chair and under the table. I lay there – comfortable and happy. After a while I opened my eyes, and there, crawling towards me through a forest of under-the-table legs, was John Lennon. He came up to me on all fours and stopped. I managed to slur out a question. ‘What you doing, John?’ He fixed me with a long, serious stare. ‘I’m looking for my mind,’ he said, and turned and crawled away again.
-- From You Don't Have to Say You Love Me by Simon Napier-Bell
(The Scotch of St. James was the most popular nightclub for the rich and famous in the Swinging Sixties.)
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rockingreads · 1 year ago
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Simon Napier-Bell:
You Don't Have to Say You Love Me (1982)
Black Vinyl, White Powder: The Real Story of the British Music Industry (2001)
I'm Coming to Take You to Lunch: A Fantastic Tale of Boys, Booze and How Wham! Were Sold to China (2005)
Simon Napier-Bell managed The Yardbirds and Marc Bolan in the ‘60s, Japan in the ‘70s, and Wham! in the ‘80s.
Though he committed his fair share of shameless P.R. stunts, same as other hype-seeking ‘60s contemporaries like Robert Stigwood, Andrew Loog-Oldham, and Kit Lambert, Napier-Bell was candid enough to share every last sordid detail in his first book, You Don’t Have to Say You Love Me.
Whatever part of the music industry you might have worked in (management, labels, publishing, etc.), when Napier-Bell turns his ruthlessly caustic but spot-on accusations your way, I guarantee that you WILL squirm!
Not only is this book essential reading, it’s a laugh-riot.
I can’t and won’t impose the same “must-read” status upon Simon’s commendable but very flawed attempt to recount the entire history of the British music industry in his second book, Black Vinyl, White Powder.
Here, his deep knowledge and razor-sharp insights are frequently undermined by his personal tastes, professional biases, sizable blind-spots, and the same devil-may-care glibness that works so well elsewhere.
Not so much in a supposedly serious historical account, and it doesn't help that Napier-Bell's "history" ends along with the 20th Century, before the digital revolution changed everything.
So I suggest reaching for I'm Coming to Take You to Lunch instead, as this is Napier-Bell’s irreverent recounting of how he combined his primary obsessions — music, food, and the Far East — to make Wham! the first Western pop act to perform in communist China.
Along with the other books here, this one also sheds an important light on the LGBTQ+ community’s underrated influence and contribution to the entertainment industry over the last century.
Featured Records:
The Yardbirds: Having a Rave Up With The Yardbirds (1965)
T.Rex: Electric Warrior (1971)
George Michael: Faith (1987)
Buy from: Amazon / Amazon / Amazon
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mrepstein · 2 years ago
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[at the Scotch of St. James] There were always one or two people there whom no one quite knew. One young lady, for instance, presented herself to the world as a living alternative to Vogue magazine - a dazzling personification of all that was chic and trendy. Covered with Cartier, she talked to anyone who’d let her in a deep guttural accent and with a demonic passion that scattered ‘darlings’ two or three to a sentence. If Brian Epstein arrived with a new ‘discovery’ she’d be on top of him at once.
‘Brian darling, you look wonderful, how do you do it? My goodness, darling, you always look so young and superb.’
He’d flinch of course, and try to move away, but she was unstoppable.
‘And darling, who’s this beautiful boy with you? Where did you find someone so fabulous? He’s a sensation; I think he could be an enormous star.’
A few minutes later she’d be telling everyone, ‘Darling, that Brian Epstein, he has no taste at all. Such common little things he picks up.’
- Simon Napier-Bell (You Don't Have To Say You Love Me, 1982)
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odk-2 · 1 year ago
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Fresh - Stoned in Saigon (1970) Ray Singer / Simon Napier-Bell from: "Fresh Today" (LP) "Stoned in Saigon" / "Just a Note" (Single)
Rock/Pop | Anti-War | Satire
JukeHostUK (left click = play) (320kbps)
Personnel: Ray Singer: Vocals
Studio Musicians: Allan Gorrie Dolby Mullens Paul Korba Pete Wilsher Tyzac Fry
Arranged by Ray Singer / Simon Napier-Bell Producer by Ray Singer / Simon Napier-Bell
Recorded: @ The Olympic Studios (?) in London, England UK 1970
Single Released: on September 11, 1970
RCA Victor Records
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philcollinsenjoyer · 1 month ago
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"One night in America, Brian Epstein gave himself permission to live out his deepest fantasy—he slipped to the back, under cover of darkness, just another anonymous body in the ocean, and let himself go. "He told me that just once he allowed himself to go to the back and stand at the back with all the girls in a concert in America," pop manager Simon Napier-Bell told biographer Debbie Geller. "I think it was one of those stadiums where there were probably 25,000, 30,000 people, and he just went into the crowd of girls and he just screamed like one of the girls, which he said is what he'd always wanted to do from the first minute he'd ever seen them. He had spent his life being restrained and wearing suits and suddenly he just screamed and became the mad fan he wanted to be." Any fan who claims they don't share this desire has to be lying. When I listen to Hollywood Bowl, I do not imagine being one of the Beatles; I fantasize about being the girls in the upper-balcony cheap seats, ripping out my hair and shrieking[...]."
- Rob Sheffield, Dreaming The Beatles
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viir-tanadhal · 1 month ago
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Neil: …But then queerness, I don’t mind the word queer because it’s– Gay always felt, to me which I used to protest about, to have a sort of cultural agenda that was a bit happy-clappy, of sort of clubs and hi-NRG music, even though I’ve liked hi-NRG music. And whereas queer has gone back to sort of mysterious otherness of homosexuals, which is the term I actually prefer, which used to exist far more. Have you seen these books edited by Peter Parker? They’re two amazing books, you’ll love them, they’re anthologies called Some Men in London. There’s one [that] goes from ‘45 to 1961 or something and the other is ‘59 to ‘67 when it’s legalized. And gay life was just so much… underground and I came to London at the end of that. You know my friend Chris Dowell and I once got thrown out of the Regent Palace Hotel ‘cause they thought we were rent boys and we were thrilled to pieces, of course.
Jake Shears: [laughs]
Neil: We were 18 and we looked quite, really probably younger actually. And of course there were rent boys , I was sort of impervious to that at that point. Gay life was so… you know, public toilets and cruising and obviously some of these things still go on but, you know, Grindr I sort of think got rid of it all. There’s a sort of rich erotic culture that I sort of miss and I think it’s a culture of the streets and it was queer. And also, with queer, you go back to Oscar Wilde, and all house music and show business is so queer. You know we had a gay manager Tom Watkins, Brian Epstein was gay, Simon Napier-Bell… Actually even the Rolling Stones’s manager, Andrew Loog Oldham, was he gay or bisexual or something? The whole thing is really queer. I mean the Rolling Stones making that video in drag in 1966? Now that’s queer! In a way that “It’s a Sin” isn't queer. That's really queer because they're not gay or something but they're prepared to do that and be outrageous. Queer has kind of built in outrageousness I quite like.
"'It's a Sin' by Pet Shop Boys", Queer The Music: Jake Shears on The Songs That Changed Lives (Dec. 3, 2024)
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delivermytuneo6 · 2 months ago
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Books That Revolutionized the Music Business
The music industry is a constantly evolving ecosystem, shaped by trends, technologies, and influential figures. While many factors contribute to its transformation, certain books have played a pivotal role in revolutionizing how the music business operates. These books don’t just document the history of the industry; they have inspired shifts in thinking, fostered new approaches, and even challenged long-standing norms. Here, we explore some of the most groundbreaking works that have had a lasting impact on the music business.
The Power of Insightful Storytelling
One of the most notable works in this genre is Hit Men: Power Brokers and Fast Money Inside the Music Business by Fredric Dannen. First published in 1990, this book offers a gritty, no-holds-barred look at the inner workings of the music industry during its heyday. Dannen reveals how deals were made, hits were created, and careers were destroyed, often exposing the darker side of the business. By highlighting the influence of key figures in shaping the industry, Hit Men became a must-read for anyone seeking to understand the intricate web of power and money behind popular music. The book’s detailed analysis shed light on practices that were rarely discussed openly, prompting debates and reforms in how the business operates.
Demystifying the Industry for Artists and Professionals
Another groundbreaking work is Donald S. Passman’s All You Need to Know About the Music Business. Often referred to as the "Bible of the Music Industry," this book has educated countless musicians, managers, and executives about the complexities of contracts, royalties, and rights. Passman’s ability to break down legal and financial jargon into understandable language has empowered artists to negotiate better deals and avoid common pitfalls. Originally published in 1991, the book has been regularly updated to reflect changes in the industry, including the rise of streaming services and the digital revolution. Its impact lies not only in the knowledge it imparts but also in the sense of control it gives readers over their careers.
Challenging Traditional Models
In the digital age, the music business has undergone a seismic shift, and books like The Future of Music: Manifesto for the Digital Music Revolution by David Kusek and Gerd Leonhard have been instrumental in shaping discussions about these changes. Published in 2005, this book was ahead of its time, predicting the rise of streaming platforms and the decline of traditional record sales. Kusek and Leonhard argued that the future of music lies in access rather than ownership, a concept that has become a reality with platforms like Spotify and Apple Music. By offering a roadmap for navigating this new landscape, the book has inspired both optimism and innovation in the industry.
Understanding the Hit-Making Process
Another influential book is The Song Machine: Inside the Hit Factory by John Seabrook. Published in 2015, this work delves into the formulaic process behind today’s chart-topping hits. Seabrook explores the global network of songwriters, producers, and executives who work together to craft the next big single. By revealing the meticulous, almost scientific approach to creating pop hits, The Song Machine challenges the romantic notion of the lone artist and highlights the collaborative, corporate side of music. This book has been particularly influential in helping readers understand the role of global music hubs like Stockholm in shaping the sound of modern pop.
Spotlighting Inequities in the Industry
The music business has long grappled with issues of inequality, and books like Black Vinyl, White Powder by Simon Napier-Bell have sparked important conversations. Published in 2001, this book examines the racial and cultural dynamics of the industry, exploring how certain genres and artists have been marginalized while others have been promoted to the forefront. Napier-Bell’s candid narrative forces readers to confront uncomfortable truths about the business, inspiring efforts to create a more equitable and inclusive industry.
The Rise of the Independent Artist
The advent of digital tools has empowered artists to take control of their careers, and books like How to Make It in the New Music Business by Ari Herstand have been pivotal in this shift. Herstand’s book provides a step-by-step guide for navigating the industry as an independent artist, covering everything from building a fan base to distributing music online. Published in 2016, this book has become a cornerstone for DIY musicians seeking to succeed without the backing of major labels. Its emphasis on leveraging technology and social media has inspired a new generation of artists to forge their own paths.
Ethics and Accountability in the Music Business
The music industry has often been criticized for its lack of transparency and ethical practices. Books like Ripped: How the Wired Generation Revolutionized Music by Greg Kot have brought these issues to the forefront. Published in 2009, this book examines how the internet and digital piracy disrupted traditional business models, forcing the industry to adapt. Kot’s work highlights the ethical dilemmas faced by both artists and executives, encouraging readers to consider the broader implications of their decisions.
Inspiring the Next Generation
One of the reasons these books continue to resonate is their ability to inspire future generations of music professionals. Whether it’s Passman’s practical advice, Kusek and Leonhard’s visionary outlook, or Seabrook’s behind-the-scenes revelations, these works provide invaluable guidance for navigating the complexities of the industry. They challenge readers to think critically about their roles, question established norms, and embrace innovation.
Conclusion
The music business is as much about artistry as it is about commerce, and the books that have revolutionized the industry reflect this duality. From exposing hidden truths to predicting future trends, these works have shaped how the industry operates and how it is perceived. They serve as essential reading for anyone looking to understand or participate in the music business, offering both knowledge and inspiration. As the industry continues to evolve, new books will undoubtedly emerge to document and influence its next chapter, but the works discussed here will remain foundational in shaping the narrative of the music business.
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goalhofer · 3 months ago
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2024 olympics New Zealand roster
Athletics
James Preston (Wellington)
Sam Tanner (Papamoa)
Georgie Beamish (Hastings)
Hamish Kerr (Dunedin)
Ethan Olivier (Vereeniging, South Africa)
Jack Gill (Auckland)
Tom Walsh (Timaru)
Connor Bell (Auckland)
Zoe Hobbs (New Plymouth)
Maia Ramsden (Addis Ababa, Ethiopia)
Camille French (Hamilton)
Imogen Ayris (Auckland)
Eliza McCartney (Auckland)
Olivia McTaggart (Auckland)
Maddison-Lee Wesche (Auckland)
Tori Peeters (Cambridge)
Laura Bruce (Christchurch)
Canoeing
Finn Butcher (Auckland)
Hamish Legarth (Hastings)
Max Brown (Cambridge)
Grant Clancy (Auckland)
Kurtis Imrie (Wellington)
Luuka Jones (Tauranga)
Lucy Matehaere (Dunedin)
Lisa Buck (Ōhope)
Aimee Fisher (Rotorua)
Alicia Hoskin (Gisborne)
Olivia Brett (Auckland)
Tara Vaughan (Auckland)
Climbing
Julian David (Tauranga)
Sarah Tetzlaff (Tauranga)
Cycling
Laurence Pithie (Christchurch)
Corbin Strong (Invercargill)
Sam Dakin (Auckland)
Aaron Gate (Auckland)
Keegan Hornblow (Nelson)
Tom Sexton (Invercargill)
Campbell Stewart (Palmerston North)
Sam Gaze (Tokoroa)
Rico Bearman (North Harbour)
Niamh Fisher-Black (Nelson)
Kim Cadzow (Tauranga)
Ellesse Andrews (Christchurch)
Shaane Fulton (Hamilton)
Rebecca Petch (Te Awamutu)
Ally Wollaston (Waikato)
Bryony Botha (Auckland)
Emily Shearman (Palmerston North)
Nicole Shields (Clyde)
Samara Maxwell (Taupō)
Leila Walker (Cambridge)
Diving
Elizabeth Roussel (Auckland)
Equestrian
Clarke Johnstone (Matangi)
Tim Price (Rangiora)
Melissa Galloway (Tuamarina)
Jonelle Price (Rangiora)
Field hockey
Dom Dixon (Hawke's Bay)
Brad Read (Auckland)
Malachi Buschl (Dunedin)
Scott Boyde (Brisbane, Australia)
Dane Lett (Carterton)
Simon Child (Auckland)
Charlie Morrison (Christchurch)
Joe Morrison (Christchurch)
Jacob Smith (Wellington)
Sam Lane (Temuka)
Simon Yorston (Christchurch)
Nic Woods (Hamilton)
Kane Russell (Dunedin)
Blair Tarrant (Timaru)
Sean Findlay (Taradale)
Hugo Inglis (Dunedin)
Hayden Phillips (Levin)
Isaac Houlbrooke (Auckland)
Leon Hayward (Darwin, Australia)
Golf
Ryan Fox (Auckland)
Daniel Hillier (Wellington)
Ko Bo-Gyung (Orlando, Florida)
Gymnastics
Dylan Schmidt (Auckland)
Georgia-Rose Brown (Melbourne, Australia)
Maddie Davidson (Christchurch)
Judo
Moira Koster (Christchurch)
Sydnee Andrews (Camberley, U.K.)
Rowing
Tom Mackintosh (Hastings)
Dan Williamson (Beachlands)
Phillip Wilson (Wellington)
Robbie Manson (Hamilton)
Jordan Parry (Tauranga)
Matt Macdonald (Auckland)
Ollie Maclean (Auckland)
Tom Murray (Blenheim)
Logan Ullrich (Brisbane, Australia)
Emma Twigg (Napier)
Kate Haines (Hamilton)
Alana Sherman (Auckland)
Brooke Francis (Te Kauwhata)
Lucy Spoors (Christchurch)
Phoebe Spoors (Christchurch)
Jackie Kiddle (Wellington)
Shannon Cox (Whangārei)
Jackie Gowler (Raetihi)
Kerri Williams (Raetihi)
Davina Waddy (Christchurch)
Rugby
Scott Curry (Rotorua)
Brady Rush (Kerikeri)
Tone Shiu (Napier)
Akuila Rokolisoa (Lautoka, Fiji)
Dylan Collier (Ōpōtiki)
Ngarohi McGarvey-Black (Rotorua)
Fehi Fineanganofo (Auckland)
Andrew Knewstubb (Wellington)
Regan Ware (Tokoroa)
Tepaea Cook-Savage (Kaitaia)
Moses Leo (Auckland)
Leroy Carter (Tauranga)
Tevarn Webber (Hamilton)
Sione Molia (Pukekohe)
Michaela Blyde (New Plymouth)
Jazmin Hotham (Hamilton)
Sarah Hirini (Feilding)
Tyla King (Auckland)
Jorja Miller (Timaru)
Manaia Nuku (Hamilton)
Mahina Paul (Whakatāne)
Risealeaana Pouri-Lane (Auburn, Australia)
Alena Saili (Porirua)
Theresa Stefano (Auckland)
Stacey Fluhler (Papakura)
Portia Woodman (Kawakawa)
Sailing
Josh Armit (Auckland)
Lukas Walton-Keim (Auckland)
Tom Saunders (Auckland)
Isaac McHardie (Hamilton)
William McKenzie (Auckland)
Micah Williamson (Hamilton)
Greta Pilkington (Auckland)
Justina Kitchen (Auckland)
Joanna Aleh (Auckland)
Molly Meech (Auckland)
Erica Dawson (Auckland)
Shooting
Owen Robinson (Morrinsville)
Chloe Tipple (Christchurch)
Soccer
Alex Paulsen (Auckland)
Michael Boxall (Auckland)
Sam Sutton (Auckland)
Tyler Bindon (Los Angeles, California)
Finn Surman (Christchurch)
Joe Bell (Christchurch)
Matthew Garbett (Porirua)
Ben Old (Wellington)
Ben Waine (Wellington)
Sarpreet Singh (Auckland)
Jesse Randall (Wellington)
Kees Sims (Bracknell, U.K.)
Lukas Kelly-Heald (Wellington)
Jay Herdman (Invercargill)
Matthew Sheridan (Wellington)
Fin Conchie (Hamilton)
Lachlan Bayliss (Darwin, Australia)
Oskar Van Hattum (New Plymouth)
William Gillion (Auckland)
Isaac Hughes (Wellington)
Anna Leat (Auckland)
Kate Taylor (Christchurch)
Mackenzie Barry (New Plymouth)
Catherine Bott (Wellington)
Meikayla Moore (Christchurch)
Malia Steinmetz (Auckland)
Michaela Foster (Hamilton)
Macey Fraser (Rangiora)
Gabi Rennie (Rangiora)
Indiah-Paige Riley (Albany Creek, Australia)
Katie Kitching (Well, U.K.)
Victoria Esson (Christchurch)
Rebekah Stott (Papamoa)
Katie Bowen (Auckland)
Ally Green (Sydney, Australia)
Jacqueline Hand (Auckland)
Milly Clegg (Auckland)
Grace Jale (Auckland)
Annalie Longo (Auckland)
Surfing
Billy Stairmand (Raglan)
Saffi Vette (Gisborne)
Swimming
Kane Follows (Auckland)
Taiko Torepe-Ormsby (Christchurch)
Cameron Gray (Auckland)
Lewis Clareburt (Wellington)
Nina Brown (Auckland)
Eva Morris (Tauranga)
Laticia-Leigh Transom (Brisbane, Australia)
Erika Fairweather (Dunedin)
Eve Thomas (Auckland)
Vanessa Ouwehand (Auckland)
Caitlin Deans (Dunedin)
Tennis
Lulu Sun (Geneva, Switzerland)
Erin Routliffe (Caledon, Ontario)
Triathlon
Dylan McCullough (Auckland)
Hayden Wilde (Whakatāne)
Ainsley Thorpe (Auckland)
Nicole Van Der Kaay (Rotorua)
Weightlifting
David Liti (Auckland)
Wrestling
Tayla Ford (Christchurch)
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qnewsau · 10 months ago
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Robert Stigwood: the greatest showman
New Post has been published on https://qnews.com.au/robert-stigwood-the-greatest-showman/
Robert Stigwood: the greatest showman
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Young gay South Australian Robert Stigwood hitchhiked to England in 1955 and went on to become one of the greatest entertainment impresarios in history; responsible for movies like Saturday Night Fever and Grease.
In Adelaide, young Robert had worked as a copywriter for an advertising agency. In England, he initially found work in an ‘institution for backwards teenage boys’. His main job was ‘preventing any flow of traffic’ between dorms after lights out. Unimpressed by his duties, he quit.
After setting up a theatrical agency with a friend, Robert Stigwood quickly became a revolutionary power in British pop music. By the end of the sixties, he managed supergroup Cream and the Bee Gees, a trio of young English brothers who grew up in Brisbane.
Wham! manager Simon Napier-Bell wrote that Robert Stigwood loved the music business and became the first British music tycoon.
“He became fascinated by it. He loved its trickery and tease, and the apparent ease with which money could be made … And what made Robert Stigwood different from his predecessors is that he expanded laterally. He didn’t remain simply a manager or an agent. He moved into music publishing as well, and into pop concert promotion. But his real contribution to the British music scene was independent record production.
“He was in every way the first British music business tycoon, involved in every aspect of the music scene, and setting a precedent that was to become the blueprint of success for all future pop entrepreneurs.”
Soon, he added stage musicals to his repertoire, producing shows like Hair, Jesus Christ Superstar and Evita. In 1975, he produced the film of the Who’s rock opera Tommy.
And then he bought the rights to a magazine article about the disco scene emerging from gay and black clubs in the US.
Saturday Night Fever
Tribal Rites of the New Saturday Night was mostly made up, but something in the article resonated with Robert Stigwood. He’d already signed television actor John Travolta to a million-dollar contract and commissioned the Bee Gees to write the soundtrack.
With its gay and black origins whitewashed, disco suddenly enjoyed commercial appeal.
The double-LP soundtrack for Saturday Night Fever became the biggest-selling soundtrack album ever released.
The movie and soundtrack popularised disco around the world and had a massive impact on popular culture.
As did Robert Stigwood’s follow-up, Grease, again starring John Travolta, this time teamed up with Australian singer Olivia Newton-John.
Although well-known to be gay, Robert Stigwood never came out. He died in 2016, aged 81.
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Gay Aussie was almost James Bond.
Aussie Living Treasure Reg Livermore.
Australian LGBTIQ Legends: Sir Robert Helpmann.
Dame Joan Hammond: coming out at 80.
For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.
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siddysthings · 1 year ago
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Sinéad O'Connor's former manager on her derailed comeback: 'It was going really well. Then she flew home… to have the operation.'
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olafsings · 2 years ago
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Music History Today: April 28, 2023
April 28, 1966: Dusty Springfield hit Number 1 on the UK singles chart with "You Don't Have To Say You Love Me."
Initially, this was an Italian song composed by Pino Donnagio. Springfield heard Donnagio perform it at the San Remo festival and asked her friend Vicki Wickham, who produced the British TV show Ready Steady Go, to write some English lyrics. With the help of Yardbirds manager Simon Napier-Bell, she did.
Springfield didn't read much into the lyrics of her previous hits "Wishin' And Hopin'" and "I Only Want to Be With You," where she sang from the perspective of a woman who was perhaps a little over-devoted to her man. This song had a much more profound effect on the singer. She said that he cried when she first heard the song.
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innervoiceart · 2 years ago
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Jeff Beck - A Man For All Seasons: In the '60s (docu 2015)
At the end of 1964, celebrated guitar maestro Eric Clapton left the Yardbirds, a band still searching for their first hit. His replacement was a player of very different capabilities - a technical and sonic pioneer who helped propel the group from their former status as a blues covers act to become one of the most innovative and daring musical collectives working in the UK. This film traces Jeff Beck's music and career throughout the 1960s - his formative influences and early groups, his work with The Yardbirds, his brief, bizarre reinvention by producer Mickie Most as a solo pop star, and the first, radical incarnation of the Jeff Beck Group, during which he played alongside vocalist Rod Stewart and then bass player Ron Wood. Featuring a plethora of rare performance and studio footage, exclusive interviews, contributions from those who worked with and alongside Jeff during this period and a host of other features, all of which combine to make this documentary - the first yet to singularly focus on Beck's career - a legitimate tribute and enthralling history of this often underrated musician, writer and performer. Includes new interviews with: Yardbirds first manager, Giorgio Gomelsky; the man who took over from Gomelsky, colourful music biz impresario, Simon Napier Bell; Jeff's fellow Yardbirds, Jim McCarty & Chris Dreja; musical conspirators from the early 70s, Tim Bogert & Max Middleton; the ever shocking Pamela Des Barres (aka Miss Pamela of The GTOs); legendary music press scribes, Charles Shaar Murray & Chris Welch; Beck's official biographer Martin Power and Uncut Magazine editor, Nigel Williamson.
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britrockaholic2 · 2 years ago
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【What Do You Want】" Roger the Engineer" THE YARDBIRDS
Roger the Engineer (originally released in the UK as Yardbirds and in the US, Germany, France and Italy as Over Under Sideways Down) is an album by English rock band the Yardbirds. Recorded and released in 1966, it is the only Yardbirds album with guitarist Jeff Beck on all tracks and contains all original material. It was produced by bassist Paul Samwell-Smith and manager Simon Napier-Bell.
Although the British edition is still officially titled Yardbirds by authoritative chart sources, such as Official Charts Company,it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the cover drawing of the record's audio engineer Roger Cameron by band member Chris Dreja.
It is the only Yardbirds album to appear in the UK Albums Chart, where it reached number 20. In the US, it reached number 52 on the Billboard 200 album chart. The album's best-known song, "Over Under Sideways Down", was released as single in May 1966, two months before the album.
The album is included in Robert Dimery's 1001 Albums You Must Hear Before You Die. In 2012, the album was ranked number 350 on Rolling Stone's list of the 500 greatest albums of all time.
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hootenanie · 2 years ago
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you could! and I wish I knew more about Simon Napier-Bell Kit Lambert Larry Parnes et all so I could make it
I forget who on here said "and not like the beatles with their loving gay manager, our gay manager hates us and we buy our jeans at walmart" but I think about it every time I listen to the velvet underground
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kulturegroupie · 2 years ago
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Jimmy Page and Keith Relf with Simon Napier-Bell
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guessimdumb · 4 years ago
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Keith Relf - Shapes in My Mind (1966)
Even though Keith Relf was the lead singer of the Yardbirds, this solo 45 really sounds nothing like them (except for his distinctive voice). This song would perhaps best be describes as baroque-psych.
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