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1973 Barbra Streisand - Barbra Streisand and other musical instruments

2009-03-26 - extension: rar - size: 77 MB

1973 Barbra Streisand - Barbra Streisand and other musical instruments

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Rupert Holmes
Rupert Holmes (born February 24, 1947) is an American and British composer, songwriter and (More) Rupert Holmes (born February 24, 1947) is an American and British composer, songwriter and author of plays, novels and stories. He is best known for his number one pop hit "Escape" (subtitled "The Pia Colada Song") in 1979 and his Tony Award winning musical The Mystery of Edwin Drood. Life and career Holmes was born in Northwich, Cheshire, England. His father was a United States Army Warrant Officer and bandleader, and his mother was English, and both were musical. Holmes has dual American and British citizenship. The family moved, after a few years, to the northern New York City suburb of Nanuet, New York, where Holmes grew up and attended nearby Nyack High School and then the Manhattan School of Music (majoring in clarinet). Holmes' brother, Richard, is an opera singer based in New York City and is the principal lyric baritone of the New York Gilbert and Sullivan Players, sings roles with regional opera companies, such as Glimmerglass Opera, Lake George, and Virginia Opera, among others, and has appeared at the Metropolitan Opera. Holmes' daughter Wendy died suddenly in 1986, at the age of ten, of an undiagnosed brain tumor. He has two sons, Nick and Tim (who has autism). [edit] Songwriter and recording artist In his 20s, Holmes was a session musician (producing sessions, writing and arranging songs, singing and playing a few instruments), who wrote jingles and pop tunes (including for Gene Pitney, the Platters, the Drifters and television's The Partridge Family). As a recording artist, Holmes broke through with 1974's Widescreen on Epic Records, which introduced him as a presenter of highly romantic, lushly orchestrated "story songs" that told a witty narrative punctuated by clever rhymes and a hint of comedy. Barbra Streisand discovered this album and asked to record songs from it, launching Holmes on a successful career. She then used some of his songs in the movie A Star Is Born. His second, self-titled album led Rolling Stone to compare him to Bob Dylan in the sense of being an artist of unprecedented originality that commanded attention. Holmes' production skills were also in demand during this period, and he took on this role for Lynsey De Paul on her album "Tigers and Fireflies", which spawned the radio hit "Holiday Romance". That album also featured a song, the bluesy "'Twas", co-written by the two. "Escape" was included on his fifth album, Partners in Crime, and reached the Hot 100 No. 1 Hits of 1979. The song hit #1 late December 1979, becoming the last song to top the pop chart in the 1970s. The song fell to #2 for the first week of January, 1980 and then rebounded to #1 the next week, making Holmes the only artist to ascend to the #1 spot with the same song in different decades. Another popular song on that album was "Him". Holmes wrote a song for the band The Buoys called "Timothy," possibly the only top-40 song about cannibalism. Holmes was not in the band, but did play piano on the track. He also wrote "Give Up Your Guns", "The Prince of Thieves", "Blood Knot", and "Tomorrow" for the band. "Timothy" charted at #17 and "Give Up Your Guns" at #84. In 1986 Holmes's composition "You Got It All" (sometimes called "You Got It All Over Him") was a hit single for The Jets and later recorded by pop superstar Britney Spears, featured in her internationally released version of Oops!...I Did It Again (2000). In the 1980s and 1990s, Holmes also played in cabarets and comedy clubs, mostly in New York City, telling often autobiographical anecdotes illustrated with his songs. [edit] Playwright Cast album cover Rupert Holmes made his professional debut as a playwright with the musical The Mystery of Edwin Drood in 1985. Holmes was encouraged to write a musical by Joseph Papp and his wife after they attended one of Holmes's cabarets in 1983. The result, loosely based on the Charles Dickens unfinished novel, and inspired by Holmes's memories of English pantomime shows he attended as a child, would earn Holmes Tony Awards for both book and score, as well as Drama Desk Awards (for book, music, and lyrics), and various other honors. Holmes also orchestrated Edwin Drood himself, making him one of the few Broadway composers to write his own orchestrations. Because the original novel was left unfinished after Dickens's death, Holmes came up with the unusual idea of providing alternate endings for each character who is suspected of the murder, and letting the audience vote on a different murderer each night. The success of Drood would lead Holmes to focus more on writing plays (both musical and non-) in later years, though he has stated that he avoided musical theater for some time after the untimely death of his daughter. Holmes also wrote the Tony Award-nominated ("Best Play 2003") Say Goodnight, Gracie, based on the relationship between George Burns and Gracie Allen. The play, which starred Frank Gorshin, was that Broadway season's longest running play. He has also written the comedy-thriller Accomplice (1990), which was the second of Holmes's plays to receive an Edgar Award (following Drood.) Holmes has written a number of other shows, including Solitary Confinement (2002), which set a new Kennedy Center box office record before its Broadway run; Thumbs, the most successful play in the history of the Helen Hayes Theatre Company; and the musical Marty. Holmes also joined the creative team of Curtains, after the deaths of both Peter Stone (the original book-writer) and Fred Ebb (the lyricist). Holmes rewrote Stone's original book and contributed additional lyrics to the Kander and Ebb songs. Curtains is currently (as of 2007) playing at the Al Hirschfeld Theatre on Broadway, with David Hyde Pierce and Debra Monk in the lead roles. Holmes and the late Peter Stone won the 2007 Drama Desk Award for Outstanding Book of a Musical for Curtains. (Less)

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Lawnboy - Phish cover with theerion
Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic (More) Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place Phish was an American rock band noted for their extended jam sessions and musical improvisation. Formed at the University of Vermont in 1983, the band's four members performed together for the better part of 21 years until their breakup in August 2004. Their music had elements of a wide variety of genres[1], including, but not limited to, rock, jazz, and funk sounds. Each of their concerts was original in terms of the songs performed, the order in which they appeared, and the way in which they were performed. Although the group received little radio play or MTV exposure, Phish developed a large and dedicated following by word of mouth, via Phish.net (originally a mailing list, then a Usenet newsgroup, now a website), and the exchange of live recordings. The beginning (1983-1992) Phish was formed at University of Vermont in 1983 by guitarists Trey Anastasio and Jeff Holdsworth, bassist Mike Gordon and drummer Jon Fishman. For their first gig, a Halloween dance in the basement of the ROTC dormitory, the band was billed as Blackwood Convention, a reference to a bidding convention in contract bridge. Their second gig — and their first billed as Phish — was November 3 in the basement of Slade Hall at UVM,[2] though another source gives the date as December 2.[3] The band was joined by percussionist Marc Daubert in the fall of 1984;[4] he left the band early in 1985,[5] and Page McConnell joined on keyboards in September. Holdsworth left the group after graduation in 1986, solidifying the band's lineup of "Trey, Page, Mike, and Fish" — the lineup that would remain for the rest of the band's lifespan.[5] Following a prank at UVM with his friend and former bandmate Steve Pollak — also known as "The Dude of Life" — Anastasio decided to leave the college. With the encouragement of McConnell (who received $50 for each transferee), Anastasio and Fishman relocated in mid-1986 to Goddard College, a small school in the hills of Plainfield, Vermont.[5] Phish distributed at least six different experimental self-titled cassettes during this era, including The White Tape.[6] This first studio recording was circulated in two variations: the first, mixed in a dorm room as late as 1985, received a higher distribution than the second studio remix of the original four tracks, circa 1987. The older version was officially released as The White Tape in 1998.[7] By 1985, the group had encountered Burlington, Vermont, luthier Paul Languedoc, who would eventually design two guitars for Anastasio and two basses for Gordon. In October 1986, he began working as their sound engineer. Since then, Languedoc built exclusively for the two, and his designs and traditional wood choices have given Phish a unique instrumental identity.[8] Recently, however, Languedoc has begun crafting guitars on custom order and, on a very limited basis, to the general public through local music shops. Phish in the fall of 1986.As his senior project, Anastasio penned The Man Who Stepped Into Yesterday, a nine-song concept album that would become their second studio experiment. Recorded between 1987 and 1988, it was submitted in July of that year, accompanied by a written thesis. Elements of the story — known as Gamehendge — grew to include an additional eight songs. The band performed the suite in concert on five occasions: in 1988, 1991, 1993, and twice in 1994 without replicating the song list.[9] Beginning in the spring of 1988, the band began practicing in earnest, sometimes locking themselves in a room and jamming for hours on end. Dubbed "Okipa Ceremonies" (also spelled Oh Kee Pa), one such jam took place at Anastasio's apartment, and a second was at Paul Languedoc's house in August 1989.[10] The band attributes the sessions to Anastasio, who discovered the concept in the films A Man Called Horse and Modern Primitives.[11] As a result of this dedication, the band issued their first mass-released recording, a double album called Junta, later that year. On January 26, 1989, Phish played the Paradise Rock Club in Boston, Massachusetts. The owners of the club had never heard of Phish and refused to book them, so the band rented the club for the night. The show sold out due to the caravan of fans that had traveled to see the band.[12] By late 1990, Phish's concerts were becoming more and more intricate, often making a consistent effort to involve the audience in the performance. In a special "secret language,"[13] the audience would react in a certain manner based on a particular musical cue from the band. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!" in imitation of Homer Simpson. (help·info) In 1992, Phish introduced collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to create an original composition. In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left. On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers on mini-trampolines while playing their instruments.[14] Phish, along with Bob Dylan, The Grateful Dead, and The Beatles, was one of the first bands to have a Usenet newsgroup (rec.music.phish), which launched in 1991. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was complete: their first major studio release, enjoying far more extensive production than either 1988's Junta or 1990s Lawn Boy. These albums were eventually re-released on Elektra, as well. The first annual H.O.R.D.E. festival in 1992 provided Phish with their first national tour of major amphitheaters. The lineup, among others, included Phish, Blues Traveler, The Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana. Rise in popularity (1993-1995) Phish began headlining major amphitheaters in the summer of 1993. That year, the group released Rift packaged as a concept album and with heavy promotion from Elektra. In 1994, the band released Hoist. To promote the album, the band made their only video for MTV, "Down With Disease", airing in June of that year. On Halloween of that year, the group promised to don a fan-selected "musical costume" by playing an entire album from another band. After an extensive mail-based poll, Phish performed the 30-song, self-titled Beatles classic — better known as The White Album — as the second of their three sets at the Glens Falls Civic Center in upstate New York. Following the death of Grateful Dead frontman Jerry Garcia in the summer of 1995 and the appearance of "Down With Disease" on Beavis and Butthead, the band experienced a surge in the growth of their fan base and an increased awareness in popular culture. Poster for Phish's 1995 Halloween extravaganzaIn their tradition of playing a well-known album by another band for Halloween, Phish contracted a full horn section for their performance of The Who's Quadrophenia in 1995. Their first live album — A Live One — which was released during the summer of 1995 became Phish's first RIAA certified gold album in November 1995.[15] During this fall tour, the band challenged their audience to two games of chess, with each show of the tour consisting of a pair of moves. The band made their move during the first set, and, during the break between sets, the audience members could vote on their collective move at the Greenpeace table. The audience conceded the first game at the November 15 show in Florida, and the band conceded the second at their New Year's Eve concert at Madison Square Garden. Having played only two games, the score remains tied at 1-1.[16] This year-end concert would later be named as one of the greatest concerts of the 1990s by Rolling Stone magazine.[17] Cultural icons (1996-2000) Phish retreated to their Vermont recording studio and recorded hours and hours of improvisations, sometimes overlaying them on one another, and used those tracks as a basis to write most of the songs on the second half of Billy Breathes, which they released in the fall of 1996. Alongside traditional rock-based crescendos, the album has more acoustic guitar than their previous records, and was regarded by the band and some fans[18] as their crowning studio achievement. That summer, they mounted their first two-day festival — The Clifford Ball — at a decommissioned Air Force base in Plattsburgh, New York. Between 70,000 and 80,000 people were in attendance; MTV was on-hand to document the experience. In Phish's own makeshift city, Great Northeast Productions created an amusement park, restaurants, a post office, playgrounds, arcades, and movie theaters, and for two days Plattsburg AFB was the ninth largest city in New York. Aside from six "traditional" sets, the band rode a flatbed truck through the campground, serenading the audience at 3 a.m.[19] The concert's production company went on to host six more Phish festivals. Jams were becoming so long that several 1997 sets contained only four songs; their improvisational ventures were developing into a new funk-inspired jamming style. Vermont-based ice cream conglomerate Ben & Jerry's launched "Phish Food" that year and proceeds from the flavor are donated to the Lake Champlain Initiative. Part of Phish's new non-profit foundation, The WaterWheel Foundation was also comprised of two other now-defunct branches: The Touring Branch and the Vermont Giving Program.[20] The Great Went, Phish's second large-scale festival, was held that summer at Loring Air Force Base in Limestone, Maine, just miles from the Canadian border. The band drew 65,000 people, qualifying the festival to be the largest city in Maine.[21] Band and audience collaborated yet again in a colossal work of art: individual pieces of art by fans were connected to a large piece of art by the band. A giant matchstick was lit, burning the resultant tower to the ground.[22] The Story of the GhostPhish headlined Farm Aid in the summer of 1998, sharing the stage with Willie Nelson, Neil Young, and Paul Shaffer. Again, altering their approach to studio releases, the band recorded hours of improvisational jams over a period of several days and took the highlights of those jams and wrote songs around them. The result was The Story of the Ghost and the instrumental The Siket Disc in 1999. Phish returned to Limestone for the Lemonwheel festival, and 70,000 fans again made the event the largest city in Maine. On Halloween in Las Vegas, Nevada, the group performed Loaded by The Velvet Underground; two nights later they played Pink Floyd's The Dark Side of the Moon in its entirety to an audience of 4,000 in Utah. The following year, the band decided to forego the annual summer festival to prepare for the New Year's Eve millennium celebration. However, at the eleventh hour, Camp Oswego was held in July in Volney, New York, with 65,000 in attendance. For the Millennium Celebration, Phish traveled to the Big Cypress Indian Reservation in the Florida Everglades. Of the major New Years Eve concerts around the globe — Sting, Barbra Streisand, Billy Joel — at 85,000, Phish had the largest attendance of any paid concert event that night.[23] During ABC's millennium coverage, Peter Jennings and World News Tonight reported on the massive audience and featured the band's performance of "Heavy Things". Called "Big Cypress", the enormous festival culminated with an extended seven-and-a-half hour set that began at midnight and ended at sunrise. 2000 saw no Halloween show, no summer festival and no new songs: May's Farmhouse contained material dating from 1997. That summer, the band announced that they would take their first "extended time-out" following their upcoming fall tour.[24] During the tour's last concert on October 7, 2000 at the Shoreline Amphitheater in Mountain View, California, they played a regular show and left without saying a word as The Beatles' Let It Be played over the sound system. The hiatus allowed the members of Phish to explore more deeply their musical side projects. Anastasio continued the solo career he'd begun two years earlier, formed the group Oysterhead, and began conducting an orchestral composition with the Vermont Youth Orchestra. Gordon made an album with acoustic guitar legend Leo Kottke and two films before launching his own solo career. Fishman alternated between Jazz Mandolin Project and his band Pork Tornado, while McConnell formed the trio Vida Blue. One more time (2002-2004) Over two years after the hiatus began, Phish announced that they were getting back on the road with a New Year's Eve 2002 concert at Madison Square Garden. They also recorded Round Room in only three days. In their return concert, McConnell's brother was introduced as actor Tom Hanks. The doppelgänger sang a line of the song "Wilson", prompting several media outlets to report that the actor had "jammed with Phish." At the end of the 2003 summer tour, Phish held their first summer festival in four years, returning to Limestone for It. The festival drew crowds of over 60,000 fans, once again making Limestone the most populous city in Maine. In December, the band celebrated its 20th anniversary with a 4 show mini-tour culminating at Boston's Fleet Center. During the Albany date on this tour, Phish invited founding member Jeff Holdsworth onstage for the first time since 1986. In order to avoid the exhaustion and pitfalls of previous years' high-paced touring, Phish played sporadically after the reunion, with tours lasting about two weeks. After an April 2004 run of shows in Las Vegas, Anastasio announced on Phish.com that after a small summer tour the band was breaking up. Their final album, Undermind, was released in late spring. The band jammed with rapper Jay-Z at their second Brooklyn show in the summer of 2004, and performed a seven-song set atop the marquee of the Ed Sullivan Theater during The Late Show with David Letterman to fans who had gathered on the street, a move reminiscent of The Beatles' final performance on the rooftop of the Apple building in London. Their final show was also the last Phish summer festival — Coventry — named for the town in Vermont that hosted the event. 100,000 people were expected to attend, and it was simulcast to thousands more in movie theaters across America. Phish's final bow, August 15, 2004After a week of rain that prompted rumors of a sinking stage, Gordon announced on the local radio station that attendees should turn around, no more cars were being allowed in. As only about 20,000 people had been admitted, many concert-goers abandoned their vehicles on highway roadsides, shoulders and medians and hiked to the site, some as far as thirty miles. With the amount of people that walked in, the crowd grew to an estimated 65,000 in attendance. The band broke down crying onstage several times during the final concert, most notably when McConnell choked up during the ballad "Wading in the Velvet Sea" and elicited Anastasio to say a few words of farewell. Their final encore consisted of one song — "The Curtain" — which contains the now-meaningful repeated line "Please, me, have no regrets." Coventry was an emotional goodbye for Phish and for its audience; an end to Phish's chapter in rock music. Without any help from radio, music television channels or album sales, Phish became one of the biggest live acts of all time. As Rolling Stone put it:[25] " Given their sense of community, their ambition and their challenging, generous performances, Phish have become the most important band of the Nineties. " (Less)

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