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Six young men from Norway with a background in jazz and classical music were signed to Karisma Records. Influences they mention include Everything from Jan Garbarek and Side Brok Enslaved, Tool and Meshuggah.
COMBINATION HEAD a Neo-Prog band from the UK originally formed as a trio of Paul Birchall on Keyboards, Keith Ashcroft on bass and guitar, and Paul Burgess on drums. Paul Birchall had previously worked with the likes of THE CORRS, Geri Halliwell and Cher and recorded singles with them all. Although he has previously worked with bands and performers who have nothing to do with progressive rock, he takes inspiration from keyboardists such as Emerson, Bardens and Jobson. He has also worked with jazz-fusion guitarist Gary Boyle as well as Jim Diamond. Paul Burgess may be a familiar name to Progressive Rock fans, as he has played drums with CAMEL, JETHRO TULL and 10CC. Taking inspiration from CAMEL and ELP, and augmenting the band with Gareth Moulton on guitars, Dominic Finley on bass and a couple of additional drummers, the band released its all-instrumental self-titled debut album in 2006. After the release of their first album, the band began working on their second album, "Progress?". This time they decided to add vocals to the mix. Guitarist Gareth Moulton was called on to provide lead vocals to three of the six vocal songs on the album. Guesting as lead vocalist on one of the songs on the album was CUTTING CREW's Nick Van Eede. Again the band was augmented by additional drummer and percussionist Phil Knight who provided drums on four of the album's songs and percussion on three additional songs. After the release of "Progress?", the band released a non-album song "We Are Machine" as a single. Fans of the band will be very happy to know that they are currently working on their third album, with the working title "Museum".
Leigh Stephens is an American guitarist and songwriter best known for being former lead guitarist of the San Francisco psychedelic rock group Blue Cheer.
Red Weather was the first solo project from the lead guitarist of Blue Cheer. Originally released on the Phillips/Mercury label in 1969, the album immediately became a favorite on the underground music scene and established Stevens as a solo act. The music on Red Weather was dramatically different than that of Blue Cheer, with a well structured psychedelic sound like Quicksilver or the Grateful Dead rather than the sledgehammer hard rock sound of his former band. Recorded in England at the Trident Studios with the help of Nicky Hopkins on keyboards, drummer Mick Waller from the Jeff Beck Group, and Kevin Westlake from Blossom Toes, the album was hailed as a masterpiece by many British rock fans but was equally dismissed by Blue Cheer fans. The album contained eight songs that highlighted Stevens songwriting ability rather than his guitar prowess. After nearly 30 years the album was rereleased complete with the original psychedelic artwork cover.
Lawn Boy is Phish's second official studio album, released on September 21, 1990, on the Absolute A Go Go Records and Rough Trade labels on cassette, single-LP vinyl and CD (with CD bonus track Fee). Vinyl LPs of the original Absolute A Go Go release are still known to circulate. The album was later re-mastered by Bob Ludwig and re-released on CD and cassette by Elektra Records June 30, 1992. The songs on Lawn Boy include many of the progressive rock and fusion elements featured on the band's first studio album, Junta, as well as incorporating elements of bluegrass, jazz and barbershop quartet. According to Phish Archivist Kevin Shapiro: Lawn Boy was recorded and mixed at Archer Studios in Winooski, VT in 1989 and 1990 on 16-track 2" tape and was mixed to 1/4" stereo reels. The band won the initial studio time with a first-place Rock Rumble performance on April 21, 1989 at a downtown Burlington, VT club called The Front. The Lawn Boy sessions that followed consisted of mostly live takes with a few effects and overdubs. Engineer Dan Archer acquired a baby grand piano specifically for the recording, Fishman played his drums squeezed into a vocal isolation booth and the band utilized local musicians including members of what would soon be called the Giant Country Horns. Like Junta before it, Phish self-produced Lawn Boy on a hands-on level, surrounding the console for group fades without aid of automation. The album was certified gold by the RIAA on July 7, 2004. In February 2009, Lawn Boy became available as a download in FLAC and MP3 formats at LivePhish.com. JEMP Records released "Lawn Boy" on Record Store Day 2013 as a Limited Edition Deluxe 2-LP vinyl set. The LE Deluxe 2-LP vinyl set was limited to 7,500 individually numbered copies and was created from the original 1/4" stereo master reels with lacquers cut by Chris Bellman at Bernie Grundman Mastering. Each LP is pressed onto 180g audiophile grade vinyl. Deluxe packaging includes an 8-page photo booklet and an etched D-side.
Live Aid was a dual-venue benefit concert held on Saturday 13 July 1985, and an ongoing music-based fundraising initiative. The original event was organised by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Billed as the "global jukebox", the event was held simultaneously at Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people).
On the same day, concerts inspired by the initiative happened in other countries, such as the Soviet Union, Canada, Japan, Yugoslavia, Austria, Australia and West Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time; an estimated audience of 1.9 billion, across 150 nations, watched the live broadcast, nearly 40% of the world population.
The impact of Live Aid on famine relief has been debated for years. One aid relief worker stated that following the publicity generated by the concert, "humanitarian concern is now at the centre of foreign policy" for western governments. Geldof states, “We took an issue that was nowhere on the political agenda and, through the lingua franca of the planet – which is not English but rock 'n' roll – we were able to address the intellectual absurdity and the moral repulsion of people dying of want in a world of surplus.” He adds, Live Aid "created something permanent and self-sustaining", but also asked why Africa is getting poorer. The organisers of Live Aid tried, without much success, to run aid efforts directly, so channelled millions to the NGOs in Ethiopia, much of which went to the Ethiopian government of Mengistu Haile Mariam – a brutal regime the UK Prime Minister Margaret Thatcher wanted to "destabilise" – and was spent on guns.
The 1985 Live Aid concert was conceived as a follow-on to the successful charity single "Do They Know It's Christmas?" which was also the brainchild of Geldof and Ure. In October 1984, images of hundreds of thousands of people starving to death in Ethiopia were shown in the UK in Michael Buerk's BBC News reports on the 1984 famine. The BBC News crew were the first to document the famine, with Buerk's report on 23 October describing it as "a biblical famine in the 20th century" and "the closest thing to hell on Earth". The report shocked Britain, motivating its citizens to inundate relief agencies, such as Save the Children, with donations, and to bring the world's attention to the crisis in Ethiopia. Geldof also saw the report, and called Ure from Ultravox, and together they quickly co-wrote the song, "Do They Know It's Christmas?" in the hope of raising money for famine relief. Geldof then contacted colleagues in the music industry and persuaded them to record the single under the title 'Band Aid' for free. On 25 November 1984, the song was recorded at Sarm West Studios in Notting Hill, London, and was released four days later. It stayed at number one for five weeks in the UK, was Christmas number one, and became the fastest-selling single ever in Britain and raised £8 million, rather than the £70,000 Geldof and Ure had initially expected. Geldof then set his sights on staging a huge concert to raise further funds.
The idea to stage a charity concert to raise more funds for Ethiopia originally came from Boy George, the lead singer of Culture Club. George and Culture Club drummer Jon Moss had taken part in the recording of "Do They Know It's Christmas?" and in the same month, the band were undertaking a tour of the UK, which culminated in six nights at Wembley Arena. On the final night at Wembley, 22 December 1984, an impromptu gathering of some of the other artists from Band Aid joined Culture Club on stage at the end of the concert for an encore of "Do They Know It's Christmas?". George was so overcome by the occasion he told Geldof that they should consider organising a benefit concert. Speaking to the UK music magazine Melody Maker at the beginning of January 1985, Geldof revealed his enthusiasm for George's idea, saying, "If George is organising it, you can tell him he can call me at any time and I'll do it. It's a logical progression from the record, but the point is you don't just talk about it, you go ahead and do it!"
It was clear from the interview that Geldof had already had the idea to hold a dual venue concert and how the concerts should be structured:
"The show should be as big as is humanly possible. There's no point just 5,000 fans turning up at Wembley; we need to have Wembley linked with Madison Square Gardens, and the whole show to be televised worldwide. It would be great for Duran to play three or four numbers at Wembley, and then flick to Madison Square where Springsteen would be playing. While he's on, the Wembley stage could be made ready for the next British act like the Thompsons or whoever. In that way, lots of acts could be featured and the television rights, tickets and so on could raise a phenomenal amount of money. It's not an impossible idea, and certainly one worth exploiting."
