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Sunburst Finish is the third studio album by English rock band Be-Bop Deluxe, released in February 1976. [2] It was recorded in Abbey Road Studios, London. [3]The album contains what would become one of their few forays into chart success; the February 1976 single "Ships in the Night", which reached number 23 in the UK Singles Chart.
Introducing Be-Bop Deluxe (2004) and Nelson's 40-year career retrospective, eight CD set, The Practice Of Everyday Life (2011). Despite Be-Bop Deluxe's commercial success, Bill Nelson stated that he had never received royalties for the earlier CD release of his back catalog on EMI [15] until the 2011 CD reissue/remaster of his back catalogue. [16]
Paul Avron Jeffreys (13 February 1952 – 21 December 1988) was an English rock musician. He played bass guitar in Cockney Rebel between 1972 and 1974, working on the group's first two albums, and later worked with a number of British bands, including Be-Bop Deluxe (1974), [ 1 ] Warm Jets (1977–1980) and Electric Eels (1980–1981).
After a break, much of it spent woodshedding, reading and researching, Jeffreys released Don't Call Me Buckwheat, devoted to the complexities of race in America. The title was triggered by an incident at Shea Stadium where Jeffreys, enjoying the game and feeling carefree, stood to go get a hotdog when a voice shouted "Hey buckwheat, sit down!"
It became a hit, selling over two and a half million records in its first week's release and Boyd's name became known internationally. [2] Boyd was presented with two gold records . Boyd's record went to number one on the charts again the following year at Christmas, and continues to sell as a Christmas song.
A 1993 video, Things to Come, included the eight on-screen performances by Gillespie and the band from Jivin' in Be-Bop, together with some numbers from another Alexander-produced musical, Rhythm in a Riff, which featured Billy Eckstine. [10] [11] Jivin' in Be-Bop was released on DVD in 2004. The between-song banter between Carter and Gillespie ...
Recording the album was a simpler process than any Be-Bop Deluxe record due to the prevalence of synthesizers, which Nelson felt were "much richer, tonally, than you realise," and only used overdubs to emphasise a specific sound, typically guitars. He elaborated: "With a synthesizer you press a switch and a sound is the direct result.
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