, Paris]]

The pipe organ is a musical instrument that produces sound by driving pressurized air (called wind) through pipes selected via a keyboard. Because each organ pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre and volume throughout the keyboard compass. Most organs have multiple ranks of pipes of differing timbre, pitch and loudness that the player can employ singly or in combination through the use of controls called stops.

A pipe organ may have one or several keyboards (called manuals) played by the hands, and a pedalboard played by the feet, each of which has its own group of stops. The organ's continuous supply of wind allows it to sustain notes for as long as the corresponding keys are depressed, unlike the piano and harpsichord, the sounds of which begin to decay the longer the keys are held. The smallest portable pipe organs may have only one or two dozen pipes and one manual; the largest may have over 20,000 pipes and seven manuals.

The origins of the pipe organ can be traced back to the hydraulis in Ancient Greece in the 3rd century BC, in which the wind supply was created with water pressure. By the sixth or 7th century AD, bellows were used to supply organs with wind. From that time, the pipe organ was the most complex man-made device, a distinction it retained until it was displaced by the telephone exchange in the late 19th century.

Pipe organs are installed in churches, synagogues, concert halls, and other public buildings and are used for the performance of classical music, sacred music, and secular music. In the early 20th century, pipe organs were installed in theatres to accompany films during the silent movie era, in municipal auditoria, where orchestral transcriptions were popular, and in the homes of the wealthy, equipped with player mechanisms. The beginning of the 21st century has seen a resurgence in installations in concert halls. The organ boasts a substantial repertoire, which spans over 400 years.

Construction

A pipe organ contains one or more sets of pipes, a wind system, and one or more keyboards. The pipes produce sound when pressurized air produced by the wind system is driven through them. An action connects the keyboards to the pipes. Stops allow the organist to control which ranks of pipes sound at a given time. The organist operates the stops and the keyboards from the console.

Pipes

found at the Salt Lake Tabernacle in Salt Lake City, Utah has 11,623 pipes and accompanies the Mormon Tabernacle Choir.]] Organ pipes are made from either wood or metal and produce sound when air under pressure ("wind") is directed through them. As one pipe produces a single pitch, multiple pipes are necessary to accommodate the musical scale. The greater the length of the pipe, the lower its resulting pitch will be. The timbre and volume of the sound produced by a pipe depends on the volume of air delivered to the pipe and the manner in which it is constructed and voiced, the latter adjusted by the builder to produce the desired tone and volume. Hence a pipe's volume cannot be readily changed while playing.

Pipes are arranged by timbre and pitch into ranks. A rank is a row of pipes mounted vertically onto a windchest. The stop mechanism admits air to each rank. For a given pipe to sound, the stop governing the pipe's rank must be engaged, and the key corresponding to its pitch must be depressed. Ranks of pipes are organized into groups called divisions. Each division generally is played from its own keyboard and conceptually comprises an individual instrument within the organ.

Action

An organ contains two actions, or systems of moving parts. When a key is depressed, the key action admits wind into a pipe. The stop action allows the organist to control which ranks are engaged. An action may be mechanical, pneumatic, or electrical.

A key action which physically connects the keys and the windchests is a mechanical or tracker action. Connection is achieved through a series of rods called trackers. When the organist depresses a key, the corresponding tracker moves, allowing wind to enter the pipe. In a mechanical stop action, each stop control is physically connected to a rank of pipes. When the organist activates the stop control, the action allows wind to flow into the selected rank. Tracker action has been used from antiquity to modern times. Despite the extra effort needed in playing, many organists prefer tracker action because of a feel and a control of the pipe valve operation.

A later development was the tubular-pneumatic action which uses changes of pressure within lead tubing to affect pneumatics to produce valve action. This allowed a lighter touch, and more flexibility in the location of the console, within a 50-foot (15-m) limit. This type of construction was used in the late 19th century to early 20th century, and has had only rare application since the 1920s.

The most recent development is the electric action which uses electrical current to control the key and/or stop mechanisms. Electricity may control the action indirectly through air pressure valves (pneumatics), in which case the action is electro-pneumatic. When electricity operates the action directly without the assistance of pneumatics, it is commonly referred to as direct electric action. Electric stop actions can be controlled at the console by stop knobs, or by tilting tablets or rocker tabs which sit on a hinge, and activate or deactivate an electrical circuit, depending on the direction in which they are pressed. The 0.10 psi above would register as 2-3/4 inches of water (70 mmAq). An Italian organ from the Renaissance period may be on only , while solo stops in some large 20th-century organs require .

Playing the organ before electricity required at least one person to operate the bellows. When signaled by the organist, a calcant would operate a set of bellows, supplying the organ with air. Because calcants were expensive, organists would usually practice on other instruments such as the clavichord or harpsichord. By the mid-19th century bellows were also being operated by steam engines or gasoline engines. Starting in the 1860s bellows were gradually replaced by wind turbines which were later directly connected to electrical motors. This made it possible for organists to practice regularly on the organ. Most organs, both new and historic, have electric blowers, although others can still be operated manually. The wind supplied is stored in one or more regulators to maintain a constant pressure in the windchests until the action allows it to flow into the pipes.

Stops

Each stop usually controls one rank of pipes, although mixtures and undulating stops (such as the Voix céleste) control multiple ranks. The name of the stop reflects not only the stop's timbre and construction, but also the style of the organ in which it resides. For example, the names on an organ built in the north German Baroque style generally will be derived from the German language, while the names of similar stops on an organ in the French Romantic style will usually be French. Most countries tend to use only their own languages for stop nomenclature. English-speaking nations as well as Japan are more receptive to foreign nomenclature. Stop names are not standardized: two otherwise identical stops from different organs may have different names.

, Germany]] To facilitate a large range of timbres, organ stops exist at different pitch levels. A stop that sounds at unison pitch when a key is depressed is referred to as being at 8′ (pronounced "eight-foot") pitch. This refers to the length of the lowest-sounding pipe in that rank, which is approximately eight feet. For the same reason, a stop that sounds an octave higher is at 4′ pitch, and one that sounds two octaves higher is at 2′ pitch. Likewise, a stop that sounds an octave lower than unison pitch is at 16′ pitch, and one that sounds two octaves lower is at 32′ pitch. Thus, a stop labelled "Open Diapason 8′ " is a single-rank diapason stop sounding at 8′ pitch. A stop labelled "Mixture V" is a five-rank mixture.

Sometimes, a single rank of pipes may be able to be controlled by several stops, allowing the rank to be played at multiple pitches or on multiple manuals. Such a rank is said to be unified or borrowed. For example, an 8′ Diapason rank may also be made available as a 4′ Octave. When both of these stops are selected and a key (for example, c′) is pressed, two pipes of the same rank will sound: the pipe normally corresponding to the key played (c′), and the pipe one octave above that (c′′). Because the 8′ rank does not have enough pipes to sound the top octave of the keyboard at 4′ pitch, it is common for an extra octave of pipes used only for the borrowed 4′ stop to be added. In this case, the full rank of pipes (now an extended rank) is one octave longer than the keyboard.

Special unpitched stops also appear in some organs. Among these are the zimbelstern (a wheel of rotating bells), the nightingale (a pipe submerged in a small pool of water, creating the sound of a bird warbling when wind is admitted), and the effet d'orage ("thunder effect", a device that sounds the lowest bass pipes simultaneously). Standard orchestral percussion instruments such as the drum, chimes, celesta, and harp have also been imitated in organ building.

Console

crafted by R. A. Colby, Inc. of Johnson City, Tennessee]]

The controls available to the organist, including the keyboards, couplers, expression pedals, stops, and registration aids are accessed from the console. The console is either built into the organ case or detached from it.

Keyboards

Keyboards played by the hands are known as manuals (from the Latin , meaning "hand"). The keyboard played by the feet is a pedalboard. Every organ has at least one manual (most have two or more), and most have a pedalboard. Each keyboard is named for a particular division of the organ (a group of ranks) and generally controls only the stops from that division. The range of the keyboards has varied widely across time and between countries. Most current specifications call for two or more manuals with sixty-one notes (five octaves, from C to c″″) and a pedalboard with thirty or thirty-two notes (two and a half octaves, from C to f′ or g′).

Couplers

A coupler allows the stops of one division to be played from the keyboard of another division. For example, a coupler labelled "Swell to Great" allows the stops drawn in the Swell division to be played on the Great manual. This coupler is a unison coupler, because it causes the pipes of the Swell division to sound at the same pitch as the keys played on the Great manual. Coupling allows stops from different divisions to be combined to create various tonal effects. It also allows every stop of the organ to be played simultaneously from one manual.

Octave couplers, which add the pipes an octave above (super-octave) or below (sub-octave) each note that is played, may operate on one division only (for example, the Swell super octave, which adds the octave above what is being played on the Swell to itself), or act as a coupler to another keyboard (for example, the Swell super-octave to Great, which adds to the Great manual the ranks of the Swell division an octave above what is being played). The expression pedal is visible directly above the pedalboard.]]

Enclosure refers to a system that allows for the control of volume without requiring the addition or subtraction of stops. In a two-manual organ with Great and Swell divisions, the Swell will be enclosed. In larger organs, parts or all of the Choir and Solo divisions may also be enclosed. The pipes of an enclosed division are placed in a chamber generally called the swell box. At least one side of the box is constructed from horizontal or vertical palettes known as swell shades, which operate in a similar way to Venetian blinds; their position can be adjusted from the console. When the swell shades are open, more sound is heard than when they are closed. An organ may also have a similar-looking crescendo pedal, found alongside any expression pedals. Pressing the crescendo pedal forward cumulatively activates the stops of the organ, starting with the softest and ending with the loudest; pressing it backwards reverses this process.

Combination action

Organ stops can be combined in countless permutations, resulting in a great variety of sounds. A combination action can be used to switch instantly from one combination of stops (called a registration) to another. Combination actions feature small buttons called pistons that can be pressed by the organist, generally located beneath the keys of each manual (thumb pistons) or above the pedalboard (toe pistons). The pistons may be divisional (affecting only a single division) or general (affecting all the divisions), and are either preset by the organ builder or can be altered by the organist. Modern combination actions operate via computer memory, and can store several channels of registrations.

Casing

, Germany, has a highly decorative case with ornate carvings and cherubs.]]

The pipes, action, and wind system are almost always contained in a case, the design of which also may incorporate the console. The case blends the organ's sound and aids in projecting it into the room. The case often is designed to complement the building's architectural style and it may contain ornamental carvings and other decorations. The visible portion of the case, called the façade, will most often contain pipes, which may be either sounding pipes or dummy pipes solely for decoration. The façade pipes may be plain, burnished, gilded, or painted.

Organ cases occasionally feature a few ranks of pipes protruding horizontally from the case in the manner of a row of trumpets. These are referred to as pipes en chamade and are particularly common in organs of the Iberian peninsula and large 20th-century instruments.

Many organs, particularly those built in the early 20th century, are contained in one or more rooms called organ chambers. Because sound does not project from a chamber into the room as clearly as from a freestanding organ case, enchambered organs may sound muffled and distant. For this reason, modern builders prefer to avoid this unless the architecture of the room makes it absolutely necessary.

History and development

Antiquity

playing a portative. Her left hand can be seen operating the bellows.]]

The organ is one of the oldest instruments still used in European classical music. Its earliest predecessors were built in Ancient Greece in the 3rd century BC. a generic term for an instrument or a tool.

The Greek engineer Ctesibius of Alexandria is credited with inventing the organ in the 3rd century BC. He devised an instrument called the hydraulis, which delivered a wind supply maintained through water pressure to a set of pipes. The hydraulis was played in the arenas of the Roman Empire. The pumps and water regulators of the hydraulis were replaced by an inflated leather bag in the 2nd century AD, Its portability made the portative useful for the accompaniment of both sacred and secular music in a variety of settings.

Large organs such as the one installed in 1361 in Halberstadt, Germany, the first documented permanent organ installation, likely prompted Guillaume de Machaut to describe the organ as "the king of instruments", a characterization still frequently applied. The Halberstadt organ was the first instrument to use a chromatic key layout across its three manuals and pedalboard, although the keys were wider than on modern instruments. It had twenty bellows operated by ten men, and the wind pressure was so high that the player had to use the full power of his arm to hold down a key. Around 1450, controls were designed that allowed the ranks of the Blockwerk to be played individually. These devices were the forerunners of modern stop actions. The higher-pitched ranks of the Blockwerk remained grouped together under a single stop control; these stops developed into mixtures.

Renaissance and Baroque periods

During the Renaissance and Baroque periods, the organ's tonal colors became more varied. Organ builders fashioned stops that imitated various instruments, such as the krummhorn and the viola da gamba. The Baroque period is often thought of as organ building's "golden age," as virtually every important refinement was brought to a culminating art. Builders such as Arp Schnitger, Jasper Johannsen, Zacharias Hildebrandt and Gottfried Silbermann constructed instruments that were in themselves artistic masterpieces, displaying both exquisite craftsmanship and beautiful sound. These organs featured well-balanced mechanical key actions, giving the organist precise control over the pipe speech. Schnitger's organs featured particularly distinctive reed timbres and large Pedal and Rückpositiv divisions.]]

Different national styles of organ building began to develop, often due to changing political climates. In the Netherlands, the organ became a large instrument with several divisions, doubled ranks, and mounted cornets. The organs of northern Germany also had more divisions, and independent pedal divisions became increasingly common.

In France, as in Italy and Spain, organs were primarily designed to play alternatim verses rather than accompany congregational singing. The French Classical Organ, became remarkably consistent throughout France over the course of the Baroque era, more so than any other style of organ building in history, and standardized registrations developed. It was elaborately described by Dom Bédos de Celles in his treatise L'art du facteur d'orgues (The Art of Organ Building). For example, in France, the organ at Notre-Dame's (St. Etienne, Loire) was built by Joseph and Claude-Ignace Callinet in 1837, at a time when their career was at its apex.

In England, existing pipe organs were destroyed during the English Reformation of the 16th century and the Commonwealth period. It was not until the Restoration that organ builders (particularly Renatus Harris and "Father" Bernard Smith) brought new organ-building ideas from continental Europe. English organs evolved from small one- or two-manual instruments into three or more divisions disposed in the French manner with grander reeds and mixtures. The Echo division began to be enclosed in the early 18th century, and in 1712 Abraham Jordan claimed his "swelling organ" at St Magnus-the-Martyr to be a new invention.

Romantic period

organ at the Parish Church of Saint Mary the Virgin in Ewell, Surrey]]

During the Romantic period, the organ became more symphonic, capable of creating a gradual crescendo. New technologies and the work of organ builders such as Ernest M. Skinner, Aristide Cavaillé-Coll, and Henry Willis made it possible to build larger organs with more stops, more variation in sound and timbre, and more divisions.

Organ builders began to lean towards specifications with fewer mixtures and high-pitched stops. They preferred to use more 8′ and 16′ stops in their specifications and wider pipe scales. These practices created a warmer, richer sound than was common in the 18th century. Organs began to be built in concert halls (such as the organ at the Palais du Trocadéro in Paris), and composers such as Camille Saint-Saëns and Gustav Mahler used the organ in their orchestral works.

Modern development

The development of pneumatic and electro-pneumatic key actions in the late 19th century made it possible to locate the console independently of the pipes, greatly expanding the possibilities in organ design. Electric stop actions were also developed, which allowed sophisticated combination actions to be created.

, Makati City, Philippines exhibits a modern façade.]] In the mid-20th century, organ builders began to build historically inspired instruments modelled on Baroque organs. They returned to building mechanical key actions, voicing with lower wind pressures and thinner pipe scales, and designing specifications with more mixture stops. This became known as the Organ reform movement.

In the late 20th century, organ builders began to incorporate digital components into their key, stop, and combination actions. Besides making these mechanisms simpler and more reliable, this also makes it possible to record and play back an organist’s performance via the MIDI protocol. In addition, some organ builders have incorporated digital stops into their pipe organs.

The electronic organ developed throughout the 20th century. Some pipe organs were replaced by digital organs because of their lower purchase price, smaller physical size, and minimal maintenance requirements. In the early 1970s, Rodgers Instruments pioneered the hybrid organ, an electronic instrument that incorporates real pipes; other builders such as Allen Organs and Johannus Orgelbouw have since built hybrid organs.

Repertoire

The development of organ repertoire has progressed along with that of the organ itself, leading to distinctive national styles of composition. Because organs are commonly found in churches and synagogues, the organ repertoire includes a large amount of sacred music, which is accompanimental (choral anthems, congregational hymns, liturgical elements, etc.) as well as solo in nature (chorale preludes, hymn versets designed for alternatim use, etc.).]]

Although most countries whose music falls into the Western tradition have contributed to the organ repertoire, France and Germany in particular have produced exceptionally large amounts of organ music. There is also an extensive repertoire from the Netherlands, England, and the United States.

Before the Baroque era, keyboard music generally was not written for one instrument or another, but rather was written to be played on any keyboard instrument. For this reason, much of the organ's repertoire through the Renaissance period is the same as that of the harpsichord. Pre-Renaissance keyboard music is found in compiled manuscripts that may include compositions from a variety of regions. The oldest of these sources is the Robertsbridge Codex, dating from about 1360. The Buxheimer Orgelbuch, which dates from about 1470 and was compiled in Germany, includes intabulations of vocal music by the English composer John Dunstaple. The earliest Italian organ music is found in the Faenza Codex, dating from 1420.

In the Renaissance period, Netherlandish composers such as Jan Pieterszoon Sweelinck composed both fantasias and psalm settings. Sweelinck in particular developed a rich collection of keyboard figuration that influenced subsequent composers. The Italian composer Claudio Merulo wrote in the typical Italian genres of the toccata, the canzona, and the ricercar. In Spain, the works of Antonio de Cabezón began the most prolific period of Spanish organ composition, which culminated with Juan Cabanilles.

Early Baroque organ music in Germany was highly contrapuntal. Sacred organ music was based on chorales: composers such as Samuel Scheidt and Heinrich Scheidemann wrote chorale preludes, chorale fantasias, and chorale motets. This genre was developed by Georg Böhm, Johann Pachelbel, and Dieterich Buxtehude. The primary type of free-form piece in this period was the praeludium, as exemplified in the works of Matthias Weckmann, Nicolaus Bruhns, Böhm, and Buxtehude. The organ music of Johann Sebastian Bach fused characteristics of every national tradition and historical style in his large-scale preludes and fugues and chorale-based works. Towards the end of the Baroque era, George Frideric Handel composed the first organ concertos.

at the console of the organ at Saint Clotilde, Paris]] In France, organ music developed during the Baroque era through the music of Jean Titelouze, François Couperin, and Nicolas de Grigny. Because the French organ of the 17th and early 18th centuries was very standardized, a conventional set of registrations developed for its repertoire. The music of French composers (and Italian composers such as Girolamo Frescobaldi) was written for use during the Mass. Very little secular organ music was composed in France and Italy during the Baroque period; the written repertoire is almost exclusively intended for liturgical use. In England, composers such as John Blow and John Stanley wrote multi-sectional free works for liturgical use called voluntaries through the 19th century.

Organ music was seldom written in the Classical era, as composers preferred the piano with its ability to create dynamics. In Germany, the six sonatas op. 65 of Felix Mendelssohn (published 1845) marked the beginning of a renewed interest in composing for the organ. The organist-composers César Franck (Belgium) and Charles-Marie Widor (France) led organ music into the symphonic realm. Max Reger and Sigfrid Karg-Elert's symphonic works made use of the abilities of the large Romantic organs being built in Germany at the time. Because these concert hall instruments could approximate the sounds of symphony orchestras, transcriptions of orchestral works found a place in the organ repertoire. As silent films became popular, theatre organs were installed in theatres to provide accompaniment for the films. continued to progress through the music of Marcel Dupré, Maurice Duruflé, and Herbert Howells.

See also

Hydraulophone

List of notable pipe organs

List of pipe organ builders

List of compositions for cello and organ

List of compositions for organ

Organ (music)

Organ tablature

Notes

References

Further reading

External links

Websites

The Pipe Organ, a basic overview of the organ

The Organ, quarterly UK publication about pipe organs

ellykooiman.com, pipe organ website with information and detailed photos of various organs

Frederik Magle pipe organ forum, pipe organ related forum run by Danish organist Frederik Magle

A Young Person's Guide to the Pipe Organ, by Sandra Soderlund

Encyclopedia of Organ Stops, a comprehensive database of over 2500 stops with descriptions, pictures, and sound clips

Flue Pipe Acoustics, a scholarly description of flue pipe physics

Organ transcriptions and the Late Romantic Period

Organs and Organists, a repository of information on significant organs and organ builders

Orgelbilder, a gallery of over 2000 pipe organ pictures from many different countries

The house organ, A little organ construction process

Online radio stations

Pipedreams

Sacred Classics, a radio program of organ and choral music

Organlive

Databases

International Organ Foundation, an online pipe organ database with information on more than 5800 organs in over 71 countries

Organ Historical Society Pipe Organ Database

The Top 20 - The World's Largest Pipe Organs

National Pipe Organ Register, featuring history and specifications of 28,000 pipe organs in the United Kingdom

http://die-orgelseite.de/index_e.html, photos and specifications of the world's largest organs (subscription required for some content)

Resources for organ audio recordings

Aeolus Germany CD company with recording of historic European Organs often with under recorded music

JAV Recordings American CD Company with recording of historic American Pipe Organs by Skinner & Aeolian Skinner and also European Organs

Regent Records British CD Company with recording of historic English Pipes Organ

Resources for organ video recordings

Bell Video Production & Melcot Music American Video & Audio Production Company with video recordings of the history and inner workings of American Pipe Organs and European Organs

Category:Pipe organ Category:Keyboard instruments

Name	Robert Plant
Landscape	Yes
Background	solo_singer
Birth name	Robert Anthony Plant
Born	August 20, 1948 West Bromwich, Birmingham, England
Instrument	Vocals, harmonica, percussion, guitar
Genre	Hard rock, heavy metal, blues-rock, folk rock, world, country rock
Occupation	Singer-songwriter, musician
Years active	1966–present
Label	Atlantic, Swan Song, Es Paranza, Sanctuary, Mercury, Universal, Rounder
Associated acts	Band of Joy, Led Zeppelin, The Honeydrippers, Page and Plant, Strange Sensation, Alison Krauss
Url	Official website

Robert Anthony Plant, CBE (born 20 August 1948), is an English rock singer and songwriter, best known as the lead vocalist and lyricist of the rock band Led Zeppelin. He has also had a successful solo career. In 2007, Plant released Raising Sand, an album produced by T-Bone Burnett with American bluegrass soprano Alison Krauss, which won the 2009 Grammy Award for Album of the Year.

Life and career

Early career

Plant was born in West Bromwich to parents Robert C. who worked as a civil engineer and Annie C. (Cain) Plant, but grew up in Halesowen, formerly in Worcestershire, now part of the Metropolitan Borough of Dudley. Plant gained an interest in singing and rock'n'roll music at an early age.

When I was a kid I used to hide behind the curtains at home at Christmas and I used to try and be Elvis. There was a certain ambience between the curtains and the French windows, there was a certain sound there for a ten year old. That was all the ambience I got at ten years old... I think! And I always wanted to be a curtain, a bit similar to that.

He left King Edward VI Grammar School for Boys in Stourbridge in his mid-teens and developed a strong passion for the blues, mainly through his admiration for Willie Dixon, Robert Johnson and early rendition of songs in this genre.

I suppose I was quite interested in my stamp collection and Romano-British history. I was a little grammar school boy and I could hear this kind of calling through the airwaves

He abandoned training as a chartered accountant after only two weeks to attend college in an effort to gain more GCE passes and to become part of the English Midlands blues scene. "I left home at 16", he said "and I started my real education musically, moving from group to group, furthering my knowledge of the blues and of other music which had weight and was worth listening to."

Plant's early blues influences included Robert Johnson, Bukka White, Skip James, Jerry Miller, and Sleepy John Estes. Plant had various jobs while pursuing his music career, one of which was working for the major British construction company Wimpey in Birmingham in 1967 laying tarmac on roads. He also worked at Woolworths in Halesowen town for a short period of time. He cut three obscure singles on CBS Records and sang with a variety of bands, including The Crawling King Snakes, which brought him into contact with drummer John Bonham. They both went on to play in the Band of Joy, merging blues with newer psychedelic trends. Though his early career met with no commercial success, word quickly spread about the "young man with the powerful voice".

Led Zeppelin

Early years

In 1968, the guitarist Jimmy Page was in search of a lead singer for his new band and met Plant after being turned down by his first choice, Terry Reid, who referred him to a show at a teacher training college in Birmingham— where Plant was singing in a band named Hobbstweedle. Page explained:

When I auditioned him and heard him sing, I immediately thought there must be something wrong with him personality-wise or that he had to be impossible to work with, because I just could not understand why, after he told me he'd been singing for a few years already, he hadn't become a big name yet. So I had him down to my place for a little while, just to sort of check him out, and we got along great. No problems.

According to Plant:

I was appearing at this college when Peter and Jimmy turned up and asked me if I'd like to join The Yardbirds. I knew The Yardbirds had done a lot of work in America - which to me meant audiences who would want to know what I might have to offer - so naturally I was very interested.

used in the Led Zeppelin IV album]] Plant and Page immediately hit it off with a shared musical passion and after Plant joined the band they began their writing collaboration with reworkings of earlier blues songs, although Plant would receive no songwriting credits on the band's first album, allegedly because he was still under contract to CBS Records at the time. Plant brought along John Bonham as drummer, and they were joined by John Paul Jones, who had previously worked with Jimmy Page as a studio musician. Jones called Page on the phone before they checked out Plant, and Page hired Jones immediately.

Initially dubbed the "New Yardbirds" in 1968, the band soon came to be known as Led Zeppelin. The band's self-titled debut album hit the charts in 1969 and is widely credited as a catalyst for the heavy metal genre. Plant has commented that it is unfair for people to think of Zeppelin as heavy metal, as almost a third of their music was acoustic.

In 1975, Plant and his wife Maureen (now divorced) were seriously injured in a car crash in Rhodes, Greece. This significantly affected the production of Led Zeppelin's seventh album Presence for a few months while he recovered, and forced the band to cancel the remaining tour dates for the year.

In July 1977 his son Karac died aged five of a stomach infection while Plant was engaged on Led Zeppelin's concert tour of the United States. It was a devastating loss for the family. Plant retreated to his home in the Midlands and for months afterward he questioned his future. Karac's death later inspired him to write the song "All My Love" in tribute, featured on Led Zeppelin's final studio LP, 1979's In Through the Out Door.

Lyrics

Plant did not begin writing song lyrics with Led Zeppelin until the making of Led Zeppelin II, in 1969. According to Jimmy Page:

Plant's lyrics with Led Zeppelin were often mystical, philosophical and spiritual, alluding to events in classical and Norse mythology, such as the "Immigrant Song", which refers to Valhalla and Viking conquests. However, the song "No Quarter" is often misunderstood to refer to the god Thor; the song actually refers to Mount Thor (which is named after the god). Another example is "The Rain Song".

Plant was also influenced by J. R. R. Tolkien, whose book series inspired lyrics in some early Led Zeppelin songs. Most notably "The Battle of Evermore", "Misty Mountain Hop", "No Quarter", "Ramble On" and "Over the Hills and Far Away" contain verses referencing Tolkien's The Lord of the Rings and The Hobbit. Conversely, Plant sometimes used more straightforward blues-based lyrics dealing primarily with sexual innuendo, as in "The Lemon Song", "Trampled Under Foot", and "Black Dog".

Welsh mythology also forms a basis of Plant's interest in mystical lyrics. He grew up close to the Welsh border and would often take summer trips to Snowdonia. Plant bought a Welsh sheep farm in 1973, and began taking Welsh lessons and looking into the mythology of the land (such as Black Book of Carmarthen, Book of Taliesin, etc.) Plant's first son, Karac, was named after the Welsh warrior Caratacus. The song "Bron-Y-Aur Stomp" is named after the 18th Century Welsh cottage Bron-Yr-Aur owned by a friend of his father; it later inspired the song "Bron-Yr-Aur". The songs "Misty Mountain Hop," "That's the Way", and early dabblings in what would become "Stairway to Heaven" were written in Wales and lyrically reflect Plant's mystical view of the land. Critic Steve Turner suggests that Plant's early and continued experiences in Wales served as the foundation for his broader interest in the mythologies he revisits in his lyrics (including those myth systems of Tolkien and the Norse).

The passion for diverse musical experiences drove Plant to explore Africa, specifically Marrakesh in Morocco where he encountered Umm Kulthum.

}}

That musical inspiration most eventually culminated in the classic track "Kashmir" (which is not in North Africa, but rather in India). Both he and Jimmy Page revisited these influences during their reunion album in 1994. In his solo career, Plant again tapped from these influences many times, most notably in the 2002 album, Dreamland.

Arguably one of Plant's most significant achievements with Led Zeppelin was his contribution to the track "Stairway to Heaven", an epic rock ballad featured on Led Zeppelin IV that drew influence from folk, blues, Celtic traditional music and hard rock among other genres. Most of the lyrics of the song were written spontaneously by Plant in 1970 at Headley Grange. While never released as a single, the song has topped charts as the greatest song of all time on various polls around the world.

Plant is also recognised for his lyrical improvisation in Led Zeppelin's live performances, often singing verses previously unheard on studio recordings. One of the most famous Led Zeppelin musical devices involves Plant's vocal mimicking of band mate Jimmy Page's guitar effects. This can be heard in the songs "How Many More Times", "Dazed and Confused", "The Lemon Song", "You Shook Me", "Nobody's Fault but Mine" and "Sick Again".

He is also known for his light-hearted, humorous, and unusual on-stage banter, often referred to as "plantations." Plant often discusses the origin and background of the songs during his shows, and sometimes provides social comment as well. He frequently talks about American blues musicians as his inspiration, mentioning artists like Robert Johnson, Howlin' Wolf, Blind Willie Johnson, and Willie Dixon at the Rock and Roll Hall of Fame induction ceremony and the 2007 Ahmet Ertegün Tribute Concert with Led Zeppelin.

Stage persona

performing live]] Plant enjoyed great success with Led Zeppelin throughout the 1970s and developed a compelling image as the charismatic rock-and-roll front man, similar to his contemporary in The Who, singer Roger Daltrey (who adopted the look in the late 1960s), Mick Jagger of the Rolling Stones, and his other fellow contemporary, Jim Morrison of The Doors who, while not displaying the same visual appearance, also exuded sexuality upon the stage. With his mane of long blond hair and powerful, bare-chested appearance, Plant helped to create the "god of rock and roll" or "rock god" archetype. On stage, Plant was particularly active in live performances, often dancing, jumping, skipping, snapping his fingers, clapping, making emphatic gestures to emphasise a lyric or cymbal crash, throwing back his head, or placing his hands on his hips. As the 1960s-1970s progressed he, along with the other members of Led Zeppelin, became increasingly flamboyant on-stage and wore more elaborate, colourful clothing and jewellery.

According to Classic Rock magazine, "once [Plant] had a couple of US tours under his belt, 'Percy' Plant swiftly developed a staggering degree of bravado and swagger that irrefutably enhanced Led Zeppelin's rapidly burgeoning appeal." In 1994, during his "Unledded" tour with Jimmy Page, Plant himself reflected tongue-in-cheek upon his Led Zeppelin showmanship:

I can't take my whole persona as a singer back then very seriously. It's not some great work of beauty and love to be a rock-and-roll singer. So I got a few moves from Elvis and one or two from Sonny Boy Williamson II and Howlin' Wolf and threw them all together.

Solo career (since 1982)

As a solo artist

After the break-up of Led Zeppelin in 1980 (following the death of John Bonham), Plant pursued a successful solo career beginning with Pictures at Eleven in 1982, followed by 1983's The Principle of Moments. Popular tracks from this period include "Big Log" (a Top 20 hit in 1983), "In the Mood" (1983), "Little by Little" (from 1985's Shaken 'n' Stirred), "Tall Cool One" (a #25 hit off 1988's Now and Zen) and "I Believe" (from 1993's Fate of Nations), another song written for and dedicated to his late son, Karac. In 1984, Plant formed a short-lived all-star group with Jimmy Page and Jeff Beck called The Honeydrippers, who had a #3 hit with a remake of the Phil Phillips' tune, "Sea of Love" and a followup hit with a cover of Roy Brown's "Rockin' at Midnight". Although Plant avoided performing Led Zeppelin songs through much of this period, his tours in 1983 (with drummer Phil Collins) and 1985 were very successful, often performing to sold-out arena-sized venues.

Through the 1980s and 1990s, Plant co-wrote three solo albums with keyboardist/songwriter Phil Johnstone. Now and Zen, Manic Nirvana, and Fate of Nations (featuring Máire Brennan of Clannad). It was Johnstone who talked Plant into playing Led Zeppelin songs in his live shows, something Plant had resisted, not wanting to be forever known as "the former Led Zeppelin vocalist."

Although Led Zeppelin split in 1980, Plant and Page occasionally collaborated on various projects, including album in 1984 (there has never been a Volume 2). In the spring 2 years later Robert performed at the Birmingham Heart Beat Charity Concert 1986. The pair again worked together in the studio on the 1988 Page solo effort, Outrider, and in the same year Page contributed to Plant's album Now and Zen. Also, on 15 May 1988 Plant appeared with Page as a member of Led Zeppelin (and in his own right as a solo artist) at the Atlantic Records 40th Anniversary concert.

As Page and Plant (1994-1998)

Page and Plant became a full-fledged performing act from 1994 through 1998, releasing the Unledded album in 1994 and following with an enormously successful tour in 1995. Page and Plant recorded their only post-Zeppelin album of original material on the 1998 album, Walking into Clarksdale, an effort that was unsuccessful commercially, leading Plant to return to his solo career. A song from this album, "Please Read the Letter", was re-recorded by Plant with Alison Krauss, winning the 2009 Grammy Award for Record of the Year.

With Priory of Brion (1999-2000)

Starting in mid-1999, Plant performed until the end of 2000 at several small venues with his folk-rock band, named Priory of Brion.

In 1999, Plant contributed to the tribute album for Moby Grape co-founder Skip Spence, who was terminally ill. The album, (Birdman, 1999), with the album title referring to Spence's only solo album, Oar (Columbia, 1969), contained Plant's version of Spence's "Little Hands". Plant had been an admirer of Spence and Moby Grape since the release of Moby Grape's eponymous 1967 debut album.

In 2001, Plant appeared on Afro Celt Sound System's album . The song "Life Begin Again" features a duet with Welsh folksinger Julie Murphy, emphasising Plant's recurring interest in Welsh culture (Murphy would also tour in support of Plant).

With The Strange Sensation (2001-2007)

In 2002, with his then newly-formed band Strange Sensation, Plant released a widely acclaimed collection of mostly blues and folk remakes, Dreamland. Contrasting with this lush collection of often relatively obscure remakes, the second album with Strange Sensation, Mighty ReArranger (2005), contains new, original songs. Both have received some of the most favourable reviews of Plant's solo career and four Grammy nominations, two in 2003 and two in 2006.

As a former member of Led Zeppelin, along with Page and John Paul Jones, Plant received the Grammy Lifetime Achievement Award in 2005 and the Polar Music Prize in 2006.

From 2001 to 2007, Plant actively toured the US & Europe with The Strange Sensation. His sets typically included recent, but not only, solo material and plenty of Led Zeppelin favourites, often with new and expanded arrangements. A DVD titled , featuring his Soundstage performance (filmed at the Soundstage Studios in Chicago on 16 September 2005), was released in October 2006.

On 23 June 2006, Plant was the headliner (backed by Ian Hunter's band) at the Benefit For Arthur Lee concert at New York's Beacon Theatre, a show which raised money for Lee's medical expenses from his bout with leukaemia. Plant and band performed thirteen songs - five by Arthur Lee & Love, five Led Zeppelin songs and three others including a duet with Ian Hunter. At the show, Plant told the audience of his great admiration for Arthur Lee dating back to the mid-Sixties. Lee died of his illness six weeks after the concert.

An expansive box set of his solo work, Nine Lives, was released in November 2006, which expanded all of his albums with various b-sides, demos, and live cuts. It was accompanied by a DVD. All his solo works were re-released with these extra tracks individually.

In 2007, Plant contributed two tracks to the Fats Domino tribute album , "It Keeps Rainin'" with the Lil' Band O' Gold and "Valley of Tears" with The Soweto Gospel Choir.

With Alison Krauss (2007-2008)

, 5 May 2008]] From 2007-2008, Plant recorded and performed with bluegrass star Alison Krauss. A duet album, Raising Sand, was released on 23 October 2007 on Rounder Records. The album, recorded in Nashville and Los Angeles and produced by T-Bone Burnett, includes performances of lesser-known material from R&B;, Blues, folk, and country songwriters including Mel Tillis, Townes Van Zandt, Gene Clark, Tom Waits, Doc Watson, Little Milton and The Everly Brothers. The song "Gone Gone Gone (Done Moved On)" from Raising Sand won a Grammy for Best Pop Collaboration With Vocals in 2008. Raising Sand also won Album of the Year at the 51st Grammy Awards. The album has been successful critically and commercially, and was certified platinum on 4 March 2008.

Plant and Krauss began an extended tour of the US and Europe in April 2008, playing music from Raising Sand and other American roots music as well as reworked Led Zeppelin tunes. The album was nominated for the Mercury Prize in July 2008. Also in 2008, Plant performed with bluegrass musicians at the New Orleans Jazz & Heritage Festival and Bonnaroo Music & Arts Festival. He appeared as a surprise guest during Fairport Convention's set at the 2008 Cropredy Festival, performing Led Zeppelin's "The Battle of Evermore" with Kristina Donahue as a tribute to Sandy Denny.

In October 2008, it was reported that Plant collaborated on an album by original Fairport vocalist Judy Dyble, but the album has not materialized.

On 8 February 2009, Plant and Krauss won Grammy Awards for Album of the Year, Record of the Year, Pop Collaboration with Vocals, Country Collaboration with Vocals, and Contemporary Folk/Americana Album.

In 2010, Plant realised a lifelong ambition by playing live at Molineux Stadium, home of the Wolverhampton Wanderers F.C. Plant performed with the amateur cover band No Rezerve.

With Band of Joy (2010)

at Birmingham Symphony Hall, 27 October 2010]]

In July 2010, Robert Plant embarked on a twelve-date (summer) tour in the United States with a new group called Band of Joy (reprising the name of his very first band in the 1960s). The group includes singer Patty Griffin, singer-guitarist Buddy Miller, multi-instrumentalist and vocalist Darrell Scott, bassist-vocalist Byron House, and drummer-percussionist-vocalist Marco Giovino.

After a unique show in the United States on September 12, 2010 at the Bowery Ballroom in New York, another eleven-date autumn tour in Europe was announced to last from October to November 2010. North America tour dates were announced November 16, 2010, with the first show being January 18, 2011 in Asheville, North Carolina.

A new studio album called Band of Joy was released on September 13, 2010 on the Rounder Records label.

Led Zeppelin-related projects and reunion rumours

Plant performed with living members of Led Zeppelin both on 13 July 1985 for Live Aid (with Phil Collins and Tony Thompson on drums) and on 15 May 1988 for Atlantic Records 40th Anniversary. At the 1988 reunion, Jason Bonham, the son of Led Zeppelin's late drummer John Bonham, played drums. Both sets featured only a few songs, performed with minimal rehearsal. Plant was unhappy with both performances, saying that "it was like sleeping with your ex-wife but not making love." At the 1990 Silver Clef Award Winners Concert at Knebworth, Plant was joined by Jimmy Page. Some of their set was released on the subsequent live album and video. In 1995, Led Zeppelin was inducted into the Rock and Roll Hall of Fame, and Plant performed at the induction show with Jimmy Page, John Paul Jones, Jason Bonham, Neil Young, Steven Tyler and Joe Perry, performing spirited versions of "Bring It On Home", "Honeybee", and "When the Levee Breaks."

After years of reunion rumours, Led Zeppelin performed a full two-hour set on 10 December 2007 at the Ahmet Ertegün Tribute Concert, with Jason again filling in on drums. Despite enormous public demand, Plant declined a $200 million offer to tour with Led Zeppelin after the 2007 show. In interviews following the 2007 show, Plant left the door open to possible future performances with Led Zeppelin, saying that he enjoyed the reunion and felt that the show was strong musically. Although Page, Jones, and Bonham have expressed the strong desire to tour as Led Zeppelin, Plant has consistently opposed a full tour and has responded negatively to questions about another reunion. In a January, 2008 interview, he stated that he does not want to "tour like a bunch of bored old men following the Rolling Stones around." In a statement on his web site in late 2008, Plant stated, "I will not be touring with Led Zeppelin or anyone else for the next two years. Anyone buying Led Zeppelin tickets will be buying bogus tickets."

Personal life

Robert Plant married Maureen Wilson on 9 November 1968. The couple had three children: daughter Carmen Jane (1968) (married to Charlie Jones, Plant's bass player for solo tours); and sons Karac Pendragon (1972–1977) (died of a virus; the reason Led Zeppelin's 1977 North American Tour was cut short), and Logan Romero (1979). The couple divorced in August 1983. Also, Plant has a younger son, Jesse Lee (1991), the son of Shirley Wilson, sister of Maureen.

On 14 August 2009, it was announced via the Wolverhampton Wanderers text message news service that "Rock Legend and lifelong Wolves fan Robert Plant is to become the club's third Vice President." Plant officially received the honour before kick off at the club's first match of the season against West Ham. Plant was five years old when he first visited Molineux. He recalled in an interview with his local paper Express & Star in August 2010: "I was five when my dad took me down for the first time and Billy Wright waved at me. Honest, he did. And that was it – I was hooked from that moment.

According to The Sunday Times Rich List Plant is worth £80 million as of 2009.

Legacy

Robert Plant is one of the most significant singers in rock music and has influenced the style of many of his contemporaries, including Geddy Lee, Ann Wilson, Sammy Hagar, and later rock vocalists such as Jeff Buckley who imitated his performing style extensively. Freddie Mercury of Queen also was influenced by Plant. Encyclopædia Britannica notes "Exaggerating the vocal style and expressive palette of blues singers such as Howlin' Wolf and Muddy Waters, [Robert] Plant created the sound that has defined much hard rock and heavy metal singing: a high range, an abundance of distortion, loud volume, and emotional excess". Plant received the Knebworth Silver Clef Award in 1990.

In 2006, heavy metal magazine Hit Parader named Plant #1 on their list of the 100 Greatest Metal Vocalists of All-Time, a list which included Rob Halford (2), Steven Tyler (3), Freddie Mercury (6), and Geddy Lee (13), Paul Stanley (18), all of whom were influenced by Plant. In 2008, Rolling Stone named Plant as number 15 on their list of the 100 Greatest Singers of All-Time. In 2009, he was voted the "greatest voice in rock" in a poll conducted by Planet Rock. Plant was appointed Commander of the Order of the British Empire (CBE) in the 2009 New Year Honours for his "services to popular music". He was included in the Q magazine's 2009 list of "Artists Of The Century" and was ranked at number 8 in their list of "100 Greatest Singers" in 2007. In 2009, Plant also won the Outstanding Contribution to Music prize at the Q Awards. He was placed at no. 3 on SPIN's list of "The 50 Greatest Rock Frontmen of All Time".

Solo discography

References

External links

Led Zeppelin Official Site

Official Robert Plant Homepage

Robert Plant and Alison Krauss Official Site

2003 Afropop Worldwide Interview with Robert Plant in Mali

BBC interview with Robert Plant about the Led Zeppelin reunion

Interview from honesttune.com about collaboration with Allison Kraus

Led Zep Online at United Stations Radio Networks

Category:Atlantic Records artists Category:British harmonica players Category:Commanders of the Order of the British Empire Category:English-language singers Category:English male singers Category:English songwriters Category:English tenors Category:English rock singers Category:English heavy metal singers Category:Grammy Award winners Category:Led Zeppelin members Category:Mercury Records artists Category:People from Halesowen Category:People from West Bromwich Category:Welsh-speaking people Category:1948 births Category:Living people Category:Silver Clef Awards winners Category:1960s singers Category:1970s singers Category:1980s singers Category:1990s singers Category:2000s singers

Name	Belinda Carlisle
Background	solo_singer
Birth name	Belinda Jo Carlisle
Alias	Belinda, Dottie Danger, Belinda Jo Kurczeski
Born	August 17, 1958
Origin	Hollywood, Los Angeles, California
Instrument	Vocals, drums, guitar
voice type	Mezzo-Soprano
Genre	Pop rock
Occupation	Singer
Years active	1978–present
Label	I.R.S. (1986) MCA (1987–1991) Virgin (1987–1999) Chrysalis (1996) Rykodisc (2007–present)
Associated acts	The Go-Go's The Germs Black Randy and the Metrosquad
Url	www.belindacarlisle.tv

Belinda Jo Carlisle (born August 17, 1958) is a Grammy Award-nominated American singer and best-selling author. Carlisle gained worldwide fame as the lead vocalist of The Go-Go's, who made history as the first all-female music group to write their own songs and play their own instruments to top the Billboard charts. The Go-Go's are considered by some to be the most successful all-female band of all time. As part of the Go-Go's, Carlisle sold more than seven million albums, and later went on to a successful solo career that spawned hits such as "Mad About You," "Summer Rain," "I Get Weak," "Leave a Light On" and "Heaven Is a Place on Earth", which topped the charts internationally, including in the United States and United Kingdom. Her autobiography, Lips Unsealed, released in June 2010, reached No. 27 on the New York Times Bestseller List and received favorable reviews. As part of The Go-Go's, Carlisle will be receiving a star on the Hollywood Walk of Fame in August of 2011.

Early life

Carlisle was born in Hollywood, Los Angeles, California, to Harold and Joanne. Harold was a contractor, and Joanne raised the children at home. Belinda was the first of seven children, with three brothers (Butch, Joe and Josh) and three sisters (Hope, Mary and Sarah). Her father left home when Belinda was five years old. Her mother later remarried, but Carlisle was not close to her stepfather. She grew up in Thousand Oaks, California, at school she became a cheerleader. She graduated from Newbury Park High School. At the age of 19, she left home with the confidence that one day she would be a star.

Early career and The Go-Go's

Carlisle's first venture into music was a brief stint as drummer for the punk band The Germs, under the name Dottie Danger. Around this time Carlisle did some back-up singing for the Black Randy and the Metrosquad. Soon after leaving The Germs, she co-founded The Go-Go's (originally named The Misfits), with friends and fellow musicians Margot Olaverria, Elissa Bello, and Jane Wiedlin. Olaverria and Bello were soon out of the group and the new line-up included bassist-turned-guitarist Charlotte Caffey, guitarist-turned-bassist Kathy Valentine, and drummer Gina Schock. The Go-Go's became one of the most successful American bands of the 1980s, helping usher New Wave music into popular American radio, and becoming the first all-female band, who wrote their own music and played their own instruments, to ever achieve a #1 album. The Go-Go's recorded two more studio albums on I.R.S. Records, including 1982 Vacation, which went gold. "Head over Heels," from their 1984 album Talk Show, made it to #11, but they never repeated the success of their 1981 multi-platinum debut, Beauty and the Beat, which featured the hits "We Got the Beat" and "Our Lips Are Sealed".

In 1984, Carlisle made a foray into acting in the movie Swing Shift starring Goldie Hawn and Kurt Russell and performed backing vocals for the Don Henley recording of "She's on the Zoom" from the Vision Quest soundtrack.

Solo career

The Go-Go's broke up in 1985, and Carlisle embarked on a solo career (although she continued to work with fellow Go-Go Charlotte Caffey).

1986–1987: Belinda

Carlisle's first solo album Belinda was released in 1986, also on I.R.S. Records. This album was successful in North America and was certified Gold in the U.S. and Platinum in Canada. Her summer hit "Mad About You" peaked at No. 3 in the U.S., topped the Canadian Singles Chart, and charted in the top 10 in Australia. "Mad About You" was followed by the Motown-influenced single "I Feel the Magic", and by a cover version of the Freda Payne song "Band of Gold". All three songs were included on her debut album. The single "Since You've Gone", co-written by Lindsey Buckingham of Fleetwood Mac, was used only for promotion. Susanna Hoffs co-wrote the single "I Need a Disguise". Duran Duran's Andy Taylor played guitar on some album tracks and appeared in her "Mad About You" video clip.

During this time, Carlisle also had songs featured on movie soundtracks, notably "In My Wildest Dreams" from the movie Mannequin "Shot in the Dark" from the Anthony Michael Hall thriller, Out of Bounds, as well as "Dancing in the City" from the Whoopi Goldberg movie Burglar.

1987–1989: Heaven on Earth

Carlisle changed again her hairstyle significantly for her second solo album, giving up her California Girl blonde bob for a long auburn style for 1987's Heaven on Earth. The musical style eschewed the 1960s-influenced pop of Carlisle's first album in favor of slickly produced 1980s power-pop, and was released in the United States through MCA, and in the United Kingdom through Virgin. The album became a Top 5 bestseller in the UK and Australia, and was nominated for a Grammy Award. The album's producer, Rick Nowels, previously worked with Stevie Nicks, and would later collaborate with Kim Wilde, Jennifer Rush and Madonna. Michelle Phillips of The Mamas and The Papas, Chynna Phillips and Carnie Wilson sang backup for the album. Thomas Dolby played the keyboards on some album tracks.

The first release from Heaven on Earth was "Heaven Is a Place on Earth", which topped the single charts, not only in the U.S., but also in the UK and in several other countries (the dance mix of the song also topped the dance chart). The radio-ready song was further propelled by a video, directed by Academy Award-winning American actress Diane Keaton. The second single from the album was "I Get Weak", which shot to #2 in the U.S. and #10 in the U.K. The song was written by Diane Warren. The third single from the album was "Circle in the Sand," another Top 10 hit in the U.S., the UK, and Germany. "World Without You" was another British hit, followed by 1988 low-charting ballad "Love Never Dies", making this her fifth single from the album in the UK. In the U.S., the fourth and last single, "I Feel Free," a cover of the Cream classic, failed to reach the Top 40.

After the release of the Heaven on Earth album, Carlisle embarked on the 'Good Heavens' world tour during which she sold out the Wembley stadium in London.

In 2009, a remastered edition of the album was released with extra tracks, remixes, and a bonus DVD containing a complete live concert from 1988 (available for the first time on DVD).

1989–1991: Runaway Horses

Carlisle's follow-up to the success of Heaven on Earth was Runaway Horses, released on October 23, 1989. The album hit the Top 5 in both Australia and the UK, certified double platinum in Australia and platinum in the UK and in Canada, but failed to reach similar success in the U.S. The first release, "Leave a Light On", peaked at #11 in the U.S., and became another Top 5 smash in the UK, Australia and Canada. The song features a slide guitar solo by George Harrison; he also played on the song Deep Deep Ocean. The second U.S. single, "Summer Rain", reached #30 in early 1990. The song, which Carlisle noted was the most difficult song she had ever sung up to that point, peaked successfully at #6 in Australia, where it has maintained popularity, and the tune saw a cover version, in 2004, by the Australian group Slinkee Minx. It was the final release from Runaway Horses in the UK where it was released as the album's sixth single in December 1990, peaking at #23 in January 1991. Whereas in the U.S. Carlisle's success was decreasing, her popularity remained big in Europe and Australia. In 1990, further singles from the Runaway Horses album were successful as well: the title track, the summer mood influenced "La Luna", a Top 10 in Switzerland and top 20 hit in Germany and Australia, and "(We Want) The Same Thing", remixed from a country-styled release into a massive Pop hit, reaching #6 in the UK. Bryan Adams contributed backup vocals for the track "Whatever It Takes".

In the late autumn of 1990, the Go-Go's reunited for a tour to support their first best-of album, Greatest, including a new recording of the cover song "Cool Jerk" (Go-Go's original cover was featured on their 1980 European EP, with a second version being released in 1982). A notable feature of the tour was an anti-fur campaign, where the band members supported People for the Ethical Treatment of Animals or PETA, an animal rights organization. That same year, Carlisle joined with The Smithereens lead singer Pat Dinizio on his group's ballad "Blue Period" and also performed backing vocals on Then Jerico's album The Big Area on the track "What Does It Take?".

1991–1992: Live Your Life Be Free

In 1991, Carlisle released her fourth solo album, Live Your Life Be Free. The album marked somewhat of a return to 1960s-influenced music for Carlisle and included songs mainly written and produced by Rick Nowels but also two songs co-written by Carlisle. The single "Do You Feel Like I Feel?" was accompanied by a tongue-in-cheek video, inspired by the B-movie Attack of the 50 Foot Woman. The title track, "Live Your Life Be Free", released as first single outside the U.S., was a Top 20 hit single in many countries reaching number 12 in the U.K. and #13 in Australia. Subsequent releases "Half the World" and "Little Black Book" (co-written by Marcella Detroit of the Shakespears Sister under her real name Marcy Levy) were also hits outside the U.S., and although Live Your Life Be Free as an album flopped in the U.S., it was a success in Europe (Top 10 in the UK and Gold certification). To date, "Do You Feel Like I Feel?" is Carlisle's final single to enter in the Billboard Hot 100 chart, peaking at #73.

1992: The Best of Belinda, Volume 1

Still active in Europe and Australia with a record contract at Virgin Records, her 1992 greatest hits album The Best of Belinda, Volume 1 reached #1, and was certified double platinum in the UK and platinum in Australia. This first greatest hits album included all the hits taken from the Heaven on Earth, Runaway Horses, and Live Your Life Be Free albums. It neglected the ballad "Love Never Dies", and the three I.R.S. singles from her first album Belinda, as this only received a limited UK release and produced no hit singles there. Also, no movie-soundtrack songs appear on the collection. The U.S. version of the album was named Her Greatest Hits and also included songs from the first album Belinda.

1993–1994: Real

Carlisle's fifth solo album, Real, was released in 1993 on the Virgin label in the U.S. and in Europe. Produced without Nowels, the disc was a departure from Carlisle's polished pop music formula. Even the album's cover photograph featured her with little or no make-up. Carlisle co-produced and co-wrote much of the disc, collaborating heavily with friend and ex-Go-Go Charlotte Caffey. The album was Carlisle's fifth consecutive to reach the U.K. Top 10 peaking at number #9. Real peaked also at number #23 in Sweden. Its first single, "Big Scary Animal", peaked at #12 in the UK. The second single from Real was "Lay Down Your Arms", which made the Top 30 in the UK. Gregg Alexander of the New Radicals co-wrote the single "Here Comes My Baby".

At this time, Carlisle also recorded "One by One", on the soundtrack for the 1993 movie The Harvest and sang on The Lemonheads' Come On Feel The Lemonheads album on the track "I'll Do It Anyway".

After the 1994 Northridge earthquake, Carlisle and her family moved to Europe. The Go-Go's reunited again later that year to support the retrospective double-CD Return to the Valley of The Go-Go's, their second collection, which featured three new songs, including the single "The Whole World Lost Its Head". However, the band broke up again, soon after the promotional tour. Carlisle has since lived in France and England.

1996–1997: A Woman and a Man

Carlisle returned to the recording studio, and resumed working again with Rick Nowels. In 1996 she released in the UK and Australia her sixth solo album, A Woman and a Man, on the Chrysalis Records label. This album, consisting of mostly relaxed adult pop, revitalized her solo career in Europe, and included several hits. The leadoff single, "In Too Deep", returned Carlisle to the UK Top 10, for the first time in six years, reaching #6. "Always Breaking My Heart", written and produced by Roxette's Per Gessle, also made the UK Top 10, peaking at #8. The album spawned two more smaller hits in UK: "Love in the Key of C", and "California", which featured arrangement and back-up vocals by Brian Wilson. The album reached #12 in the UK, and was certified gold. As a result of A Woman and A Mans UK success, the album was released in the U.S. during the summer of 1997 on the small Ark21 label. Despite the recent successful comeback in Europe, and the promotional appearances Carlisle made on American television and radio, the album did not enjoy similar success in North America selling only 17,000 copies.

In 1996, Carlisle recorded "I Wouldn't Be Here (If I Didn't Love You)" for the Two If by Sea official movie soundtrack. In 1997, she recorded "I Won't Say (I'm in Love)" from Walt Disney's Hercules (soundtrack) Hercules as part of that movie's standard distribution in Europe, and was released as a single exclusively in France and Germany. Neither of these tracks has been released on compilation albums.

1999–2000: A Place on Earth: The Greatest Hits

In 1999, Carlisle released a greatest hits album in the UK, a double-disc on the Virgin label, collectively entitled . Carlisle recorded three new tracks for the album's first disc, properly called The Greatest Hits, including the single "All God's Children", and the songs "A Prayer for Everyone" and "Feels Like I've Known You Forever". The second disc of the album entitled A Place on Earth, contained previously released remixes of some of her hits, plus a couple of B-sides which were previously unreleased. Some of the remixes were by William Orbit, who also worked with Madonna on her 1998 Ray of Light album. was certified Gold in the UK and went on to sell an excess of one million copies worldwide.

2001: Go-Go's Reunion

In 2001, the Go-Go's reunited again and released an album of new material, God Bless The Go-Go's. Green Day's lead singer Billie Joe Armstrong co-wrote the only released single "Unforgiven". The album was well-received by critics, and reached number #57 on the Billboard 200 chart.

Around the time of the Go-Go's definitive reunion tour, Carlisle appeared nude for the cover feature and a full pictorial of the August 2001 edition of Playboy.

2007: Voila

In 2007, the singer released her seventh album Voila, which was her first full-length, solo studio album in more than ten years. The album was produced by John Reynolds and included Brian Eno on the keyboard. Consisting of a mix of French pop tunes and chanson standards, including covers of Françoise Hardy and Édith Piaf classics. Voila was released via Rykodisc in the UK on February 5, and in the U.S. the following day, February 6, 2007. Carlisle was originally approached to make another pop rock album, but she declined immediately, in favor of recording this collection of songs, the style of which, she'd "absolutely fallen in love with", since moving to France in the early 1990s.

2008–2010

She recently toured as part of the Regeneration tour in the U.S., and the Here and Now tour in the UK and Ireland in 2008 and summer of 2009. The line up included Carlisle, as well as other acts such as The Human League, Bananarama, Boy George, Howard Jones, Paul Young, Naked Eyes, ABC, T'Pau, and Cutting Crew.

She took over the role of Velma Von Tussle in London's West End production of Hairspray on October 28, 2009 at the Shaftesbury Theatre. She remained with the show till late January and was replaced by Siobhan McCarthy.

Carlisle announced a Go-Go's farewell tour planned for July 2010,which was then cancelled due to a leg injury suffered by guitarist Jane Wiedlin.

According to her website, Belinda Carlisle is recording new material due for release in 2010, though this has yet to materialise.

Belinda Carlisle performed at Manchester Pride on 27th August 2010. This being her second appearance at this event, with the first being in 2007.

In October 2010, tickets went on sale for a concert tour of Germany in January 2011.

Television appearances

Outside of appearances on tour with The Go-Go's, Carlisle continued her string of TV appearances.

In 2004, Carlisle was the first star to be voted off the UK reality TV show Hell's Kitchen.

In 2006, she appeared on the Simon Cowell-produced Celebrity Duets, a Fox network reality competition, pairing celebrities not famous for singing (like Lucy Lawless and Cheech Marin) with actual singers like Carlisle, Michael Bolton, Jon Secada, Taylor Dayne and Macy Gray. Carlisle sang "Heaven Is a Place on Earth" and "I Get Weak" with Lea Thompson on the September 7 episode.

In 2008 she appeared as a judge on the MTV reality show Rock the Cradle, a competition reality show featuring aspiring musicians who were also the children of famous musicians.

In 2009 Carlisle was on the 8th season of Dancing with the Stars, paired with Jonathan Roberts. She was the first star to be eliminated from the competition, on March 17.

Personal life

In the early 1980s, Carlisle dated Mike Marshall, who played for the Los Angeles Dodgers.

In 1986, Carlisle married Morgan Mason, former Special Assistant to the President of the United States and son of British actor James Mason. Mason made appearances in Carlisle's videos "Mad About You," and "Heaven Is a Place on Earth". They have a son, James Duke Mason, born on April 27, 1992.

She has been reported as being "deeply into Buddhism" and chants Nam Myoho Renge Kyo daily. In an interview, printed on March 7, 2007, the singer stated that: "I was wondering about happiness and started reading a lot of books by the Dalai Lama, and slowly embraced Buddhism" (published by Newindpress, India). She told the Sydney Morning Herald: "I don't smoke any more, I don't drink any more and I don't do drugs any more. I am very much into my Buddhism. I found turning 40 a real passage in time for me."

In January 2009, it was announced that Carlisle was appointed the new spokesperson for NutriSystem.

Discography

Studio albums

1986: Belinda

1987: Heaven on Earth

1989: Runaway Horses

1991: Live Your Life Be Free

1993: Real

1996: A Woman and a Man

2007: Voila

Compilation albums

1992: The Best of Belinda, Volume 1

1992: Her Greatest Hits

1999:

2002: The Collection

See also

List of artists who reached number one on the Hot 100 (U.S.)

List of artists who reached number one on the UK Singles Chart

List of artists who reached number one in Ireland

List of RPM number-one singles of 1986

References

External links

Carlisle-Mason Website

A Place On Earth - Belinda Carlisle Website

Belinda Carlisle - Official Website

The Go-Go's Official Site

Music Videos

Belinda Carlisle at Tv.com

Articles

Audio interview with SYN 907 Melbourne

Category:1958 births Category:Living people Category:American expatriates in France Category:American female singers Category:American pop singers Category:Musicians from California Category:English-language singers Category:Female New Wave singers Category:French-language singers Category:I.R.S. Records artists Category:People from Los Angeles, California Category:People from Ventura County, California Category:Pop punk singers Category:The Germs members Category:The Go-Go's members Category:Dancing with the Stars (US TV series) participants Category:Female American rock drummers Category:Rykodisc artists Category:Virgin Records artists Category:MCA Records artists Category:American New Wave musicians