Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained: of the ''Discobolus'' Sir Kenneth Clark observed, "if we object to his restraint and compression we are simply objecting to the classicism of classic art. A violent emphasis or a sudden acceleration of rhythmic movement would have destroyed those qualities of balance and completeness through which it retained until the present century its position of authority in the restricted repertoire of visual images." Classicism, as Clark noted, implies a canon of widely accepted ideal forms, whether in the Western canon that he was examining in ''The Nude'' (1956), or the Chinese classics.

Classicism is a force which is often present in post-medieval European and European influenced traditions; however, some periods felt themselves more connected to the classical ideals than others, particularly the Age of Reason, the Age of Enlightenment, and some classicizing movements in Modernism.

General term

Classicism is a specific genre of philosophy, expressing itself in literature, architecture, art, and music, which has Ancient Greek and Roman sources and an emphasis on society. It was particularly expressed in the Enlightenment, and the Age of Reason.

Classicism first made an appearance as such during the Italian renaissance when the fall of Byzantium and rising trade with the Islamic cultures brought a flood of knowledge about, and from, the antiquity of Europe. Until that time the identification with antiquity had been seen as a continuous history of Christendom from the conversion of Roman Emperor Constantine I. Renaissance classicism introduced a host of elements into European culture, including the application of mathematics and empiricism into art, humanism, literary and depictive realism, and formalism. Importantly it also introduced Polytheism, or "paganism", and the juxtaposition of ancient and modern.

The classicism of the Renaissance led to, and gave way to, a different sense of what was "classical" in the 16th and 17th centuries. In this period classicism took on more overtly structural overtones of orderliness, predictability, the use of geometry and grids, the importance of rigorous discipline and pedagogy, as well as the formation of schools of art and music. The court of Louis XIV was seen as the center of this form of classicism, with its references to the gods of Olympus as a symbolic prop for absolutism, its adherence to axiomatic and deductive reasoning, and its love of order and predictability.

This period sought the revival of classical art forms, including Greek drama and music. Opera, in its modern European form, had its roots in attempts to recreate the combination of singing and dancing with theatre thought to be the Greek norm. Examples of this appeal to classicism included Dante, Petrarch, and Shakespeare in poetry and theatre. Tudor drama, in particular, modeled itself after classical ideals and divided works into Tragedy and Comedy. Studying Ancient Greek became regarded as essential for a well-rounded education in the liberal arts.

The Renaissance also explicitly returned to architectural models and techniques associated with Greek and Roman antiquity, including the golden rectangle as a key proportion for buildings, the classical orders of columns, as well as a host of ornament and detail associated with Greek and Roman architecture. They also began reviving plastic arts such as bronze casting for sculpture, and used the classical naturalism as the foundation of drawing, painting and sculpture.

The Age of Enlightenment identified itself with a vision of antiquity which, while continuous with the classicism of the previous century, was shaken by the physics of Sir Isaac Newton, the improvements in machinery and measurement, and a sense of liberation which they saw as being present in the Greek civilization, particularly in its struggles against the Persian Empire. The ornate, organic, and complexly integrated forms of the baroque were to give way to a series of movements that regarded themselves expressly as "classical" or "neo-classical", or would rapidly be labelled as such. For example the painting of Jacques-Louis David which was seen as an attempt to return to formal balance, clarity, manliness, and vigor in art.

The 19th century saw the classical age as being the precursor of academicism, including such movements as uniformitarianism in the sciences, and the creation of rigorous categories in artistic fields. Various movements of the romantic period saw themselves as classical revolts against a prevailing trend of emotionalism and irregularity, for example the Pre-Raphaelites. By this point classicism was old enough that previous classical movements received revivals; for example, the Renaissance was seen as a means to combine the organic medieval with the orderly classical. The 19th century continued or extended many classical programs in the sciences, most notably the Newtonian program to account for the movement of energy between bodies by means of exchange of mechanical and thermal energy.

The 20th century saw a number of changes in the arts and sciences. Classicism was used both by those who rejected, or saw as temporary, transfigurations in the political, scientific, and social world and by those who embraced the changes as a means to overthrow the perceived weight of the 19th century. Thus, both pre-20th century disciplines were labelled "classical" and modern movements in art which saw themselves as aligned with light, space, sparseness of texture, and formal coherence.

In the present day philosophy classicism is used as a term particularly in relation to Apollonian over Dionysian impulses in society and art; that is a preference for rationality, or at least rationally guided catharsis, over emotionalism.

In the theatre

Classicism in the theatre was developed by 17th century French playwrights from what they judged to be the rules of Greek classical theatre, including the "Classical unities" of time, place and action, found in the ''Poetics'' of Aristotle.

Unity of time referred to the need for the entire action of the play to take place in a fictional 24-hour period

Unity of place meant that the action should unfold in a single location

Unity of action meant that the play should be constructed around a single 'plot-line', such as a tragic love affair or a conflict between honour and duty.

Examples of classicist playwrights:

Pierre Corneille

Jean Racine

Moliere

Victor Hugo was among the first French playwrights to break these conventions.

The influence of these French rules on playwrights in other nations is debatable. In the English theatre, Restoration playwrights such as William Wycherly and William Congreve would have been familiar with them. William Shakespeare and his contemporaries did not follow this Classicist philosophy, in particular since they were not French and also because they wrote several decades prior to their establishment. Those of Shakespeare's plays that seem to display the unities, such as ''The Tempest'', probably indicate a familiarity with actual models from classical antiquity.

In architecture

Classicism in architecture developed during the Italian Renaissance, notably in the writings and designs of Leon Battista Alberti and the work of Filippo Brunelleschi. It places emphasis on symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture of Classical antiquity and in particular, the architecture of Ancient Rome, of which many examples remained.

Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aedicules replaced the more complex proportional systems and irregular profiles of medieval buildings. This style quickly spread to other Italian cities and then to France, Germany, England, Russia and elsewhere.

In the 16th century, Sebastiano Serlio helped codify the classical orders and Palladio's legacy evolved into the long tradition of Palladian architecture. Building off of these influences, the 17th-century architects Inigo Jones and Christopher Wren firmly established classicism in England.

For the development of classicism from the mid-18th-century onwards, see Neoclassical architecture.

In the fine arts

''For Greek art of the 5th century B.C.E., see Classical art in ancient Greece and the Severe style''

Italian Renaissance painting and sculpture are marked by their renewal of classical forms, motifs and subjects. In the 15th century Leon Battista Alberti was important in theorizing many of the ideas for painting that came to a fully realised product with Raphael's ''School of Athens'' during the High Renaissance. The themes continued largely unbroken into the 17th century, when artists such as Nicolas Poussin and Charles Le Brun represented of the more rigid classicism. Like Italian classicizing ideas in the 15th and 16th centuries, it spread through Europe in the mid to late 17th century.

Later classicism in painting and sculpture from the mid-18th and 19th centuries is generally referred to a Neoclassicism.

In literature and poetry

''See: Classical Literature''

Political philosophy

''See: Classical republicanism''

See also

Neoclassicism

Polish classicism

Quarrel of the Ancients and the Moderns

Weimar Classicism

Further reading

Kallendorf, Craig W., editor. ''A Companion to the Classical Tradition''. Blackwell Publishing, 2007. Essays by various authors on topics related to historical periods, places, and themes. Limited preview online.

References

External links

Renaissance & Classicism from encyclopedia

Category:Art movements Category:Theories of aesthetics Category:Classicism

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Name	Rhys Chatham
Background	non_vocal_instrumentalist
Birth date	September 19, 1952
Origin	New York City, New York, U.S.
Instrument	Electric guitar, trumpet
Genre	Minimalism, No wave, experimental rock Cyber jazz
Occupation	Composer, guitarist, music theorist, trumpeter
Years active	1971–present
Label	Moers MuscDossierHomesteadNew Tone (NTone)/ Ninja TuneTable of the ElementsWire
Associated acts	Tony ConradLa Monte YoungBand of SusansMartin Wheeler
Website	www.rhyschatham.net, www.rhyschatham.com
Notable instruments	Electric guitar, drums/percussion, electric bass guitar, amplified trumpet }}

Rhys Chatham (born September 19, 1952, New York City) is an American composer, guitarist, and trumpet player, primarily active in avant-garde and minimalist music. He is best known for his "guitar orchestra" compositions. He has lived in France since 1987.

Early years

Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord tuner for Gustav Leonhard, Rosalyn Turek and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, ''The Theater of Eternal Music'', during the early seventies; Chatham also played with Tony Conrad in an early version of Conrad's group, ''The Dream Syndicate''. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as ''Two Gongs'' (1971) owed a significant debt to Young and other minimalists.

His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Fred Frith, Robert Fripp, Arto Lindsay, and John Lurie. He has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS: The Opera Opus (1984-6) with the visual artist Joseph Nechvatal.

Compositions from the late 1970s and early 1980s

By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. That year, he began performing ''Guitar Trio'' around downtown Manhattan with an ensemble that included Glenn Branca, as well as Nina Canal of Ut. During this period, he wrote several works for large guitar ensembles, including ''Drastic Classicism'', a collaboration with dancer Karole Armitage. ''Drastic Classicism'' was first released in 1982 on the compilation ''New Music from Antarctica'', put together by Kit Fitzgerald, John Sanborn and Peter Laurence Gordon. It was also included on the 1987 album that also included his 1982 composition ''Die Donnergötter'' (German for "''The Thundergods''").

Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, ''The Word And The Flesh''. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of Sonic Youth did play with Chatham as well.)

Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. His 1990s recordings in this style saw release on Ninja Tune Records as the compilation ''Neon''.

Recent activity

In 2002, he enjoyed a resurgence following the release of a limited-edition 3 CD retrospective box set on the record label Table of the Elements, ''An Angel Moves Too Fast To See: Selected Works 1971-1989'', complete with 130-page booklet. The ''An Angel Moves Too Fast To See'' part of the title comes from Chatham's 1989 composition for 100 guitars. He has been since touring with his 100-guitar orchestra in Europe.

In 2005, he was commissioned by the city of Paris, in his adopted homeland, to write a composition for 400 electric guitars entitled ''A Crimson Grail'', as part of the Nuit Blanche Festival. Approximately 10,000 people were present at the performance, and 100,000 more watched it on live television. A CD of excerpts from this concert was released in January 2007 by Table Of The Elements.

Rhys Chatham is currently touring the original 30 minute version of ''Guitar Trio'' in the USA and Europe, renamed ''G3'' because the instrumentation has been increased to between six and ten electric guitars, electric bass and drums. In February 2007 he completed a twelve-city tour called the ''Guitar Trio (G3) Is My Life North America Tour'', which was accompanied by the original film by Robert Longo that was projected behind the performance, entitled ''Pictures for Music'' (1979). The sets consisted of local musicians from each city of the performances, including members of Sonic Youth, Tortoise, Godspeed You! Black Emperor, Hüsker Dü, Brokeback, 90 Day Men, Town & Country, Die Kreuzen, Bird Show and others. A three-CD box set of these performances was released by Table of the Elements in March 2008.

Chatham has continued to tour the original version of ''Guitar Trio'' in Europe throughout 2007 and 2008, including performances at:

Festival Desgressions - 7 March 2007, Barcelona, Spain

L'Ecole Régionale de Beaux Arts - 25, 26 April 2007, Valence, France

Kosmische Club - 10 August 2007, Oslo, Norway

ZXZW Independent Culture Festival - 22, 23 September 2007, Tilburg, the Netherlands

Festival Soy - 29 October 2007, Nantes, France

Galleria Toledo - 26 March 2008, Naples, Italy

State-X Festival - 12 December 2008, The Hague, the Netherlands

Rhys Chatham made his first American presentation of a composition for a one-hundred guitar orchestra in Williamsport, Pennsylvania, on May 23, 2008, with an orchestra composed of local students and teachers, as well as many professional guitarists. This performance was the premiere of a new composition entitled ''Les 100 Guitares: G100''.

The American premiere of ''A Crimson Grail'' was on August 8, 2009. Two-hundred electric guitarists performed the piece at the Damrosch Park Bandshell in New York City. The performance was part of a free concert series, Lincoln Center Out of Doors, that was being commissioned by the Lincoln Center. Originally, the piece was supposed to be performed for 2008's Lincoln Center Out of Doors, but rain canceled the concert for safety reasons. For the 2009 premiere, precautions were taken so that the concert could go on even if it rained.

Concurrent with his work for guitar orchestras and smaller ensembles, Chatham's trumpet style has evolved from its characteristic distorted sound of the 90s to its present more dreamy and laid back approach to playing the instrument, influenced by players such as Don Cherry and Jon Hassell. An example of this style can be heard on Chatham's latest release, ''The Bern Project'', released by Hinterzimmer Records in January 2010.

Discography

''Factor X'' (LP), Moers Music 1983

: containing:

* ''For Brass'' (1982)

* ''Guitar Ring'' (1982)

* ''The Out Of Tune Guitar'' (1982)

* ''Cadenza'' (1981)

''Die Donnergötter'' (LP), Dossier Records (Europe)/Homestead Records (USA) 1987

: containing:

* ''Die Donnergötter'' (1984–86)

* ''Waterloo No. 2'' (1986)

* ''Guitar Trio'' (1977)

* ''Drastic Classicism'' (1982)

''Neon'' (12", CDEP), Ntone 1997

: All compositions in collaboration with Martin Wheeler.

: containing:

* ''Charm'' (1996)

* ''Ramatek'' (1994)

* ''Hornithology'' (1996)

* ''Neon'' (1993)

''Septile'' (12", CD EP), Ntone 1997

: All compositions in collaboration with Jonathan Kane & DJ Elated System.

''Hardedge'', The Wire Editions 1999

: Made in collaboration with Pat Thomas, Gary Smith, Gary Jeff, Lou Ciccotelli.

''A Rhys Chatham Compendium'' (CD), Table of the Elements 2002

: Limited-edition CD featuring selections and edits from the ''An Angel Moves Too Fast To See'' box-set.

: containing:

* ''An Angel Moves Too Fast To See'' (1989) [edit]

* ''Guitar Trio'' (1977) [edit]

* ''Drastic Classicism'' (1982) [edit]

* ''Two Gongs'' (1971) [edit]

* ''Guitar Cetet'' (1977) [bonus track not contained in box set]

* ''Waterloo, No. 2'' (1986) [edit]

* ''Die Donntergötter'' (1985) [complete version]

''An Angel Moves Too Fast To See (Selected Works 1971-1989)'' (3xCD box set), Table of the Elements 2002

* disc 1:

** ''Two Gongs'' (1971)

* disc 2:

** ''Die Donnergötter'' (1985)

** ''Waterloo, No. 2'' (1986)

** ''Drastic Classicism'' (1982)

** ''Guitar Trio'' (1977)

** ''Massacre on MacDougal Street'' (1982)

* disc 3:

** An Angel Moves Too Fast To See'' (1989)

''Echo Solo'' (LP), Azoth Schallplatten Gesellschaft 2003

''Three Aspects Of The Name'' (12"), Table of the Elements 2003

''An Angel Moves Too Fast To See (For 100 Electric Guitars, Electric Bass, And Drums)'' (LP, CD), Table of the Elements/Radium 2006

''Die Donnergötter'' (LP, CD), Table of the Elements/Radium 2006

: containing:

* ''Die Donnergötter'' (1985/86)

* ''Waterloo, No. 2'' (1986)

* ''Drastic Classicism'' (1982)

* ''Guitar Trio'' (1977)

* ''Massacre on MacDougal Street'' (1982)

''A Crimson Grail (For 400 Electric Guitars)'' (CD), Paris Version / Indoor Version, Table of the Elements 2007

''The Bern Project'' (CD), Hinterzimmer Records 2010

: containing:

* ''War In Heaven'' (2009)

* ''A Rite for Samhain'' (2009)

* ''Scrying in Smoke'' (2009)

* ''My Lady of the Loire'' (2009)

* ''Is there Life After Guitar Trio'' (2009)

* ''Under the Petals of the Rose'' (2009)

''A Crimson Grail (For 200 Electric Guitars)'' (CD), New York Version / Outdoor Version, Nonesuch Records 2010

''Outdoor Spell'' (LP, CD), Northern-Spy 2011

: containing:

* ''Outdoor Spell''

* ''Crossing the Sword Bridge''

* ''Corn Maiden's Rite''

* ''The Magician''

External links

Rhys Chatham's Table of the Elements site

The official "Guitar Trio Is My Life" USA 2007 tour site

"Composer's Notebook" section of personal site

Trouser Press entry ( not comprehensive)

XS: The Opera Opus">audio excerpt from XS: The Opera Opus published at Tellus Audio Cassette Magazine

Review of ''Guitar Trio Is My Life'' on Pitchfork Media

NewMusicBox cover: Rhys Chatham in conversation with Frank J. Oteri, August 14, 2008 (includes video)

''New York Times'' article about the American premiere of ''A Crimson Grail'', published on the ''New York Times'' website, July 22, 2009

Golden, Barbara. “Conversation with Rhys Chatham.” ''eContact! 12.2 — Interviews (2)'' (April 2010). Montréal: CEC.

Rhys Chatham and Joseph Nechvatal in discussion at the School of Visual Arts 2011

Category:1952 births Category:Living people Category:20th-century classical composers Category:21st-century classical composers Category:American experimental musicians Category:American composers Category:No Wave Category:American expatriates in France Category:Experimental composers Category:Postmodern composers Category:Microtonal musicians Category:Moers Music artists

cs:Rhys Chatham da:Rhys Chatham de:Rhys Chatham es:Rhys Chatham fr:Rhys Chatham it:Rhys Chatham nl:Rhys Chatham no:Rhys Chatham pl:Rhys Chatham pt:Rhys Chatham sv:Rhys Chatham

name	Lloyd Cole
background	solo_singer
birth date	January 31, 1961
origin	Buxton, Derbyshire, England
years active	1984–present
associated acts	Lloyd Cole and the Commotions
website	http://www.lloydcole.com }}

Lloyd Cole (born 31 January 1961) is an English singer and songwriter, known for his role as lead singer of Lloyd Cole and the Commotions from 1984 to 1989, and for his subsequent solo work.

Early life

Cole was born in Buxton, Derbyshire. He grew up in nearby Chapel en le Frith and went to New Mills Grammar School and later attended Runshaw College in Leyland Lancashire. After failing in law at University College London, he later attended (but did not graduate from) the University of Glasgow, where he studied philosophy and English and met the other members of The Commotions.

Career

The Commotions' 1984 debut, ''Rattlesnakes'', contained literary and pop culture references to such figures as Norman Mailer, Grace Kelly, Eva Marie Saint, Simone de Beauvoir, Truman Capote, and Joan Didion. The group produced two more albums, ''Easy Pieces'' and ''Mainstream'', before disbanding in 1989, when Cole relocated to New York to record with various artists, including Fred Maher, Robert Quine and Matthew Sweet.

This solo setting produced two acclaimed albums, ''Lloyd Cole'' in 1990 and 1991's ''Don't Get Weird on Me Babe''. The latter was recorded in two parts: one side continued the New York rock mastered on his first solo album, while the other side featured a session orchestra, much in the style of Burt Bacharach or Scott Walker. Although some reviewers have claimed ''Don't Get Weird on Me Babe'' (the title being a quotation from the American minimalist writer Raymond Carver) to be a creative peak, it produced significantly fewer record sales. While he remained with Polydor as his record label, the US distribution contract with Capitol Records ended. (US rights were immediately picked up by Rykodisc).

Cole continued redefining his sound with ''Bad Vibes'' (1993), a collaboration with producer/remixer Adam Peters, using a harder and psychedelia-inspired sound. ''Love Story'' (1995) established stripped-down, largely acoustic sound landscapes with the help of Stephen Street (famous for his work with Blur and The Smiths) and former Commotions Neil Clark and Blair Cowan; the album produced a minor hit, affording Cole a mid-90s appearance on ''Top of the Pops'', with the song "Like Lovers Do". However, following a massive purge of the artist roster that came with Universal Music's takeover of Polygram and Cole's disappointment with the label, his contract was terminated despite at least two full-length recordings being locked in its vaults (later released in 2002 by One Little Indian).

In 2000, after being a solo artist for more than a decade (and a couple of years without a contract), Cole teamed with a younger generation of New York musicians under the name The Negatives. The group consisted of Jill Sobule, Dave Derby of the Dambuilders, Mike Kotch and Rafa Maciejak, who recorded an eponymous CD, released mainly in France. He has since released solo albums on smaller independent labels. Sanctuary Records, the company responsible for the revival of Morrissey, released ''Music in a Foreign Language'' (2003) in the UK. Recorded largely by Cole himself (including tracks recorded directly onto a Mac), the songs had a stark, folk-inspired singer-songwriter style. One Little Indian, home of Björk, released ''Music in a Foreign Language'' in the U.S.; they also collected a number of outtakes (recorded from 1996 to 2000) on 2002's ''Etc.'' and released an instrumental ambient electronica album, ''Plastic Wood'', the same year.

In 2004, to mark the 20th anniversary of the release of ''Rattlesnakes'', Lloyd Cole and the Commotions reformed to perform a one-off, sellout tour in the UK and Ireland which generated some media interest, mostly in UK broadsheets. The reformation was never intended to be permanent and Cole released another solo album in 2006, ''Antidepressant'', using his usual home recording outfit by playing all the instruments himself with friends like Sobule, Derby and the guitar work of former Commotion Neil Clark on some tracks. The lyrics focus on the reality of a young American middle-class parent: leaving New York for a life in the suburbs, worrying about the stock market crash, fantasies of escaping marriage, or being "no longer young, no longer driven to distraction, not even by Scarlett Johansson." The follow-up, "Broken Record" released in September 2010, marked a departure from his solo recordings as it was performed by a band of longstanding friends and working partners including Fred Maher, Joan Wasser, Rainy Orteca, Dave Derby and Blair Cowan - as well as two musicians, Matt Cullen (guitar; banjo) and Mark Schwaber (guitar; mandolin), with whom Cole tours, billed as 'Lloyd Cole Small Ensemble'. The recording of the album was entirely financed by advance purchases by his fans, and later distributed by Tapete Records - who also oversaw and negotiated the rights to re-release a boxed set with his complete collection of b-sides and alternative takes and previously unreleased material under the title ''Cleaning Out the Ashtrays''.

Live performances

Cole is on tour frequently, playing small club venues in a one-man acoustic setting and presenting rock songs from his past career remodelled to simple folk songs. He interacts extensively with the audience and some songs are told rather than played as spoken word or stand-up comedy. Performances recorded in April 2008 at Whelan's in Dublin and in 2003 in Bremen (also broadcast by Radio Bremen) were used for two live albums called the Folksinger series. In 2010, he formed a small ensemble consisting of New England musicians, Mark Schwaber and Matt Cullen and, in October and November of that year, completed an extensive tour of Europe. Further tours of New Zealand and Australia and Europe followed in 2011. Later, in June of that year, http://www.lloydcole.com/weblog/index.php?p=3907&c;=1 a tour of North America and Canada was planned.

Personal life

Cole married his American wife, Elizabeth Lewis, in December 1989. They live in Northampton, Massachusetts with their sons William and Frank.

Golf

As an avid golfer, Cole is known for playing concerts in towns suspiciously close to famous golf courses. He shares a passion for this sport with Alice Cooper, who is said to have introduced the song "Only Women Bleed" by claiming "not even Lloyd Cole has written a song about menstruation" when playing live (which he in fact has). Cole's 5.3 handicap tied 11th place on ''Golf Digest'''s top 100 list of musicians (tied with Cooper and Dan Tyminski). His occasional dab into golf journalism, an article about playing the famous golf course Melbourne Sandbelt while being on tour, was awarded with the ''Best Feature of the Year Award'' by the Australian Golf Writers Association. He has also starred in a commercial for a local golf supply store located near his home.

Covers

Cole has recorded and performed a number of songs by Marc Bolan: "Children of the Revolution", "The Slider", "Mystic Lady", and "Romany Soup". Cole has also covered "I'm Not Willing" by Moby Grape; "Being Boring" by Pet Shop Boys; "Famous Blue Raincoat", "Tower of Song", and "Chelsea Hotel" by Leonard Cohen; "People Ain't No Good" by Nick Cave; "Vicious" by Lou Reed; "I Don't Believe You", "She Belongs to Me", "You're a Big Girl Now", "I Threw it All Away" ", "It's All Over Now, Baby Blue" (Black session live) and "Most of the Time" by Bob Dylan; "Why Don't We Do It in the Road?" by The Beatles; "Waterloo Sunset" by The Kinks; "Human" by The Human League (with Stephin Merritt's 6ths); "Believe" by Cher (done as a lark); "Glory" by Television; "If I Were a Carpenter", "Lady Came From Baltimore", and "Reason To Believe" by Tim Hardin;, "Pocket Calculator" by Kraftwerk; "I Just Don't Know What To Do With Myself" by Burt Bacharach; "These Days" by Jackson Browne (not to be confused with Cole's own song "These Days" on ''Mainstream''); "Rock 'n' Roll Ain't Noise Pollution" by AC/DC; "Please Don't Tell Me How This Story Ends" by Kris Kristofferson; and "Chinese Translation" by M. Ward. His versions often differ significantly in arrangement to the originals.

Cole's "Rattlesnakes" has been covered by Tori Amos, while Sandie Shaw has recorded a version of "(Are You) Ready to Be Heartbroken?".

In 2006, Scottish band Camera Obscura released the song "Lloyd, I'm Ready to Be Heartbroken" as an answer song to Cole's 1984 hit "(Are You) Ready to Be Heartbroken?".

Discography

Albums

With the Commotions

''Rattlesnakes'' (1984), UK #13, Sweden #25, Canada #68, Australia #28, US #201

''Easy Pieces ''(1985), UK #5, Sweden #25, Canada #77, Australia #14

''Mainstream'' (1987), UK #9, Sweden #31, Australia #54

''1984-1989'' (1989), UK #14, Australia #85

''Lloyd Cole. The Commotions. The Singles'' (2004)

''Rattlesnakes - Deluxe Edition'' (2004) !Australia !Ireland !New Zealand !US Modern Rock |- |rowspan="3"| 1984 | "Perfect Skin" |align="center"|26 |align="center"|54 |align="center"| - |align="center"| - |align="center"| - |rowspan="3"| ''Rattlesnakes'' |- | "Forest Fire" |align="center"|41 |align="center"|87 |align="center"| - |align="center"| 25 |align="center"| - |- | "Rattlesnakes" |align="center"|65 |align="center"|59 |align="center"| - |align="center"| - |align="center"| - |- |rowspan="2"| 1985 | "Brand New Friend" |align="center"|19 |align="center"|73 |align="center"|11 |align="center"| 20 |align="center"| - |rowspan="3"| ''Easy Pieces'' |- | "Lost Weekend" |align="center"|17 |align="center"| - |align="center"|10 |align="center"| 33 |align="center"| - |- | 1986 | "Cut Me Down" |align="center"|38 |align="center"| - |align="center"|12 |align="center"| 49 |align="center"| - |- |rowspan="3"| 1988 | "My Bag" |align="center"|46 |align="center"| - |align="center"|20 |align="center"| - |align="center"| 13 |rowspan="3"| ''Mainstream'' |- | "Jennifer She Said" |align="center"|31 |align="center"| - |align="center"|27 |align="center"| - |align="center"| - |- | "From the Hip" |align="center"|59 |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- |rowspan="3"| 1990 | "No Blue Skies" |align="center"|42 |align="center"|92 |align="center"| - |align="center"| - |align="center"| - |rowspan="3"| ''Lloyd Cole'' |- | "Don't Look Back" |align="center"|59 |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- | "Downtown" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| 5 |- |rowspan="2"| 1991 | "She's A Girl And I'm A Man" |align="center"|55 |align="center"| - |align="center"| - |align="center"| - |align="center"| 7 |rowspan="3"| ''Don't Get Weird On Me Babe'' |- | "Tell Your Sister" |align="center"|- |align="center"| - |align="center"| - |align="center"| - |align="center"| 6 |- | 1992 | "Butterfly" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- |rowspan="2"| 1993 | "So You'd Like to Save the World" |align="center"|72 |align="center"| - |align="center"| - |align="center"| - |align="center"| - |rowspan="2"| ''Bad Vibes'' |- | "Morning Is Broken" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- |rowspan="2"| 1995 | "Like Lovers Do" |align="center"|24 |align="center"| - |align="center"| - |align="center"| - |align="center"| - |rowspan="3"| ''Love Story'' |- | "Sentimental Fool" |align="center"|73 |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- | 1996 | "Baby" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - |- | 1998 | "That Boy" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - | ''Collection'' |- | 2000 | "Impossible Girl" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - | ''The Negatives'' |- | 2003 | "No More Love Songs" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - | ''Music in a Foreign Language'' |- | 2010 | "Writers Retreat!" |align="center"| - |align="center"| - |align="center"| - |align="center"| - |align="center"| - | ''Broken Record'' |}

References

External links

Official website

Category:1961 births Category:Living people Category:People from Buxton Category:English songwriters Category:English male singers Category:English singer-songwriters Category:British expatriates in the United States

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