A musical ensemble is a group of people who perform instrumental or vocal music. In each musical style different norms have developed for the sizes and composition of different ensembles, and for the repertoire of songs or musical works that these ensembles perform.

A group of two musicians is called a duo, a group of three is a trio, a group of four a quartet, and a group of five a quintet. A musician who usually performs alone is usually termed a solo musician or solo artist.

In classical music, trios or quartets either blend the sounds of musical instrument families (such as piano, strings, and wind instruments) or group together instruments from the same instrument family, such as string ensembles or wind ensembles. In jazz ensembles, the instruments typically include wind instruments (one or more saxophones, trumpets, etc.), one or two chordal "comping" instruments (electric guitar, piano, or organ), a bass instrument (electric bass guitar or double bass), and a drummer or percussionist. In rock ensembles, usually called rock bands, there are usually guitars and keyboards (piano, electric piano, Hammond organ, synthesizer, etc.) and a rhythm section made up of a bass guitar and drum kit.

Classical chamber music

In Western Art music, commonly referred to as classical music, smaller ensembles are called chamber music ensembles. The terms duet, trio, quartet, quintet, sextet, septet, octet, nonet and dectet are used to describe groups of two, three, four, five, six, seven, eight, nine and ten musicians, respectively. A group of eleven musicians, such as found in ''The Carnival of the Animals'', is called either a "hendectet" or an "undectet" (see Latin numerical prefixes). A solo is not an ensemble because it only contains one musician.

Four parts

Strings

A string ''quartet'' usually consists of two violins, a viola and a cello. An upper string quartet features two violins and two violas. A lower string quartet features 1 viola, 2 cellos and a double bass. An American string quartet features two guitars, a banjo and a drum kit.

Wind

A woodwind quartet usually features a clarinet, bassoon, flute and oboe. A brass quartet features 2 trumpets, a trombone and a tuba. A wind quartet features a horn, flute, oboe and bassoon. A lower wind quartet features a tuba, a bassoon, a bass clarinet and a trombone.

Five parts

The string ''quintet'' is a common type of group. It is similar to the string quartet, but with two violas, two cellos, or more rarely, the addition of a double bass. Terms such as "piano quintet" or "clarinet quintet" frequently refer to a string quartet ''plus'' a fifth instrument. Thus, a ''piano quintet'' is usually a string quartet plus a piano. Mozart's Clarinet Quintet is similarly a piece written for an ensemble consisting of 2 violins, a viola, a cello and a clarinet, the last being the exceptional addition to a "normal" string quartet.

Other common groupings in classical music are the woodwind quintet, usually consisting of flute, oboe, clarinet, bassoon and horn and the brass quintet, consisting of two trumpets, one french horn, a trombone and a tuba.

Six or more instruments

Classical chamber ensembles for more than six musicians are occasionally used, such as septets (seven musicians), octets (eight musicians), or nonets (nine musicians). However, in many cases a larger classical group is referred to as an orchestra of some type. A small orchestra with fifteen to thirty members (violins, violas, cellos, double basses, and several woodwind or brass instruments) is called a chamber orchestra In the American education system, sitting groups are known as wind ensembles or concert bands (to differentiate from marching bands). Music is similar to that of a pops orchestra, orchestrated for woodwinds, brass, and percussion. A sinfonietta usually denotes a somewhat smaller orchestra (though still not a chamber orchestra). Larger orchestras are called symphony orchestras or philharmonic orchestras.

A pops orchestra is an orchestra that mainly performs light classical music (often in abbreviated, simplified arrangements) and orchestral arrangements and medleys of popular jazz, music theater, or pop music songs. A string orchestra has only strings, i.e., violins, violas, cellos and basses.

A symphony orchestra is an ensemble usually comprising at least thirty musicians; the number of players is typically between seventy and ninety-five and may exceed one hundred. A symphony orchestra is divided into families of instruments. In the string family, there are sections of violins (I and II), violas, cellos, and basses. The winds consist of the woodwind family of instruments (flutes and piccolo, oboes and English horn, clarinets [made up of the E clarinet, clarinet, and bass clarinet], and bassoons [often including contrabassoon]) and the brass family (horns, trumpets, trombones, and tuba). The percussion family includes the timpani, bass drum, snare drum, and any other percussion instruments called for in a score (e.g., triangle, glockenspiel, chimes, cymbals, wood blocks).

When orchestras are performing baroque music (from the 17th century and early 18th century), they may also use a harpsichord or pipe organ. When orchestras are performing Romantic-era music (from the 19th century), they may also use harps or unusual instruments such as the wind machine. When orchestras are performing music from the 20th century or the 21st century, occasionally instruments such as electric guitar, theremin, or even an electronic synthesizer may be used.

Jazz ensembles

Three parts

In jazz, there are several types of trios. One type of jazz trio is formed with a piano player, a bass player and a drummer. Another type of jazz trio that became popular in the 1950s and 1960s is the organ trio, which is composed of a Hammond organ player, a drummer, and a third instrumentalist (either a saxophone player or an electric jazz guitarist). In organ trios, the Hammond organ player performs the bass line on the organ bass pedals while simultaneously playing chords or lead lines on the keyboard manuals. Other types of trios include the "drummer-less" trio, which consists of a piano player, a double bassist, and a horn (saxophone or trumpet) or guitar player ; and the jazz trio with a horn player (saxophone or trumpet), double bass player, and a drummer. In the latter type of trio, the lack of a chordal instrument means that the horn player and the bassist have to imply the changing harmonies with their improvised lines.

Four parts

Jazz quartets typically add a ''horn'' (the generic jazz name for saxophones, trombones, trumpets, or any other wind instrument commonly associated with jazz) to one of the jazz trios described above. Slightly larger jazz ensembles, such as quintets (five instruments) or sextets (six instruments) typically add other soloing instruments to the basic quartet formation, such as different types of saxophones (e.g., alto saxophone, tenor saxophone, etc.) or an additional chordal instrument.

Larger ensembles

The lineup of larger jazz ensembles can vary considerably, depending on the style of jazz being performed. In a 1920s-style dixieland jazz band, a larger ensemble would be formed by adding a banjo player, woodwind instruments, as with the clarinet, or additional horns (saxophones, trumpets, trombones) to one of the smaller groups. In a 1940s-style Swing big band, a larger ensemble is formed by adding "sections" of like instruments, such as a saxophone section and a trumpet section, which perform arranged "horn lines" to accompany the ensemble. In a 1970s-style jazz fusion ensemble, a larger ensemble is often formed by adding additional percussionists or sometimes a saxophone player would "double" or "triple" meaning that they would also be proficient at the clarinet, flute or both. Also by the addition of soloing instruments.

Rock and pop bands

Two parts

Two-member rock and pop bands are relatively rare, because of the difficulty in providing all of the musical elements which are part of the rock or pop sound (vocals, chords, bass lines, and percussion or drumming) with trios or quartets. Two-member rock and pop bands typically omit one of these musical elements. In many cases, two-member bands will omit a drummer, since guitars, bass guitars, and keyboards can all be used to provide a rhythmic pulse, however one rare west coast metal and rock band In Between, consists of a drummer and a guitarist/singer. Examples of two-member bands are The Everly Brothers, Pet Shop Boys, Hella, Flight of the Conchords, Death from above 1979, Francis Xavier, I Set My Friends On Fire, Middle Class Rut, No Age, The Pity Party, The White Stripes, Big Business, erdbeerseestern, God Head Silo, Two Gallants, Lightning Bolt, The Ting Tings, The Black Box Revelation, Satyricon, The Black Keys, Panic! At the Disco, Stray Kites, Tenacious D, D.A. Dad, Simon and Garfunkel and The Pack A.D..

When electronic sequencers became widely available in the 1980s, this made it easier for two-member bands to add in musical elements that the two band members were not able to perform. Sequencers allowed bands to pre-program some elements of their performance, such as an electronic drum part and a synth-bass line. Two-member pop music bands such as Soft Cell, Blancmange and Yazoo used pre-programmed sequencers. Other pop bands from the 1980s which were ostensibly fronted by two performers, such as Wham! and Tears for Fears, were not actually two-piece ensembles, because other instrumental musicians were used "behind the scenes" to fill out the sound.

Two-piece bands in rock music are quite rare. However, starting in the 2000s, blues-influenced rock bands such as The White Stripes, Lost Dawn and The Black Keys utilized a guitar and drums scheme. However, this is predated by the Flat Duo Jets from the '80's. Death From Above 1979 featured a drummer and bass guitarist. Tenacious D is a two-guitar band; One Day as a Lion and The Dresden Dolls both feature a keyboardist and a drummer. The band Welk consists of a two-man psychedelic flute band, with the occasional synthesizer. Two-person bands have grown in popularity in experimental rock music. W.A.S.P. guitarist Doug Blair is also known for his work in the two-piece progressive rock band signal2noise, where he manages to be the lead guitarist and bassist at the same time, thanks to a special custom instrument he invented (an electric guitar with five regular guitar strings paired with three bass guitar strings). Heisenflei of Los Angeles duo The Pity Party plays drums, keyboards, and sings simultaneously. Providence-based Lightning Bolt is a two-member band. Bassist Brian Gibson augments his playing with delay pedals, pitch shifters, looping devices and other pedals, occasionally creating harmony. Local H, No Age, Blood Red Shoes, PS I Love You, The Redmond Barry's and Warship are other prominent two-person experimental rock bands.

Example line-up

Lead vocals, Bass, Guitar

Drums, Percussion, Backing vocals

or

Lead vocals, Keyboard, Guitar

Drums, Percussion, Backing vocals

or

Lead vocals, Bass, Drum machine

Lead guitar, Backing vocals Drum machine

Three parts

The smallest ensemble that is commonly used in rock music is the trio format. In a hard rock or blues-rock band, or heavy metal rock group, a "power trio" format is often used, which consists of an electric guitar player, an electric bass guitar player and a drummer, and typically one or more of these musicians also sing (sometimes all three members will sing, e.g. Bee Gees or Alkaline Trio). Some well-known power trios with the guitarist on lead vocals are The Jimi Hendrix Experience, Stevie Ray Vaughan and Double Trouble, Nirvana, Green Day, Violent Femmes, Gov't Mule, The Minutemen, Triumph, Shellac, Sublime, Chevelle, Muse, Short Stack, ZZ Top, and the original lineup of Wolfmother. A handful of others with the bassist on vocals include Primus, Motörhead, The Police, The Melvins, Blue Cheer, Dinosaur Junior, Rush, The Presidents of the United States of America, Venom, and Cream. Some power trios feature two lead vocalists, both of which play their respective instruments. For example, in the band blink-182 vocals are split between bassist Mark Hoppus and guitarist Tom DeLonge.

An alternative to the power trio are organ trios formed with an electric guitarist, a drummer and a keyboardist. Although organ trios are most commonly associated with 1950s and 1960s jazz organ trio groups such as those led by organist Jimmy Smith, there are also organ trios in rock-oriented styles, such as jazz-rock fusion and Grateful Dead-influenced jam bands such as Medeski Martin & Wood. In organ trios, the keyboard player typically plays a Hammond organ or similar instrument, which permits the keyboard player to perform bass lines, chords, and lead lines. A variant of the organ trio are trios formed with an electric bassist, a drummer and an electronic keyboardist (playing synthesizers) such as the progressive rock band Emerson, Lake & Palmer, and Atomic Rooster. Another variation is to have a vocalist, a guitarist and a drummer, an example being Yeah Yeah Yeahs. Another variation is two guitars, a bassist, and a drum machine, examples including Magic Wands and Big Black.

A power trio with the guitarist on lead vocals is popular record company lineup, as the guitarist and singer will usually be the songwriter. Therefore you only have to present one face to the public, the backing band is easy to house, and the songs will likely stay simple and accessible as the frontman will have to sing and play guitar at the same time.

Example line-up

Lead vocals, Lead guitar

Bass guitar, Keyboards

Drums, Percussion

or

Lead vocals, Bass guitar

Lead guitar, Backing vocals

Drums, Percussion, Backing vocals

or

Backing vocals, Bass guitar

Lead guitar, Backing vocals

Drums, Percussion, Lead vocals

or

Lead vocals, Lead guitar

Bass guitar, Backing vocals, Harmonica

Drums, Percussion

Four parts

The four-piece band is the most common configuration in rock and pop music. Before the development of the electronic keyboard, the configuration was typically two guitarists (one lead guitarist and one rhythm guitarist, with the latter on vocals), a bassist (typically the electric bass guitar) and a drummer (e.g.KISS, Foo Fighters, Weezer, Metallica, The Clash, Creedence Clearwater Revival, The Kinks, The Fray, Sonic Youth, The Smashing Pumpkins, Arctic Monkeys, Franz Ferdinand, Against Me! and the new lineup of Wolfmother). This is popular with bands for its versatility. However, it has been noted the main complaint is that it takes too much effort to keep so many instruments in tune when they are played by every member of the band.

Another common formation was a vocalist, electric guitarist, bass guitarist, and a drummer (e.g.The Who, Led Zeppelin, The Ramones, Tokio Hotel, Sex Pistols, Red Hot Chili Peppers, Queen, R.E.M., Blur, The Smiths, Echo and the Bunnymen, Stone Roses, Creed, Black Sabbath, Van Halen, The Stooges, Joy Division, U2 and Coldplay). Instrumentally, these bands can be considered as trios. This format is popular with new bands, as there are only two instruments that need tuning, the line-and-counterpoint formula prevalent with their material is easy to learn, four members are commonplace to work with, the roles are clearly defined and generally are: melody line, rhythm section with counterpoint melody, and vocals on top.

In some early rock bands, keyboardists were used, performing on piano (e.g. The Seeds and The Doors) with a guitarist, singer, drummer and keyboardist. Some bands will have a guitarist, bassist, drummer, and keyboard player (for example, Small Faces, King Crimson, The Guess Who, Pink Floyd, Coldplay, The Killers, The Monkees and Blind Faith).

Some bands will have the bassist on lead vocals, such as Thin Lizzy, Chameleons, Pink Floyd, NOFX, +44, Slayer, The All-American Rejects or even the lead guitarist, such as Dire Straits and Creedence Clearwater Revival. Some bands, such as The Beatles, have a lead guitarist, a rhythm guitarist and a bassist that all sing lead and backing vocals, that also play keyboards regularly, as well as a drummer. Others, such as The Four Seasons, have a lead vocalist, a lead guitarist, a keyboard player, and a bassist, with the drummer not being a member of the band.

Example line-ups

Lead vocals

Lead guitar, Backing vocals

Bass guitar, Backing vocals

Drums, Percussion

or

Lead vocals

Lead guitar, Backing vocals

Keyboards, Backing vocals

Bass guitar, Backing vocals

or

Lead vocals, Rhythm guitar

Lead guitar, Backing vocals

Bass guitar, Backing vocals

Drums, Percussion

or

Lead vocals, Bass guitar

Lead guitar, Backing vocals

Keyboards

Drums, Percussion

or

Lead vocals, piano, Rhythm guitar

Lead guitar, backing vocals

Bass guitar, Backing vocals

Drums, Backing vocals

or

Lead vocals, Lead guitar

Rhythm guitar, Backing vocals, Keyboards, Harmonica

Bass guitar, Backing vocals

Drums, Percussion, Backing vocals

or

Lead vocal, Bass guitar

Lead guitar, Backing vocals

Rhythm guitar, Backing vocals

Drums, Percussion, Backing vocals

or

Lead vocals, Lead guitar

Bass guitar, Backing vocals

Keyboards

Drums, Percussion

or

Lead vocals, Keyboards/Piano

Lead guitar, Backing vocals

Bass guitar, Backing vocals

Drums, Percussion

or *Lead vocals *Lead guitar , Backing vocals *Keyboards ,Backing vocals *Drums ,Percussion

Five parts

Five-piece bands have existed in rock music since early times. The Beach Boys, The Rolling Stones, Aerosmith, Def Leppard, AC/DC, Oasis, Pearl Jam, Guns N' Roses, Radiohead, The Strokes, Styx, The Yardbirds, 311 are examples of the common vocalist, lead guitar, rhythm guitar, bass, and drums lineup. An alternative to the five-member lineup replaces the rhythm guitarist with a keyboard–synthesizer player (examples being the bands Journey, Nightwish, Maroon 5, Dream Theater, Genesis, Jethro Tull, The Zombies, Bon Jovi, Yes, Snow Patrol, Fleetwood Mac, Marilyn Manson and Deep Purple, all of which consist of a vocalist, guitarist, bassist, keyboardist, and a drummer) or with a turntablist such as Incubus or Limp Bizkit. Alternatives include a keyboardist, guitarist, drummer, bassist, and saxophonist, such as The Sonics and Sam the Sham and the Pharaohs. Another alternative is three guitarists, a bassist and a drummer, such as Radiohead and The Byrds. Some five-person bands feature two guitarists, a keyboardist, a bassist and a drummer, with one or more of these musicians (typically one of the guitarists) handling lead vocals on top of their instrument (examples being Children of Bodom, Sturm und Drang and Ensiferum). In some cases, typically in cover bands, one musician plays either rhythm guitar or keyboards, depending on the song (one notable band being Firewind, with Bob Katsionis handling this particular role).

Other times, the vocalist will provide another musical voice to the table, most commonly a harmonica; Mick Jagger, for example, played harmonica and percussion instruments like maracas and tambourine. Ozzy Osbourne was also known to play the harmonica on some occasions (i.e. "The Wizard" by Black Sabbath).

Line-up

Lead vocals

Lead guitar, backing vocals

Rhythm guitar, backing vocals

Bass guitar, backing vocals

Drums, percussion

or

Lead vocals, keyboards, piano

Lead guitar, backing vocals

Bass guitar, backing vocals

Rhythm guitar, backing vocals

Drums, Percussion

or

Lead vocals, rhythm guitar

Lead guitar, backing vocals

Bass guitar, backing vocals

Keyboards, synthesizers

Drums, Percussion

or

Lead vocals

Lead guitar, backing vocals

Keyboards, backing vocals

Bass guitar, backing vocals

Drums, percussion, backing vocals

or

Lead vocals, Rhythm guitar, Piano

Lead guitar, Piano, Keyboards, Backing vocals

Bass guitar, Backing vocals

Keyboards, Rhythm guitar, Backing vocals

Drums, Percussion, Backing vocals

or

Lead vocals, Rhythm guitar, Keyboards

Rhythm guitar, Backing vocals

Lead guitar, Backing vocals

Bass guitar, Backing vocals

Drums, Percussion

or

Lead vocals, Rhythm guitar, Percussion, Keyboards

Lead guitar, Piano, Electronics, Bass, Percussion

Lead guitar, Backing vocals, Synths, Drums, Percussion

Bass guitar, Synths

Drums, Percussion, Backing vocals

Larger rock ensembles

Larger bands have long been a part of rock and pop music, in part due to the influence of the "singer accompanied with orchestra" model inherited from popular big-band jazz and swing and popularized by Frank Sinatra and Ella Fitzgerald.To create larger ensembles, rock bands often add an additional guitarist, an additional keyboardist, additional percussionists or second drummer, an entire horn section, and even a flutist. An example of a six-member rock band is Linkin Park with a lead vocalist, rap vocalist/keyboardist, lead guitarist, bassist, turntablist, and drummer. The American heavy metal band Slipknot is composed of eight members, with a vocalist, two guitarists, a drummer, two custom percussionists, a turntablist, and a sampler.

In larger groups (such as The Band), instrumentalists could play multiple instruments, which enabled the ensemble to create a wider variety of instrument combinations. More rarely, rock or pop groups will be accompanied in concerts by a full or partial symphony orchestra, where lush string-orchestra arrangements are used to flesh out the sound of slow ballads.

Example line-up

Lead vocals, screaming vocals

rapping vocals, pianist

lead guitar, backing vocals

bass guitar, backing vocals

turntables, programming, samples, backing vocals

drums, backing vocals

or

Lead vocals

Lead guitar

Rhythm guitar, backing vocals

Bass guitar, backing vocals

Drums, percussion

Keyboards

or

Lead vocals, Guitar

Lead guitarist, Backing vocals

Rhythm guitarist

Bass guitar, Backing vocals

Horns (anything from saxophone to a horn section)

Keyboards, Piano

Drums

or

Lead vocals

Lead guitar, backing vocals

Bass guitar, screaming vocals

Drums, percussion

Keyboards, piano

Rhythm guitar, backing vocals

DJ, emcee, drum machine, Sampler, synthesizers

Percussion

or even

Lead vocalist

Lead vocalist

Lead guitar

Lead guitar

Rhythm guitar

Bass guitar

Drums, Percussion

or

Lead Vocals, Rhythm Guitar

Backing Vocals, Lead Guitar

Backing Guitar, Backing Vocals

Bass Guitar, Backing Vocals

Drums, Percussion

Keyboards, Piano, Backing Vocals

Pedal Steel Guitar, Backing Vocals

Violin Backing Vocals

The above line-up was used by Bon Jovi during the Lost Highway tour.

Musical drama

Sung dramas such as operas and musicals usually have numbers where several of the principals are singing together, either on their own or with the chorus. Such numbers (''duets'', ''trios'', etc.) are also referred to as 'ensembles'.

Other western musical ensembles

In the 20th century, the Wind Symphony or Wind Ensemble became popular, especially in academic circles. A wind ensemble consists entirely of wind instruments and percussion instruments, but may also include a double bass. Schools from elementary level onward often have a school band program which is usually centered around its wind ensemble, often known as a concert band.

A choir is a group of voices. By analogy, sometimes a group of similar instruments in a symphony orchestra are referred to as a choir. For example, the woodwind instruments of a symphony orchestra could be called the woodwind choir.

A group that plays popular music or military music is usually called a band. A group that plays while marching on a football field, without being a marching band, is called a drum and bugle corps. These bands perform a wide range of music, ranging from arrangements of jazz orchestral, or popular music to military-style marches. Drum corps perform on brass and percussion instruments only. Some corps perform on bugles in the key of G, while others perform on brass instruments in multiple keys, depending on the group. Drum and Bugle Corps incorporate costumes, hats, and pageantry in their performances.

Other band types include:

Jug bands

Mexican Mariachi groups typically consist of at least two violins, two trumpets, one Spanish guitar, one vihuela (a high-pitched, five-string guitar), and one Guitarrón (a Mexican acoustic bass that is roughly guitar-shaped), and one or more singers.

See also

List of musical ensemble formats

Music

Alexandrov ensemble

References

External links

Music, Historical images. From New York Public Library Digital Gallery

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name	The Edge
background	solo_singer
birth name	David Howell Evans
birth date	August 08, 1961
Birth place	Barking, Essex, England
origin	County Dublin, Ireland
instrument	Guitar, vocals, keyboards, piano, bass guitar
genre	Rock, post-punk, alternative rock
occupation	Musician, songwriter, activist
years active	1976–present
label	Island (1980–2006)Mercury (2006–present)
associated acts	U2, Passengers
website	U2.com
notable instruments	Gibson ExplorerFender StratocasterGibson Les PaulFender TelecasterGretsch Country GentlemanGretsch White FalconRickenbacker 330/12 }}

David Howell Evans (born 8 August 1961), more widely known by his stage name The Edge (or just Edge), is a musician best known as the guitarist, backing vocalist, and keyboardist of the Irish rock band U2. A member of the group since its inception, he has recorded 12 studio albums with the band and has released one solo record. As a guitarist, The Edge has crafted a minimalistic and textural style of playing. His use of a rhythmic delay effect yields a distinctive ambient, chiming sound that has become a signature of U2's music.

The Edge was born in England to a Welsh family, but was raised in Ireland after moving there as an infant. In 1976, at Mount Temple Comprehensive School, he formed U2 with his fellow students and his older brother Dik. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material. They eventually became one of the most popular acts in popular music, with successful albums such as 1987's ''The Joshua Tree'' and 1991's ''Achtung Baby''. Over the years, The Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, and alternative rock. With U2, The Edge has also played keyboards, co-produced their 1993 record ''Zooropa'', and occasionally contributed lyrics. The Edge met his second and current wife, Morleigh Steinberg, through her collaborations with the band.

As a member of U2 and as an individual, The Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina. He has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, and the soundtracks to the musical ''Spider-Man: Turn Off the Dark'' and the Royal Shakespeare Company's London stage adaptation of ''A Clockwork Orange''. In 2011, ''Rolling Stone'' magazine placed him at number 38 on its list of "The 100 Greatest Guitarists of All Time".

Personal life

David Howell Evans was born at the Barking Maternity Hospital, Essex, England to Welsh parents Garvin and Gwenda Evans. When he was one, his family moved to County Dublin, Ireland where he attended St Andrew's National School. He received piano and guitar lessons and often performed with his brother Dik Evans before they both answered an advertisement posted by Larry Mullen, Jr. at their school, Mount Temple Comprehensive School, seeking musicians to form a band. The band accepted both of them. This band went through several incarnations before emerging as U2 in March 1978 (Dik Evans left the band just before the name change). U2 began performing in various venues in Ireland and eventually began developing a following. Their debut album, ''Boy'', was released in 1980.

In 1981, leading up to the October tour, Evans came very close to leaving U2 for religious reasons, but he decided to stay. During this period, he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were also involved. Shortly after deciding to remain with the band, he wrote a piece of music that later became "Sunday Bloody Sunday". The Edge married his high school girlfriend Aislinn O'Sullivan on 12 July 1983. The couple had three daughters together: Hollie in 1984, Arran in 1985 and Blue Angel in 1989. The couple separated in 1990, but were unable to get officially divorced because of Irish laws regarding marriage annulment; divorce was legalised in 1995 and the couple were legally divorced in 1996. In 1993, The Edge began dating Morleigh Steinberg, a professional dancer and choreographer employed by the band as a belly dancer during the Zoo TV Tour. They had a daughter, Sian (born 1997), and a son, Levi (born 25 October 1999), before marrying on 22 June 2002.

He appeared in the 2009 music documentary film ''It Might Get Loud''.

The Edge has been criticized for his efforts to build five luxury mansions on a 156 acre plot of land in Malibu, California. The California Coastal Commission voted 8-4 against the plans, with the project described by the commission's executive director, Peter Douglas, as "In 38 years...one of the three worst projects that I've seen in terms of environmental devastation...It's a contradiction in terms – you can't be serious about being an environmentalist and pick this location." The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a $1 million donation from The Edge and a commitment from The Edge to designate 100 acres of the land as open space for public footpaths.

Music style

Guitar playing

As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of VOX AC-30s) that he achieves with extensive use of delay effects and reverb. The feedback delay is often set to a dotted eighth note (3/16 of a measure), and the feedback gain is adjusted until a note played repeats two or three times.

On 1987's ''The Joshua Tree'', The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,

"I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way."

Many different influences have shaped The Edge's guitar technique. His first guitar was an old acoustic guitar that his mother bought him at a local flea market for only a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument. He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that." The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the ''Achtung Baby'' era onwards, although much of the band's 1980s material made heavy use of echos.

Vocals

The Edge also supplies the backing vocals for U2. U2's 1983 live album and video release, ''Under a Blood Red Sky'' and ''Live at Red Rocks: Under a Blood Red Sky'' are good reference points for his singing (as are the live DVDs from the Elevation Tour, ''U2 Go Home: Live from Slane Castle'' and ''Elevation 2001: Live from Boston''). For example, he sings the chorus to "Sunday Bloody Sunday" (Bono harmonizes on the final 'Sunday'). U2 used this tradeoff technique later in "Bullet the Blue Sky" as well. His backing vocals are sometimes in the form of a repeated cry; examples of songs that use this approach include "Beautiful Day", "New Year's Day" and "Stay (Faraway, So Close!)". Other technique he uses in his backing vocals is the falsetto, for instance in "Stuck in a Moment You Can't Get Out Of", "Sometimes You Can't Make It on Your Own", "A Man and a Woman", "The Wanderer", live versions of "The Fly", and "Window in the Skies".

The Edge sings the lead vocal on "Van Diemen's Land" and "Numb", the first half of the song "Seconds", dual vocals with Bono in "Discotheque", and the bridge in the song "Miracle Drug". He also sings the occasional lead vocal in live renditions of other songs (such as "Sunday Bloody Sunday" during the PopMart Tour and "Party Girl" during the Rotterdam Zoo TV show when it was Bono's birthday). He also does a solo version of the song "Love is Blindness" that is featured in the documentary DVD "From the Sky Down".

Other instruments

He has played piano and keyboards on many of the band's songs, including "I Fall Down", "October", "So Cruel", "New Year's Day", "Running to Stand Still", "Miss Sarajevo", "The Hands that Built America", and "Original of the Species" and others. He plays the organ on "Please". In live versions of "New Year's Day", "The Unforgettable Fire", "Your Blue Room", and "Moment of Surrender", he plays both the piano and guitar parts alternately. In most live versions of "Original of the Species," piano is the only instrument played during the song.

Although The Edge is the band's lead guitarist, he occasionally plays bass guitar, including the live performances of the song "40" where The Edge and bassist Adam Clayton switch instruments.

Solo recordings

In addition to his regular role within U2, The Edge has also recorded with such artists as Johnny Cash, B. B. King, Tina Turner, Ronnie Wood, Jay-Z, and Rihanna.

The Edge connected with Brian Eno and Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film ''Captive'' (1986). From this soundtrack the song "Heroine", the vocal of which was sung by a young Sinéad O'Connor was released as a single.

He also created the theme song for season one and two of ''The Batman''. He and fellow U2 member, Bono, wrote the lyrics to the theme of the 1995 James Bond film ''GoldenEye''. The Edge, along with fellow bandmate Bono, recently composed a musical adaptation of Spider-Man. On May 25, 2011, a single titled ''Rise Above 1: Reeve Carney Featuring Bono and The Edge'' was released digitally. The music video was released on July 28, 2011.

Musical equipment

The Edge plays electric guitar, acoustic guitar, keyboards, piano, bass guitar (on "40" and "Race Against Time") and lap steel guitar.

Compared to many lead guitarists, The Edge is known for using many more guitars during a show. According to his guitar tech Dallas Schoo, a typical lead guitarist uses four or five different guitars in one night, whereas The Edge takes 45 on the road, and uses 17 to 19 in one 2.5-hour concert. He is estimated to have more than 200 guitars in the studio.

Philanthropy

In 2005, The Edge along with Bob Ezrin and Henry Juszkiewicz co-founded Music Rising, a charity that helped provide replacement instruments for those that were lost in Hurricane Katrina. The instruments were originally only replaced for professional musicians but they soon realized the community churches and schools needed instruments as well. The charity's slogan is "Rebuilding the Gulf Region note by note" and has so far helped over a hundred musicians who were affected by Hurricane Katrina. The Edge also serves on the board of the Angiogenesis Foundation, a 501(c)(3) nonprofit organization dedicated to improving global health by advancing angiogenesis-based medicine, diets, and lifestyle.

See also

List of people on stamps of Ireland

Timeline of U2

References

;Footnotes

;Bibliography

External links

U2.com, official U2 site

Music Rising

The Edge – Album Credits

A Study of The Edge's Guitar Delay

The Edge: 'It's all about the vision'

Food Bank For New York City public service announcement

Comment on the mathematical analysis of The Edge's guitar sound

Category:Irish male singers Category:Irish rock guitarists Category:Irish people of Welsh descent Category:People from County Dublin Category:People from Dalkey Category:Lead guitarists Category:Slide guitarists Category:Ivor Novello Award winners Category:Golden Globe Award winning musicians Category:Backing vocalists Category:U2 members Category:1961 births Category:Living people Category:Pseudonymous musicians

bg:Дейв "Едж" Евънс ca:The Edge cs:The Edge da:The Edge de:The Edge et:The Edge es:The Edge eu:The Edge fr:The Edge ga:The Edge gl:The Edge hr:The Edge is:The Edge it:The Edge he:דה אדג' ka:ეჯი (მუსიკოსი) lv:The Edge lt:The Edge hu:The Edge nl:The Edge (U2) ja:ジ・エッジ no:The Edge pl:The Edge pt:The Edge ro:The Edge ru:Эдж sq:The Edge simple:The Edge sl:David Howell Evans fi:The Edge (muusikko) sv:The Edge tr:The Edge uk:Едж zh:The Edge

name	Don Van Vliet
background	solo_singer
birth name	Don Glen Vliet
alias	Captain BeefheartBloodshot Rollin' Red
born	January 15, 1941Glendale, California, U.S.
died	December 17, 2010Arcata, California, U.S.
instrument	Vocals, harmonica, saxophone, clarinet, oboe, french horn, shehnai, recorder, flute, piccolo, trumpet, percussion, piano
genre	Experimental rock, blues-rock, psychedelic rock, progressive rock, protopunk, spoken word, free jazz, outsider
occupation	Singer, songwriter, musician, artist, painter, sculptor, poet, lyricist, composer, author, arranger, record producer, film director
years active	1964–1982
label	A&M;, Buddah, Blue Thumb, ABC, Reprise, Straight, Virgin, Mercury, DiscReet, Warner Bros., Atlantic, Epic
associated acts	The Magic Band, Frank Zappa, The Mothers of Invention, Gary Lucas, The Tubes, Jack Nitzsche, Zoot Horn Rollo, Jeff Cotton, Rockette Morton, Winged Eel Fingerling, The Mascara Snake, John 'Drumbo' French, Ry Cooder
notable instruments	}}

Don Van Vliet (; born Don Glen Vliet; January 15, 1941 December 17, 2010) was an American musician, singer-songwriter and artist best known by the stage name Captain Beefheart. His musical work was conducted with a rotating ensemble of musicians called The Magic Band, active between 1965 and 1982, with whom he recorded 12 studio albums. Noted for his powerful singing voice with its wide range, Van Vliet also played the harmonica, saxophone and numerous other wind instruments. His music blended rock, blues and psychedelia with free jazz, avant-garde and contemporary experimental composition. Beefheart was also known for exercising an almost dictatorial control over his supporting musicians, and for often constructing myths about his life.

During his teen years in Lancaster, California, Van Vliet developed an eclectic musical taste and formed "a mutually useful but volatile" friendship with Frank Zappa, with whom he sporadically competed and collaborated. He began performing with his Captain Beefheart persona in 1964 and joined the original Magic Band line-up, initiated by Alexis Snouffer, in 1965. The group drew attention with their cover of Bo Diddley's "Diddy Wah Diddy", which became a regional hit. It was followed by their acclaimed debut album ''Safe as Milk'', released in 1967 on Buddah Records. After being dropped by two consecutive record labels, they signed to Zappa's Straight Records. As producer, Zappa granted Beefheart the unrestrained artistic freedom in making 1969's ''Trout Mask Replica,'' ranked fifty-eighth in ''Rolling Stone'' magazine's 2003 list of the 500 greatest albums of all time. In 1974, frustrated by lack of commercial success, he released two albums of more conventional rock music that were critically panned; this move, combined with not having been paid for a European tour, and years of enduring Beefheart's abusive behavior, led the entire band to quit. Beefheart eventually formed a new Magic Band with a group of younger musicians and regained contemporary approval through three final albums: ''Shiny Beast (Bat Chain Puller)'' (1978), ''Doc at the Radar Station'' (1980) and ''Ice Cream for Crow'' (1982).

Van Vliet has been described as "one of modern music's true innovators" with "a singular body of work virtually unrivalled in its daring and fluid creativity". Although he achieved little commercial or mainstream critical success, he sustained a cult following as a "highly significant" and "incalculable" influence on an array of New Wave, punk, post-punk, experimental and alternative rock musicians. Known for his enigmatic personality and relationship with the public, Van Vliet made few public appearances after his retirement from music (and from his Beefheart persona) in 1982. He pursued a career in art, an interest that originated in his childhood talent for sculpture, and a venture which proved to be his most financially secure. His expressionist paintings and drawings command high prices, and have been exhibited in art galleries and museums across the world. Van Vliet died in 2010 after many years of suffering from multiple sclerosis.

Biography

Early life and musical influences, 1941–1962

Van Vliet was born Don Glen Vliet in Glendale, California, on January 15, 1941, to Glen Alonzo Vliet, a service station owner of Dutch ancestry from Kansas, and Willie Sue Vliet (née Warfield), who was from Arkansas. He claimed to have as an ancestor Peter Van Vliet, a Dutch painter who knew Rembrandt. Van Vliet also claimed that he was related to adventurer and author Richard Halliburton and the cowboy actor Slim Pickens, and said that he remembered being born.

Van Vliet began painting and sculpting at age three. His subjects reflected his "obsession" with animals, particularly dinosaurs, fish, African mammals and lemurs. At the age of nine he won a children's sculpting competition organised for the Los Angeles Zoo in Griffith Park by a local tutor, Agostinho Rodrigues. Local newspaper cuttings of his junior sculpting achievements can be found reproduced in the ''Splinters'' book, included in the ''Riding Some Kind Of Unusual Skull Sleigh'' boxed CD work, released in 2004. The sprawling park, with its zoo and observatory had a strong influence on young Vliet, as it was a short distance from his home on Waverly Drive. The track "Observatory Crest" on ''Bluejeans & Moonbeams'' reflects this continued interest. A portrait photo of the school-age Vliet can be seen on the front of the lyric sheet within the first issue of the US release of ''Trout Mask Replica''.

For some time during the 1950s Van Vliet worked as an apprentice with Rodrigues, who considered him a child prodigy. Vliet made claim to have been a lecturer at the Barnsdall Art Institute in Los Angeles at the age of eleven, He claimed that his parents discouraged his interest in sculpture, based upon their perception of artists as 'queer'. They declined several scholarship offers, including one from the local Knudsen Creamery to travel to Europe with six years' paid tuition to study marble sculpture. Van Vliet later admitted personal hesitation to take the scholarship based upon the bitterness of his parents' disencouragement.

Van Vliet's artistic enthusiasm became so fervent, he claimed that his parents were forced to feed him through the door in the room where he sculpted. When he was thirteen the family moved from the Los Angeles area to the more remote farming town of Lancaster, near the Mojave Desert, where there was a growing aerospace industry and testing plant that would become Edwards Airforce Base. It was an environment that would greatly influence him creatively from then on. Van Vliet remained interested in art; his paintings, often reminiscent of Franz Kline's, were later featured on several of his own albums. Meanwhile he developed his taste and interest in music, listening "intensively" to the Delta blues of Son House and Robert Johnson, jazz artists such as Ornette Coleman, John Coltrane, Thelonious Monk and Cecil Taylor, and the Chicago blues of Howlin' Wolf and Muddy Waters. During his early teenage years Vliet would sometimes socialize with members of local bands such as "The Omens" and "The Blackouts", although his interests were still focused upon an art career. The Omens' guitarists Alexis Snouffer and Jerry Handley would later become founders of "The Magic Band" and The Blackouts' drummer, Frank Zappa, would later capture Vliet's vocal capabilities on record for the first time. This first known recording, when he was simply 'Don Vliet', is "Lost In A Whirlpool" - one of Zappa's early 'field recordings' made in his college classroom with brother Bobby on guitar. It is featured on Zappa's posthumously released ''The Lost Episodes'' (1996).

Van Vliet claimed that he never attended public school, alleging "half a day of kindergarten" to be the extent of his formal education and saying that "if you want to be a different fish, you've got to jump out of the school." His associates said that he only dropped out during his senior year of high school to help support the family after his father's heart attack. His graduation picture appears in the school's yearbook. While attending Antelope Valley High School in Lancaster, Van Vliet became close friends with fellow teenager Frank Zappa, the pair bonding through their interest in Chicago blues and R&B;. Van Vliet is portrayed in both ''The Real Frank Zappa Book'' and Barry Miles' biography ''Zappa'' as fairly spoiled at this stage of his life, the center of attention as an only child. He spent most of his time locked in his room listening to records, often with Zappa, into the early hours in the morning, eating leftover food from his father's Helms bread truck and demanding that his mother bring him a Pepsi. His parents tolerated such behavior under the belief that their child was truly gifted. Vliet's 'Pepsi-moods' were ever a source of amusement to band members, leading Zappa to later write the wry tune "Why Doesn't Someone Give Him A Pepsi?" that featured on the ''Bongo Fury'' tour.

After Zappa began regular occupation at Paul Buff's PAL Studio in Cucamonga he and Van Vliet began collaborating, tentatively as "The Soots". By the time Zappa had turned the venue into Studio Z the duo had completed some songs. These were "Cheryl's Canon", "Metal Man Has Won His Wings" and a Howlin' Wolf styled rendition of Little Richard's "Slippin' and Slidin". Further songs, on Zappa's ''Mystery Disc'' (1996), "I Was a Teen-Age Malt Shop" and "The Birth of Captain Beefheart" also provide an insight to Zappa's 'teenage movie' script titled ''Captain Beefheart vs. the Grunt People'', the first appearances of the Beefheart name. It has been suggested this name came from a term used by Vliet's Uncle Alan who had a habit of exposing himself to Don's girlfriend, Laurie Stone. He would urinate with the bathroom door open and, if she was walking by, would mumble about his penis, saying "Ahh, what a beauty! It looks just like a big, fine beef heart." In a 1970 interview with ''Rolling Stone'', Van Vliet requests "don't ask me why or how" he and Zappa came up with the name. He would later claim in an appearance on ''Late Night with David Letterman'' that the name referred to "a beef in my heart against this society." In the "Grunt People" draft script Beefheart and his mother play themselves, with his father played by Howlin' Wolf. Grace Slick is penned in as a 'celestial seductress' and there are also roles for future Magic Band members Bill Harkleroad and Mark Boston.

Van Vliet enrolled at Antelope Valley Junior College as an art major, but decided to leave the following year. He once worked as a door-to-door vacuum cleaner salesman, during which time he sold a vacuum cleaner to the writer Aldous Huxley at his home in Llano, pointing to it and declaring, "Well I assure you sir, this thing sucks." After managing a Kinney's shoe store, Van Vliet relocated to Rancho Cucamonga, California, to reconnect with Zappa, who inspired his entry into musical performance. Van Vliet was quite shy but was eventually able to imitate the deep voice of Howlin' Wolf with his wide vocal range. He eventually grew comfortable with public performance and, after learning to play the harmonica, began playing at dances and small clubs in Southern California.

Initial recordings, 1962–1969

In early 1965 Alex Snouffer, a Lancaster rhythm and blues guitarist, invited Vliet to sing with a group that he was assembling. Vliet joined the first Magic Band and changed his name to Don Van Vliet, while Snouffer became Alex St. Clair (sometimes spelled ''Claire''). Captain Beefheart and his Magic Band signed to A&M; and released two singles in 1966. The first was a version of Bo Diddley's "Diddy Wah Diddy" that became a regional hit in Los Angeles. The followup, "Moonchild" (written by David Gates) was less well received. The band played music venues that catered to underground artists, such as the Avalon Ballroom in San Francisco.

''Safe as Milk''

After fulfilling their deal for two singles the band presented demos to A&M; during 1966 for what would become the ''Safe as Milk'' album. A&M;'s Jerry Moss reportedly described this new direction as "too negative" and dropped the band from the label, although still under contract. Much of the demo recording was accomplished at Art Laboe's Original Sound Studio, then with Gary Marker on the controls at Sunset Sound on 8-track. By the end of 1966 they were signed to Buddah Records and much of the demo work was transferred to 4-track, at the behest of Krasnow and Perry, in the RCA Studio in Hollywood, where the recording was finalized. Tracks that were originally laid down in the demo by Doug Moon are therefore taken up by Cooder's work in the release, as Moon had departed over 'musical differences' at this juncture.

Drummer John French had now joined the group and it would later (notably on ''Trout Mask Replica'') be his patience that was required to transcribe Van Vliet's creative ideas (often expressed by whistling or banging on the piano) into musical form for the other group members. On French's departure this role was taken over by Bill Harkleroad for ''Lick My Decals Off, Baby''.

Many of the lyrics on the ''Safe as Milk'' album were written by Van Vliet in collaboration with the writer Herb Bermann, who befriended Van Vliet after seeing him perform at a bar-gig in Lancaster in 1966. The song "Electricity" was a poem written by Bermann, who gave Van Vliet permission to adapt it to music.

Much of the ''Safe as Milk'' material was honed and arranged by the arrival of 20-year–old guitar prodigy Ry Cooder, who had been brought into the group after much pressure from Vliet. The band began recording in spring 1967, with Richard Perry cutting his teeth in his first job as producer. The album was released in September 1967. Richie Unterberger of Allmusic called the album "blues–rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk–rock influences than he would employ on his more avant garde outings".

Recognition

Among those who took notice were The Beatles. Both John Lennon and Paul McCartney were known as great admirers of Beefheart. Lennon displayed two of the album's promotional 'baby bumper stickers' in the sunroom at his home. Later, the Beatles planned to sign Beefheart to their experimental Zapple label (plans that were scrapped after Allen Klein took over the group's management). Van Vliet was often critical of the Beatles, however. He considered the lyric "I'd love to turn you on", from their song "A Day in the Life", to be ridiculous and conceited. Tiring of their "lullabies", he lampooned them with the ''Strictly Personal'' song "Beatle Bones 'n' Smokin' Stones", that featured the sardonic refrain of "strawberry fields, strawberry fields forever". It should also be noted that 'strawberry fields' could also be an oblique reference to a form of LSD circulating at the time. The album's five 'acid stamps' and first track "Ah Feel like Ahcid" may underline this, whilst 'Smokin' Stones' is probably a 'pro comment' on the contrasting rhythm and blues style of the Rolling Stones. Vliet spoke badly of Lennon after getting no response when he sent a telegram of support to him and wife Yoko Ono during their 1969 "Bed–In for peace". Van Vliet did meet McCartney in Cannes during the Magic Band's 1968 tour of Europe, though McCartney later claimed to have no recollection of this meeting.

The flipside of success

Doug Moon left the band because of his dislike of the band's increasing experimentation outside his preferred blues genre. Ry Cooder told of Moon becoming so angered by Van Vliet's unrelenting criticism that he walked into the room pointing a loaded crossbow at him, only to be told "Get that fucking thing out of here, get out of here and get back in your room", which he obeyed. (Other band members have disputed this account, although Moon is likely to have 'passed through' the studio with a weapon.) Moon was present during the early demo sessions at Original Sound studio, above the Kama Sutra/Buddah offices. The works Moon laid down did not see the light of day, as he was replaced by Cooder when they continued on material at Sunset Sound with Marker. Marker then fell by the wayside when recording was moved by Krasnow and Perry to RCA Studio. This would have a profound effect on the quality of the ''Safe as Milk'' work, as the former studio was 8-track and the subsequent studio a 4-track.

To support the album's release the group had been scheduled to play at the 1967 Monterey Pop Festival. During this period Vliet suffered severe anxiety attacks that made him convinced that he was having a heart attack, probably exacerbated by his heavy LSD use and the fact that his father died of heart failure a few years earlier. At a vital 'warm-up' performance at the Mt. Tamalpais Festival (June 10/11) shortly before the scheduled Monterey Festival (June 16/18), the band began to play "Electricity" and Van Vliet froze, straightened his tie, then walked off the ten–foot stage and landed on manager Bob Krasnow. He later claimed he had seen a girl in the audience turn into a fish, with bubbles coming from her mouth. This aborted any opportunity of breakthrough success at Monterey, as Cooder immediately decided he could no longer work with Van Vliet, effectively quitting both the event and the band on the spot. With such complex guitar parts there was no means for the band to find a competent replacement in time for Monterey. Cooder's spot was eventually filled for a short spell by Gerry McGee, who had played with The Monkees. According to French the band did two gigs with McGee, one of which was at ''The Peppermint Twist'' near Long Beach. The other was at Santa Monica Civic Auditorium, 7 August 1967, as opening act to The Yardbirds. McGee was in the group long enough to have an outfit made by a Santa Monica boutique that also created the gear worn by the band on the ''Strictly Personal'' cover stamps.

''Strictly Personal''

In August, guitarist Jeff Cotton filled the guitar spot vacated, in turn, by Cooder and McGee. In October and November 1967 the Snouffer/Cotton/Handley/French line–up recorded material for what was planned to be the second album. Originally intended to be a double album called ''It Comes to You in a Plain Brown Wrapper'' for the label, it was released later in pieces in 1971 and 1995. After rejection from Buddah, Bob Krasnow encouraged the band to re–record four of the shorter numbers, to add two more, and make shorter versions of "Mirror Man" and "Kandy Korn". The music was already weakly recorded with a trebly thin sound; Krasnow then implemented a strange mix full of "phasing" that by most accounts (including Beefheart's) diminished the music's strength; this was released in October 1968 as ''Strictly Personal'' on Krasnow's Blue Thumb label. Stewart Mason in his Allmusic review of the album described it as a "terrific album" and a "fascinating, underrated release", "every bit the equal of ''Safe as Milk'' and ''Trout Mask Replica''". Langdon Winner of ''Rolling Stone'' called ''Strictly Personal'' "an excellent album. The guitars of the Magic Band mercilessly bend and stretch notes in a way that suggests that the world of music has wobbled clear off its axis," with the lyrics demonstrating "Beefheart's ability to juxtapose delightful humor with frightening insights". Van Vliet furthered his own mythology through interviews.

''Mirror Man''

In 1971 some of the recordings done for Buddah were released as ''Mirror Man'', bearing a liner note claiming that the material had been recorded "one night in Los Angeles in 1965". This was a ruse to circumvent possible copyright issues; the material was actually recorded in November and December 1967. Essentially a "jam" album, described as pushing "the boundaries of conventional blues–rock, with a Beefheart vocal tossed in here and there. Some may miss Beefheart's surreal poetry, gruff vocals, and/or free jazz influence, while others may find it fascinating to hear the Magic Band simply letting go and cutting loose". The album's 'miss-credit errors' also state band members as "Alex St. Clare Snouffer" (Alex St. Clare/Alexis Snouffer), "Antennae Jimmy Simmons" (Semens/Jeff Cotton) and "Jerry Handsley" (Handley). First vinyl was issued in both a die-cut gatefold (revealing a 'cracked' mirror) and a single sleeve with same image. The UK Buddah issue was part of the Polydor-manufactured 'Select' series.

During his first trip to England in January 1968, Captain Beefheart was briefly represented in the UK by mod icon Peter Meaden, an early manager of The Who. The Captain and his band members were initially denied entry to the United Kingdom, because Meaden had illegally booked them for gigs without applying for appropriate work permits. After returning to Germany for a few days, the group was permitted to re-enter the UK, when they recorded material for John Peel's radio show and appeared at the ''Middle Earth'' venue, introduced by Peel on Saturday 20 January. By this time, they had terminated their association with Meaden. On January 27, 1968, Beefheart achieved one of his most memorable live performances, when the band performed in the MIDEM Music Festival on the beach at Cannes, France.

Alex St. Claire left the band in June 1968 after their return from a second European tour and was replaced by teenager Bill Harkleroad; bassist Jerry Handley left a few weeks later.

''The Mirror Man Sessions'' and new ''Buddha''

In 1999 the defunct Buddah label emerged with a new look, a correct title spelling and relevant 'deity' image - replacing the silhouetted 'Shiva' image and Buddah name for Beefheart material. The Bertelsmann Music Group (BMG) now had the Buddah catalogue, producing both a remastered CD of ''Safe as Milk'' and a CD titled ''The Mirror Man Sessions'', the latter providing an insight to the ''Mirror Man'' and ''Strictly Personal'' albums, and recordings relating to the 'Brown Wrapper' project. The tracks are presented as "Original Masters" and provides further insight to the interpolating material that also appears on ''It Comes To You In A Plain Brown Wrapper''. The insert also shows the entire band in Quaker hats and outfits.

''The 'Brown Wrapper' Sessions''

After their Euro tour and the Cannes beach performance the band returned to the USA. Moves were already in the air for them to leave Buddah and sign to MGM and, prior to their May tour - mainly in the UK - they re-recorded some Buddah material of the partial ''Mirror Man'' sessions at Sunset Sound with Bruce Botnick. Beefheart had also been conceptualizing new band names, including "25th Century Quaker" and "Blue Thumb", whilst making suggestions to other musicians that they might get involved. The thought-process of "25th Century Quaker" was that it would be a 'blues band' alias for the more avant-garde work of the Magic Band. Photographer Guy Webster actually photographed the band in Quaker-style outfits, and the picture appears in ''The Mirror Man Sessions'' CD insert. It would later transpire that much of this situation was transient and that Buddah's Bob Krasnow was to set up his own label. The label that was unsurprisingly named ''Blue Thumb'' launched with its first release ''Strictly Personal'', a truncated version of the original Beefheart vision of a double album. Thus "25th Century Quaker" became a track and a potential band-name became a label.

In overview, the works for the double album in this period were intended to be packaged in a plain brown wrapper, with a 'strictly personal' over-stamp and addressed in a manner that could have connotations of drug content, pornographic or illicit material; As per the small ads of the time; "It comes to you in a plain brown wrapper". Given that Krasnow had effectively poached the band from Buddah there were limitations on what material could be released. ''Strictly Personal'' was the result, contained in its enigmatically-addressed parcel sleeve. The raft of material left behind eventually emerged, firstly on CD as ''I May Be Hungry, But I Sure Ain't Weird'' and later on vinyl, implemented by John French, as ''It Comes To You In A Plain Brown Wrapper'' (which has two tracks that are missing from the former release). Both ''Blue Thumb'' and the stamps on the cover of ''Strictly Personal'' have LSD connotations, as does the track "Ah Feel Like Ahcid".

''Trout Mask Replica'', 1969

Critically acclaimed as Van Vliet's magnum opus, ''Trout Mask Replica'' was released as a 28 track double album in June 1969 on Frank Zappa's newly formed Straight Records label. First issues, in the USA, were auto-coupled and housed in the black 'Straight' liners along with a 6-page lyric sheet illustrated by The Mascara Snake. A school-age portrait of Van Vliet appears on the front of this sheet, whilst the cover of the gatefold enigmatically shows Beefheart in a 'Quaker' hat, obscuring his face with the head of a fish. The fish is a carp - arguably a 'replica' for a trout, photographed by Cal Schenkel. The inner spread 'infra-red' photography is by Ed Caraeff, whose Beefheart vacuum cleaner images from this session also appear on Zappa's ''Hot Rats'' release (a month earlier) to accompany "Willie The Pimp" lyrics sung by Vliet. Alex St. Clair had now left the band and, after Junior Madeo from The Blackouts was considered, the role was filled by Bill Harkleroad. Bassist Jerry Handley had also departed, with Gary Marker stepping in. Thus the long rehearsals for the album began in the house on Ensenada Drive in Woodland Hills, L.A., that would become the infamous 'Magic Band House'.

The Magic Band began recordings for ''Trout Mask Replica'' with bassist Gary 'Magic' Marker at T.T.G. (on "Moonlight On Vermont" and "Veteran's Day Poppy"), but later enlisted bassist Mark Boston after his departure. The remainder of the album was recorded at Whitney Studios, with some field recordings made at the house. Vliet's girlfriend Laurie Stone, who can be heard laughing at the beginning of "Fallin' Ditch", would also became an audio typist at the Magic Band house.

Van Vliet wanted the whole band to "live" the ''Trout Mask Replica'' album. The group rehearsed Van Vliet's difficult compositions for eight months, living communally in their small rented house in the Woodland Hills suburb of Los Angeles. With only two bedrooms the band members would find sleep in various corners of one, whilst Vliet occupied the other and rehearsals were accomplished in the main living area. Van Vliet implemented his vision by completely dominating his musicians, artistically and emotionally. At various times one or another of the group members was "put in the barrel," with Van Vliet berating him continually, sometimes for days, until the musician collapsed in tears or in total submission. Drummer John French described the situation as "cultlike" and a visiting friend said "the environment in that house was positively Mansonesque." and eventually of Beefheart threatening to throw him out of an upper floor window. He admits complicity in similarly attacking his bandmates during "talks" aimed at them. In the end, after the album's recording, French was ejected from the band by Beefheart throwing him down a set of stairs with violence, telling him to "Take a walk, man" after not responding in a desired manner to a request to "play a strawberry" on the drums. Beefheart replaced French with drummer Jeff Bruschel, an acquaintance of Hayden. Referred to as 'Fake Drumbo' (playing on French's drumset) this final act resulted in French's name not appearing on the album credits, either as a player or arranger. Bruschel toured with the band to Europe but was replaced by the next recording.

According to Van Vliet, the 28 songs on the album were written in a single 8½ hour session at the piano, an instrument which he had no skill in playing, an approach Mike Barnes compared to John Cage's "maverick irreverence toward classical tradition", though band members have stated that the songs were written over the course of about a year, beginning around December 1967. (The band did watch Federico Fellini's 1963 film ''8½'' during the creation of the album). It took the band about eight months to mold the songs into shape, with French bearing primary responsibility for transposing and shaping Vliet's piano fragments into guitar and bass lines, which were mostly notated on paper. Harkleroad in 1998 said in retrospect: "We're dealing with a strange person, coming from a place of being a sculptor/painter, using music as his idiom. He was getting more into that part of who he was instead of this blues singer." The band had rehearsed the songs so thoroughly that the instrumental tracks for 21 of the songs were recorded in a single four and a half hour recording session. Van Vliet spent the next few days overdubbing the vocals. The album's title came from its cover artwork, which was photographed and designed by Cal Schenkel; Van Vliet wearing the raw head of a carp, bought from a local fish market and fashioned into a mask by Schenkel.

''Trout Mask Replica'' incorporated a wide variety of musical styles, including blues, avant garde/experimental, and rock. The relentless practice prior to recording blended the music into an iconoclastic whole of contrapuntal tempos, featuring slide guitar, polyrhythmic drumming (with French's drums and cymbals covered in cardboard), honking saxophone and bass clarinet. Van Vliet's vocals range from his signature Howlin' Wolf inspired growl to frenzied falsetto to laconic, casual ramblings.

The instrumental backing was effectively recorded live in the studio, while Van Vliet overdubbed most of the vocals in only partial synch with the music by hearing the slight sound leakage through the studio window. Zappa said of Van Vliet's approach, "[it was] impossible to tell him why things should be such and such a way. It seemed to me that if he was going to create a unique object, that the best thing for me to do was to keep my mouth shut as much as possible and just let him do whatever he wanted to do whether I thought it was wrong or not."

Van Vliet used the ensuing publicity, particularly with a 1970 ''Rolling Stone'' interview with Langdon Winner, to promulgate a number of myths which were subsequently quoted as fact. Winner's article stated, for instance, that neither Van Vliet nor the members of the Magic Band ever took drugs, but Harkleroad later contradicted this. Van Vliet claimed to have taught both Harkleroad and Boston to play their instruments from scratch; in fact the pair were already accomplished young musicians before joining the band. Last, Van Vliet claimed to have gone a year and half without sleeping. When asked how this was possible, he claimed to have only eaten fruit.

Critic Steve Huey of Allmusic writes that the album's influence "was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless experiments in rock surrealism to follow, especially during the punk and New Wave era." In 2003, the album was ranked fifty-eighth by ''Rolling Stone'' in their list of The 500 Greatest Albums of All Time: "On first listen, ''Trout Mask Replica'' sounds like raw Delta blues", with Beefheart "singing and ranting and reciting poetry over fractured guitar licks. But the seeming sonic chaos is an illusion—to construct the songs, the Magic Band rehearsed twelve hours a day for months on end in a house with the windows blacked out. (Producer Frank Zappa was then able to record most of the album in less than five hours.) Tracks such as "Ella Guru" and "My Human Gets Me Blues" are the direct predecessors of modern musical primitives such as Tom Waits and PJ Harvey". BBC disc jockey John Peel said of the album: "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then ''Trout Mask Replica'' is probably that work." It was inducted into the United States National Recording Registry in 2011. '''

Later recordings, 1970–1982

''Lick My Decals Off, Baby''

''Lick My Decals Off, Baby'' (1970) continued in a similarly experimental vein. An album with "a very coherent structure" in the Magic Band's "most experimental and visionary stage", it was Van Vliet's most commercially successful in the United Kingdom, spending twenty weeks on the UK Albums Chart and peaking at number 20. An early promotional music video was made of its title song, and a bizarre television commercial was also filmed that included excerpts from "Woe-Is-uh-Me-Bop", silent footage of masked Magic Band members using kitchen utensils as musical instruments, and Beefheart kicking over a bowl of what appears to be porridge onto a dividing stripe in the middle of a road. The video was rarely played but was accepted into the Museum of Modern Art, where it has been used in several programs related to music.

On this LP Art Tripp III, formerly of the Mothers of Invention, played drums and marimba. ''Lick My Decals Off, Baby'' was the first record on which the band was credited as "''The'' Magic Band", rather than "''His'' Magic Band"; journalist Irwin Chusid interprets this change as "a grudging concession of its members' at least semiautonomous humanity." Robert Christgau gave the album an A-, commenting that "Beefheart's famous five-octave range and covert totalitarian structures have taken on a playful undertone, repulsive and engrossing and slapstick funny". Due to licensing disputes, ''Lick My Decals Off, Baby'' was unavailable on CD for many years, though it remained in print on vinyl. It was ranked second in ''Uncut'' magazine's May 2010 list of "The 50 Greatest Lost Albums". In 2011, the album became available for download on the iTunes Store.

''The Spotlight Kid'' and ''Clear Spot''

The next two records, ''The Spotlight Kid'' (simply credited to "Captain Beefheart") and ''Clear Spot'' (credited to "Captain Beefheart and the Magic Band"), were both released in 1972. The atmosphere of ''The Spotlight Kid'' is "definitely relaxed and fun, maybe one step up from a jam." And though "things do sound maybe just a little too blasé," "Beefheart at his worst still has something more than most groups at their best." The music is simpler and slower than on the group's two previous releases, the uncompromisingly original ''Trout Mask Replica'' and the frenetic ''Lick My Decals Off, Baby''. This was in part an attempt by Van Vliet to become a more appealing commercial proposition as the band had made virtually no money during the previous two years—at the time of recording, the band members were subsisting on welfare food handouts and remittances from their parents. Van Vliet offered that he "got tired of scaring people with what I was doing... I realized that I had to give them something to hang their hat on, so I started working more of a beat into the music." Magic Band members have also said that the slower performances were due in part to Van Vliet's inability to fit his lyrics with the instrumental backing of the faster material on the earlier albums, a problem that was exacerbated in that he almost never rehearsed with the group. In the period leading up to the recording the band lived communally, first at a compound near Ben Lomond, California and then in northern California near Trinidad. The situation saw a return to the physical violence and psychological manipulation that had taken place during the band's previous communal residence while composing and rehearsing ''Trout Mask Replica''. According to John French, the worst of this was directed toward Harkleroad. In his autobiography Harkleroad recalls being thrown into a dumpster, an act he interpreted as having metaphorical intent.

''Clear Spot'''s production credit of Ted Templeman made Allmusic consider "why in the world [it] wasn't more of a commercial success than it was," and that while fans "of the fully all-out side of Beefheart might find the end result not fully up to snuff as a result, but those less concerned with pushing back all borders all the time will enjoy his unexpected blend of everything tempered with a new accessibility." The song "Big Eyed Beans from Venus" is noted as "a fantastically strange piece of aggression." A ''Clear Spot'' song, "Her Eyes Are A Blue Million Miles", appeared on the soundtrack of the Coen brothers' cult comedy film ''The Big Lebowski'' (1998).

''Unconditionally Guaranteed'' and ''Bluejeans & Moonbeams''

In 1974, immediately after the recording of ''Unconditionally Guaranteed'', which markedly continued the trend towards a more commercial sound heard on some of the ''Clear Spot'' tracks, the Magic Band's original members departed. Disgruntled and past members worked together for a period, gigging at Blue Lake and putting together their own ideas and demos, with John French earmarked as the vocalist. These concepts eventually coalesced around the core of Art Tripp III, Harkleroad and Boston, with the formation of Mallard, helped by finance and UK recording facilities from Jethro Tull's Ian Anderson. Some of French's compositions were used in the band's work, but the group's singer was Sam Galpin and the role of keyboardist was eventually taken by John Thomas, who had shared a house with French in Eureka at the time. At this time Vliet attempted to recruit both French and Harkleroad as producers for his next album, but his pleas fell on deaf ears. Andy Di Martino produced both of these Virgin label albums.

Vliet was forced to quickly form a new Magic Band to complete support-tour dates, with musicians who had no experience with his music and in fact had never heard it. Having no knowledge of the previous Magic Band style, they simply improvised what they thought would go with each song, playing much slicker versions that have been described as "bar band" versions of Beefheart songs. A review described this incarnation of the Magic Band as the "Tragic Band", a term that has stuck over the years. Mike Barnes said that the description of the new band "grooving along pleasantly", was "an appropriately banal description of the music of a man who only a few years ago composed with the expressed intent of shaking listeners out of their torpor". The one album they recorded, ''Bluejeans & Moonbeams'' (1974) has, like its predecessor, a completely different, almost soft rock sound from any other Beefheart record. Neither was well received; drummer Art Tripp recalled that when he and the original Magic Band listened to ''Unconditionally Guaranteed'', they "were horrified. As we listened, it was as though each song was worse than the one which preceded it." Beefheart later disowned both albums, calling them "horrible and vulgar", asking that they not be considered part of his musical output and urging fans who bought them to "take copies back for a refund".

''Bongo Fury'' to ''Bat Chain Puller''

By the fall of 1975 the band completed their European tour, with further U.S. dates completed into the New Year of 1976, supporting Zappa along with Dr. John. Van Vliet now found himself stuck in a web of contractual hang-ups. At this point Zappa had begun to extend a helping hand, with Vliet already having performed incognito as ''Rollin' Red'' on Zappa's ''One Size Fits All'' (1975) and then joining with him on the ''Bongo Fury'' album and its later support tour. Two Vliet-penned numbers on the ''Bongo Fury'' album are ''Sam With The Showing Scalp Flat Top'' and ''Man With The Woman Head''. The form, texture and imagery of this album's first track ''Debra Kadabra'', sung by Vliet, has 'angular similarities' to the work he would later produce in his next three albums. On the ''Bongo Fury'' album Vliet also sings "Poofter's Froth, Wyoming Plans Ahead", harmonizes on "200 Years Old" and "Muffin Man" and plays harmonica and soprano saxophone.

In early 1976 Zappa put on his producer hat and, once again, opened up his studio facilities and finance to Vliet. This was for the production of an album provisionally titled ''Bat Chain Puller''. The band were John French (drums), John Thomas (keyboards) and Jeff Moris Tepper and Denny Walley (guitars). Much of the work on this album had been finalized and some demos had been circulated when fate once again struck the Beefheart camp. In May 1976 the long association between Zappa and his manager/business partner Herb Cohen ceased. This resulted in Zappa's finances and ongoing works becoming part of protracted legal negotiations. The ''Bat Chain Puller'' project went 'on ice' and has remained in the Zappa vaults since. Consequently, the thrust and works of this album had to be reworked and recorded again. Some bootlegs on both vinyl and CD, purportedly containing original tracks, have circulated. After this recording John Thomas joined ex-Magic Band members in Mallard.

Prior to his next album Beefheart appeared in 1977 on the Tubes' album ''Now'', playing saxophone on the song "Cathy's Clone", and the album also featured a cover of the ''Clear Spot'' song "My Head Is My Only House Unless It Rains". In 1978 he appeared on Jack Nitzsche's soundtrack to the film ''Blue Collar''.

''Shiny Beast (Bat Chain Puller)''

Having extricated himself from a mire of contractual difficulties Beefheart emerged with this new album, in 1978, on the Warner Bros label. ''Shiny Beast'' contained re-workings of the shelved ''Bat Chain Puller'' album and still retained this works' original guitarist, Jeff Moris Tepper. However, he and Vliet were now joined by a whole new line-up of Richard Redus (guitar, bass and accordion), Eric Drew Feldman (bass, piano and synthesizer), Bruce Lambourne Fowler (trombone and air bass), Art Tripp (percussion and marimba) and Robert Arthur Williams (drums). Thus, the album was suffixed ''Shiny Beast (Bat Chain Puller)'' and took on new musical directions. It was co-produced by Vliet with Pete Johnson. Members of this Magic Band and the 'Bat Chain' elements would later feature on Beefheart's last two albums. ''Shiny Beast (Bat Chain Puller)'' was described by Ned Raggett of Allmusic to be "''...manna from heaven for those feeling Beefheart had lost his way on his two Mercury albums''". Following Vliet's death, John French claimed the 40-second spoken word track "Apes-Ma" to be an analogy of Van Vliet's deteriorating physical condition. The album's sleeve features the Don Van Vliet painting ''Green Tom'', made in 1976. One of the many works that would mark out his longed-for career as a painter of note in later years.

''Doc At The Radar Station''

''Doc at the Radar Station'' (1980) helped establish Beefheart's late resurgence. Released by Virgin Records during the post-punk scene, the music was now accessible to a younger, more receptive audience. He was interviewed in a feature report on KABC-TV's ''Channel 7 Eyewitness News'' in which he was hailed as "the father of the New Wave. One of the most important American composers of the last fifty years, [and] a primitive genius"; Van Vliet said at this period, "I'm doing a non-hypnotic music to break up the catatonic state... and I think there is one right now." Huey of Allmusic cited the ''Doc at the Radar Station'' as being "generally acclaimed as the strongest album of his comeback, and by some as his best since ''Trout Mask Replica''", "even if the Captain's voice isn't quite what it once was, ''Doc at the Radar Station'' is an excellent, focused consolidation of Beefheart's past and then-present". Van Vliet's biographer Mike Barnes speaks of "revamping work built on skeletal ideas and fragments that would have mouldered away in the vaults had they not been exhumed and transformed into full-blown, totally convincing new material." ''Ice Cream for Crow'', along with songs such as its title track, features instrumental performances by the Magic Band with performance poetry readings by Van Vliet. Raggett of Allmusic called the album a "last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact"; with the Magic Band "turning out more choppy rhythms, unexpected guitar lines, and outré arrangements, Captain Beefheart lets everything run wild as always, with successful results". Barnes writes that "the most original and vital tracks (on the album) are the newer ones", saying that it "feels like an hors-d'oeuvre for a main course that never came". Soon after, Van Vliet retired from music and began a new career as a painter. Gary Lucas tried to convince him to record one more album, but to no avail.

''Riding Some Kind Of Unusual Skull Sleigh''

Released in 2004 by Rhino Handmade in a limited edition of 1,500 copies, this prestigious signed and numbered box set contains a "Riding Some Kind of Unusual Skull Sleigh" CD of Vliet-recited poetry, the Anton Corbijn film of Vliet ''Some YoYo Stuff'' on DVD and two art books. One book, entitled ''Splinters'', gives a visual 'scrapbook' insight into Vliet's life, from an early age to his painting in retirement. The second, eponymously titled, book is packed with art pages of Vliet's work. The first is bound in green linen, the second in yellow. These colors are counterpointed throughout the package, which comes in a green slipcase measuring 235 x 325 x 70 mm. An onion-skin wallet, nestling at the package's inner sanctum, contains a matching-numbered Vliet lithograph on hand-rolled paper, signed by the artist. The two books are by publishers "Artist Ink Editions".

Paintings

Throughout his musical career, Van Vliet remained interested in art. He placed his paintings, often reminiscent of Franz Kline's, on several of his albums. In 1987, Van Vliet published ''Skeleton Breath, Scorpion Blush'', a collection of his poetry, paintings and drawings.

In the mid 1980s, Van Vliet became reclusive and abandoned music, stating he had gotten "too good at the horn" and could make far more money painting. Beefheart's first exhibition had been at Liverpool's Bluecoat Gallery during the Magic Band's 1972 tour of the UK. He was interviewed on Granada regional television standing in front of his bold black and white canvases. He was inspired to begin an art career when a fan, Julian Schnabel, who admired the artwork seen on his album covers, asked to buy a drawing from him. His debut exhibition as a serious painter was at the Mary Boone Gallery in New York in 1985 and was initially regarded as that of "another rock musician dabbling in art for ego's sake", though his primitive, non-conformist work has received more sympathetic and serious attention since then, with some sales approaching $25,000. Two books have been published specifically devoted to critique and analysis of his artwork: ''Riding Some Kind of Unusual Skull Sleigh: On The Arts Of Don Van Vliet'' (1999) by W.C. Bamberger and ''Stand Up To Be Discontinued'', first published in 1993, a now rare collection of essays on Van Vliet's work. The limited edition version of the book contains a CD of Van Vliet reading six of his poems: "Fallin' Ditch", "The Tired Plain", "Skeleton Makes Good", "Safe Sex Drill", "Tulip" and "Gill". A deluxe edition was published in 1994; only 60 were printed, with etchings of Van Vliet's signature, costing £180.

In the early 1980s Van Vliet established an association with the Michael Werner Gallery. Eric Feldman stated later in an interview that at that time Michael Werner told Van Vliet he needed to stop playing music if he wanted to be respected as a painter, warning him that otherwise he would only be considered a "musician who paints". In doing so, it was said that he had effectively "succeeded in leaving his past behind." Gordon Veneklasen, one of the gallery's directors in 1995 described Van Vliet as an "incredible painter" whose work "doesn't really look like anybody else's work but his own." Van Vliet has been described as a modernist, a primitivist, an abstract expressionist, and an outsider artist. Morgan Falconer of ''Artforum'' concurs, mentioning both a "neo-primitivist aesthetic" and further stating that his work is influenced by the CoBrA painters. The resemblance to the CoBrA painters is also recognized by art critic Roberto Ohrt, while others have compared his paintings to the work of Jackson Pollock, Franz Kline, Antonin Artaud, Francis Bacon, Vincent van Gogh and Mark Rothko.

According to Dr. John Lane, director of the San Francisco Museum of Modern Art, in 1997, although Van Vliet's work has associations with mainstream abstract expressionist painting, more importantly he is a self-taught artist and his painting "has that same kind of edge the music has." Lane explained that in contrast to the busied, bohemian urban lives of the New York abstract expressionists, the rural desert environment Van Vliet is influenced by is a distinctly naturalistic one, making him a distinguished figure in contemporary art, whose work will survive in canon. Van Vliet has stated of his own work, "I'm trying to turn myself inside out on the canvas. I'm trying to completely bare what I think at that moment" and that "I paint for the simple reason that I have to. I feel a sense of relief after I do". He has stated of precedent influences that there are none. "I just paint like I paint and that's enough influence." He has however stated his admiration of Georg Baselitz, the De Stijl artist Piet Mondrian, and Vincent van Gogh; after seeing van Gogh's paintings in person, Van Vliet quoted himself as saying that "the sun disappoints me so".

Exhibits of his paintings from the late 1990s at both the Anton Kern and Michael Werner Galleries of New York City received favorable reviews, the most recent of which were held between 2009 and 2010. Falconer stated that the most recent exhibitions showed "evidence of a serious, committed artist." It was claimed that he stopped painting in the late 1990s. A 2007 interview with Van Vliet through email by Anthony Haden-Guest, however, showed him to still be active artistically. He exhibited only few of his paintings because he immediately destroyed any that did not satisfy him.

Life in retirement

After his retirement from music, Van Vliet rarely appeared in public. He resided near Trinidad, California, with his wife Janet "Jan" Van Vliet. By the early 1990s he was using a wheelchair as a result of multiple sclerosis.

Van Vliet often voiced concern over and support for environmentalist issues and causes, particularly the welfare of animals. He often referred to Earth as "''God's Golfball''" and this expression can be found on a number of his later albums. In 2003 he was heard on the compilation album ''Where We Live: Stand for What You Stand On: A Benefit CD for EarthJustice'' singing a version of "Happy Birthday to You" retitled "Happy Earthday". The track is 34 seconds long and was recorded over the telephone.

Death

The Michael Werner Gallery announced on Friday, December 17, 2010, that Van Vliet had died at a hospital in Arcata, California, weeks short of his 70th birthday. The gallery stated him to be "a complex and influential figure in the visual and performing arts," and "one of the most original recording artists of his time". The cause was named as complications from multiple sclerosis. Tom Waits and Kathleen Brennan commented on his death, praising him: "Wondrous, secret... and profound, he was a diviner of the highest order."

Dweezil Zappa dedicated the song "Willie the Pimp" to Beefheart at the "Zappa Plays Zappa" show at the Beacon Theater in New York City on the day of his death, while Jeff Bridges exclaimed "Rest in peace, Captain Beefheart!" at the conclusion of the December 18 episode of NBC's ''Saturday Night Live''.

Relationship with Frank Zappa

Van Vliet met Frank Zappa when they were both teenagers and shared an interest in rhythm and blues and Chicago blues. They collaborated together from this early stage, with Zappa's scripts for 'teenage operettas' such as "Captain Beefheart & The Grunt People" helping to elevate the Van Vliet persona of Captain Beefheart. In 1963, the pair recorded a demo at the Pal Recording Studio in Cucamonga as the Soots, seeking support from a major label. Their efforts were unsuccessful, as "Beefheart's Howlin' Wolf vocal style and Zappa's distorted guitar" were "not on the agenda" at the time.

The friendship between Zappa and Van Vliet over the years was sometimes expressed in the form of rivalry as musicians drifted back and forth between their groups. Van Vliet embarked on the 1975 ''Bongo Fury'' tour with Zappa and The Mothers, mainly because conflicting contractual obligations made him unable to tour or record independently. Their relationship grew acrimonious on the tour to the point that they refused to talk to one another. Zappa became irritated by Van Vliet, who drew constantly, including while on stage, filling one of his large sketch books with rapidly executed portraits and warped caricatures of Zappa. Musically, Van Vliet's primitive style contrasted sharply with Zappa's compositional discipline and abundant technique. Mothers of Invention drummer Jimmy Carl Black described the situation as "two geniuses" on "ego trips". Estranged for years afterwards, they reconnected at the end of Zappa's life, after his diagnosis with terminal prostate cancer. Their collaborative work appears on the Zappa rarity collections ''The Lost Episodes'' (1996) and ''Mystery Disc'' (1996). Particularly notable is their song "Muffin Man", included on the Zappa/Beefheart ''Bongo Fury'' album, as well as Zappa's compilation album ''Strictly Commercial'' (1995). Zappa finished concerts with the song for many years afterwards. Beefheart also provided vocals for "Willie the Pimp" on Zappa's otherwise instrumental album ''Hot Rats'' (1969). One track on ''Trout Mask Replica'', "The Blimp (mousetrapreplica)", features Magic Band guitarist Jeff Cotton talking on the telephone to Zappa superimposed onto an unrelated live recording of the Mothers of Invention (the backing track was later released in 1992 as "Charles Ives" on ''You Can't Do That on Stage Anymore, Vol. 5'' ). Van Vliet also played the harmonica on two songs on Zappa albums: "San Ber'dino" (credited as "Bloodshot Rollin' Red") on ''One Size Fits All'' (1975) and "Find Her Finer" on ''Zoot Allures'' (1976). He is also the vocalist on "The Torture Never Stops (Original Version)" on Zappa's ''You Can't Do That on Stage Anymore, Vol. 4''.

The Magic Band

The members of the original Magic Band had come together in 1965 and, like many rhythm and blues-oriented groups of that era, were influenced by the success of English bands such as the Rolling Stones and the Beatles. At this time Van Vliet was simply the lead singer of the group, which had been brought together by guitarist Alex St. Clair. Like many emerging groups in California at the time, there were elements of psychedelia and the foundation of contemporary hippie counterculture.

Thus, it seemed quite logical to promote the group as "Captain Beefheart & His Magic Band", around the concept that Captain Beefheart had 'magic powers' and, upon drinking a 'Pepsi', could summon up "His Magic Band" to appear and perform behind him. The strands of this logic emanating from Vliet's ''Beefheart'' persona having been 'written in' as a character in a 'teenage operetta' that Zappa had formulated, along with Van Vliet's renowned 'Pepsi-moods' with his mother Willy Sue and his generally spoilt teenage demeanor.

Beginning

In late 1965, after numerous car-club dances, juke joint gigs, appearances at the Avalon Ballroom and winning the Teenage Fair 'Battle of the Bands', the group finally bagged a contract for recording two singles with the newly-created A&M; Records label with Leonard Grant as their manager. It was at this time that musical relationships had also been struck with members of Rising Sons who would later feature in the band's recordings. The A&M; deal also brought some contention between members of the band, torn between a career as an experimental 'pop' group and that of a purist blues band. Working with young producer David Gates also opened up horizons for Vliet's skills as a poet-cum-lyricist, with his "Who Do You Think You're Fooling" on the flipside of the band's first single, a cover of the Ellas McDaniel/Willie Dixon-penned hit, "Diddy Wah Diddy". Fate and circumstance, not for the first time, would befall the band's success upon its release - which coincided with a singles cover of the same song by The Remains. The initial line-up of the Magic Band that entered the studio for the A&M; recordings was not that which emerged by the second release, "Moonchild", also backed by a Vliet-penned number, "Frying Pan". A 12" vinyl 45rpm mono EP was later released in 1987, with the four tracks of the two singles, plus "Here I Am, I Always Am" as a fifth previously unreleased song. This release was titled ''The Legendary A&M; Sessions'', with a red-marbled cover and (later) members Moon, Blakely, Vliet, Snouffer and Handley seated in a 'temperance dance band' photo-pose.

The original Magic Band was primarily a rhythm and blues band, led by local Lancaster guitarist Alexis Snouffer, along with Doug Moon (guitar), Jerry Handley (bass), and Vic Mortenson (drums), the last being rotated with and finally replaced by Paul Blakely, known as 'P.G. Blakely'. For the first A&M; recording Mortenson had been called up for active service and Snouffer stood in on drums, with a recently recruited Richard Hepner taking up the guitar role. By the time the single was aired on a pop television show P.G. Blakely was back in the drum seat. He then left for a career in television and was replaced by John French by the time the band cut their first album, as the first release on the new Buddah Records label.

Personnel in the Magic Band for Beefheart's first album, ''Safe as Milk'', were Alex St. Clair, Jerry Handley and John French. Earlier meetings with the Rising Sons had also secured them the guitar and arranging skills of Ry Cooder, which also brought about input from Taj Mahal on percussion and guitar work from Cooder's brother-in-law Russ Titelman. Further guests to this line-up included Milt Holland on percussion and the all-important and controversial theremin work on ''Electricity'' by Dr Samuel Hoffman. It was perhaps this track, above the others, which caused A&M; to view the band as 'unsuitable' for their label with what was seen as weird and too psychedelic for popular consumption. Thus, this album was recorded for Buddah, with the band signed to Kama Sutra, which left them close to penniless after extricating themselves from A&M.; A large proportion of the tracks on this album were co-written with Van Vliet by Herb Bermann, whom Vliet initially met up with at a bar gig near Lancaster. Part-time Hollywood television actor and budding scriptwriter Bermann and his then wife Cathleen spent some time in Vliet's company prior to this release. Bermann would later write for Neil Young and script an early Spielberg-directed television medical drama. Gary 'Magic' Marker (the "Magic" added by Beefheart) was involved in early session work for this release, and his involvement with Rising Sons was also instrumental in acquiring the skills of Cooder, upon an unfulfilled suggestion that Marker might produce the album. Marker would later lay down two uncredited bass tracks for ''Trout Mask Replica'' before being replaced by Mark Boston.

French worked on five more Beefheart albums, while Snouffer worked with Beefheart on and off on three more albums. Bill Harkleroad joined the Magic Band as guitarist for ''Trout Mask Replica'' and stayed with Beefheart through May 1974.

Beefheart takes the lead

While appearing humorous and kind-hearted in public, by all accounts Van Vliet was a severe taskmaster who abused his musicians verbally and sometimes physically. Vliet once told drummer John French he had been diagnosed as a paranoid schizophrenic and thus he would see inexistent conspiracies that explained this behaviour. The band were reportedly paid little or nothing. French recalled that the musicians' contract with Van Vliet's company stipulated that Van Vliet and the managers were paid from gross proceeds before expenses, then expenses were paid, then the band members evenly split any remaining funds—in effect making band members liable for all expenses. As a result French was paid nothing at all for a 33-city U.S. tour in 1971 and a total of $78 for a tour of Europe and the U.S. in late 1975. In his 2010 memoir ''Beefheart: Through The Eyes of Magic'' French recounted being "screamed at, beaten up, drugged, ridiculed, humiliated, arrested, starved, stolen from, and thrown down a half-flight of stairs by his employer".

The musicians also resented Van Vliet for taking complete credit for composition and arranging when the musicians themselves pieced together most of the songs from taped fragments or impressionistic directions such as "Play it like a bat being dragged out of oil and it's trying to survive, but it's dying from asphyxiation." John French summarized the disagreement over composing and arranging credits metaphorically:

Post-Beefheart, receiving only a "grumpy" reception from him, the band reformed in 2003 with John French on lead vocals, Gary Lucas and Denny Walley on guitars, Rockette Morton on bass, and Robert Williams on drums. At the start of their only European tour, Williams left and was replaced by Michael Traylor. The band released two albums and toured before disbanding in 2006.

They toured the UK in 2005, playing a selection of small venues. John Peel was initially skeptical about the re-formed Magic Band. He played a live recording of the band recorded at the 2003 All Tomorrows Parties festival on his radio show; afterwards he couldn't speak and had to put on another record to regain his composure. Later the band did a live session for him. The band's albums are ''Back To The Front'' (on the London-based ATP Recordings, 2003) and ''21st Century Mirror Men'' (2005). They played over 30 shows throughout the United Kingdom and Europe, and one in the United States. They have been chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he will curate in December 2011 in Minehead, England.

Influence

Van Vliet has been the subject of at least two documentaries, the BBC's 1997 ''The Artist Formerly Known As Captain Beefheart'' narrated by John Peel, and the 2006 independent production ''Captain Beefheart: Under Review''.

According to Peel, "If there has ever been such a thing as a genius in the history of popular music, it's Beefheart... I heard echoes of his music in some of the records I listened to last week and I'll hear more echoes in records that I listen to this week." His narration added: "A psychedelic shaman who frequently bullied his musicians and sometimes alarmed his fans, Don somehow remained one of rock's great innocents". Mike Barnes referred to him as an "iconic counterculture hero", who with the Magic Band "went on to stake out startling new possibilities for rock music". while John Harris of ''The Guardian'' praised the music's "pulses with energy and ideas, the strange way the spluttering instruments meld together". A ''Rolling Stone'' biography described his work as "a sort of modern chamber music for [a] rock band, since he plans every note and teaches the band their parts by ear. Because it breaks so many of rock's conventions at once, Beefheart's music has always been more influential than popular." In this context, it is performed by the classical group, the Meridian Arts Ensemble. Piero Scaruffi characterize "three basic elements": "the ballad out of tune, with guitar interlaced with jolting rhythm, vocal miasma and a rogue harmonica". Scaruffi ranked ''Trout Mask Replica'' number one on his list of the greatest rock albums of all time. He says that "the distance between Captain Beefheart and the rest of rock music is the same distance that there was between Beethoven and the symphonists of his time". Nicholas E. Tawa, in his 2005 book ''Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America'', included Beefheart among the prominent progressive rock musicians of the 1960s and 70s, while the ''Encyclopædia Britannica'' describes Beefheart's songs as conveying "deep distrust of modern civilization, a yearning for ecological balance, and that belief that all animals in the wild are far superior to human beings."

Many artists have cited Van Vliet as an influence, beginning with the Edgar Broughton Band, who covered ''Dropout Boogie'' as Apache Drop Out (mixed with The Shadows' "Apache") as early as 1970 and The Kills coverage of it 32 years later. The Minutemen were fans of Beefheart, and were arguably among the few to effectively synthesize his music with their own, especially in their early output, which featured disjointed guitar and irregular, galloping rhythms. Michael Azerrad describes the Minutemen's early output as "highly caffeinated Captain Beefheart running down James Brown tunes", and notes that Beefheart was the group's "idol". Others who arguably conveyed the same influence around the same time or before include John Cale of The Velvet Underground, Laurie Anderson, The Residents and Henry Cow. Genesis P-Orridge of Throbbing Gristle and Psychic TV, and poet mystic Z'EV, both pioneers of industrial music, cited Van Vliet along with Zappa among their influences. More notable were those emerging during the early days of punk rock, such as The Clash and John Lydon of the Sex Pistols (reportedly to manager Malcolm McLaren's disapproval), later of the post-punk band Public Image Ltd.

Cartoonist and writer Matt Groening tells of listening to ''Trout Mask Replica'' at the age of 15 and thinking "that it was the worst thing I'd ever heard. I said to myself, they're not even trying! It was just a sloppy cacophony. Then I listened to it a couple more times, because I couldn't believe Frank Zappa could do this to me—and because a double album cost a lot of money. About the third time, I realised they were doing it on purpose; they meant it to sound exactly this way. About the sixth or seventh time, it clicked in, and I thought it was the greatest album I'd ever heard." Groening first saw Beefheart and the Magic Band perform in the front row at the Arlene Schnitzer Concert Hall in the early 1970s. He later declared ''Trout Mask Replica'' to be the greatest album ever made. He considered the appeal of the Magic Band as outcasts who were even "too weird for the hippies". Groening served as the curator of the All Tomorrow's Parties festival that reunited the post–Beefheart Magic Band.

Van Vliet's influence on post–punk bands was demonstrated by Magazine's recording of "I Love You You Big Dummy" in 1978 and the tribute album ''Fast 'n' Bulbous - A Tribute to Captain Beefheart'' in 1988, featuring the likes of artists such as the Dog Faced Hermans, The Scientists, The Membranes, Simon Fisher Turner, That Petrol Emotion, the Primevals, The Mock Turtles, XTC, and Sonic Youth, who included a cover of Beefheart's "Electricity" as a bonus track on the deluxe edition of their 1988 album ''Daydream Nation''. Other post-punk bands influenced by Beefheart include Gang of Four, Siouxsie and the Banshees, Pere Ubu, Babe the Blue Ox and Mark E. Smith of The Fall. The Fall covered "Beatle Bones 'N' Smokin' Stones" in their 1993 session for John Peel. Beefheart is considered to have "greatly influenced" New Wave artists, such as David Byrne of Talking Heads, Blondie, Devo, The Bongos, and The B-52s.

Tom Waits' shift in artistic direction, starting with 1983's ''Swordfishtrombones'', was, Waits claims, a result of his wife Kathleen Brennan introducing him to Van Vliet's music. "Once you've heard Beefheart," said Waits, "it's hard to wash him out of your clothes. It stains, like coffee or blood." Guitarist John Frusciante of the Red Hot Chili Peppers cited Van Vliet as a prominent influence on the band's 1991 album ''Blood Sugar Sex Magik'' as well as his debut solo album ''Niandra Lades and Usually Just a T-Shirt'' (1994) and stated that during his drug-induced absence, after leaving the Red Hot Chili Peppers, he "would paint and listen to ''Trout Mask Replica''." Black Francis of the Pixies cited Beefheart's ''The Spotlight Kid'' as one of the albums he listened to regularly when first writing songs for the band, and Kurt Cobain of Nirvana acknowledged Van Vliet's influence, mentioning him among his notoriously eclectic range.

The White Stripes in 2000 released a 7" tribute single, ''Party of Special Things to Do'', containing covers of that Beefheart song plus "China Pig" and "Ashtray Heart". The Kills included a cover of "Dropout Boogie" on their debut ''Black Rooster EP'' (2002). The Black Keys in 2008 released a free cover of Beefheart's "I'm Glad" from ''Safe as Milk''. In 2005 Genus Records produced a tribute to Captain Beefheart titled ''Mama Kangaroos'' - ''Philly Women Sing Captain Beefheart.'' Beck included "Safe as Milk" and "Ella Guru" in a playlist of songs as part of his website's ''Planned Obsolescence'' series of mashups of songs by the musicians that influenced him. Franz Ferdinand cited Beefheart's ''Doc At The Radar Station'' as a strong influence on their second LP, ''You Could Have It So Much Better.'' Placebo briefly named themselves Ashtray Heart, after the track on ''Doc at the Radar Station''; the band's album ''Battle for the Sun'' contains a track called "Ashtray Heart". Joan Osborne covered Beefheart's "(His) Eyes are a Blue Million Miles", which appears on ''Early Recordings''. She cited Van Vliet as one of her influences. PJ Harvey and John Parish discussed Beefheart's influence in an interview together. Harvey's first experience of Beefheart's music was as a child. Her parents had all of his albums; listening to them made her "feel ill". Harvey was reintroduced to Beefheart's music by Parish, who lent her a cassette copy of ''Shiny Beast (Bat Chain Puller)'' at the age of 16. She cited him as one of her greatest influences since. Parish described Beefheart's music as a "combination of raw blues and abstract jazz. There was humour in there, but you could tell that it wasn't [intended as] a joke. I felt that there was a depth to what he did that very few other rock artists have managed [to achieve]."

Discography

{| style="width:100%" cellspacing="0" cellpadding="0" |- valign="top" |style="width:50%"|

''Safe as Milk'' (1967)

''Strictly Personal'' (1968)

''Trout Mask Replica'' (1969)

''Lick My Decals Off, Baby'' (1970)

''Mirror Man'' (1971)

''The Spotlight Kid'' (1972)

|style="width:50%"|

''Clear Spot'' (1972)

''Unconditionally Guaranteed'' (1974)

''Bluejeans & Moonbeams'' (1974)

''Shiny Beast (Bat Chain Puller)'' (1978)

''Doc at the Radar Station'' (1980)

''Ice Cream for Crow'' (1982)

|}

References

Further reading

Courtier, Kevin (2007). ''Trout Mask Replica''. New York: Continuum. ISBN 0-8264-2781-2

Delville, Michel & Norris, Andrew (2005). ''Frank Zappa, Captain Beefheart, and the Secret History of Maximalism''. Cambrdige: Salt Publishing. ISBN 1-84471-059-9.

Harkleroad, Bill (1998). ''Lunar Notes: Zoot Horn Rollo's Captain Beefheart Experience''. Interlink Publishing. ISBN 0-946719-21-7.

Bamberger, W.C. (1999). ''Riding Some Kind Of Unusual Skull Sleigh: On The Arts Of Don Van Vliet''. ISBN 978-0-917453-35-9

Beaugrand, Andreas and various (1994). ''Stand Up to Be Discontinued''. (Paperback) ISBN 3-9801320-2-1.

Van Vliet, Don (Captain Beefheart) (1987). ''Skeleton Breath, Scorpion Blush''. (All poems in English, preface in German and English). Bern-Berlin: Gachnang & Springer. ISBN 978-3-906127-15-6

Zappa, Frank & Occhiogrosso, Peter; ''The Real Frank Zappa Book'', Poseidon Press (1989), ISBN 0-671-63870-X

External links

Beefheart.com – The Captain Beefheart Radar Station

Captain Beefheart at Rolling Stone

[ Captain Beefheart at Allmusic]

''Some Yo Yo Stuff'' by Anton Corbijn

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bs:Captain Beefheart br:Captain Beefheart cs:Captain Beefheart da:Captain Beefheart de:Captain Beefheart el:Ντον Βαν Βλιτ es:Captain Beefheart fr:Captain Beefheart it:Captain Beefheart he:קפטן ביפהארט sw:Captain Beefheart lb:Captain Beefheart hu:Captain Beefheart nl:Captain Beefheart ja:キャプテン・ビーフハート no:Captain Beefheart pl:Captain Beefheart pt:Captain Beefheart ro:Captain Beefheart ru:Captain Beefheart simple:Captain Beefheart sl:Captain Beefheart fi:Captain Beefheart sv:Captain Beefheart

name	Rick Wakeman
background	non_vocal_instrumentalist
birth name	Richard Christopher Wakeman
born	May 18, 1949Perivale, London, England
instrument	Keyboard, piano, synthesiser
genre	Rock, progressive rock, pop, electronica, jazz fusion, classical, Christian music
occupation	Musician, songwriter
years active	1969–present
label	A&M;, Charisma, President Records, Voiceprint, Griffin, EMI, Music Fusion, Hot Productions, Studio T
associated acts	Yes, Strawbs, ABWH, David Bowie, Warhorse, Black Sabbath, Cat Stevens
website	www.rwcc.com }}

Richard Christopher Wakeman (born 18 May 1949) is an English keyboard player, composer and songwriter best known for being the former keyboardist in the progressive rock band Yes. He is also known for his solo albums, contributing to the BBC comedy series ''Grumpy Old Men'' and for ''Rick's Place'', his former radio show on Planet Rock that aired until December 2010.

Wakeman was born in West London. He purchased his first electronic keyboard at 12 years of age. In 1968, he studied the piano, clarinet, orchestration and modern music at the Royal College of Music before leaving after a year in favour of session music work. He went on to feature on songs by artists including Ozzy Osbourne, David Bowie, T. Rex, Elton John and Cat Stevens. Wakeman joined the folk group Strawbs in 1969 and played on three of their albums. He first joined Yes in 1971 to replace Tony Kaye, and left the group in 1974 to work on his solo career. He returned in 1976 before leaving with lead vocalist Jon Anderson in 1980. Wakeman was part of the side project Anderson Bruford Wakeman Howe, a group of ex-Yes members formed in 1989, and the eight-member Yes line-up that followed until his third departure in 1992. He returned for two years in 1995 and once more in 2002, where he was part of the band's 35th anniversary tour until its end in 2004.

Wakeman began his solo career during his first run with Yes. His perhaps most known records being his first three, ''The Six Wives of Henry VIII'' (1973), ''Journey to the Centre of the Earth'' (1974) and ''The Myths and Legends of King Arthur and the Knights of the Round Table'' (1975). He has produced over 100 solo albums that have sold more than 50 million copies. In November 2010, Wakeman was awarded the Spirit of Prog award at the annual Marshall Classic Rock Roll of Honour Awards.

Early life

Rick Wakeman was born on 18 May 1949 in the west London suburb of Northolt to Cyril Frank and Mildred Helen Wakeman. He attended Wood End Infants School in 1954, followed by Drayton Manor Grammar School in 1959. He started playing the piano at the age of 5 and purchased his first electronic keyboard at the age of 12. In 1968, Wakeman secured a place at the Royal College of Music, where he studied piano, clarinet, orchestration and modern music. He left a year later in favour of session music work.

Music career

Session work and the Strawbs (1969–1971)

Wakeman became an active session musician. In June 1969, he played Mellotron on David Bowie's single "Space Oddity" for a session fee of £9. He went on to play piano for Bowie's "Life on Mars?", "Changes" and "Oh! You Pretty Things" in April 1971 and "Absolute Beginners" in 1985. He also played the piano on the Cat Stevens' hit "Morning Has Broken". In 1971 he acquired an early Minimoog synthesiser, purchasing it at half price from actor Jack Wild who believed that it was defective because it only played one note at a time.

Between 1970 and 1971, Wakeman was part of the folk rock group Strawbs. His first appearance on an album sleeve was on ''Dragonfly'', the group's second studio album released in February 1970. The band held a concert at the Queen Elizabeth Hall in London on 11 July 1970 where Wakeman performed a solo piano piece named "Temparament of Mind". He received a standing ovation for his performance, and the track appeared on the band's live record released that year, ''Just a Collection of Antiques and Curios''. Wakeman appeared on the front page of ''Melody Maker'' soon after, which called him "Tomorrow's Superstar", and composed the theme music to the television show ''Ask Aspel''. He remained in the Strawbs for a third album, ''From the Witchwood'', but left the group in mid-1971.

Joining Yes and start of solo career (1971–1975)

In 1971, Wakeman joined the progressive rock band Yes, replacing their organist Tony Kaye. His first concert with the group took place in Leicester on 30 September 1971. He worked on the group's fourth, fifth and sixth studio albums – ''Fragile'' (1971), ''Close to the Edge'' (1972), and ''Tales from Topographic Oceans'' (1973). Wakeman, however, felt ''Tales from Topographic Oceans'' was pretentious and – despite its ambition -insubstantial. He disliked performing the album on tour, feeling the length of the songs prevented the band from playing their more popular tracks. Following the tour, as the band began work on what would become ''Relayer'' (1974), Wakeman felt further alienated from the group. Disenchanted with the direction in which Yes was going, and already into a successful solo career, he left.

Wakeman produced his first three solo albums during his first run with Yes. On 23 January 1973, he released ''The Six Wives of Henry VIII'', an instrumental concept album based on his interpretations of the musical characteristics of the wives of Henry VIII, using keyboard instruments. The album was overall well received by critics. ''TIME'' magazine named the record one of the best pop albums of 1973. In October 1975, the album was certified Gold.

On 18 January 1974, Wakeman performed ''Journey to the Centre of the Earth'', a forty-minute piece based on the Jules Verne novel of the same name, at the Royal Festival Hall in London. Combining rock with an orchestra and choir, the concert was recorded and released on 18 May, where it topped the UK album charts on entry for one week. The record became a multi-million dollar seller in six weeks. The album was certified Gold in September 1974.

In May 1975, Wakeman released ''The Myths and Legends of King Arthur and the Knights of the Round Table'', with the album was performed live at the Empire Pool on ice. The show was well received but expensive to produce, consuming much of the income from sales of the album. The album was also a worldwide success, reaching No.21 in the United States while going Gold (the third time a Wakeman record had achieved this) in Brazil, Japan and Australia. The album has sold 12 million copies.

In 1975, Wakeman produced the first of two soundtracks for films by Ken Russell – ''Lisztomania'' and ''Crimes of Passion'' (1984).

Rejoining Yes (1976–1980)

Wakeman returned to Yes for their 1977 album ''Going for the One''. He remained until their next album, ''Tormato'', a year later. He is reputed to have given the album its name by throwing a tomato at a showing of the art used for the album's cover.

Anderson Bruford Wakeman Howe and Yes (1989–1992)

In 1989, he joined with three fellow ex-Yes members to form Anderson Bruford Wakeman Howe ("ABWH"). After ABWH's first album, some of the completed tracks for a planned second album were merged with tracks from an in-progress Yes album to create the album ''Union''. Wakeman, along with the combined members of both bands then joined to form a Yes supergroup (made up of past and present members of Yes) for the subsequent tour in 1991. When the tour ended a year later, Wakeman left again.

Fourth run with Yes (1995–1997)

He then returned in 1996 for the ''Keys to Ascension'' albums but left before the band could tour.

Fifth run with Yes and Hampton Court (2002–2009)

In 2002, he rejoined Yes and stayed with the band until their 2008 In The Present Tour. For the group's 40th anniversary tour, Wakeman was replaced by his son, Oliver Wakeman.

In 2008, Wakeman toured with a solo show named ''Rick Wakeman's Grumpy Old Picture Show'', featuring an evening of music and stories.

In May 2009, Wakeman performed ''The Six Wives of Henry VIII'' live at Hampton Court Palace for the first time, for two nights. The performance was recorded and released as ''The Six Wives of Henry VIII Live at Hampton Court Palace''.

Instruments

Although Wakeman is a noted player of the grand piano, electric piano, Hammond organ, Minimoog and many later models of synthesiser, he is well known as an exponent (for a time) of the Mellotron – an analogue electronic musical instrument that uses a bank of pre-recorded magnetic tape strips, each of which is activated by a separate key on its keyboard and lasts approximately 8 seconds. Wakeman featured playing this instrument, to varying degrees, on the David Bowie track "Space Oddity", the Yes albums ''Fragile'', ''Close to the Edge'' and ''Tales From Topographic Oceans'', as well as the solo albums ''The Six Wives of Henry VIII'' and ''White Rock''. It proved too unwieldy and unreliable for regular touring, and he eventually doused the last Mellotron that he owned in petrol and set fire to it in a field. Undeterred, he worked with David Biro to develop the Birotron, which used the then popular 8-track cassette format rather than tape strips. Because of the advent of digital keyboards at that time, and also because the cassette tape format could not reproduce the attack and decay of musical notes (which the tape strips of the Mellotron could reproduce), the Birotron was never a commercial or technical success. Only 35 Birotrons were produced, and Wakeman eventually threw his across the stage after it broke down mid-concert, an action he now regrets as there are only six remaining examples.

Recent years

Wakeman's track "Arthur" has been used as the theme tune to the BBC's ''Election Night Coverage'' since 1979, with the exception of 2001 and 2010. Wakeman's album ''Fields of Green '97'' features the track "Election '97/Arthur" which was used by the BBC for their coverage of the 1997 General Election. The music was revamped for the BBC's 2005 general election night coverage.

His TV career was launched in 1982 when he hosted Gastank on Channel 4 in the United Kingdom. The show featured a mix of interviews with 1970s musicians and impromptu performances where the guest artist would join Wakeman and his house band in playing re-arranged versions of their classic songs or entirely new pieces created for the show.

Wakeman is a contributor to the BBC Two show ''Grumpy Old Men''. He has also appeared in a number of episodes of ''Countdown''. He has also appeared on the satirical panel shows ''Never Mind the Buzzcocks'' (4 appearances) and ''Have I Got News For You''. Between September 2005 and December 2010, Wakeman presented ''Rick's Place'', a weekly radio show on Planet Rock with David 'Kid' Jensen. Wakeman appeared as himself in "Journey to the Centre of Rick Wakeman", the season two finale of ''Mitch Benn's Crimes Against Music'', a BBC Radio 4 comedy programme. The episode detailed a fictional war between England and Wales in 2009 which only Wakeman could stop. Wakeman provided piano for Benn's 2008 single "Sing Like an Angel", which was released on iTunes. In December 2006, Wakeman was the guest host for an episode of ''The Personality Test'' on Radio 4. He also appeared on ''Top Gear'' and set a race track lap time of 1'55.26. Wakeman made his debut appearance on ''Just a Minute'' on Radio 4 on 7 February 2011.

In October 2007, Wakeman commenced a new tour 'Rick Wakeman's Grumpy Old Picture Show', where he accompanies video performers such as Gordon Giltrap and the English Rock Ensemble (Ashley Holt, Lee Pomeroy, Dave Colquhoun and Tony Fernandez). A Freemason, he is a member of Chelsea Lodge No. 3098, the membership of which is made up of entertainers. In 2009, Wakeman became a Patron of Tech Music Schools.

In 2011, Wakeman, alongside Fiaba's drummer Bruno Rubino, has been recording and arranging the debut full-length studio album of the Italian singer Valentina Blanca.

Personal life

On 28 March 1970, Wakeman married his first wife Rosaline Woolford at twenty years of age and had two sons, Oliver (b. 26 February 1972) and Adam (b. 11 March 1974). The two divorced in 1977, and Wakeman married studio secretary Danielle Corminboeuf in January 1980 in the West Indies, with whom he had one son, Benjamin (b. 1978). He had a daughter, Jemma Kiera (b. 12 February 1983), with former Page 3 model Nina Carter and the two married in 1984 followed by the birth of their son, Oscar (b. May 1986). He has had a renewal of his Christian faith, which began around the time of their marriage.

Nina and Rick divorced in December 2004.

In his twenties, Wakeman suffered three heart attacks. The first occurred after a performance of ''Journey to the Centre of the Earth'' at the Crystal Palace Bowl on 27 July 1974.

A passionate football fan, Wakeman has supported Brentford F.C. since he was a child, and later on he also became a director of the West London club. After a disagreement with the board, he moved on to Manchester City F.C. but maintained his allegiance to Brentford. He was involved in the ownership of the American soccer club Philadelphia Fury in the late '70s, along with other rock celebrities such as Peter Frampton and Paul Simon.

He is a strong supporter of the UK's Conservative Party, and performed a concert in September 2004 for the benefit of the party.

Wakeman has been president of the show business charity The Heritage Foundation. The charity erects blue plaques on the homes and/or work-places of late entertainers and sportspeople. He is also Honorary President of the Classic Rock Society, a UK-based organisation helping to promote classic and progressive rock.

Discography

Bibliography

See also

Oliver Wakeman

Adam Wakeman

References

External links

Rick Wakeman's Communication Centre

Rick Wakeman's Official Press Photos

Category:English electronic musicians Category:English rock keyboardists Category:English session musicians Category:Yes (band) members Category:Alumni of the Royal College of Music Category:People from Ealing Category:People from Wembley Category:English Christians Category:1949 births Category:Living people Category:The Ozzy Osbourne Band members Category:People self-identifying as alcoholics Category:English heavy metal keyboardists Category:Progressive rock musicians Category:Anderson Bruford Wakeman Howe members

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